#nigel squires

[stealerofthe2ndbraincell]

I tend to view Riddle of the Sphinx and Misdirection as kind of partner pieces: familial revenge plots deeply involved with Steve and Reece's own interests - with the main communicator of the topics being arrogant arseholes who clearly know a lot about their craft, but obtained their status in shifty and immoral ways (to paint a VERY broad brush of things ofc).

However, I rewatched Misdirection yesterday and, in comparison to Squires at least, god Neville is horrible at all of this.

He really pulls out all of these very ominous and purposeful bits that only he'll get and can find amusement in, such as claiming that "not another living soul" knows "his" trick or that, to him, the theft of an idea is "worse than murder"...

... And then he gets rattled and completely squirms at the ever so-slightest threat from Gabriel. At the mere mention of him having a Grandad as an inspiration for his own interest in magic, Neville is so clearly on edge.

He also immediately folds at Gabriel's Mountweazel note and burns his secret of nine years - turning off the security camera so that there's no proof of anything happening. This is what leaves him with no alibi at the one point he actually needs it.

(Although I do think he could have come up with literally almost anything else to say when questioned about why he removed his security footage other than "no reason". It might not have helped much but it would have made him at least a bit less suspicious).

I think it's clear that Gabriel's plan relied on Neville's unyielding arrogance, but I think it's his paranoia that ultimately ruined him.

Plus, his own lack of creativity - literally keeping the name "A Chair Raising Experience" - also didn't help AT ALL.

Neville's security set up is honestly a really good reflection of himself and ultimately what dooms him. He has the security cameras set up at every angle to protect "his" ideas within the safe that he himself stole, whilst actively bragging in his published book about how well kept a secret he has. He wrote down the secret years ago and yet keeps the original copy and sets up this entire system around a point of potential exposure that does not even need to exist. He's paranoid at every opportunity at the idea of being exposed and yet cannot help himself but to show off.

Arguably, Squires does the same. He was ultimately pushed into a corner by Jacob when he had created a crossword about the current circumstances that easily acts as his own murder confession. Why? "A bit of fun" and to "teach" the girl who he knew was planning to kill him. It's to show off. However, this display of arrogance was done through a belief that he was in control of the situation. He was "aware" of the plan to kill him prior and so felt he could act in complete security and without consequence.

Squires' arrogance that got him in the end was without any nervousness or insecurity. Meanwhile, Neville's arrogance and desire to show off was in spite of his own insecurity.

[mariocki]

Play for Today: Buffet (BBC, 1976)

"Freddie likes squalid plays."

"I don't think I care for the theatre. If the theatre came to me, then that would be different. One has to go to it."

"I like a play to be about nice people. I like a comedy. I like to be taken out of myself. The plays Freddie likes to see are about squalid people. I like a play to reflect my own problems, I like a play to be about people like ourselves."

[bbbrianjones]

here are my spotify playlists i think some of you would like

✭ underrated sixties - oh you know your beatles and your rolling stones and your beach boys, but how about something a little different?

✭ dancing with nigel in my living room while listening to our record player, 1979 - we'll bitch about what's on top of the pops but we still watch it and enjoy the music. when it's finished, we then grab out the record player and dance the night away, praying not to wake my parents.

✭ painting a jackson pollock no. 5 with squire - it’s the middle of the afternoon. the sun is trying so hard to peek through the english clouds. me and john are in our garden, soaking up the sun as i'm laying on the grass while he tries to finish his painting. i peer over at his work and say “it looks like a jackson pollock no. 5…"

✭ shopping in carnaby street with mr shampoo - for those time me and brian went on a shopping spree in carnaby and king's st., spending our entire paycheck on velvet, silk and satin…

✭ sunshine music - a very underrated genre. just pure happiness. what's not to love?

✭ songs from tumblr dot com - songs that you'd find rb'ed on bbbrianjones.tumblr.com <3

distant memory - songs that remind me that someday i will only be a memory in someone's mind and they might ask themselves "i wonder what emmi's doing?"

