:00:06. > :00:11.at 2011. Have a good weekend. Welcome to the last review show of
:00:11. > :00:14.2011, over the next hour we will be revisiting an amazing colourful and
:00:14. > :00:24.controversial year in culture. But first, here's a little something to
:00:24. > :00:24.
:00:24. > :02:59.Apology for the loss of subtitles for 154 seconds
:02:59. > :03:03.How to follow that, joining me under the metaphoric mistltoe are
:03:03. > :03:12.four panelists who couldn't be more under the Christmas cheer or pros
:03:12. > :03:17.sec co-, this is the BBC. Natalie Haynes, Paul Morley, net to mention
:03:17. > :03:20.waiting to play us out, The Divine Comedy, Neil Hannon. Tweet us your
:03:20. > :03:24.favourites this year, we will show the most list lucid and non-
:03:24. > :03:30.offensive thoughts all evening. First up it is a year on screen,
:03:30. > :03:33.silver or otherwise. The year started with a great
:03:33. > :03:39.British bang, and Colin Firth stuttering his way to Oscar and
:03:39. > :03:43.BAFTA glory in The King's Speech. In February, the cone brothers
:03:43. > :03:51.returned to the Wild West, -- Coen Brothers returned to the Wild West,
:03:51. > :03:57.swapping the Duke for the dude with Jeff Bridges. The chick flit genre
:03:57. > :04:03.was reinvented in Bridesmaids, written and co-starring Kristen
:04:03. > :04:10.Wiig. I'm Annie's friend. I'm not with him. I'm glad he's single, I'm
:04:10. > :04:14.going to climb that like a tree. Gary Oldman's sexed up 70s specks,
:04:14. > :04:19.in the Cold War tale, Tinker, Tailor, Soldier, Spy. Woody Allen
:04:19. > :04:23.wise cracked his way back to form with Midnight In Paris starring
:04:23. > :04:28.Owen Wilson. It doesn't mean we don't respect each other's views.
:04:28. > :04:33.It was farewell to Harry Potter, as he waved his wand for the last time
:04:33. > :04:37.in Deathly Hallows II. 2011 was also a year for cinematic
:04:37. > :04:45.controversy, including Jodie Foster's film, Beaver, giving
:04:45. > :04:50.shamed star, Mel Gibson, a chance for redemption. The panel were less
:04:50. > :04:55.than impressed with Herge's Tin Tin, Tree of Life was starring Brad Pitt
:04:55. > :04:59.and Penn, picking up the Palme d'Or prize at Cannes. The British were
:04:59. > :05:03.coming with challenging, provocative, and thought-provoking
:05:03. > :05:08.films, include be Shane, starring Michael Fassbender, Lynn Ramsays's
:05:08. > :05:12.take on Lionel Shriver's take on We Need To Talk About Kevin. And the
:05:12. > :05:19.spartan Wuthering Heights. In television, topical comedy was in
:05:19. > :05:29.full force, with Channel 4 ray tempting to grasp the sting --
:05:29. > :05:34.
:05:34. > :05:39.stinging nettle. A mockumentry with the delivers of the Olympic -
:05:39. > :05:43.Olympics this year, which had a clock grinding to a halt. It is
:05:43. > :05:48.grinding to a halt. It is sense sayingal, pretty school. Can we
:05:48. > :05:51.have a word. Comic Strip returned to our screens
:05:51. > :05:54.with the Hunt for Tony Blair. With Stephen Magnan playing the Prime
:05:54. > :05:59.Minister on the run. Charlie Brooker brought us an all together
:05:59. > :06:06.different PM in a pickle in his tribute to the Twilight series, and
:06:06. > :06:12.Downton Abbey went to war and dominate the airwaves. When Matt
:06:12. > :06:17.Smith swapped his trilby for Christopher and his Kind set in a
:06:17. > :06:21.pre-war Berlin. And Dominic West made the change from Hector in The
:06:21. > :06:25.Hour, to serial killer Freddy Mac West in Appropriatte Adult. The
:06:25. > :06:28.demise of Taggart was announced in the summer, but our appetite for
:06:28. > :06:32.crime drama continued to be say theed, thanks to a second helping
:06:33. > :06:37.of the Danish drama The Killing. Finally, controversy comments from
:06:37. > :06:44.Ricky Gervais threatened to dwarf his latest series starring Warick
:06:44. > :06:51.Davies, Short. Goolder year on -- Life's Too Short. A golden year or
:06:51. > :07:00.controversy to snare the viewing public?
:07:00. > :07:05.Natalie, let's begin with film, and we have the Hurt Locker directoral
:07:05. > :07:08.win for women, and then we have Wuthering Heights and We Need To
:07:08. > :07:12.Talk About Kevin with Lynn Ramsays. Women for dark reality, and do you
:07:13. > :07:17.think either of them have it to do the Oscar? I have to admit I found
:07:17. > :07:24.Wuthering Heights a little slow- paced, which will come as a
:07:24. > :07:28.surprise for no-one who likes I like someone to blow up every ten
:07:28. > :07:32.minutes the adaptation of We Need To Talk About Kevin was great,
:07:32. > :07:34.turning a great book into a good film is very rare. The reason it
:07:34. > :07:38.works is because they took everything from the book which
:07:38. > :07:42.works on film, and then binned everything that wouldn't work, the
:07:42. > :07:47.fact that it is written in letters. They didn't try to replicate that
:07:47. > :07:50.with voiceover, they went for cinematic themes, the colour red
:07:50. > :07:55.forming a terrifying bloody theme throughout, it was a very clever
:07:55. > :07:58.thing to do. It worked as a horror film, but the idea it was anything
:07:58. > :08:02.about motherhood or being failed as parent, it didn't work me at all.
:08:02. > :08:07.Part of the problem is talking about women's performance, Tilda
:08:07. > :08:12.Swinton's performance I thought to youered over the film, Ezra Miller
:08:12. > :08:19.who played Kevin, was too cute and emo for me to be a serial killer. I
:08:19. > :08:23.found it more convincing in a Damien Omen III style. Coming to
:08:23. > :08:28.actresses, Tilda Swinton, and the other big performance that a lot of
:08:28. > :08:31.us have yet to see is Meryl Streep as Margaret Thatcher, it is getting
:08:31. > :08:34.plaudits because she's so good as Margaret Thatcher. I would rather
:08:34. > :08:37.Tilda Swinton. It is the obvious, there is a lot of that about. The
:08:37. > :08:41.familiar, the obvious in a lot of these films in terms of casting. I
:08:41. > :08:45.got to the stage where I was seeing films this year and I thought if
:08:45. > :08:49.Kate Winslet turns up in the next ten seconds, as she often does, I
:08:49. > :08:53.will scream. There is an element of you are watching a lot of acting. I
:08:53. > :09:00.often say at times like this, team America predicted this, I hope they
:09:00. > :09:07.whipped it way, the idea it is about acting. A lot of things like
:09:07. > :09:11.Streep and Thatcher, you are seeing actor. We had war horse films,
:09:11. > :09:16.Woody Allen's Midnight In Paris is it a good one? It is a good Woody
:09:16. > :09:20.Allen film, because he's being licence Allen, he's not trying
:09:20. > :09:22.anything -- Woody Allen, he's not trying anything new, it is
:09:22. > :09:25.Americans wise cracking in Paris. They are acting but a different
:09:25. > :09:29.style. It is a sense of when the acting works you feel it is because
:09:29. > :09:33.they are already on a stage we know, so we're comfortable with it.
