The latest Transformers movie has been critically panned from virtually every corner. Danny Leigh off that BBC show with Claudia Winkleface is even calling for strike action to boycott the movie in The Guardian and thus send a message to studio execs. But outside elite film critics there must still be a demand for Michael Bay’s franchise. And I bet those of you that are glass half full kind of people, are crying out for some positivity. Wail no more optimistic readers.
1) Transformers 3: Dark of the Moon is based on a pretty sound and promising premise. It draws on one of the most historic moments in human civilization, the 1969 moon landing, to give a story about toys some narrative heft for the adults. The space race, we discover, was not just a competitive dash to the stars but a sprint for the wreckage of an Autobot ship, containing some alien tech with Godlike powers. But hang on the astronauts look round for a bit and then come home again rather uneventfully…
Aside from the idea there’s the title itself. I mean it’s pretty damn cool to make a film with the same name as a legendary Pink Floyd album! Oh wait, there’s a word missing. But they say Dark Side of the Moon in the movie? Maybe Michael Bay (or some lawyers) decided it was snappier to drop a word.
2) Or perhaps no one wanted to limit this film to just the one “side”. There are at least three sides available because Transformers 3: Dark of the Moon is out in 3D. In fact with the juggernaut of 3D films slowing, its supporters in the industry are said to be pinning their hopes on Bay’s blockbuster because his trademark CGI pyrotechnics look stunning via the magic shades. I saw it in 2D because I wasn’t keen on paying more for a film I didn’t really want to endure. But let’s stick with the positives.
Transformers 2: Revenge of the Fallen makes a case for being one of the worst films of all time. I haven’t even seen it (mostly because of the sheer force of the derision) but you know a film is bad when its director and star use words like “shit” and “crap” just seconds after they are no longer contractually obliged to promote it. The original Transformers was surprisingly good though and critical consensus is that this is substantially better than the sequel. The downside for Michael “Boom-Bang-Bam” Bay is that most reviewers are merely saying Transformers 3 is better to illustrate how atrociously bad the second instalment was.
3) Damn I said I would stick with the positives didn’t I? Well there are always two big ticks alongside Michael Bay’s name. He is consistent and he always provides plenty of bangs for your buck. I saw the first Transformers by accident all those years ago and I was won over primarily by Bay’s competent handling of stuff frequently exploding into thousands of shards of glass and chunks of concrete. In Transformers 3, if you stick with it for over an hour, you get to see Chicago flattened. In one scene the human characters slide through a skyscraper as it collapses. Then they slide through it again. Then more stuff blows up. Then some more. Then there’s some slow mo. And a bit more. Something else goes bang. You lose interest.
4) Alright there are some negatives. Like the constantly annoying and yelping Shia LaBeouf.
5) But surely these are more than outweighed by the presence of Rosie Huntington-Whiteley? It was a big ask to find someone to replace Megan Fox’s assets but British lingerie model Rosie was named FHM’s sexiest woman of 2011. Physically she easily fills the implausibly hot girlfriend role. Bay knows he’s working with a thing of beauty, panning the camera down her body in the middle of action sequences.
Unfortunately her performance has been chewed, swallowed, digested and vomited onto a pile of steaming fresh elephant dung by every single critic. Surprisingly I thought her acting was worse when she was simply required to scream. We see her getting dressed from behind briefly at one point and in a couple of revealing dresses but not sufficiently unclothed to warrant the price of admission. Having said that Bay does his best to reduce every single female extra to eye candy by ordering them to strut about or look scared in something short.
6) On the plus side! John Malkovich appears in what might be a mildly amusing but pointless cameo in a film that was at least an hour shorter.
7) Ken Jeong also shows up as essentially his character from The Hangover, minus any of the sometimes funny rudeness. He is vital to one of the many baffling and needless sub plots. Which leads me to reason number eight…
8) A glorious two and a half hour runtime may make any of the microscopically good things in this film meaningless but it has its beneficial effects as a sedative. You’ll be capable of falling into a sleep so deep that a succession of nuclear wars wouldn’t wake you after Bay has left you numbed and extremely bored by repetitive scenes of endless destruction.
