The Middle Age of Laddism: Men Behaving Badly (Series 5, 6 + Last Orders)

Celebrated 1990’s British sitcom Men Behaving Badly recently returned to UK Netflix, which feels like a good opportunity to explore a show which helped define its decade, series by series. Has it stood the test of time?

Men Behaving Badly, across its final two series, sees the misadventures of Gary Strang and Tony Smart slide out of the laddism culture they propagated and into the earliest vestiges of comfortable middle age. You can feel the show doing the same along with them.

In the year 1996, Men Behaving Badly was at its cultural peak as Series 5 began to dawn, but this coincided with a significant cultural challenger to the New Lad thanks to, just two weeks after the series premiered, the arrival of the Spice Girls. Their debut single ‘Wannabe’ hit the charts in July of that year and launched the single biggest musical sensation in Britain since The Beatles over three decades earlier. Where in the swinging Sixties, Beatlemania sent legions of young people into paroxysms of excitement, the Cool Britannia of the 90’s saw the impact of ‘Girl Power’ and Geri Halliwell dressed in a Union Jack mini-skirt, the impending dawn of New Labour, the most liberal government in decades, and the Austin Powers franchise which threw everything back to a halcyon age of British ‘coolness’, injected this time with a call to female empowerment in a Britain filled with a renewed sense of optimism as it sailed toward a new century and a new millennium.

In retrospect, two men deep into their thirties swigging lager, frequently chanting “wa-hey!”, displaying disrespectful and sexist attitudes to women, indulging in infidelity and becoming almost disturbingly obsessed with sex, feels starkly retrograde in the face of the changing face of British popular culture in the late-1990’s. Men Behaving Badly was still popular, and Series 5 remains enjoyable, but it is clear that the show has passed its Series 4 peak at the true apex of lad culture, and in some respects had said everything it had to say. Writer Simon Nye spends the last few seasons continuing to mellow both Gary and Tony, not to mention their relationships with endlessly patient women in their lives Dorothy and Deborah, beginning the process of moving the show to being about not just two mates ‘and their birds’, but two couples who grow ever closer as friends and, to a degree, a dysfunctional, surrogate family. By the end of Series 6 and Last Orders, the final three concluding specials, Dorothy and Deborah feel as integral to the storytelling as Gary and Tony. Their importance grows as these two men, in their own way, slowly and surely begin to grow up.

By the final episode, Delivery, there is an argument that you could start calling this show People Behaving Responsibly.

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Alias (Season 1) – Overview

The first season of Alias, the show that put superstar producer-director JJ Abrams on the map, has aged remarkably well.

Airing in 2001, a matter of weeks in the wake of the traumatic September 11th attacks on the Twin Towers in New York, Alias had the unenviable task of providing overblown, B-movie, pulp escapism to an audience reeling from the most existentially terrifying attack on American soil since the bombing of Pearl Harbor in 1941. Abrams, fresh off his first TV series Felicity (starring the later-to-be-famous Keri Russell) and a career penning screenplays across the 1990’s for major Hollywood blockbusters, had to try and sell a show which captured the retro, cult aesthetics of 1960’s adventure shows and movies he had grown up with – Mission: Impossible, I Spy, the James Bond series – shot through with a stylish, slick, modern action sensibility.

It was a hard sell. Audiences gravitated far more to the intense, dour, revenge fantasy of 24 and all-American hero Jack Bauer, who steadily across a decade in which Americans and Western Europe turned their gaze toward Islamic fundamentalism and the threat of the Middle East became more of the superhero Americans wanted. If he was The Punisher, a man of dubious morals ready to compromise his soul for the greater good, then Alias’ hero Sydney Bristow was Captain America; virtuous, homely, and a reflection of wholesome American values, wrapped up inside familial and emotional angst that recalled Buffy the Vampire Slayer. Audiences never truly took Sydney to their breast, to their heart, and almost immediately Alias became a cult genre hit, never to explode fully into the global mainstream.

The sad thing about this is just how well executed Alias’ first season is, one of those rare shows that arrives almost fully formed and very quickly steps into a unique tone and rhythm, only building on that start to deliver twenty two episodes which provide a real sense of payoff.