:09:33. > :09:38.is also a sense he's indulging in his own passions. It is like Martin
:09:38. > :09:42.Scorsese with Hugo, these are both film makers going for their pet
:09:42. > :09:46.passions. I loved Hugo, it was the first time I saw 3D film, employing
:09:46. > :09:49.3D not to look into the future but to look into the past, and look
:09:49. > :09:53.into the mechanics of how you make things, rather than painting
:09:53. > :09:58.someone blue and making them run towards you. Films strarting to be
:09:58. > :10:02.films about films. It is inevitable, it is the accumulation of knowledge
:10:02. > :10:07.about everything. Now we are discussing the 34th, 40th Woody
:10:07. > :10:11.Allen movie in the context of Woody Allen and the context of 2011, it
:10:11. > :10:16.is the accumulation of knowledge and self-consciousness. There is a
:10:16. > :10:20.lot of self-consciousness in Steven Speilberg's Tin Tin, and did he
:10:21. > :10:26.bring Tin Tin to life? No, no, no. He brought it to death. He stabbed
:10:26. > :10:32.Tin Tin through the heart, with Herge's pen. It was just abysmal,
:10:32. > :10:35.it is not my worst film of the year, but bottom five. There was a big
:10:35. > :10:38.finale this year, a lot of work for a lot of technicians went down,
:10:38. > :10:41.guess what, Harry Potter finished. It had been this amazing training
:10:42. > :10:45.ground for lots and lots of people, behind and in front of the camera.
:10:45. > :10:49.We have watched them grow up. It has been fascinating. They have
:10:50. > :10:57.grown up in real life, much faster than in fiction. There has been a
:10:57. > :11:07.wind forward as Harry axe choirs insipid -- axe choirs insip sid
:11:07. > :11:10.beards. -- -- aquires a beard. is darker because they have got
:11:10. > :11:14.older. We are all watching everybody get older. Once upon a
:11:14. > :11:18.time people would dissolve away in a certain life span, now it is
:11:18. > :11:21.longer and longer. We are watching a lot of people getting old, Steven
:11:21. > :11:26.Speilberg included. The other strong showing this year in film,
:11:26. > :11:31.has been documentary, and one of the shocks is that Senna didn't get
:11:31. > :11:34.an Oscar nominated. It is a disgrace. I have never seen
:11:34. > :11:44.anything like that, it is extraordinary. It is just brilliant.
:11:44. > :11:48.The fact is isn't on the Oscars list for things that can be seen.
:11:48. > :11:51.There is other lists to be on that might make it in the long run
:11:51. > :11:55.better. We are at a point where the Oscars themselves are becoming
:11:55. > :11:59.steal to win the Oscar is not necessarily as wonderful and
:11:59. > :12:01.celebratory as they were. We are welcome to put on the box that I
:12:01. > :12:06.said it was the best documentary of the year. I suspect they would
:12:06. > :12:13.rather an Oscar nomination. television great documentaries as
:12:13. > :12:17.well, Terry Prachett. Educating Essex was one of my favourites. So
:12:17. > :12:22.much TV tends to be cynical, talking about satire and Charlie
:12:22. > :12:25.Brooker, that savageness, what I loved about Educating Excess, and
:12:25. > :12:30.Frozen Planet, they had a good open heart about them and optimistic
:12:30. > :12:34.about the human spirit. It is rare to see a documentary at 9.0 on
:12:34. > :12:37.Channel 4 that is open-hearted and had a positive thing to say. And
:12:37. > :12:41.the fact that seven million people watched it was really good. Is that
:12:41. > :12:46.the same thing that makes Frozen Planet successful, because people
:12:46. > :12:50.want to celebrate something so wonderful. It is about animals,
:12:50. > :12:54.that helps. Everyone is in a zone now, eventhough it is more public
:12:54. > :12:57.than it has been, if you are in that zone, fantastic, if you are in
:12:57. > :13:01.The Only Way Is Essex, you may prefer that as a more honest
:13:01. > :13:05.documentary about nature. What if you are in the costume drama zone,
:13:05. > :13:09.you have had Downton Abbey and The Hour, as well, returning to
:13:09. > :13:15.previous times? I found The Hour a bit of a letdown, it was sold as
:13:15. > :13:19.being Mad Men for the British. totally was sold as that? That is
:13:19. > :13:24.heart-breaking. It set itself a hurdle it didn't matched. I found
:13:24. > :13:30.myself losing interest after one or two episodes, I preferred Abbey
:13:30. > :13:39.Morgan's work in what she has done with Shame and the Iron Lady.
:13:39. > :13:48.favourite period drama was The Great British Bake-Off, setting up
:13:48. > :13:52.a nostalgic zone that might have been in the 1950s. It is like The
:13:52. > :13:56.Apprentice says I was the worse one there. These are the things we can
:13:56. > :14:00.agree on, good cake, whales, maybe it is about a time of division. You
:14:00. > :14:04.want things we can all agree on. Everybody is so turbulent and
:14:04. > :14:10.reality is so bent, you are either going to go the Charlie Brooker way
:14:10. > :14:15.or the Bake Off way, work out how to outdo it in art or consoled.
:14:15. > :14:20.have also the dark and gritty stuff, so Ronan Bennett has done great
:14:20. > :14:24.this year, with The Hidden and Top Boy. That kind of drama, and on top
:14:24. > :14:28.of that you have the Killing, there is a need to get down and really
:14:28. > :14:34.quite intense drama and difficult drama to follow sometimes. Again
:14:34. > :14:38.The Killing has roots in things like Murder One and Twin Peaks, it
:14:38. > :14:41.shows people will stick around for 20 hours to watch one thing if it
:14:41. > :14:48.is intelligent enough. The thing about the darkness, you were
:14:48. > :14:51.talking about the constructive reality, I think Tamara Eccleston:
:14:51. > :14:56.Billion dollar Girl has been amazing. This woman who is worth
:14:56. > :15:00.three or four billion, living in a complete bubble of her own fortune.