9) Actually there aren’t even 10 fake reasons to see it.
I have completely failed to live up to my nickname of Optimist Prime…
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Certain programmes on television are compulsive viewing. Over the years the number of these programmes has decreased considerably, for me at least. With the advent of BBC iPlayer and other catch-up services (although I only really make regular use of iPlayer, with the exception of the occasional trip to 4OD) I rarely submit to the schedules for something I like to watch. But the odd show, live or not, will tempt me to watch at the scheduled time like an obedient puppy.
One of these programmes, as “regular readers” may know, is Doctor Who. I get ridiculously excited as that time comes round every Saturday and then I’m practically clapping my hands with glee as the theme music plays. I employ nurses to mop the saliva from the sofa as I sit there drooling. I hire security staff to hold me down should someone make a noise akin to a whisper, as I am liable to absentmindedly throw sharp objects at the offender or simply laser their soul with killer evils.
Mock the Week used to sit atop the comedy pile on my shelf of sacred TV treasures. Literally nothing could beat it for a good rib tickling chortle. It was easily king of the panel shows. Consider its rivals. QI is quite interesting, quite funny at times but it hardly goes for the comedy jugular. Have I Got News For You is hilarious but largely dependent on the guest host doing alright or being a good enough target for Merton and Hislop. Never Mind the Buzzcocks has lost its two best assets; Simon Amstell and Bill Bailey and was always about music, which somehow just ain’t as funny as everything else in the news.
I could keep listing inferior panel shows but essentially Mock the Week was the best. And why was it the best? Because it grouped together the best surgeons of hilarity in the land (commonly called comedians) and simply let them compete for comedy points by cracking gags about the news. The fact that it was topical was funny, the rivalry and chemistry was funny but it basically boiled down to sticking good comedians in one place.
The best of the comedians became regulars on the show, with Frankie Boyle, Russell Howard, Hugh Dennis and Andy Parsons joining jolly accented Irish host Dara O’Briain, every single week. I was glued no matter what was going on in my insignificant life. When balaclava wearing burglars stole all my worldly possessions, petrol tankers exploded outside my bedroom window and piss accidentally seeped out, I was oblivious. So hungry was I for the feast of LOLs.
Then something strange happened. The magic began to fade. I found myself watching on iPlayer, then only the occasional episode on iPlayer. I wondered whether this was just another phase of my viewing habits, passing by like Postman Pat, Loose Women and the others. How was it possible that I wasn’t dying in pain from my spasm-ing muscles when Frankie Boyle made a joke?
The rivalry was killing the show. The fierce competition for jokes that made it into the half hour final cut of the programme was spilling over to such a degree that it was noticeable, in a detrimental way, after the edit. Frankie’s superpower, the ability to creatively and imaginatively shock the laughs from you, became obsolete. His unpredictability became predictable. He dominated and stifled the talents of the others.
And so he left. But this didn’t tempt me back to watch every week. As much as I loved Russell Howard, I wasn’t a big Andy Parsons fan. Dara was limited by hosting duties and the guests could be good but were often disappointing.
Then, whilst at a recording of Russell Howard’s Good News by the Thames earlier this year, he answered an audience question with a bombshell. He wouldn’t be doing anymore Mock the Week. And he has moved on I suppose, with a successful BBC3 show that really suited him. He had a far more enduring quality than Frankie Boyle; genuine humanity. Boyle’s act was just that, a put on sham of offensiveness. His Channel 4 sketch show caused a brief stir and passed into the shadows. I don’t remember what it was called, just that he crossed a line of decency at some point. And I didn’t watch it.
So with perhaps my favourite comedian left on Mock the Week leaving it, you’d think I would have given up on the show for good. But I decided to give the first episode of this series a watch on iPlayer. I thought that maybe some new blood would be good. And I was right.
