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S05E09

22 Jul

The sacred chicken has spoken! We’re doomed! Auuuggghhhh!

In which we pause in the headlong rush to the finale to fully appreciate some of the more sweetly offbeat efforts to overcome the content crisis… and in the process wrap up more than a few plot threads.

In this episode:

Song:  Henry VII: The Original Tu-Tu-Tudor — Mat as the famously dour founder of the melodramatic dynasty decides to upgrade his image with the help of modern glam rock. Featuring Larry and Simon on mandolins and Jim on drums.

Recurring sketches:

Wonders of the Roman Universe — “That’s actually quite impressive, that you knew all about the planets–” “Ooh, but they’re not just planets, they’re gods! Giant beings who played games deciding the fates of everyone in the world! It’s Ancient Roman scientific fact!” “Yeah… it always starts so well, doesn’t it…”

Historical Wife Swap — Egyptian (Pharaoh Rameses II and Queen Nefertari swap with a peasant family: “I am the great Pharaoh! Born of Ra, chosen of Ra. For powerful is the truth of Ra. Half-king, half-god, master of all I survey, Rameses II, glory be to my name, yada yada yada. Right, and you are?” “Susan.”)

Photographic Monthly Chronicle — Pioneering photographer William Henry Fox Talbot reveals the good reasons why nobody’s smiling in old-timey portraits; also post-mortem photography, a real live craze re: remembering the dead. (“And we’ve got all the very latest accessories! These rigid neck irons and body braces make movement blurs a thing of the past, don’t they?! …he’s trying to nod.”)

Words We Get From the… — Stone Age. No, really.

One-offs:

Slimy Stuarts

Plague, Plague, Who’s Got the Plague? — Pretty much everybody in London by this point, meaning that victim-finder recruitment came with some major occupational hazards… “Can I be your apprentice?” “Sure, why n–errrkk! *thud*” “Well, you can see the problem…”

Ye Olde Starbuckes — Charles II’s attempt to discourage anti-government plotters leads to Cavalier hipsters–and you just know there were a lot of them–having some difficulty in securing a hot beverage. (“What’s your name, I’ll just write it on the mug?” “I’m the only person in the shop…?” “Right, TheOnly... *squeek* *squeek*…” “…and you’re making that noise with your mouth.”)

Rotten Romans

Playing Chicken — The great naval Battle of Drepanum hinges on the predictive powers of a sacred, and not incidentally profoundly land-based, barnyard fowl. No, really. (“O Sacred Chicken! Show us our fate!” *…* “Think she might be a bit seasick…”)

Measly Middle Ages

Middle Ages Antique Roadshow — The renowned experts of which are called upon to assess the value of an, erm, well-traveled lump of medicinal metal… and an even more unsettling recipe for gold… yeah, you know the drill by now. (“Bleaaarrghh…!” “‘Ere, now, that jar’s an antique!”)

New! Middle Ages Magic Set — Makes creating your own miracles so easy, the whole family can do it!… And probably did, in a whole lot of cases. Warning: Performing magic in the Middle Ages could get you executed!

Terrible Tudors

Bosworth Bollocks — So apparently the last great deciding battle of the epic, century-spanning Wars of the Roses came down to one Lord Stanley dithering over which side to enter on while the battle was already in progress.  (“…On the other hand, Henry Tudor’s royal bloodline does stretch back to Edward III — and let’s not forget, I am married to his mum. If I side with the other guy, well, you can imagine how awkward Christmas is gonna be…”)

Vile Victorians

Ahoy-hoy, Mr. Edison — The Wizard of Menlo Park makes a fundamental adjustment to Alexander Graham Bell’s new invention… just possibly not the one you were expecting. (“Mr. Edison! Telephone for you!” “Thanks… wait, what does that even mean?”)

Savage Stone Age

An Historical Place in the Sun — Moving on up and out of the cave for the first time comes with some unique stumbling-blocks. (“What ‘home’ mean?” “OK, well, a home is somewhere you live, it’s a permanent dwelling…” “Per-ma-berm-dwellin?” “…this is gonna take awhile.”)