:15:00. > :15:04.Can I put on record she is not worth that. She may have it, but
:15:04. > :15:09.she's not worth it. Before moving away from television, we should
:15:09. > :15:15.talk about comedy, and Brooker the return of satire in the 10 O'Clock
:15:15. > :15:25.Live. Miranda Hart has had a great year, a good year for female comics
:15:25. > :15:26.
:15:26. > :15:30.as well. Sarah Miliken I'm told, yesterday her DVD broke the 100,000
:15:30. > :15:38.sales units, she is the first female to do that in ten years. I
:15:38. > :15:42.believe in other comedians working on something for HBO. A bad year
:15:42. > :15:45.for Ricky Gervais, didn't crack it with the new comedy. When you have
:15:45. > :15:49.a dwarf playing Ricky Gervais it is not going to work. One of the
:15:49. > :15:52.things I liked about him is everything he did something, you
:15:52. > :16:02.believed in him enough to win your support. He started really well
:16:02. > :16:02.
:16:03. > :16:05.with the Golden Globes, he lost it. Have you seen Rev which defeated it
:16:05. > :16:09.7-with quiet masterpieces which is more important about telling us
:16:09. > :16:14.where we are, but Ricky Gervais's self-loathing and self-loving.
:16:14. > :16:18.Let's hear it for Rev. That is the year through the camera lens, what
:16:18. > :16:22.is going on in the wild and wonderful world of the visual arts.
:16:22. > :16:25.For the most anticipated exhibition of the year, the national gallery
:16:25. > :16:29.pulled off a diplomatic coup. Persuading galleries around the
:16:30. > :16:35.world to part with some of their most priceless exhibits.
:16:35. > :16:39.The result, a rare treat for art lovers. More than 60 works by
:16:39. > :16:43.Rennaissance master, Leonardo Da Vinci, all in the one place.
:16:43. > :16:49.The art is considered by many to be the most influential at work today,
:16:49. > :16:53.Gerhard Richter, was honoured with Tate Modern survey. Panorama showed
:16:53. > :17:01.work created over five decades, spanning personal work, exploring
:17:01. > :17:05.the Nazi history in his own family, to paintings which ponded to 9/11,
:17:05. > :17:12.and working created using a humble squeegee. Two more giants of 20th
:17:12. > :17:15.century art had major retrospectives. At Tate Liverpool,
:17:15. > :17:19.a celebration of Rene Margritte, which asked us to look at familiar
:17:19. > :17:24.works with fresh eyes. At Tate Modern, the biggest exhibition in
:17:24. > :17:28.50 years of work by Catalan artist, Joan Miro, more of a political
:17:28. > :17:31.artist than previously thought. In Edinburgh, former Turner Prize
:17:31. > :17:37.winner, Martin Creed, gave an unloved stone staircase a luxurious
:17:37. > :17:40.and permanent makover, with 100 different types of marble.
:17:40. > :17:45.Rounding off great year for the Scottish artist, Martin Boyce, he
:17:45. > :17:50.had an early Christmas present, when he won the Turner Prize.
:17:50. > :17:56.Chinese artist and dissident, Ai WeiWei, had a year of ups and downs,
:17:56. > :17:59.the public had to look on at a distance of his carpet of porcelain
:17:59. > :18:03.sunflower seeds following years about dangerous dust. This spring
:18:03. > :18:06.he spent more than two months in detention, following charges of tax
:18:06. > :18:11.evasion, in a story that prompted a global campaign for his release.
:18:11. > :18:17.Defying the downturn, there was a spate of ambitious museum openings.
:18:17. > :18:20.The Hepworth Wakefield provide as home for sculpture for artists with
:18:20. > :18:25.local connections, Barbara Hepworth and Henry Moore foremost among them.
:18:26. > :18:31.In Emin's old stomping ground of Margate, it is a regeneration for
:18:31. > :18:34.the Kent coast. Here in Glasgow, the first major UK building by
:18:34. > :18:40.Iraqi architect, Zaha Hadid, The Riverside Museum, a striking mu
:18:40. > :18:43.home for the city's trans-- new home for the city's transport
:18:43. > :18:46.collection, attracted record numbers. As galleries and museums
:18:46. > :18:51.mushroom across the country, does art matter all the more in troubled
:18:51. > :18:55.times? Let's talk about the really big
:18:55. > :18:59.exhibitions and the ones that have created such a fuss. Now there is
:18:59. > :19:02.the Leonardo, the Mirror was huge, and the Gerhard Richter as well. Do
:19:02. > :19:05.we need these huge exhibitions, particularly because they pull in
:19:05. > :19:08.more money, because they are not the free parts, and there is the
:19:08. > :19:12.exit through the gift shop? I have a feeling we will get more and more
:19:12. > :19:16.of them. We will put more and more people through them. Sometimes they
:19:16. > :19:26.are wonderful. I loved the Mirror, I thought it was extraordinary, he
:19:26. > :19:27.
:19:27. > :19:31.lived a long, long life, mainted all the way through it. I learned a
:19:31. > :19:34.lot. When I went there was few people. How do you see the Leonardo.
:19:34. > :19:38.I went this week, my memories were of the crowds rather than the
:19:38. > :19:43.drawings. There is not that much work there. Literally you are more
:19:43. > :19:47.swept away by the people than the work. As I mentioned before, the
:19:47. > :19:52.audio guide says step away so other people can have a look. It felt
:19:52. > :19:54.more like a rock festival that people are there to commune. That
:19:54. > :19:58.happened with the internet, because history is happening around us as
:19:58. > :20:04.well as the present, they are joining in with the celebrity word,
:20:05. > :20:07.becoming famous, it generates that kind of interest as Beyonce, that
:20:07. > :20:12.is fascinating in itself what does it mean. Are you going along to the
:20:12. > :20:16.Da Vinci and really getting inside Da Vinci's mind, or is it something
:20:16. > :20:21.else to tick off on the cultural agenda, the anxiety you have about
:20:21. > :20:25.missing out on something. What is interesting about the flourish of
:20:25. > :20:28.galleries and exhibitions is now we are all curators, there is a sense
:20:28. > :20:32.that the curator is him or herself a superstar we all want to follow.
:20:32. > :20:36.That is beginning to happen. They are true artists in the terms of
:20:36. > :20:39.the way they are organising history. Do you worry about going to an
:20:39. > :20:43.exhibition with hundreds of thousands of people, you don't like
:20:43. > :20:46.a lot of people? I don't like a crowd. When we went to the Richter,
:20:46. > :20:50.there was a sense of scale and space, that perhaps there isn't
:20:50. > :20:53.with the Leonardo? I would very much like to see the Leonardo, not
:20:53. > :20:58.going through press week, I suspect it was rammed, I'm not going to go.
:20:58. > :21:02.It is too crowded for me. The Richter is easily my exhibition of
:21:02. > :21:06.the year, it is huge, maybe 20 rooms, it is on until mid-January.
