Figuring It Out

Face to Face: The Figurative Sculpture of Sean Henry (The Lightbox, Woking, 12 August-5 November 2017)

I first knowingly encountered the sculptures of Sean Henry on a day trip to Newbiggin by the Sea with the Aged P. Faced with the problem of being a north eastern coastal town — and the last pub before Norway not being necessary nor sufficient — they turned to Art and commissioned a giant double statue, Couple, to be placed in the bay, an implicit answer to whatever question was being asked by a certain northern angel.

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Spall’s Well That Ends Well

Electric Dreams: “The Commuter” (Tom Harper, 2017)

Now this is more like it — a fantasy partly set at Woking Station.

Funnily enough, I was looking at train times to Woking today and I’ve been there a couple of times. It get destroyed in War of the Worlds.

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HisWorld and Welcome to It

Terry Pratchett: HisWorld (Salisbury Museum, 16 September 2017–13 January 2018)

I’m always a little agnostic when it comes to exhibitions about writers. What is there to show? There was a little confusion when I was writing a critical book about an author as to whether I was writing a biography, and his agent contacted me with the reasonable objection that I hadn’t talked to anyone he knew. I corrected the confusion, but not before the author asserted that he wouldn’t object to a biography.

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Nothing is Impossible

Electric Dreams: “Impossible Planet” (David Farr, 2017)

One thing that struck me about the anthology series opener, “The Hood Maker”, was the openness of its ending — not in a Tales of the Unexpected twist way, but a leaving it open way. This week’s adaptation has another ambiguous ending, but in a more PhilDickian way and so inevitably, spoilers ahoy.

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A Murmuration of Stalins

The Death of Stalin (Armando Iannucci, 2017)

I’ve been watching Armando Iannucci’s comedy for decades now. He was there behind On the Hour and The Friday Night Armistice, not to mention The Thick of It and In the Loop. Much of his work this century has been exploring the back stabbing shenanigans at the heart of politics, even as reality outstripped him.
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Rousing up a mighty monster from his sleep

The Snowman (Tomas Alfredson, 2017)

It has to be said that this serial killer detective thriller is a very dark adaptation of Raymond Briggs and you’d think that there would at least be a remix of Aled Jones on the closing —

Dammit, Peter Bradshaw has already made this joke and I wouldn’t want to channel his views.
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Teeps n the Hood

Electric Dreams: The Hood Maker (Julian Jarrold, 2017)

Ok, what I’m not going to do is laboriously compare these Channel 4 PKD Estate sanctioned adaptations to the originals, partly because the f-word is not necessarily useful to criticism and partly because the collected stories are currently behind a pile of boxes. And it’s also worth noting that, frankly, some of the short stories are pretty ropey. See, say, “Paycheck”, which the film might just about improve on. So I’m ignoring the fact that this version of “The Hood Maker” shifts emphases, instead focusing on a general sense of the PhilDickian.

The jizz of Dick, to borrow a term from birding.

Oh, and spoilers.
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