Chris Addison is turning into something of a new regular but he’s not set in stone; he doesn’t have his own seat. He is very funny mostly, despite his tendency to wear loose shirts that show off his thin chest and glimpses of hair. Seann Walsh, who I’ve seen live at Michael McIntyre’s Comedy Roadshow in Bristol, sat between Greg Davies from The Inbetweeners and Andy Parsons. Walsh was terrific, really confident what I think is his first appearance, or at least he hasn’t had many. An impression of Michael McIntyre during “Scenes we’d like to See” had me in stitches. Davies is not afraid to be silly to get laughs.
Talking of daft the final guest, another one turning into a new regular, was Milton Jones. Wearing a loud shirt he produced his usual volley of surreal one liners but each time I see him on Mock the Week his weird, snappy humour seems to make more and more use of topical material.
I will be watching the episodes of this series, whether it be via iPlayer or more old fashioned methods. The show seems to have re-found its mojo by finding the best comedy performers and stand-ups around. Its lost much of its bitter competition, with all the competitors regularly laughing at Milton’s odd jokes. The key to success seems to be avoiding absolute regulars and bringing back a mixture of different talent of week. Keep the guests fresh, like the topical material.
I laughed. A lot. Watch it.
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After things really seemed to be getting somewhere with episodes 2 and 3, last night (the first time I have watched The Shadow Line as scheduled, 9pm BBC 2) things once again became a blend of baffling plot lines and bad dialogue, punctuated by the odd superb scene. This is one of those programmes so determined to keep us guessing that no sooner are we given a clutch of answers, a bucket full of more questions is splashed into our bemused faces.
The answers come in the form of customs officer Robert Beatty, who was the guy sultry sidekick Honey had a fight with last time. He’s one of these deep cover types working beyond the police, doing things they can’t like he doesn’t give a shit. It turns out that the drugs murdered Harvey Wratten used to get his rare Royal Pardon were already his. Beatty also reveals there was a second requirement for the Pardon; saving the life of a cop. In this case information was given to save him and his family from a car bomb. But it quickly emerges that the bomb was probably planted by Wratten too. So Wratten arranged a get out of jail free card for himself. Well mostly free, just minus millions of pounds worth of drugs.
Obviously Gabriel thinks this is getting somewhere with the case, that he’s been given three extra weeks to save. But it’s difficult to say where this breakthrough leads or what it means and his boss has a problem with that. Even though they’ve got a blurry picture of Gatehouse on CCTV too AND they’ve linked him to a big drug deal, where Gatehouse appeared to be acting on behalf of the vanished but ever present Glickman, who was in turn acting for Wratten because he was banged up. Confused much?
And that’s just the professional side of the police case. We haven’t even mentioned Gabriel’s personal problems. He didn’t have any agonising moments staring at that inexplicable briefcase full of cash this week but the mother of his secret child told him to tell his wife of their existence, who is finally pregnant. This is the cue for just one of many terrible lines in this episode. Gabriel, clearly in a sticky situation, blankly says “I’m in hell” only for the mother of his child to hit back with “No, we’re in limbo”. She then says she won’t have her son growing up in the shadows, which is far too forced a reference to the show’s title.
On the criminal side of the case, Bob Harris is sweating his hairy backside off because one of his supply lines has been compromised by customs, which is how the police know about Glickman getting the drugs for Wratten. How do I know he has a hairy backside you ask? I don’t for sure but I’m judging by the rest of his portly, sagging, ageing body. We’re treated to a scene with Harris and a gay lover, with Harris sporting a pair of very tight pants and awkwardly resting on his side like a beached whale, and the lover wearing nothing at all. He is sprung from a police station by an anonymous benefactor at the beginning of the episode and ever since has been stuck in camp seductive mode. He also gets some terrible lines and provides Harris with the information that apparently Jay Wratten is responsible for the busting of his line.
Jay of course, has been told by Andy Dixon the driver, that Harris killed Harvey. So he has a reason to piss him off. But Christopher Eccleston’s Joseph Bede interrogates Jay and he insists he didn’t do anything. We see very little of Bede this week, apart from when he’s questioning Jay and Glickman’s girlfriend, but Jay does get to pay another over the top, intimidating visit to Glickman’s son. And this is where we see the mysterious, deadly Gatehouse again.