:21:06. > :21:10.It is just extraordinary. There are momenting of...The Scope of his
:21:10. > :21:15.work, and you think you know what Richter does, and you go in. You go
:21:15. > :21:20.around a corner and think I don't know. The blurring of photographs.
:21:20. > :21:26.The clouds. There is an incredible pair of paintings one is a painting
:21:26. > :21:29.of a Nazi guy, and one is a picture of him being held as a baby by his
:21:29. > :21:34.aunt. Only later you find out that man was a doctor and killed his
:21:34. > :21:37.aunt who was mentally impaired. Moving on to the on September
:21:37. > :21:45.exhibition you have a post modernism, and you have the tomb of
:21:45. > :21:49.the unno incraftman with the grace son Perry. Along with sal man
:21:49. > :21:54.Rushdie's, that was my turkey of the year. There is seeorn rooms you
:21:54. > :22:00.can go in the Tate Britain alone, where you will see a better
:22:00. > :22:05.accumulation of the post modern spirit. Do you d'oh people feel
:22:05. > :22:11.they have to go to it to -- do you feel people have to go to it to
:22:11. > :22:14.dict it off? We are adoring -- tick it off? We are adoring exhibition,
:22:14. > :22:17.it is the first time we are doing this. It has become part of the
:22:17. > :22:21.journey, our own sort of grand, great journey we are having. What
:22:21. > :22:26.does it mean in the long run. problem with the post modernism, it
:22:26. > :22:31.tried to do it in a conventional way, to do it for 20yiers,
:22:31. > :22:36.separating it out by -- 20 years, separating it out by genre. Let's
:22:36. > :22:40.talk about Grayson Perry, he tried to do something different, he took
:22:40. > :22:46.his own work and created new work, and put it alongside work in the
:22:46. > :22:49.British Museum. I thought it was an incredible treat and educating?
:22:49. > :22:52.taught you to see, it didn't just teach you to see what you were
:22:52. > :22:57.looking at there, there was a sense in which it said it is an
:22:57. > :23:01.exhibition, we may have come to it for all sorts of reasons, but now I
:23:01. > :23:05.will force focus on you and force you to look at a particular piece,
:23:06. > :23:10.and see the darkness in it, it being Perry. When you see in
:23:10. > :23:14.museums you are looking at objects hissor clear, But because it is
:23:14. > :23:17.Grayson Perry, and his work is layered and layered with nasty
:23:17. > :23:20.experiences, you suddenly look again at other objects in museums
:23:20. > :23:24.and see them as having personal histories and darknesses. If anyone
:23:24. > :23:33.is going to comment on the oddness of the superstar expression that
:23:33. > :23:38.you have to tick offs Grayson Perry. He has put a pot which where he has
:23:38. > :23:41.printed the responses people might have had with the exhibition.
:23:41. > :23:45.own version of the past is becoming more and more interesting. Newer
:23:45. > :23:52.work is beginning to happen. Can I talk quickly about what is
:23:52. > :23:56.happening in, as it were, the areas of the country, not the big
:23:56. > :24:01.Metropilis, Margate because you have the controversial Turner
:24:01. > :24:05.museum, and the Barbara Hepworth and the Henry Moore's at Wakefield.
:24:05. > :24:13.There is a feeling all over the country people are celebrating art.
:24:13. > :24:23.The Hepworth is a terrific addition to Wakefield, and it is the third
:24:23. > :24:23.
:24:24. > :24:27.prong of the Yorkshire triangle. How brilliant to have a whole focal
:24:27. > :24:32.bit. Londoners can be extremely snooty about leaving the capital.
:24:32. > :24:40.How brilliant to find a way of going screw you London, there is
:24:40. > :24:44.better sculpture somewhere else. Martin Boyce, third Tuner winner
:24:44. > :24:48.coming from Edinburgh. We are in recession, so in culture, at least,
:24:48. > :24:52.we are spending, that is what we are meant to do. If it has been a
:24:52. > :24:57.year of blockbusters in the art world, Britain's theatres have been
:24:58. > :25:01.going for big numbers, employing a bit of star power.
:25:01. > :25:08.1234 Shakespeare was all over the place this year. And many familiar
:25:08. > :25:18.faces from film and television took the leading roles. At London's
:25:18. > :25:22.
:25:22. > :25:32.Windham Theatre exDoctor Who David tenant, at Sheffield, Dominic West
:25:32. > :25:32.
:25:32. > :25:42.and Peters gave a high octane owe they will low. Good name, in man,
:25:42. > :25:47.Othello. David Morrisey turned in a stellar Macbeth. Shakes beer was at
:25:47. > :25:54.the Edinburgh Festival, with an Asian theme, with the Tempest, and
:25:54. > :25:57.a one-man version of King Lear from Taiwan. The Pet Shop Boys
:25:57. > :26:03.demonstrated a natural flair for contemporary dance, when they
:26:03. > :26:13.created the music for a reworking of the fairytale The Most
:26:13. > :26:13.
:26:13. > :26:21.Incredible Thing. In October, choreographer Ocram Khan's tribute
:26:21. > :26:31.to his Bangladeshi roots opened. Oscar-winner Danny Boil directed
:26:31. > :26:32.
:26:32. > :26:42.Jonny Lee Miller and Mr Cuberbatch in Frankenstein. The South Bank had
:26:42. > :26:43.
:26:43. > :26:48.experimental writing, the Ipswich serial killers were inspiration. A
:26:48. > :26:53.verbatim piece on the August riots was created for the Tricycle
:26:53. > :26:56.theatre. The National Theatre of Wales put on an outdoor version of
:26:57. > :27:02.The Passion, a modern day telling of the story of Jesus, starring
:27:02. > :27:06.local boy Michael Sheen, staged over the Easter weekend in Talbot.
:27:06. > :27:15.The National Theatre of Scotland staged a lock-in, when they
:27:15. > :27:19.performed David Greg's dazzling play, The Strange Undoing of
:27:19. > :27:23.Prudencia Heart. 2012 will be another bumpy year for Shakespeare,
:27:23. > :27:30.curtesy of the Cultural Olympiad, but will this year stand out as one
:27:30. > :27:33.to remember. We want it talk about Shakespeare,
:27:33. > :27:37.because we have a lot of Shakespeare. But this year it feels
:27:37. > :27:39.very much as if people perhaps did start in the theatre but have
:27:39. > :27:44.become incredible celebrities through television and film, feel
:27:44. > :27:51.they have to do the Shakespeare, they have to do it. We have had
:27:51. > :27:56.John Sims, Michael Sheen, Lenny Henry again. We had Kevin Spacey in
:27:56. > :27:59.Richard II I. It feels a bit like boxers who have to go for the World
:27:59. > :28:04.Heavyweight Championship, I feel like when I have been, it has been
:28:04. > :28:08.often more dutiful than out of desire. I don't recall, I remember
:28:08. > :28:13.Macbeth with David Morrisey up in Liverpool, I was trying to compare
:28:13. > :28:17.it what I had seen in the previous year, Rory Kinear had done hamlet.
