Richard Coyle, whom you might remember as Jeff from Coupling and almost certainly won’t remember as Strange in Strange, has ventured Stateside for a new pilot. Ultra is based on a comic book and he will be playing the part of – wait for it – Cryptic Man. Sounds horrid. I hope he has better luck later in the year in Cracker.
We’ve already have a few of our regulars and newcomers complaining that Totally Doctor Who, the show that CBBC is hoping will indoctrinate children into being obsessive about television from an early age, has too low an age limit. Well, the powers that be are obviously listening – and enjoy pissing people off – and have raised the maximum age to 14, which still rules out everyone who complained.
Let the birth-certificate-faking begin.
Meanwhile, trailers have been running in the US for the Christopher Eccleston season of Doctor Who, since it airs next Friday. Sci-Fi have already got a nice little micro-site up and running but clearly they reckon the new logo is far too naff and have created their own:
Like a gadzillion times better than the real one, isn’t it? Maybe the Beeb should take that to heart and use it for the next season? That would annoy the merchandisers no end.
That’s it. Nothing more to see here.
Still here? Oh. Of course.
Here’s a picture of David Tennant:
Peter Kay (him off Phoenix Nights and who did that song, you know the one, with Tony Christie… No, not ‘Streets and Alleyways’ or whatever it was – that was the theme to The Protectors… It’s got armadillos in it or something. Oh I don’t know. Go and look it up) is to be a guest villain on the new series of Doctor Who. Well, if Simon Pegg can do it, so can Peter Kay.
Can’t help but think they could do with a few really evil psychopaths, though, rather than comic actors who can also do serious work.
And now, for no reason at all, apparently, a picture of David Tennant (sorry about the watermark):
A couple of interesting stories in The Independent’s Pandora today. First, but less amusing, is the news that Alan Rickman is fuming after getting his play cancelled by the Broadway theatre that was supposed to be staging it. The New York Theater Workshop claimed Rickman’s filming commitments, among other things, had forced them to cancel the play concerning the death of a peace activist at the treads of an Israeli army tank. But dear old Alan (who was once kind enough to send me his autograph so that I could give it to one of his fans as a birthday present) wrote a strongly worded letter to point out that they were telling a bunch of porkies. Only sounding a little bit like a conspiracy theorist, he said the theatre had caved under pressure from local Jewish leaders (whoever they might be). Whatever the reason, the moral of this story is not to cross Alan.
Story two, which is far more amusing, concerns that Preston from the Ordinary Boys, whom most people know from Celebrity Big Brother. Someone at the BBC, whose brain had clearly been infected by some kind of Brighton-based lead paint (it’s the Islington-based lead paint of the South), thought it would be a simply super idea to get him to be guest editor for the BBC South Sunday Politics Show. Well, what do you know – turns out it’s all going a bit pear-shaped: he can’t get any of the people he wanted to show up. Didn’t see that one coming.
It’s always entertaining to see a TV show such as Wife Swap where people are parachuted into other people’s jobs and find they’re not that easy to master in a week – again how surprising? But why are some journalists so masochistic and deprived of self-esteem that they think that their own job is a complete doddle and even the untrained lead singer of ska band could do it? Having guest editors is just as bad as a free DVD in a newspaper – it’s more effort, makes the final product worse and the audience you get is only ever temporary. Forget misplaced ideals of making your show accessible to “ordinary people” (and who are they supposed to be exactly?) – do your job properly and the “ordinary” viewers should follow.
Entertainingly, George Lucas of all people has denounced blockbusters, saying they’re all doomed by economics. Given that he’s the one who effectively doomed thinking Hollywood cinema back in the 70s, I think that’s rather ironic…