Field Notes:

  • Well, isn’t this nice. Remember back a few reviews ago, when I brought up the Viking Poetry bit? (Pause for public service announcement: if you still haven’t seen that sketch, and its inexplicably total absence from Tumblr et al suggests that’s likely, get thee back to my S01E11 review immediately for all the reasons why you should. Ben in pigtails, people!)
  • Anyway, it turns out that the gently fragile surreality I thought was unique back then has ended up as a fairly common side effect in S5. It’s located right at the intersection of the new content vibe–in which quirky is totally the new anarchistic–and the consequences of leaving the cast alone to cope with the same material as they will. You know how [spoiler alert] Yonderland is constantly balancing between knowingly raunchy and wide-eyed innocence? Welp, this here HH episode will help you understand where the latter came from. (Hmmm? The former? Ah, this must be your first-ever contact with British comedy, congratulations. Go look up some Monty Python on YouTube, love, and do let me know how it all works out.)
  • In fact, I’d suggest the Wonders of the Universe sketches owe a very direct debt to the VP bit; at least, the nagging question of why Ben’s perpetually-bemused producer character seemed so familiar to me is now definitively answered. Even down to the hair, which is only getting more hilariously implausible. Clearly, somebody in makeup had a film-school relationship they needed closure on.
  • The whole concept really is shaping surprisingly well. Lawry is operating on a level of comedic sophistication unusual both for him and the entire series (I can tell, because it has now become flatly impossible for me to keep a straight face when watching the real Prof. Cox). Ben is likewise invested to a much more subtly impressive degree than is lately typical for him, possibly because for once he’s being forced to create the smarter character.
  • The whole makes marvelous capital out of the one key bit of meta-wit that prevented the Scary Stories from taking off properly: here, it’s not about Ben’s character constantly snapping, but how far Lawry can get before Ben finally snaps, thus giving the viewer real incentive to pay attention to some really interesting factoids. Amazing!… no, really.
  • So is the song, and in some of the same ways. It had my interest built in right from the get-go; there’s something deliciously, even mesmerizingly unsettling about Mat as Henry VII even before the pop-art psychedelia kicks in. It’s hard to pin it down exactly, but something in the way he’s so right for the part feels quite incredibly wrong–a further dark spin on his icily authentic aristocratic aura from S4’s wig debate.
  • Musically, meantime… well, 70’s glam rock has never been my thing exactly, but I am onboard with its basic desire to show me a good time, and on that level this song is fully awesome. The overall theme is so lovingly re-created the ironic distance from Henry’s ‘audience’ evaporates and it starts to feel like you’re enjoying it on exactly the same level. Not coincidentally, our Mathew by now has the genre mimicry down to the point where you only realise how uncanny-verging-on-genius it is when you consciously think about it, and you’re enjoying the result so much you never do think of it until it’s over, so.
  • And because I know you’re all waiting for the Tudor nerd explosion: there won’t be one. Really, for once accuracy isn’t a problem–in fact, major props are deserved for recognizing the subtle but stone cold potential in VII to begin with. OK, so I may have allowed myself just a minor wry grin at how dour Dad’s the one all dolled up in bling while ‘exciting’ Henry VIII is sitting there in, yep, the “sweatshirt” and floppy cap, but this need not concern us here, on account of it is VIII’s last (regular-series) appearance after all *snif*. Besides, by now I am convinced that it must be a deliberate joke. Only I’ll be damned if I can figure out what’s so funny.
  • Much easier to figure out the funny–and the Baynton–in the Stuart-era Starbucks bit. Mat as coffee-shop hipster parody… right, yeah, not a whole lot of Method preparation required for that one, obviously. What we’re looking at here is entirely believable as a Mathew Baynton from an alternate reality in which he’s a failed theatre major who hangs around Starbucks all day with his guitar, telling himself it’s a performance piece… featuring Jim as his snarkily neurotic barista foil… OK, I feel bad fanfic coming on, best we move along now.
  • As a deliberate bit of satire, on the other hand, it’s frankly wonderful. Largely because it never makes the mistake of trying to be pointedly clever on a done-to-death parody subject, so is free to take advantage of Mat and Jim’s near-genius-level penchant for sweetly charismatic silliness instead (also, possibly, Jim’s ongoing eagerness to begin rehearsing his big opening scene in the Yonderland pilot). Thus it manages to stretch a barely interesting factoid to full sketch-length satisfaction. This is what constitutes creating a classic bit, this series.