Perched atop a mountain of office furniture, Gatehouse is across the street from Glickman’s son with some very fancy tech for listening to phone conversations etc. Eventually he decides to pop round to the home of Glickman’s son and play the kindly old fashioned gentleman card. Glickman’s sceptical daughter-in-law is won over by his harmless demeanour and Gatehouse gains access to the downstairs loo. After opening and closing the window briefly, he lets himself out. After calling her husband about the visitor, the wife goes upstairs to check on the wailing baby, prompted by the baby monitor. Their little girl is not there.
I was glad when Gatehouse showed up eventually last night because the rest of the episode had been poor. With Gatehouse though you know things are going to be suspenseful and tense and that something is going to happen, even without him doing very much. Here he’d magically whisked the baby outside, simply by opening and shutting a window in the toilet. Surely he must have had help? After dashing about the house absolutely distraught, she finds her baby and then Gatehouse, who chillingly tells her to call her husband “NOW” via the baby monitor. Glickman is then told Gatehouse wants to hear from him.
This episode has time for one more confusing but majestic scene. The journalist, otherwise known as that bloke from Casino Royale, who has been investigating police corruption throughout the series, features strongly in this episode asking people questions without really getting anywhere. Then he’s given the job of city editor at his paper, along with a far from feasible pay rise. Prior to this Gatehouse calls him up for an anonymous meeting but does nothing; not even speaking to him. Instead he gets hold of his home address pretending to be a deliveryman. Then comes the outstanding scene.
McGovern (name of said journalist) rides out of the city in his leathers and into the countryside towards home and his wife, where he can tell her the good news of his promotion. The tension slowly builds as it’s evident something will happen. Then we see a car in the distance on a straight road, with McGovern heading towards it. Both vehicles, bike and automobile, disappear into a dip in the middle of the road. We hear a screech and only the car emerges on the other side. The episode ends with a close up of our fallen journalist, in the middle of a sun drenched road, blood dripping in vivid drops from his helmet against a background of bright blue sky.
Scenes like that are the reason I continue to watch The Shadow Line. Some of them use too much style but most are refreshingly well executed, subtle and classy. This episode was full of irritating performances, including McGovern/Casino Royale man’s intonation that made everything sound like a question, hardly a subtle portrayal of an investigative journalist. It also had some of the worst dialogue so far and perhaps more of it. And the plot development became frustratingly unsatisfying too. But occasionally I am still gobsmacked, even in this mostly bad episode, and I am still intrigued.
With some questions answered new ones arise. Why kill the pestering journalist when he appeared to know very little? More interesting still, why did Gatehouse kill him, when he was investigating police corruption? Do Gabriel and Gatehouse know each other? Perhaps Gabriel simply can’t remember with that bullet inconveniencing his brain. And how exactly did it get there? Was Gabriel responsible for the death of partner Delaney? Can Chiwetel Ejiofor put in a good performance despite increasingly ludicrous plot twists for his character and sledgehammer emotional dialogue? Will Bede and Glickman’s girlfriend get together? Will next week be more enjoyable and make more sense? Will I get to see Bob Harris completely naked?
I’ll keep watching for the answers.
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Whilst I was primarily wowed by last week’s opener to the new series, I wasn’t the only one having worries about the abundance of plotlines being introduced and secrets set up. And with this second episode, cracks in Moffat’s genius are beginning to show.
I know I never thought I’d hear myself say a bad thing about the man. But Day of the Moon simply tried to do too much. The really sad and disappointing thing about it is that it’s made of sublime component parts; it just didn’t work as well as it could have done as a complete whole.
The start of the episode was really impressive. All three companions seemingly hunted and gunned down in stunning and iconic American locations by the FBI. The Doctor locked up in Area 51 with a striking beard and strait jacket. Then of course a brilliant escape. It’s here perhaps that the flaws start to show however. Was anyone else baffled by the need for such an elaborate plan? Especially when later in the episode they simply wheel out President Nixon as the ultimate authority in their favour? Ultimately you can ignore the implausibility of our Timelord’s scheme for the added benefits to the drama; the cinematic scale of Americans locations, the stunning CGI shot of Apollo 11, a swimming pool dive from River and a seemingly bearded and beaten Doctor.