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Game of Thrones – ‘The Last of the Starks’ (8×04)

It would be remiss of me, as an enormous Game of Thrones fan, to let the final season go by without sharing some thoughts week on week.

I’m conscious, however, that full and in-depth critical analysis won’t truly be possible until the finale has aired, at which point I’ll be going back and starting to tackle Season 2 and working back toward the end. I have already deep dived Season 1, as you may remember, and they will probably get a polish once the entire show is completed.

My plan then, in the spirit of George R. R. Martin’s books, is to write up thoughts on each character journey and use them as a prism to explore each episode. With a show like this, built heavily on theory, escalation and payoff, this feels like one of the best ‘in the moment’ methods of reviewing the show – indeed I did just that for Season 6 in my days writing for Flickering Myth.

Okay, grab a crossbow (or a massive ship-mounted bolt) and lets dive in… BEWARING HEAVY SPOILERS!

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End Game of Treks: Is Time-Travel Becoming a Storytelling Crutch?

In one of the busiest few months in science-fiction and fantasy popular-culture, the beginning of 2019 has seen three major franchises in cinema and on television become embroiled in what could be rapidly becoming a narrative crutch.

Time-travel.

The lacklustre Season 2 of Star Trek: Discovery (I *really* promise to stop talking about this soon) saw the crew of the Starfleet ship launch themselves almost 1000 into the distant Federation future to prevent a universe-destroying, rampant AI from wiping out all life. The gigantic conclusion to the Marvel Cinematic Universe’s first era, Avengers: Endgame, saw our superheroes enter the Quantum Realm and zip backwards across time to recover the universe-shattering Infinity Stones before the Mad Titan, Thanos, can snap his fingers again and wipe out half of all sentient life. And just this week, Game of Thrones saw the ultimate battle with the Night King and his army of the dead, coming to wipe out the living, which all hung on the fate of Bran Stark, a time-travelling tree-wizard.

Anyone noticing a pattern here? Three legendary franchises. Three titanic threats to the fabric of the entire universe. And in each case, the resolution of the paradox has the potential to lie in the bending of time.

We’re in danger of death by temporal mechanics if we’re not careful.

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The Cult of ‘Laddism’: Men Behaving Badly (Series 3 & 4)

Celebrated 1990’s British sitcom Men Behaving Badly recently returned to UK Netflix, which feels like a good opportunity to explore a show which helped define its decade, series by series. Has it stood the test of time?

If the third series of Men Behaving Badly sets the show on the road to British comedy success, the fourth series is arguably the year that cements the cult following that grew up around it – the mid-1990’s cult of ‘laddism’.

The first two series of Simon Nye’s show had the concept but it lacked in terms of execution. Martin Clunes stood out immediately as Gary Strang, a hapless, middle-class thirty-something determined to prove his own sexual vitality and fight against a perfectly ordinary relationship with an ordinary woman. His pairing with Harry Enfield as Dermot Povey in Series 1 never quite worked, with Dermot’s passivity in the face of ‘lad culture’ immediately exposed an underwhelming in Series 2 by the arrival of his replacement, Neil Morrissey’s Tony Smart. Though arguably Nye doesn’t fully figure out how Tony works until well into Series 3, his dynamic with Clunes was far more natural, as was it with the shows female co-stars Caroline Quentin and Leslie Ash.

Come the third and particularly the fourth series, their natural dynamic steadily becomes edgier, naughtier, more raucous and more specifically about the growing aspects of ‘laddism’ that were being popularised in mid-90’s culture; dirty lads magazines, drunk nights in the pub, looser attitudes toward fidelity and a determination to prove the masculine sense of virility in sexual conquests with women. Men Behaving Badly, on moving from a pre-watershed ITV slot to post-watershed airing space on the BBC, steadily across both of these series embraces the promise of its title. Tony grows more desperate, Gary more lascivious, and both become more boorish and prone to embrace the physically grotesque.

What happens as a result? Men Behaving Badly becomes steadily funnier, more acute in its social and moral commentary, and arguably in Series 4 reaches its creative apex.

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