  • Besides: costuming, even more a happy-making thing in the Stuart bits than the Victorian. I do love me those big plumed hats… well, basically, I just like the idea that at one point in human history it was plausible to walk down the street dressed like a panto production of the Three Musketeers, waving your sword about whilst swopping the latest gossip re: the King’s new mistress. Feels like it would make up for quite a lot, really.
  • So does the knowledge that the Romans consulted oracular chickens. Yes, in theory this isn’t all that far removed from the whole ‘Ericho follows the Spirit-infused livestock to the Holy Land’ hilarity last series, thus I should’ve been expecting at least some level of sublime ridiculousness… but as it turns out there is really no way to prepare for the fact that, and I cannot stress this enough, the Romans consulted oracular chickens.
  • Every history text you’ve ever read or written on the glory of Rome, every epic sword-n-sandal movie you’ve ever seen, you now suddenly can’t unsee the fortunetelling fowl lurking somewhere just off camera. Cleopatra seduces Caesar: cue the ominous clucking. Freakin’ Richard Burton, solemnly marching off to find Christ and his destiny in The Robe: probably checked in with a banty hen beforehand. Best. HH. Fact. Ever, is what I am saying here. Bet there were near-fistfights in the writer’s room over it.
  • Whomever won the day, I congratulate them hugely on not over-thinking the result and simply following in the direction the material leads; in this case, Farnaby biting the rigging in blind panic. And the wildly fake prophetic poultry itself–shades of S2’s Viking navigation raven–it’s all just deeply, deeply appreciated, guys.
  •  I also think I can officially call this now: cuddly little bearded Jim makes for a funnier reversed-expectations military officer spoof than skinny awkward-looking Mat–although, you level the field re: facial hair and the gap closes quite a bit, on account of Mat having much the more spoof-worthily heroic chin to begin with. On the other hand, Jim usually has Ben to bounce off of, which automatically wins you all the things. We get what must be the full spectrum of epic Willbondian exasperation here, and it is as unabashedly glorious as anyone ever suspected. In particular, the being actively intimidated by the chicken. Lovely.
  • And not all, by a long shot. The team of Willbond and Howick then definitively wrap up their dual act by successfully pulling off an Abbott & Costello-type routine whilst trying desperately to hang onto American accents–any American accents, they’re clearly not picky. That’s it, the final summit of the demo-duo charisma has been explored and conquered, much hilarity has been had, closure has been achieved. Seriously, the only thing they could’ve topped it with in S6 would be an actual rendition of “Who’s on First”… and now, see, I have all the fuel I need to imagine it regardless. Once again, I declare myself content.
  • Especially, as usual, with Jim, who makes a surprisingly convincing Edison. However my real appreciation here is reserved for Ben, on the other hand being totally unable to keep the random RP inflections out of what is evidently supposed to be… some sort of a… possibly Midwestern twang… with occasional overtones of the Bowery? Yeah. Somebody may have been just a teeny bit unduly influenced by the traditional Hollywood sidekick archetype, here.
  • Unexpectedly charming closure corollary: Awww, little Cartoon Victorian Gentleman Guy finally loosens up and makes with the puns! I always knew he had it in him.
  • There’s another definitive apex being reached over on Wife Swap, and indeed the whole class struggle plot thread: inasmuch as even given this show’s determination to beat the unfairness of it all into the ground, there’s literally nowhere to go from a Living God/common labourer matchup.
  • Thanks to the aforementioned beating, though, not much else going on here of note; in fact the format is so creatively stalled out by now it’s to the performers’ real credit I didn’t consider that until I’d finished watching. Technically, Pharaoh Simon should’ve probably had a herald/slave to recite that whole schpiel for him, but I do not care, because damn, way to combine the teachable moment with the hysterically funny. Farnaby the Politely Clueless Aristocrat, I have missed you.
  • Say what now? No, no, I totally also noticed the Return of Bald Cap Sarah. It’s just that after Simon’s not only gone over the top but run off with it, any other surrealism in the vicinity inevitably gets reduced to a purely logical development. By that point, I was more interested in how much younger- and cuter-looking a deviation Nefretari is from her old Museum Matron look in S1. In other mildly pique-worthy casting news, Mat in that wig, being a matter-of-fact peasant, is somehow still much more pathetic than he was as a flamboyantly bitter French revolutionary.