It’s later in the episode, around the middle, when the dialogue gets so bogged down with secrets that can’t yet be revealed, that as a standalone episode Day of the Moon begins to unravel somewhat. It’s simply unsatisfying for an audience to have so little payoff on the hints of huge revelations. In many ways Day of the Moon is too similar to the first episode; I was expecting it to leave a great many of the secrets untouched, to wrap up the story of The Silence in suitably engrossing style. In the end the Doctor sees off the terrifying foes rather easily, even if we’re told that this isn’t quite the end of them.
With the concluding two parter of the last series Moffat demonstrated his understanding of the impact of contrast, and there is not enough contrast between these first two episodes. The scenes in the children’s home are too similar to those in the tunnels at the end of The Impossible Astronaut. They have some wonderfully, typically Moffat ideas that are truly haunting, but throw in all the stuff about Amy’s baby and the completely confusing space suit and it’s all too much. These scenes with images of “Get out” scrawled on the walls and markings on Amy’s skin could have formed the foundation to a brilliant episode, but they are overshadowed by random but no doubt significant moments like the woman saying “she’s just dreaming” from behind the door. They also don’t sit right with the light hearted, race against time that’s the rest of the episode.
I’m not saying that I did not enjoy Day of the Moon. I am probably just bitter because it so completely baffled me and I’ll look back on it more fondly with hindsight. There were undoubtedly more than a handful of classic moments, and some brilliant dialogue. But it all just felt rather disjointed and overloaded. The relationships and jealousies between the companions are almost beginning to resemble soap opera. Here’s hoping that next week delivers a cracking and clever story truly independent of the secrets of the series.
Of course I’m not going to sign off without mentioning the Timelord child. Is it Amy and the Doctor’s? That’s the constant suggestion, which means it’s not as simple as it seems. Not that it does seem simple. I’m confused. And I have mixed feelings about it. Whilst Moffat should continue to push the boundaries of the character and take risks, he also could push it too far. One thing’s for certain; it’s worth sticking with the series to find out if its fetish for cliff-hangers becomes misguided or is sheer genius.
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Cast your minds back to the days of the last election. All the talk was of cuts and the campaign was curiously short on optimism. Nick Clegg rocketed to popularity because of his outsider status and a rare ability to sound slightly hopeful about the odd issue. Cameron and Brown battled over grim details, tainted by all that had gone before. One of the few rays of hilarity to shine out of the darkness was the very British ridicule of one of our current Prime Minister’s key policies and publicity stunts.
I’m referring, of course, to Cameron’s notorious airbrushed poster campaign. The abnormally clean image of the old Etonian presented on billboards everywhere to the entire nation, took the Tory drive for renewal to the laughable extreme. Dave was not wealthy and out of touch, merely handsome and approachable. As funny as the image and tactics themselves were however, it’s the snappy quoted message alongside his shiny face coming back to haunt the Prime Minister now.
I certainly do not pretend to even partially comprehend the reforms to the NHS this Conservative led government is proposing. Indeed the lack of understanding from its own ministers seems to be a large part of the problem. And it’s no secret the Conservatives have long planned a shake-up, fuelled by the steadfast belief of their long serving top dog on health, Andrew Lansley. However whilst the faults and flaws of the plans that are becoming clear are extremely important, in terms of political capital and strategy for Number 10, they are in many ways besides the point when it comes to that infamous election promise.
“I’ll cut the deficit-not the NHS” translated for voters to “This is a new kind of Tory party that treasures the NHS above all else. We will not mess with it anyway.” Cameron will argue his promise did not say he wouldn’t change the NHS and that it needs modernisation for the better. But he knew the implication of his promise and the votes it would win him. His protestations about the benefits of his reforms will therefore mean little to those his promise swayed.