:28:17. > :28:21.I was just a bit disappointed. I thought Richard II I was very God,
:28:21. > :28:25.that was partly because of the direction, that was a really
:28:25. > :28:28.compelling performance. Often I'm finding these are things you should
:28:29. > :28:32.tick off the big star with the big production. It brings people in, we
:28:32. > :28:35.need box-office at theatres at the moment. With next year, with 2012,
:28:35. > :28:39.it is like this is a way of branding Britain as well. It is a
:28:39. > :28:49.way of branding the theatre. Then someone like Danny boil taking on
:28:49. > :28:50.
:28:50. > :28:55.frain kin stein. But thin -- -- Boyle taking on Frankinstein.
:28:55. > :29:01.taking on old stuff, the new stuff is crowded out by the stuff that is
:29:01. > :29:05.regenerated. I loved Frankinstein in the showbiz sense. 2012, music
:29:05. > :29:09.by Underworld, Danny Boyle has hired to be the musical directors
:29:09. > :29:12.of the Olympic, I'm hoping Frankinstein gives us a clue about
:29:12. > :29:15.the opening ceremony of the Olympic games, that would lift my heart.
:29:15. > :29:18.There is a sense that sometimes you have the balance between, is it
:29:18. > :29:23.just getting famous people to do the thing, because it will draw
:29:23. > :29:27.audiences in, or is it a very dramatic reimagination of something.
:29:27. > :29:33.In the Danny Boyle case, I thought it was the best thing he done. I
:29:34. > :29:41.hope his Olympic games opening ceremony is by-election not Susan
:29:41. > :29:44.Boyle singing Adele. What did you like? I liked two comedies, I hate
:29:44. > :29:48.anything where there are long lost twins and somebody has a locket and
:29:48. > :29:55.somebody has the other half, and they are about to get married, no,
:29:55. > :29:59.we are siblings, I hate it, and yet One Man Two Governors, and Comedy
:29:59. > :30:06.of Errors, the first one has toured on Broadway and in the West End.
:30:06. > :30:12.They are boat great, who knew I liked James Cordon, not me. He will
:30:12. > :30:18.be delighted to hear you do? These are comedies that were entirely
:30:19. > :30:23.reworked. A good reworking? Governors moves to the 0s and they
:30:23. > :30:28.go through it at a whack. How it makes it contemporary is through
:30:28. > :30:31.the imagination, so it isn't just nostalgia. I still think there is a
:30:31. > :30:34.minority in a very, very conservative theatre at the moment.
:30:34. > :30:39.It is not just because the old is there, the old are producing some
:30:39. > :30:42.of the best work around, they remember how to be avant garde. We
:30:42. > :30:46.have had weird expectation in this country we will get exciting new
:30:46. > :30:50.theatre from the young, despite the fact that as soon as they turn 30,
:30:50. > :30:53.people are expected to produce just West End shows and nothing else. We
:30:53. > :30:59.have produced wonderful conventional West End shows, but
:31:00. > :31:05.until we take avant garde theatre as serious SAS anything else, we
:31:05. > :31:09.won't get -- seriously as anything else, we won't get theatre going.
:31:09. > :31:13.Outside London it is better. This year has been Anne credibly strong
:31:13. > :31:16.year? Maybe that is right. In the end if it doesn't come from London
:31:16. > :31:23.as well, it won't get the money. was going to saying, the thing
:31:23. > :31:28.about One Man Two Governors, and Clydeborne park, is they make you
:31:28. > :31:31.life, there is a forced laughter in the theatre sometimes, you paid the
:31:31. > :31:35.money and you should find it funny. What I found good was it builds in
:31:35. > :31:39.flexibility to the script. It allows some chance to play around
:31:39. > :31:43.each night. I think that is something you don't so often see in
:31:43. > :31:47.the theatre, that is what I enjoyed, when you go you feel there is an
:31:47. > :31:50.element of something unpredictable amongst the structure. Amongst
:31:50. > :31:55.every suggest the balance is the commercial work trying to maintain
:31:55. > :31:58.the life commercially, and the avant garde work trying to sustain
:31:58. > :32:05.it creativity. There is...There a third one, there is also the work
:32:05. > :32:09.that is trying to explain very quickly, us back to ourselves, the
:32:10. > :32:13.verbatim work, that has become a staple of theatre. The Tricycle has
:32:13. > :32:18.led the way in that kind of work as well. It is interesting, but I
:32:18. > :32:21.prefer the work one stage on. I prefer the work of companies like
:32:21. > :32:25.Cardboard Citizens which, is a company of the homeless, who
:32:25. > :32:30.produce remarkable work. Sometimes from classic texts, sometimes
:32:30. > :32:34.devised and they work through material to get there. Why is it in
:32:34. > :32:37.troubled times we talk about the escapist, and the stuff that
:32:37. > :32:41.reflects the troubled times, is it pointing out to us these are
:32:41. > :32:45.troubled times. It is partly it is much smaller, fewer people have
:32:45. > :32:49.seen it. Back to the same thing as blockbuster exhibitions a whole lot
:32:49. > :32:56.of people through so it makes the conversation harder when doing 20
:32:56. > :32:59.people. Looking at Clydeborne Park talking about racism and class. It
:32:59. > :33:02.doesn't indulge people's political niceties, and people came in droves
:33:02. > :33:06.to see that. That won a lot of awards. It can be done if the
:33:07. > :33:12.writing is sharp. Highlight this is year, would it be Frankinstein for
:33:12. > :33:16.you? And Prudencia. I really loved it. Imagine going to the theatre
:33:16. > :33:22.you sit there in the dark with a glass of whiskey, what could be
:33:22. > :33:26.better? And you start with the board of ever and end up with Kylie
:33:26. > :33:30.Minogue. I knew you would get Kylie in some where.
:33:30. > :33:35.That is all we have time in the theatre tonight. Before we launch
:33:35. > :33:39.into the books of the last 12 months, we want to remember some of
:33:39. > :33:44.the great names who passed away in 2011, Christopher Hitchens died
:33:44. > :33:54.just yesterday. Although he was a confirmed secularist, even he might
:33:54. > :33:54.
:33:54. > :35:49.Apology for the loss of subtitles for 154 seconds
:35:49. > :35:52.love this accompanyment of Silent Stars who will be sadly missed.
