Chris Morris is a man of stubborn pride and integrity as well as having an extensive grasp on the English language. A satirist's satirist. He is no misanthropic preacher or crass wannabe demagogue, he is the real deal. He created one of the greatest feature comedies of this century with Four Lions, illuminating upon the absurdity of the war on terror from both fronts in a refreshingly frank manner.
Though it was TV where he made his name and arguably his best work. The Day Today put him underneath the Iannucci umbrella of 90's gloves off British satirists, but it was with Brass Eye that he established himself as Iannucci's equal, but also a wryly skilled video artist.
What stands Brass Eye out from other forget-me-not, similarly themed British 'satires' such as Dead Ringers, that god awful Harry Enfield BBC mockumentary or, i don't know, i haven't watched tv in a while. Point is, Chris Morris took on board fully the techniques the media uses to entice and subject, but unlike most British comedians, did not become seduced by all that abominably elaborate crap and lose focus. A strong moral anger drives so many of the gags seen here; Morris attacking the tabloids every chance he allowed himself, highlighting seriously disturbing attitudes towards law and order, the poor, sexuality, held massively in Britain, then, and now.
High and low, big and small, Morris attacked mainstream media on all sides with an endless barrage of exposed double standards and gross exploitation. Some of it might offend, but to put a oft used soundbite to some good for a change, facts don't care about your feelings. The media has been vapid and establishment complicit for quite a while now and may i be so bold to say that Morris played as much part in commencing the inquiry as Noam Chomsky.
So much prophesied here i'm surprised David Cronenberg wasn't attached to this. Meaningless, flashy graphs like the ones you see on PragerU and other conservative think tank outlets TODAY, deconstructed and ridiculed in ***damn 1997! Arbitrary and redundant moral outrage like we saw over Trump every week, inadvertently legitimising his con, deconstructed and ridiculed in ***damn 1997! The oppressive, suffocating overproduction that floods daytime TV now, deconstructed and ridiculed in ***damn 1997. But wait, he made fun of predators oooooo.
Speaking of which, the 2001 special perfectly illustrated the repulsive exploitation of child abuse stories in British media that was just starting around that time that in no doubt played it's incandescent part in forming the Tommy Robinson cult as well as other numerous panics as well as just giving British people another excuse to be untrusting of each other.
I must also mention the numerous, authentically surreal moments that takes the basic tools of tv journalism such as reconstructions, mood lighting, stock footage, graphics and births a violent nightmare of glossy production values and hypodermic needle stabbing of such intensity that if this show does not deprogram you from the herd mentality they try to install you with, then, have a nice life.
I'm spent. Brass Eye is a powerful and fully conscious assault on 90's media that is still all too relevant.
Though it was TV where he made his name and arguably his best work. The Day Today put him underneath the Iannucci umbrella of 90's gloves off British satirists, but it was with Brass Eye that he established himself as Iannucci's equal, but also a wryly skilled video artist.
What stands Brass Eye out from other forget-me-not, similarly themed British 'satires' such as Dead Ringers, that god awful Harry Enfield BBC mockumentary or, i don't know, i haven't watched tv in a while. Point is, Chris Morris took on board fully the techniques the media uses to entice and subject, but unlike most British comedians, did not become seduced by all that abominably elaborate crap and lose focus. A strong moral anger drives so many of the gags seen here; Morris attacking the tabloids every chance he allowed himself, highlighting seriously disturbing attitudes towards law and order, the poor, sexuality, held massively in Britain, then, and now.
High and low, big and small, Morris attacked mainstream media on all sides with an endless barrage of exposed double standards and gross exploitation. Some of it might offend, but to put a oft used soundbite to some good for a change, facts don't care about your feelings. The media has been vapid and establishment complicit for quite a while now and may i be so bold to say that Morris played as much part in commencing the inquiry as Noam Chomsky.
So much prophesied here i'm surprised David Cronenberg wasn't attached to this. Meaningless, flashy graphs like the ones you see on PragerU and other conservative think tank outlets TODAY, deconstructed and ridiculed in ***damn 1997! Arbitrary and redundant moral outrage like we saw over Trump every week, inadvertently legitimising his con, deconstructed and ridiculed in ***damn 1997! The oppressive, suffocating overproduction that floods daytime TV now, deconstructed and ridiculed in ***damn 1997. But wait, he made fun of predators oooooo.
Speaking of which, the 2001 special perfectly illustrated the repulsive exploitation of child abuse stories in British media that was just starting around that time that in no doubt played it's incandescent part in forming the Tommy Robinson cult as well as other numerous panics as well as just giving British people another excuse to be untrusting of each other.
I must also mention the numerous, authentically surreal moments that takes the basic tools of tv journalism such as reconstructions, mood lighting, stock footage, graphics and births a violent nightmare of glossy production values and hypodermic needle stabbing of such intensity that if this show does not deprogram you from the herd mentality they try to install you with, then, have a nice life.
I'm spent. Brass Eye is a powerful and fully conscious assault on 90's media that is still all too relevant.