It’s also especially hollow given that the Prime Minister has since watered down and diluted that concrete pledge, which formed the symbolic heart of his campaign, again and again and again. First it became merely a safeguard for frontline services and then promised improvements, like an increase in the number of midwives, were scaled back and ultimately scrapped altogether, with even plans to maintain current numbers reversed. Fears about privatisation which the reasonable man might have attributed to overzealous, sensational leftist press, are now emerging to have hard evidence behind them. 50,000 jobs are set to be cut. How exactly is this not cutting the NHS?
If the workers within the system themselves were in favour Cameron would have a much stronger argument. But countless GPs have written to newspapers, as well as other types of professional, warning against the changes as unnecessary and damaging. The Prime Minister continually insists that locals have the right to opt in our out, but what are those that oppose and don’t sign up to the scheme meant to do? Even in my quiet rural area GPs feel overworked and many local people distrust the vested interests of certain doctors. Is handing over the biggest budget in the country to them really a good idea and what people want? It’s doubtful if the new system will even be able to produce what the public need.
Another argument constantly wheeled out by the Tories is the pressing need for modernisation and reform, which make it necessary. There is nothing necessary about these plans though. Whilst the health service has its flaws, the current system leads to a mostly positive service. There are undoubted challenges in health care such as an ageing population and emerging drugs, which often seem insurmountable. Government proposals do not do enough to ease the burden and according to many that know, they actually complicate the fight. For a leadership so keen on cutting the deficit, you would think that such costly, ideological plans could wait for better times.
It would also do more good in the long run, and reduce the deficit substantially, to work out some realistic spending priorities centrally. Vital areas and treatments need to be protected nationally and things the NHS can’t afford to provide should be phased out. The private sector does have a role but it should grow independently of the NHS and take up the slack for treatments it shouldn’t be wasting resources on. Taxes and other initiatives should encourage healthier living. Devolving decisions to GPs is no magic pill, no silver bullet and it doesn’t even equip the NHS for the critical, worsening challenges it will face in the future. It would be a far more sensible decision for the government to begin a nationwide debate about what we expect, want and need from our NHS now. It would fit with the “new politics” of plural cooperation and potentially produce actual solutions.
Perhaps the main reason the government looks less likely to bow to pressure from the public on this issue is the Prime Minister’s ego and pride. He’s been happy to recognise the weaknesses of coalition and concede on issues like the forests and sport in schools. But the NHS plans are too inextricably linked to Cameron’s personal brainchild; the Big Society. Its philosophy of localism and choice in the community over centralised solutions marries nicely with Lansley’s ideas for health. The health reforms open the way for the sort of community cohesion and interaction, fuelled by voluntary, charity involvement, that Cameron wants to see. He genuinely believes it’s the path to a social recovery for Britain that’s sustainable and empowers government to do what it does best, as well as liberating people from the state. He’ll continue to be blind to all the irreversible wounds the “reforms” will inflict on the NHS itself and his popularity with the people as long as it remains tied to his vision. His recent attempt to re-launch the initiative demonstrates his huge commitment; it cannot afford to fail.
The real shame for the country and even the Conservative party, is that Cameron’s election pledge could have been a clever way of dumping a responsibility and challenge for maximum political gain. His implicit promise of not touching the NHS meant it could have been left as it was, a gargantuan issue for a future administration to tackle, ticking over just fine for the time being. There are after all, enough problems for the coalition to face. If this government had done mostly nothing on health, the public would have thanked them for it, the Conservatives especially. But Cameron is so determined to be radical and appear to be so, that he will press on, regardless of the consequences. It may prove to be the well meaning project that took his remodelling of the state too far.
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Whatever happened to “I agree with Nick”?
What happened to the t-shirts churned out with that slogan and what happened to the most popular politician since Winston Chuchill?
David Cameron, the Conservatives, the Coalition and the cuts happened. And Nick Clegg’s identity as not only a politically savvy leader, likeable for remembering the names of questioners in the audience, but an ideologically well meaning man, was lost under all the public outcry. As the distinctive voice of his party became ever diluted by its partnership with the Conservatives, so did Clegg’s own progressive world view.