:35:52. > :35:59.Books and more books from authors alive and dead w a light dusting of
:35:59. > :36:03.controversy. In January, we started the year
:36:03. > :36:07.reviewing the Russian thriller, Snowdrops, the debut novel from AD
:36:07. > :36:13.Miller, one of several first timeers shortlisted for the Man
:36:13. > :36:17.Booker Prize in October. Experience triumphed when all were trounced by
:36:17. > :36:21.Julian Barnes, Sense of an Ending. It takes only the smallest pleasure
:36:21. > :36:26.and main to teach us time's malleability. The Tiger's Wife was
:36:26. > :36:29.the lauded title from a new writer, and made off with The Orange Prize
:36:29. > :36:35.for Fiction. It is beautifully written and has a dream-like
:36:35. > :36:37.quality to it. And it brings the Balkans into all our front rooms
:36:38. > :36:47.with a kind of bitter sweet vivacity.
:36:47. > :36:51.For the first time, we covered the James Tate Black Memorial Prize,
:36:51. > :36:58.with Tatjani Soli's account of the war in Vietnam, The Lotus Eaters,
:36:58. > :37:01.winning in the fictional catbury, and Pearl Buck, Jon Butterworth,
:37:01. > :37:08.winning for biography. Pearl is unique in that she was the person
:37:08. > :37:16.who explained the east to the west. In 2011, previously unpublished
:37:16. > :37:22.work by Mervyn Peake, JacquesKeroac, Alexander Solzhenitsyn, Daphne du
:37:22. > :37:27.Maurier, enjoyed posthumous acclaim. You can't call them romantic, they
:37:27. > :37:30.are horrific. In the first of our new book reviews shows, I spoke to
:37:30. > :37:34.Lionel Shriver, whose critically lauded, We Need To Talk About Kevin,
:37:34. > :37:41.became one of the most talked about films of the year. I believe that
:37:41. > :37:45.the term Great American Novel in the US, actually bins, big fat
:37:45. > :37:49.novel, written by a man. As film adaptations go, none has been more
:37:49. > :37:56.powerful in recent years than Precious. I caught up with the
:37:56. > :38:02.author, Sapphire, se Edinburgh Internationnal Book Festival, to
:38:02. > :38:09.talk about her new novel, The Kid. He imitates his abusers who have
:38:09. > :38:14.the power. The review show is never far away from the centre. There is
:38:14. > :38:18.the comedy and poignancy of literary representation. If I was
:38:18. > :38:23.an anti-Semite I would have been the best. In theory I thought I was
:38:23. > :38:27.ready for motherhood, because I had not the slightest idea what was
:38:27. > :38:36.involved. Has the literary world managed to stave off the economic
:38:36. > :38:44.gloom? Some wonderful books this year, more first books for the Man
:38:44. > :38:48.Booker, but despite the fact we had AD Miller Snowdrops, and Sense of
:38:48. > :38:53.an Ending got there, Julian Barnes? I have loved Julian Barnes for so
:38:53. > :38:58.long. James Cordon, Julian Barnes, Ayrton Senna? An unlikely
:38:58. > :39:01.combination. I have on my wall the cover of Talking it Over, which
:39:01. > :39:05.came out when I was doing work experience at school. I have been
:39:05. > :39:09.waiting a long time this day. Sense of an Ending was a gorgeous book,
:39:09. > :39:13.as was Pulse, the short stories. sense as soon as you needed to wait
:39:13. > :39:19.a long time for the book, -- in Sense of an Ending, you had to
:39:19. > :39:22.knead wait for a long time, as it was writing this book in the time
:39:22. > :39:26.of his life for Julian Barnes? was rich in wisdom only done
:39:26. > :39:30.through the accumulating of years. What was interesting, although it
:39:30. > :39:33.was slim, it lingered far longer than a lot of books fatter in my
:39:33. > :39:37.mind. It was so quotable, I have been reading out to my wife quotes
:39:37. > :39:40.of bits and pieces t feels like this is someone who has lived and
:39:40. > :39:45.life and is condensing it down. Also the fact it was about the
:39:45. > :39:50.fragility of memory, I just found it really, really great. Like
:39:50. > :39:55.Natalie, it is wonderful it became out in the same year as Pulse, you
:39:55. > :40:00.think of short stories as the thing people try on, this is a year of
:40:00. > :40:05.wonderful short stories, Alice Munroe's collective, and Pulse, the
:40:05. > :40:11.sense that you cannot just distill, but leave the kind of depth charge
:40:11. > :40:15.that Sense of an Ending brings, in a smaller mould and it is still the
:40:15. > :40:22.same charge. Julian Barnes has been shortlisted a number of times, is
:40:22. > :40:25.this his best book? I don't think so, but the Booker works like Best
:40:25. > :40:28.Film with the Oscars, it is like you get it in the end. Sometimes
:40:28. > :40:32.the big names that come forward, and produce books, and the
:40:32. > :40:37.publishers produce books again, and the authors are dead. This has been
:40:37. > :40:42.a year when that has been hugely in evidence, and again, these are
:40:42. > :40:47.books worth publishing, do you think the publishers thinking we
:40:47. > :40:51.have to screw every penny we have out of every penny we have? If you
:40:51. > :40:55.are walking about David Foster Wallace. There is something
:40:55. > :40:58.interesting about a time when we are haunted so much by the past,
:40:58. > :41:02.that writers, whether they die after they have written their book
:41:02. > :41:08.or they don't, there is still a sense they are basically haunting
:41:08. > :41:12.us. At a time when we need that the most, eventhough writing is
:41:12. > :41:17.threatened in so many ways, is still so powerful. For me,
:41:17. > :41:20.something like publishing David Foster Wallace after he died, is so
:41:20. > :41:23.important because those sentences are so much alive, that is what the
:41:23. > :41:26.writer wants, they want to haunt us after they have gone, after the
:41:27. > :41:29.book has died, in fact. I think it is still important they do that.
:41:29. > :41:34.You have Daphne du Maurier and Beryl Bainbridge as well?
:41:34. > :41:38.Absolutely. You have also people like Tea Obreht, writing wonderful
:41:39. > :41:44.fiction now, itself about memory, it is about literally buried memory.
:41:44. > :41:48.It is about digging up the bodies, we had a non-fiction book about
:41:48. > :41:54.Pearl Buck, called Burying the Bones. It won the non-fiction with
:41:54. > :42:04.that, Pearl Buck? That wasn't Claire tomorrow lin. I have
:42:04. > :42:04.
