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Steve was interviewed on Lorraine this morning, don’t judge me I’m on flexible furlough. He was promoting the book and talking about the new series. 
 

I mentioned to my wife that it would be cool if he’d hidden a hare on his bookshelf. We looked more closely and it was there! Amazing. 
 

edit. I’m an idiot, I hadn’t watched that unboxing video above. It’s clearly there in the shelf. Good to hear the new series starts filming next week though. 

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  • 2 months later...
  • 2 months later...
8 hours ago, p1nseeker said:

Give us a date dammit!

 

 

I'm hoping it starts the same day as the new series of Partridge. I do like a decent comedy double header... 

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35 minutes ago, grounded_dreams said:

We finally have a release date for the new season, 10th May according to comedy.co.uk

 

Brilliant. I didn't even realise they'd finished filiming so this is fantastic news.

 

Edit: confirmed by BBC:

 

 

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  • 2 weeks later...

Very saddened that this should happen but Sheersmith and Pemberton are not averse to plagiarism, and don't have much of a conscience about it. They made about six seconds of television on the second series of Psychoville from about ten words of detail that one of them saw most likely in a comment of mine on the Guardian's site under an interview, if not indirectly through Cookd & Bombd. The snippet of material, in combination with the timing of when it appeared is too specific/ distinctive for it to have been lateral thinking.

 

I waited a few years before deciding to write to their management about this. I was calm enough in both letters, and in the first suggested the possibility that my comment had been read and then forgotten about, recalled then in a writing session without realising it was taken. That was me being generous. I thought I'd observed some kind of arc of increased tenderness in their work, even within the grimness of it, and I'm more than disappointed that it seems really that they are callous people. I'm no success, due to mental health issues - currently peaking quite badly - and then weathering a volley of misconduct from the local police and council, but had had the start of a modest writing career in my mid-30s which I don't now expect to build on. In 2006 some people were going to publish a book of mine against my will, and several times I've had to fight even for a poxy twenty quid I was owed for one thing or another. It does make for a death by a thousand cuts effect as time goes on.

 

I might sound like a character of theirs, I suppose - pathetic and deluded. But maybe that's the secret of their success, making light of people who are damaged not so simply by their own vices and foibles but by others' callousness, Tippexed out of the glib back story. There has been a generation of that kind of comedy, given a free pass, but it helps constitute fragments of an ideology which makes for misery.

 

I think in my second letter having merely invited them before to acknowledge what was done and for a 'gesture', I then asked for £2000, and mostly - given the snippet-like aspect of the material - for hurt feeling and in respect of these people being wealthy enough that the money would mean far less to them than to me.

 

I would imagine fans of theirs here are likely to openly laugh at this or have a good Sheersmith-style sneer, a sneer I had for a time thought was merely acting. I have perspective about this - what Noel Clarke etc have done of course puts this sort of thing in the shade, and one close family member and my first girlfriend are both survivors of the most harrowing assaults you could imagine outside of an Amnesty International document - what I know of these never leaves me. I have been sexually assaulted by a doctor, and when I reported it, years too late apparently, I spoke apologetically because what I'd undergone was mild compared to what many women go through, as if that excuses my assailant. I have 'perspective' but just as much I am over-tolerant, like an elastic band about to snap, because it's expected of me, it seems.

 

How much though of other misconduct stays hidden, for the time being, because it's so far behind the scenes? and in part because -at odds with the supposed values inherent in what is brought to the public - it's not amenable to being sexed up? Even now most people don't give a monkey's about writers, let alone writers' struggles, and in practice the supposed growth in mental health awareness (and domestic abuse awareness, as I've seen from my council/ police case) is lipservice only. So it's of course a relatively trivial statement for me to make to say that I couldn't now enjoy anything by these writers - I'm too angry and disappointed that they would do this and not even make a civil acknowledgement of my bringing it up. That is nothing compared to what many female actors must feel about Weinstein productions and Clarke's success. I know all that. But it's not nothing, is it. It's not nothing.

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I've deliberately not done that here and this is largely because in spite of myself as far as goes something to share in a forum it's more of abstract interest, it seems to me, in relation to other issues and news stories - conduct of people in TV. The pinched idea revolves around a whisky flask of baked beans though.