  • Speaking of which, it’s past time for my annual (and rather sheepish) confirmation that the latest guy I thought wasn’t around all that much actually turns out to have been around quite a bit, or at least fairly prominently. Evidently, and rather intriguingly, they didn’t so much randomly delete Mat from S5 as choose his spots with elaborate care. Which as previously noted I find myself totally OK with, as a means of fulfilling my minstrel-eyed-spark-related needs. Especially when it’s accompanied by the chance to reuse the accent from last series’ Tudor archery SD, that’s a major plus.
  • So is the photography sketch itself. A bit overtly ‘Internet factoid’-esque precious, yet well and memorably presented… y’know, having now spent this much time with S5 in closeup, overall I’m starting to think they were developing more of a plausible handle on their newly slight, quirky identity than I’ve previously been willing to give them credit for. Still not enough to make me actively long for S6, but definitely a bit more intrigued by what might’ve been. In particular, Prince Albert being tripped up by an insistence on smiling of all things–a tiny perfectly-worked sample of the pure HH everyone raves about, right there.
  • Back here in the present, I must assign more bonus points to Unexpected Corpse Greg. A real old-fashioned trouper to the end, that lad… in particular, I am seriously, and quite sincerely, impressed by the totally keeping the straight face–let alone body–when Martha abruptly pulls out that idiotic voice.
  • And as if to reward me for all this Baynton-related fortitude, oh look, it’s the return of carefully-insouciant Civilian Host Mat! Yeah, I know, Gross Designs, but somehow it’s just not the same without the elaborately casual outerwear and ridiculously over-fluffed ‘do. Besides which, awwww, Martha and Jim the cozy couple! That chemistry will never get old… erm, in a manner of speaking. It’s such an solid, purely sweet-natured asset within the troupe that it’s a shame Yonderland is structured so it can’t happen.
  • And while we’re on the subject of civilian fluffiness… Alice the ‘Antiques Roadshow’ lady, thank you so much for not being shrill and blonde right now. No, really, I mean that. I do have something of a prejudice against your taste in sweaters, but given the parody subject, I can deal.
  • Particularly since I have other costuming distractions to think about. Did they just hustle Jim straight off the Sorby Institute set to this one? If so, awesome. I could stare fascinated at that check suit all day, it’s the professional version of Ben in a sweater-vest. The rest of the sketch doesn’t quite live up to it, but the concept has enough untapped potential to make me rather wistful (at the least, I could’ve been watching the suit instead of the Top Gear crew re-imagined as demonic troll dolls) and is pleasantly predictable in its own way. As per the Whiffy Jar, the pure grossout stuff’s been rare enough this series that it actually starts to seem warmly nostalgic.
  • Also, the random threats of brutal violence, likewise weirdly heartwarming, especially since the Vikings went all fuzzy-wuzzy on me. Thus I am left with the ethical intricacies of medieval magic tricks, and save for possibly a few seconds’ wondering where D.Duckworth has got to I am totally OK with this. Unexpectedly dark, rather impressively complex stuff—I must continue to give the new fact-finding team their due, they’ve got a fully refined eye for a fascinating anecdote…
  • …Which then proceeds to be severely if not entirely undercut by all the unnecessarily goofy over-playing onscreen. Mat’s got something of an excuse, as this seems to be his go-to ecclesiastical characterisation (at least here he’s not speaking in rhyme) but look, Farnaby, we just saw you biting the rigging, nobody’s buying the cutesy stuff, OK?
  • There`s more of the same–well-handled noir vibes, not cutesiness, thank goodness–in the plague-finder bit, aka a nice subtle riff on the Pythonic ‘Bring out your dead’. Yes, HH is now all but explicitly confirming the accuracy of Holy Grail scenes. I feel like a comedic circle of life has just come full round, here, somehow. That, and in the annals of stock HH schticks, ‘plague victims abruptly falling about like ninepins’ has never not been strangely hilarious. And the finale of this sketch, particularly if you’re familiar with Larry’s history as the perpetual patient, could be read as a rather pleasingly noir admission of ultimate futility on the whole topic.
  • Over in the annals of the English Civil War, meantime, we’ve finally reached Bosworth Field… and it’s all so incredibly exciting that my major concern is to determine whether the Tudor velvet flat caps have had a luxe upgrade. Otherwise, uh, yeah, so it turns out Lord Stanley had a perfectly viable, reasonable, definitely non-Horrible dilemma going there, and I still mildly enjoyed the show’s attempt to turn it to account. Forget the Wife Swap, I’m thinking this may represent the final final apotheosis of the cast’s ability to rescue a sketch.
  • Well done turning the car park business to advantage, though–the perfect way to wryly acknowledge the show’s part in the controversy without presuming on more than necessary for a silly comedy.

