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this is absolute genius!
that's the most mental thing i've seen on TV for ages
before they started killing people.
the bit where they totally broke down, and then just went bra shopping. genius :D
have they got the balls to commission it?
It felt like a whole series plot arc condensed into half an hour, and I really can't think where they'd go if they were given further episodes. Liked the concept though.
maybe flashbacks? That would be shit though.
So brave of the actors to make themselves look so thoroughly unappealing, and to put themselves through such torture
My favourite bit was, "GO ON, EAT A SHIT TOASTIE!" Then *BANG*, spatter of blood in silent slo-mo.
but play different characters, like how Julia Davis and Jessica Stevenson played the two schoolgirls also in that episode.
we were pretty perplexed by the start of it. it seemed a bit mixed up in terms of what they were trying to be funny with.
I thought it picked up when they snapped and started killing everyone.
Still, I expected a lot more from that group of people. They're normally involved with very funny things (no, Green Wing, I'm not talking about you).
first 15 minutes of it was brutal, like the darkest parts of Nighty Night x10. The second half I was cracking up and it did lighten up a little
If shit like The Persuasionists can get commissioned and this can't then there's no justice.
Probably the most contrived bit of storytelling you'll find all year, but with some moments which lifted it above the norm. I mean contrived in the best possible way, too. It's like the writers have seen the uber-modern trend of having characters knocked off incredibly unexpectedly in contemporary cinema/television, decided to fashion an entire story around that, and have then drawn two conclusions:
1) It's far more dramatically effective than drawing out a death scene.
2) It's only possible to do an unexpected death with either a gunshot or a hit and run.
Here, roughly, is how I guess the brainstorming session went:
So how do we make it even more unexpected and brutal?
1) We set it in suburbia.
2) We have the killers be frumpy, under-appreciated housewives.
The problem, of course, is that we have to get that bothersome "character development" stuff out of the way before we can start popping squibs.
Well, why don't we paint the characters with incredibly broad strokes? We can get away with having two main characters who are exactly the same provided we call it a "dark comedy" or something. Job done, then we can set up a bunch of "straw men" plot beats - unloving husbands, abusive mistresses, rampant social/emotional injury - to justify these two women snapping.
"BUT!" you say, "there is literally nothing about these characters to suggest they are or were anything more than weedy, mushy losers, so how do you explain the fact that they would suddenly snap, after years of self-denial and submissiveness?"
"Ah," they say by way of reply, "we'll just pull out the old 'they could not take itz anymorez' chestnut!"
"Fair enough!" you say, "at least this is blatantly not trying to be great art!"
But how do we justify their possession of a weapon in a dramatic sense? Where would they get it from? Aha!
1) We have the characters suddenly display a love for shopping-when-depressed so they can then end up in a pub...
2) ...where they can then be mugged by a gangster who, rather than simply shoot them as they give chase, allows himself to be over-powered and...erm...fingernailed to death.
So then we can have him be shot really unexpectedly! Awesome! Also, this then means:
1) We only have five bullets left! FEEL THE TENSION!
2) The second bullet goes in the husband of the one out of Spaced. UNEXPECTEDLY BUT NOT REALLY 'COS WE KNEW HE WAS IN FOR IT SINCE HE IS EVILS!
3) The second two bullets go in the fat foreign girl and the dickish husband UNEXPECTEDLY BUT NOT REALLY 'COS WE KNEW THEY WAS IN FOR IT SINCE THEY WAS EVILS!
Never mind the fact that we barely care about our two anti-heroines, much less the people they slaughter with gay abandon. Why doesn't this matter? Because death and bloodshed and murder is funny! Why is it funny? Because it's two frumpy housewives doing it!
Look! That guy ran over a girl and makes flippant comments about her death! Look! Two brainless teenagers who want to be famous do a dance routine at her funeral! Don't you get it?! In the midst of death, people are acting inappropriately! THIS IS FUNNY! THIS IS FUNNY!
And some of it was, credit where it's due. "I don't want a policeman searching my bottom" was a favourite line. But the nagging sense that this kind of thing has been done better, more than a hundred times at least, would not leave my mind for the duration of the programme. Where it should have crackled with energy, bearing every trace of the fine track record its creators have, it merely limped along, growing more and more inconsequential as it progressed.