I’ve long championed Clegg on this blog. Frankly it’s been tempting to turn on Britain’s most hated man at times. But it would have been weak and naive to dismiss Clegg for compromising in government. He was absolutely right to enter into coalition. His choice of partner was unavoidable and fair. It was constitutionally correct and right for the British people. Not all of the policies of the Coalition necessarily are though. In fact some, many even, are damn right damaging.
More importantly from a Lib Dem point of view it’s been impossible to reconcile drastic deficit reduction with most of the progressive policies requiring investment in their manifesto. Finally though, today in Rotherham, Clegg delivered a speech daubed with innumerable fingerprints from that manifesto. And it’s the most convincing argument in favour of the government’s economic strategy so far.
Last year when David Cameron embarked on a foreign policy tour, I called on him to use sustainability and green growth as a unifying message to take around the world from Britain. Since then, and his failure to do anything of the sort despite promises of a “jobs mission”, President Obama has announced a focus on clean energy in his State of the Union address. And now Nick Clegg has made the ideological link between environmental and economic sustainability.
Nick Clegg’s speech has the potential to seriously worry Labour. It returns to the more inspirational language he used in the election. It makes a rational argument for a brand new economic model. Nowhere does Clegg make the mistake of saying it will end boom and bust, as Gordon Brown did, but that’s clearly the intention by creating a sustainable foundation for growth and diversifying Britain’s output. He makes it clear the government will plan for growth and eliminating the deficit is merely the means to an end of prolonged growth. The Conservatives, even Chancellor George Osborne, have made such a fetish of cutting that it seemed to be all this government stood for. Clegg reminds people of the future, of an optimistic vision. As with Climate Change, most have neglected to point out the opportunities created by the solution to a serious problem.
The speech will also reassure Lib Dems. To an extent, it reassures me. Clegg’s four pillars of growth are all sensible and recognisably linked to the key points on the front of his election manifesto. Investment over debt, regional balance, hard infrastructure (high speed rail, energy) and soft infrastructure (education and skills). For me the undertone of the speech was that were it not for the deficit and some conflicting priorities with Conservative colleagues, Clegg would be implementing an investment led, green economy alongside new measures for fairness. Fairer tax and better education. Green jobs and better transport.
Clegg ended his speech at the Carbon Capture plant speaking about Carbon Capture and Storage. The government appears to be committing to CCS. And about time to. For a long time the potential for exporting CCS technology, to emerging, gargantuan economies like China already packed with coal power stations, has been enormous. Britain could not only minimise upheaval and expenditure in converting her own energy supplies but make huge profits and create jobs by genuinely affecting the world’s carbon output through pioneering and exporting the technology. Clegg makes the economic case for CCS, but ties it to Climate Change for progressives. This is the way forward: realistic ways of getting emissions down.
However despite shifting the debate wisely to sustainability and articulating the reasons for government economic policy better than anyone so far, Clegg will remain under pressure from Labour. Firstly this speech shall probably wrongly achieve minimal publicity. Secondly, and more importantly, Clegg’s pillars of growth are undermined and contradicted by Coalition policy. They remain mostly on a wish list in the partly fulfilled Lib Dem manifesto. If there’s a commitment to education and “soft” infrastructure, despite the pupil premium it’s hard to justify cuts to universities. High Speed Rail makes slow progress, there’s no solid government money for green energy and jobs. The cuts hit traditionally poorer regions disproportionately hard. Labour should still be able to make the case that yes we want sustainable growth, but you needn’t cut as fast and deep, you needn’t delay all attempts to spark growth, despite a reasoned argument from Clegg about properly targeting spending. And you need growth in order to cut the deficit, sooner not later.
There are loads of good things in this speech I’ve wanted to see for a while. But the bottom line is they don’t go far enough and they’re outweighed by cuts, cultural devastation and unemployment. However if the Coalition pick up Clegg’s argument and Osborne’s Budget contains growth policies in keeping with a futuristic vision, Labour will find it harder to land blows on a plan of long term optimism. And whatever happens, Clegg’s proved his political credentials once more.
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