95% Accu-rat:

  • So, yes, Henry VII, forcible founder of the Tudor dynasty.  As noted, the show for once gets a Tudor monarch exactly right: not so much boring as the most sane Bond villain prototype ever. Quite a guy, all things considered… and as the expression in that portrait suggests, either you considered them, or you discovered what it feels like when a real-life version of Machiavelli’s Prince comes down on your butt.
  • This is a man who clawed his way to the English throne despite a ‘claim’ that looked like this: Henry’s mother, Lady Margaret Beaufort, was a great-granddaughter of John of Gaunt, Duke of Lancaster, fourth son of Edward III, and his third wife Katherine Swynford. Katherine was Gaunt’s mistress for about 25 years; when they married in 1396, they already had four children, including Henry’s great-grandfather John Beaufort. In theory, the Portuguese and Spanish royal families had a better claim as descendants of Catherine of Lancaster, the daughter of John of Gaunt and his second wife Constance of Castile.
  • Wiki is, as usual, understating. In medieval terms, that one wheat farmer who seceded from Australia and now makes a living selling dukedoms to tourists had more of a shot at being taken seriously as royalty. Realistically, all Henry had going for him was his genuinely formidable Mom, a leading Lancastrian intellect of the day. Lady Margaret bore her only son when she was 13, was widowed shortly thereafter, and–despite eventually marrying a prominent Yorkist leader–never wavered in her commitment to her boy’s royal ambitions past that. Trust me, Lord Stanley wasn’t kidding about Christmas.
  • It also helped that the young Henry had his native wits sharpened by long exile due to his dynastic pretensions. In France, traditional hangout of disaffected English nobles waiting for a political shift, and thus also the first last and only time anybody’s ever going to draw a parallel between ol’Happy Harry here and Charles II.
  • The former, frankly, had much better things to do than lounge around Gallicking it up. For one thing, Mom had meantime engineered his massively-throne-claim-strengthening engagement to Elizabeth of York, noted beauty and much more importantly sister to the Princes in the Tower… meaning it can’t help but be interesting that she and Henry enjoyed by all accounts not only a long but unusually happy marriage. During which she produced four children that survived at least to adolescence, including two whole sons–a feat of future-securing the Tudor clan would never quite manage again…
  • …What? Oh, sure. Before Prince Henry VIII there was Arthur, Prince of Wales, original husband of VIII’s noted future wife/victim /inexplicably never an HH subject Catharine of Aragon. Named in, yep, a shameless attempt to cash in on the aura of the single most belovedly English hero ever. I said Henry was cunning, I never said he was subtle about it.
  • While Arthur’s death at fifteen was a blow to Dad’s dynastic hopes, it was no means a fatal one. He raised his kids strictly, thanks in part to his renowned miserly streak; it’s thought VIII’s uber-boisterousness as King was partly the result of finally being let of the short paternal leash. But VII also revered and reflected his mother’s respect for education to the extent that the entire clan would eventually be renowned for their intellect (yes, even VIII–that’s the key part that’s rather frustratingly missing from Ben’s characterization).
  • Speaking of the original Champagne Charlie, meantime: Yes, as yours truly pointed out aways back in S02E09, he really did try to ban the newly hip London coffee houses for awhile, on the grounds (har) that people just, like, sat around and gossiped about the King and his government in them (given that laptops hadn’t been invented yet, and it’s already hard enough to look cool while using a quill pen without introducing delicately-balanced hot beverages into the mix). Because, y’know, his subjects obviously must’ve been fomenting rebellion. I mean, it’s not like their King was a literally larger-than-life character with the single most flamboyantly juicy private life since Casanova, or anything.
  • Finally… ever wonder what exactly happened to Publius Claudius Pulcher, the great and powerful Roman consul who got crossed up by the seasick chicken? Well, yes, he lost the battle and everything, but what’s really sad is what happened next: He was recalled to Rome and ordered to appoint a dictator; his nomination of his subordinate Marcus Claudius Glicia was overruled. He was tried for incompetence and impiety and was fined, and died soon afterwards, possibly by suicide. So basically the guy’s whole entire illustrious life was ruined by one lousy befuddled fowl. Which, yes, is still completely hilarious, but that’s not the point. Geez, people.
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Posted by on July 22, 2014 in Series Five

 

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