Friday, December 8

A massive blunder

E4s cynical attempt to cash in on the catchphrase panflash has failed dreadfully, says Mark Lewis

If I was trying to be a bit clever, I would say Blunder (Thursday, E4, 10pm) is a poor imitation of post-modern comedy four or five years after the onset of post-post-modernism. But that would be shit.

It’s not unlike Blunder (Thursday, E4, 10pm), which is a poor imitation of post-modern comedy four or five years after the onset of post-post-modernism. And shit.

And so it goes on until finally you have a half hour sketch show - or a three hundred word review - so witty it could have been written by Fern Cotton [massive Vernon Kay wink].

Even the show title, is desperately try-hard post-modern: It is either the achingly self-referential brainchild of whoever commissioned this turd, or oh so cleverly poking fun at those of us who somehow don't get the comedy. To point out that the whole exercise is the biggest blunder since Clive Sinclair went, 'fuck reverse gear,' would be to take the deliberately obvious joke.

But at least it is a joke. If this catchphrase comedy appeals beyond the T4 demographic then I’m a half hour of Friends followed by a Hollyoaks omnibus.

The shame is that David Mitchell (who is still funny despite being on the box more regularly than Huw Edwards) has done yet more lousy television. You may remember Mitchell from such comedies as That Mitchell and Webb Thing and Peep Show. Peep Show you will recall was probably the best programme in the world ever. But Mitchell should never have done That Mitchell and Webb thing. And he darn tootin’ shouldn’t have done this.

Sure, he probably didn’t get the same warnings we did from E4s continuity presenter who not only described Blunder as ‘probably the best programme in the world ever’ (Vernon Kay; Fern Cotton, circa 2004), but also told us to get ready for ‘a whole lot of catchphrases to learn and love.’

There was the bloke who says ‘Shuddup’. And that other bloke who says ‘are there any tits in it?’

Then there is the woman so post modern she’s playing one of those funny girls who aren’t funny, unfunnily. Dire dire dire.

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