I'm all for nihilism and death and comedy mixed together, but only if it's done right. Imagine a person who has studied the Coens and Alan Ball avidly, can pinpoint exactly what makes their stuff tick, knows what it is they like about the aforementioned artists' films, but, tragically, doesn't possess the talent to emulate and expand upon their heroes' work, and you're fairly close to the headspace the writers of Lizzie and Sarah are in. This is NOT the same thing as saying the creators have no talent at all - merely that their talents lay elsewhere.
Depressingly, it's still the best thing the British system has produced for television in a while. I want it to be commissioned just so more of this type of programming will be produced (except done much better!)
Dark, funny and utterly horrible in a good way.
The problem now is I can't really see where it could end up going with a full series - much of the comedy came from the two main characters trying to normalise and rationalise the unpleasantness of their day-to-day lives. Once they've decided to stop taking it and shoot people instead, there isn't really much of a story beyond "they're middle-class housewives, some people piss them off and they kill them" which would get tired very very quickly.
and I haven't even seen un chien andalou or any of that eyeball business
Especially the bit where he fucked her while holding a pillow over her face. Or when she force-fed the near-naked maid on all fours and then blew her brains out.
Why do people insist on being so hilariously contrary on here, in the face of all evidence? :)
(Unless you were being 'ironic', in which case I apologise)
I mean I liked it and thought it was excellently dark in places but it was only following a path towards that kind of unbearable to watch dark extreme comedy that's been going-on for years - a gradual progression to more extremes from the Office to Peep Show to Nathan Barley to Nighty Night and so on... Even Little Britain to an extent.
It was good but it wasn't that extreme or mould-breaking. I wouldn't agree with the "standard fare" per se but I can see where Shrewbie's coming from - it wasn't in any way a shocking departure from the path of recent comedy either.
And certainly nowhere near as mind-blowingly original and "what the fuck's going on here then" as the thing with the puppets I forget the name of that the BBC showed about five years ago...
It reminded me of something I heard a critic say about Edinburgh fringe comedy a few years ago: "There's a lot of new things this year that are dark, or sinister, or uncomfortable. Not many of those new things remembered to be funny."
I did think Lizzie & Sarah was much better than that. Just nowhere near as remarkable as some of the posts in this thread imply.
The other day Lou came in Susan's hair while being sucked off by Paul Robinson's dog, before killing the dog by cutting off its bloody flow with clothes pegs. Then Karl licked clean a newborn baby of all its birth goo while pissing on the mother.
Did you see Eastenders the other day when Lucas filleted Heather and force-fed her skin to Dot Cotton until she threw up all over the boy in the wheelchair?
Human Remains is one of the finest TV shows created in my lifetime.
Lizzie And Sarah was very funny though.
Can't believe they've got rid of Mark Heap so early though.
I HOOVER AFTER COLUMBO
but i enjoyed it all the same. and they saved kevin eldon for later! hurrah! mark heap and kevin eldon are my favourite british comedic actors.
i did spend a lot of time thinking "when's simon pegg going to turn up?" though.
Having Mojitos with David Schwimmer
And Spaced is pretty light really.
I quite liked this, then came on here and thought about it, and went off it a bit; I think the critics have got good points, but it was still pretty refreshing and entertaining and I hope it commission for another series, but I haven't the foggiest what they'd do with it.
and went "Sorry! Sorry." as if she'd spilt a bit of tea on his carpet.
And if you don't agree, you're just a soft, sneering cunt. Who probably thinks women can't be funny.
this is bleak
then it just lost all subtlety, especially with the julia davis/husband/fat maid scenario - but it was meant to be hilarious, just came across as half-baked. maybe that's only the case for the pilot? i know that's julia davis' signature style but maybe it worked in nighty night because the character was so unique. sexually rejected middle-aged women living in suburbia aren't new territory. overall, i liked it -thought jessica hynes was great
Firstly, Orson's deep analysis of the episode is comical. Was it really about killing off characters quickly, or was it about the two housewives? Seems to be that the idea revolved around the two characters, and then the spree was introduced later.
I thought it was very funny, and I'm surprised how no-one's commented on how sad it is. Would have been a bit depressing without the regular injection of humour.
Personally I didn't find it that risque. Wouldn't say it's much worse than League of Gentlemen, The Office, etc.
Really hope a full series is commissioned. Although like a few others here, I'm not too sure where they would take the story line now.