 

As an aside, I never saw League of Gentlemen when it was on, and two of the three series I know from a hardback of scripts. I think that work was much stronger than these sub-potboiler-like thrillers they've done recently, and I make this remark because where the thing of mine that was taken was blink-and-you-miss-it, so are the ideas of their most recent work.

 

I don't want to go on about this for too long really, but neither do I want to say nothing. As with my police/ council case I am working from the idea that someone who is telling the truth shouldn't be afraid to, regardless of the existence or otherwise of unambiguous proof. In the writing world and in local government and tinpot police organisations alike there is a culture of not giving a damn and I have been shat on for decades from all angles, my whle bloodline has and my mum developed a terminal illness ultimately because of it. It's taken long enough for the #metoo stuff to be forefront, and if I am in a psychiatric hospital in six months and perish there as is currently the risk, and the sort of stuff I'm talking about becomes common knowledge in 2035, then I would otherwise have been cowed for nothing.

 

Unless there's a real need I'd rather leave it at that so as to emphasise my sense of perspective (but also my abuse-derived capacity for self-abasement). I have really got too much on my plate but it seems the right time for not just being a mouse about these things.

 

By all means enjoy some telly by this fun pair of lads.

 

Thanks for listening.

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I think it’s important to talk about stuff and not easy especially with the amount of cutbacks to mental health services, there are some threads in the off topic section of this forum which can be useful. 
 

Obviously I don’t know Sheersmith or Pemberton personally, but I’ve always enjoyed their work and thought they came across well in interviews, so it’s sad to hear of your encounter with them but I would also say that they may not even be aware of your claim - anything like this would normally go straight to a lawyer, so I wouldn’t take it personally if the response you got was a bit in the chilly side, that’s lawyers for you. 

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Quite an accusation. You say it is a 'blink and you'll miss it' reference and you demand damages for plagiarism?

 

I have some sympathy but when you don't back it up with any evidence what you end up doing is defaming two writers who have achieved the success you haven't.

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More importantly I imagine it would be extremely difficult to claim intellectual rights to a remark made on a public forum, namely the comments section of The Guardian. 
 

Apart from that, reading@sandpainter1471z posts indicates to me they are not in a good place at the moment, and pursuing something like this is only going to make things worse.

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The Radio Times overview makes it sound like it could be a belter. I'll spoiler it just in case folk want to go in with nothing...


 

Spoiler

 

This superb series returns with another diamond – “a sort of cross between commedia dell’arte and a heist movie”, as one character, Columbina (Gemma Whelan), tells us straight to camera. “Hey, it’s series six. You’ve got to allow for a certain… artistic exhaustion.” But there’s no sign of wearying here. Steve Pemberton, Reece Shearsmith and the team are on heightened, acrobatic form.

Both genres call for masks (an echo of our times) so some cast may be hard to spot: Paterson Joseph is hidden behind a huge hooter as heist boss Pantalone; while Kevin Bishop is almost unrecognisable as Arlo, in a harlequin (of course) sweater and with what looks like a lockdown hairdo. Pemberton and Shearsmith, albeit masters of disguise, are easy to identify.

Regular director Guillem Morales shares a credit with physical comedy expert Cal McCrystal, whose CV includes Cirque de Soleil and One Man, Two Guvnors. So expect a flurry of polished slapstick and ingenious wordplay mingled with fruity performances and bloodshed.

 

 

Pantalone is planning the heist of the century - a tasty £12million in rough-cut diamonds. But if you're going to hire a bunch of complete clowns to carry out a robbery, and half of them are planning to double-cross the other half, you've not just got a recipe for disaster, you've actually got the ingredients of a Tarantino Commedia dell'Arte. Starring Kevin Bishop, Gemma Whelan and Paterson Joseph.

 

 

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I absolutely hated that. The intentionally shit jokes, the slapstick, the innuendo, Shearsmith’s accent, everything. 
 

There have been episodes I didn’t like but I’ve never had a reaction to an episode like that before. My days. 

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I was grinning throughout but with the assumption that it was going to have a genius ending. It didn't.

 

It's weird, because I definitely enjoyed it but it was a bit shit.

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