:42:04. > :42:09.forgotten who -- Claire Tomlin. Foster Wallace is The Marriage Plot,
:42:09. > :42:13.Eugenides is haunting that. In Sense of an Ending i felt that The
:42:13. > :42:18.Marriage Plot was one half of a bigger book. It only talking about
:42:18. > :42:22.people at that time, 21, 22, 23, which is where Sense of an Ending
:42:22. > :42:26.begins. I felt in a way it was a thinner book than Julian Barnes,
:42:26. > :42:32.even through three-times thicker. wanted to talk about Christopher
:42:32. > :42:36.Hitchens, one of the books I was going to mention is Arguably Any
:42:36. > :42:39.way, it is fascinating everybody feels they have a voice, and there
:42:39. > :42:45.are thousands of bloggers who think they are Christopher Hitchens and
:42:45. > :42:47.they are as vital, vigilence and vicious as Hitchens. They weren't,
:42:47. > :42:50.5,000 bloggers aren't worth one Christopher Hitchens. What Hitchens
:42:50. > :42:55.was, apart from having an opinion, and insulting people and being
:42:55. > :43:00.bitter and twisted, or whatever it was. He could weigh words. It was
:43:00. > :43:04.rooted in centuries of tradition of intellectual thought. I think it is
:43:04. > :43:08.interesting at the moment where everybody can write and does write.
:43:08. > :43:12.With Hitchens I thought what was interesting is he's pre-Google,
:43:12. > :43:16.when you read his work you get a sense he has had so much raegd,
:43:16. > :43:21.which is the sort of thing you can do -- reading, which is the sort of
:43:21. > :43:26.thing you can do with a click. not rooted in centuries of history.
:43:26. > :43:30.Will that go or will there be people to replace it in the new
:43:30. > :43:36.world. Jeanette Winterson taking the non-fiction of Oranges Are Not
:43:36. > :43:40.The skal only Fruit, I thought that was a most party breaking memoir,
:43:40. > :43:46.you realise how damaging she has been ever since? It satisfied
:43:46. > :43:53.curiosity for me. I thought it was a less satisfying read than Oranges
:43:53. > :43:58.Are Not The Only Fruit. It was as if she had said it in an
:43:58. > :44:01.extraordinarily good way, and the it needed to be fiction. The
:44:01. > :44:11.unprotected version was very distressing but less convincing.
:44:11. > :44:21.word for Adam Holloway, we waited a long time -- Adam Holling hurst,
:44:21. > :44:21.
:44:21. > :44:25.many of us rembering how brilliant The Line Of Beauty, and thinking
:44:25. > :44:30.the same impact would come and it didn't? It is that brilliance
:44:30. > :44:34.existing and then it doesn't. It is how things suddenly become the
:44:34. > :44:37.catch or they don't, how do they catch, who is makes the minds up.
:44:37. > :44:40.Eventhough we are meant to have removed the gate keepers, I don't
:44:40. > :44:43.think we have. There is a weird moment when something doesn't catch,
:44:43. > :44:47.you can't quite work out why that is. And some things then do catch
:44:48. > :44:51.over what Natalie wanted to talk about, which is the big book
:44:51. > :44:54.festivals, they have taken off hugely, that is where a lot of
:44:54. > :44:58.author doss catch up? It is absolutely true, if you are a
:44:58. > :45:02.writer who doesn't like to perform, now is not a good time for you,
:45:02. > :45:06.unless you are already famous. Book festivals have become so huge and
:45:06. > :45:16.book events have become so huge, author who is can turn up and
:45:16. > :45:21.deliver a show, not necessarily me. Are you saying all Holling hurst
:45:21. > :45:24.can't do that! We don't get to debate music on the show, we like
:45:24. > :45:30.guests like Neil Hannon, appearing later. To make up for it, here is a
:45:30. > :45:33.reprisal of the big events of the musical calendar. A 23-year-old
:45:33. > :45:37.English chanteuse made history last week when she became the first
:45:37. > :45:40.female singer to become the top- selling artist, have the top-
:45:40. > :45:47.selling album and single of the year. The song is Rolling In The
:45:47. > :45:52.Deep, the album 21, and the artist is unmistakably Adele. # We could
:45:52. > :45:58.have had it all This month 21 hit 3.4 million sales,
:45:58. > :46:01.becoming the biggest-selling album of the century. It was Amy
:46:01. > :46:04.Winehouse's LP, Back to Black, that had previously held that honour, a
:46:04. > :46:11.position that was achieved following her tragic and untimely
:46:11. > :46:14.death in July. This week her posthumous album,
:46:14. > :46:18.Lioness: Hidden Treasures, entered the charts at number one. Further
:46:18. > :46:22.confirming the singer's iconic status.
:46:22. > :46:27.While the songwriting of Adele and Winehouse focused on the intimate,
:46:27. > :46:32.there was one songwriter, whose outward looking musings earned her
:46:32. > :46:36.a gold album and the prestigious, mercury prize, Let England Shake is
:46:36. > :46:42.PJ Harvey's tenth studio LP. The world of opera experienced a number
:46:42. > :46:46.of interesting modern influences, a film maker and former Monty Python
:46:46. > :46:51.cast member, Terry Gilliam, directed a hit version of Damnation
:46:51. > :46:57.of Faust for English National Opera. Fellow film maker, Nicola Fisher
:46:57. > :47:04.tackled lust and Larsry in Borgia. More lust in the royal -- Lucrezia
:47:04. > :47:14.Borgia, more was Anna Nicole telling the story of a former play
:47:14. > :47:14.
:47:14. > :47:21.boy novel, a wealthy oxygen Nairian. And an early death. Then there was
:47:21. > :47:27.Bjork's multimill I don't know -- multivisual creation. REM announced
:47:27. > :47:32.they would be spliting up. As one legendary act called it a day,
:47:32. > :47:38.another returned with new material. Kate Bush announced an all-new
:47:38. > :47:42.studio album, 50 Words For Snow. 2011 proved music fans still want
:47:42. > :47:48.to support their favourite acts. Even in this age of downloading
:47:48. > :47:52.where YouTube hits mean more than physical album sales, as Lana Del
:47:52. > :48:00.Ray proved with the song Video Games, which currently has over ten
:48:00. > :48:04.million hits. What does this mean for the future. Paul, beginning
:48:04. > :48:09.with two young women from the Brit School, Amy Winehouse, you know, a
:48:09. > :48:13.dreadful waste this year. Let's talk about her first and then Adele,
:48:13. > :48:17.who has been this phenomenal success. Amy Winehouse, and there
:48:17. > :48:22.we have this posthumous album coming out. What is interesting
:48:23. > :48:28.about both acts, is in one area of a business to some extent is in
:48:28. > :48:34.trouble, as well as some of these other areas,s the same patterns.
:48:34. > :48:38.These are familiar patterns. These are patterns meant not to happen
:48:38. > :48:43.any more. A breakout act that suddenly sells millions. It is a
:48:43. > :48:49.pleasant, middle of the road album, fusing country and soul in a very
:48:49. > :48:54.intelligent way. But very old, very familiar. Amy Winehouse, that is a
:48:54. > :48:58.familiar pattern too, the dead rock star dying at 27, creating an
:48:58. > :49:04.instant myth. That is what is interesting about rock, in many
:49:04. > :49:08.ways it is time is done as a ris- taking property. But there is
:49:08. > :49:13.plenty of echos and haunting and regeneration to happen. I don't
:49:13. > :49:17.know about that, it seems to me that where you have the attempt to
:49:17. > :49:22.take rock into crossover, you have potentially some interesting stuff,
:49:23. > :49:27.what I have actually seen is ghastly. I saw Albarn doing Dr Dee,
:49:28. > :49:33.I would have been lynched if I express my view of t that it was
:49:33. > :49:38.the worst thing I saw all year bar non-, nobody else seemed to think
:49:38. > :49:42.so. It was quite dreadful. On the other hand it seems to me it ought
:49:42. > :49:47.to be possible to keep using it providing you keep moving it into
:49:47. > :49:51.different places. Moving what? make it not middle of the road, but
:49:52. > :49:55.an idiom to apply elsewhere. There is incredible areas of music at the
:49:55. > :50:00.moment. The production asked me to come up with the list of favourite
:50:00. > :50:06.albums in a year, for the first time I was 75, you have the Bjork
:50:06. > :50:11.and the Beyonce, you have the Julian that, you have The Fiest. At
:50:11. > :50:15.the quiet end of music, Chris Watson, recording for the David
:50:15. > :50:19.Attenborough programme, a beautiful album, Tim Hecker, incredible music
:50:19. > :50:24.out there. What I always find difficult is what has gone is the
:50:24. > :50:28.context of the music. The music itself, if you love music for its
:50:28. > :50:34.own sake, as a decorative thing, as an inspiring thing in your love,
:50:35. > :50:39.this is probably never a better time to be alive. My favourite
:50:39. > :50:48.music is music that didn't seem to have needed to exist now, but any
:50:48. > :50:52.time, if you look at GilliamWelsh's album, the new Tom Waites album has
:50:52. > :50:56.nothing to do with now. I think the thing to defend Adele, she is one
:50:56. > :51:01.of these people, because she's successful you get suspicious she's
:51:01. > :51:04.any good, I think she's really good. She doesn't look the standard issue,
:51:04. > :51:09.the magazine cover that you would normal low think, even if the
:51:09. > :51:13.format of the music is similar she is different. Let's move on to
:51:13. > :51:17.something unusual, let's look at the Damnation of Faust. That was
:51:18. > :51:23.good, wasn't it. Terry Gilliam at his maddest best. By the way, could
:51:23. > :51:29.I be more excited than now to discover he is apparently adapting
:51:29. > :51:33.Mr Vertigo for his next project, not opera, film. It was a treat. I
:51:33. > :51:37.loved Faust. It is true of his films and operas that it begins
:51:37. > :51:43.with this magnificent energy, and never entirely fails, but gets a
:51:43. > :51:50.little bit laboured and obvious at the end. But it is wonderful.
:51:50. > :51:56.Someone flying upside down on a Swastika, what more do you want!
:51:56. > :51:59.REM? I finally got rid of them. you have The Stones going back to
:51:59. > :52:02.touring? It is like everything we are talking about, once upon a time
:52:02. > :52:07.there was a beautiful life span that certain bands had, no, why
:52:07. > :52:11.would they. They keep going. I find it incredible having got rid of
:52:11. > :52:15.Take That, that they come back, they come back as the new skal
:52:15. > :52:19.velvet Underground, and Gary Barlow is hailed as a modern master. This
:52:19. > :52:26.is frightening, in terms of the softening that Christopher Hitchens
:52:26. > :52:29.would be furious with, the softening of political per--
:52:29. > :52:34.critical perspective. You are talking about things you like not
:52:34. > :52:40.about the value and worth in a cultural context. We need to put up
:52:40. > :52:44.your 75 favourite albums this year. In just a moment The Divine
:52:44. > :52:48.Comedy's Neil Hannon will play us out. First, we are often accused of
:52:48. > :52:55.being too serious on this show, some even say pretentious, or
:52:55. > :53:00.pompus, here is something to prove our critics wrong.
:53:00. > :53:07.On the review show from glaz geotonight. It is Santa-sized
:53:07. > :53:10.sackfuls of sex. We have beaten ball bag. Oh my dear God, sugar.
:53:10. > :53:15.have never really enjoyed watching other people have sex. There was
:53:15. > :53:23.the transgender that looked like a slightly demented My Little Ponies.
:53:23. > :53:30.How often have you done that? or twice, things were very crowded
:53:30. > :53:34.at yuefrt. I did have an anus two inches from my face within minutes.
:53:34. > :53:38.What you are hearing is Mr Hunt, Mr Hunt, oh, oh, oh. The book that
:53:38. > :53:43.helped me a lot was Crash. breast-feeds the chimp, and gives
:53:43. > :53:50.it dope, it is like, what on earth are you doing? That inspired me to
:53:50. > :53:56.learn to drive. The latest addition to our team, the Beaver. Most
:53:56. > :54:03.obedient of the panel. We will never forget matter that
:54:03. > :54:06.and her fury friends and Germaine's sex noises, that is all. Well done
:54:06. > :54:11.to those who braved the Glasgow weather. Thank you to my guests.
:54:12. > :54:18.You can find a few choice added extras on the website. Including a
:54:18. > :54:21.bonus track from the new musical Swallows and Amazons, by the one
:54:21. > :54:31.and only Neil Hannon, to play us out with Bang Goes The Knighthood.
:54:31. > :54:43.
:54:43. > :54:50.Good night from all the review team # Out of the station
:54:50. > :54:58.# And through the arcade # Past the antique shops
:54:59. > :55:02.# Of Regent's parade # To a -- an innocuous London
:55:02. > :55:08.address # A quick glance around
:55:08. > :55:15.# Then down the wet steps # God only knows what keeps
:55:15. > :55:22.bringing me here # Gambling with everything
:55:22. > :55:28.# That I hold dear # One careless word
:55:28. > :55:33.# In establishment ears # And bang goes the Knighthood
:55:33. > :55:37.# The wife and career # You make me feel
:55:37. > :55:40.# Something # Feeling something
:55:40. > :55:43.# Beats feeling nothing at all # And nothing at all
:55:43. > :55:46.# Is what I feel # Most of the time
:55:46. > :55:51.# If someone sees # If someone hears something
:55:51. > :56:01.# I know it's coming # The fear is making me ill
:56:01. > :56:13.
:56:13. > :56:18.# But then fear is part of the thrill
:56:18. > :56:26.# They taught me discipline # At boarding school
:56:26. > :56:32.# The consequences of # Breaking the rules
:56:32. > :56:38.# They said we're just being # Cruel to be kind
:56:38. > :56:41.# As they beat me to within # An inch of my life
:56:41. > :56:47.# So chain me # Restrain me
:56:47. > :56:53.# And teach me to kneel # Bind me and grind me