[strykingback]

Jaune Arc- The Most Horrendous Knight Ever. (Twin Revisions)

Silence My Minions!! Now as you know yesterday night I did a why Jaune is a horrible knight post and the what not. But today I deleted it cause some stans really just wanna say that he is "isnt a knight." but knight inspired. Aight. Aight! I might as well hop onto the rewriting post and use everything to my knowledge. Cause holy hell almighty this was giving me a headache.

and having me in my bed like:

"I know this motherfucker did not just cherry-pick my whole post"

So yes, I deleted and a few of my replies and decided to get some help for this one. By the way huge thank you @burgers-and-diatribe for giving me a helping hand on this one. Y'all go check'em out and giv'em a high five. Cause they were a huge help for this revision.

So without further ado. Lets get into it.

Now before hand we're just going to get into it a huge part of RWBY's characters whether it be extra, protagonist, or antagonistic characters are inspired by either Fairytale, Historical, or Mythological figures. This can also include the Romanticization of Fairytales as well.

Now Jaune Arc is based off the historically legendary female knight of the Hundred Years War. Joan of Arc. Who was well known for having been granted a vision by the Archangel, Michael to save France from British Domination. This would later on culminate into her arrival at Orleans and participating in major battles and even after her death it would pave the way for the French to claim victory in the Hundred Years War several decades later.

Jaune would immediately trip over and fall flat on his face cause he can't even hold a candle up to Joan of Arc. Because it would better fit the historical allusion if he:

His Semblance was based around seeing into the future Which despite Transitioning Into A Woman In Later Volumes or Being Born as A Woman and being called Jeanne. Having erratic visions of Fire, being related to Cinder and a possible future of her death or a battle that could lead to her death.

Possibly her death inspiring others or paving the way for a major victory.

At the same time, they dont allude to their historical counterparts unlike how Jaune does so. Instead they go for the Paladin route due to it being such a huge Dungeons and Dragons concept as he achieves Aura Amplification which is none other than the Lay On Hands ability minus the healing factor of its ability.

I know Jaune is a Fantasy Knight but at the same time in Volume Nine he is called the RUSTED KNIGHT. in which at that point he either is or inspired by the romanticized concepts of the Code of Chivalry.

Before I hop into this lets just get this out of the way

Real Life Knights =/= Fantasy Knights

This is because Real Life Knights are by far not the romanticized concepts that we read or watch in media. As Real Knights were just overall horrendous, cruel, and even lazy. This is because most knights that we know in real life were in fact noblemen born into knighthood beginning their training no less than the age of fifteen. Then made into a squire and then into a knight.

Now knights in our world pillaged, murder, or even did many more horrible things in order for their status to be seen during the Middle Ages. As there have been many many accounts of knights doing horrendous atrocities as well.

As one account during the Age of Chivalry (The 11th to the 12th Century) as a historian recounts Sir John Arundel and his band of knights taking refuge in a convent violating the Nuns and stealing from them and throwing them overboard once they were all but used up. Not to mention real knights would usually face off against other knights. Sometimes in duels to resolve petty conflicts, entertainment or in festivals as well.

As the book Chivalry in Medieval England by Nigel Saul states; "Knights only fought for three things. Land, Gold, and War Booty."

Now as for Fantasy Knights this is not applicable to their Real Life counterparts as they are no means perfect as well. But its once again those romanticized concepts of what we see knights as. Noble, Kind, Understanding and Powerful altogether.

Now do they follow the concepts of Code of Chivalry? Ehhhh. Maybe depending on the character(s) in media.

As some Fantasy Knights are either, Sellswords, Free Knights/Paladins, Servants to a Lord, King or Queen, or Baron. Hell or even just bandits.

Now there are only two accounts of the Code of Chivalry

Song of Roland’s Code of Chivalry: 

Fear God and His Church Serve the liege lord in valor and faith Protect the weak and defenseless Live by honor and for glory Respect the honor of women

King Arthurs version of the Code of Chivalry: 

Honor Honesty Loyalty Valor

Now in my last post I did say Jaune should have been following those concepts of chivalry and how he falls flat in some areas of it. Until I was corrected saying that I shouldnt be applying those especially with how "vague" it is for something that is from a romanticized fairytale. It was then when I realized that if Jaune were to be a true knight he would have swear fealty for a Lord or King to follow those Codes of Chivalric Faith.

Now can I not apply those things to Jaune. No.

But Can I make him to the point where he was inspired by the Codes of Chivalry. Since Rooster Teeth made Jaune as a fictional character following a real life concept (Aka the Romanticized Concepts of the Codes of Chivalry), such as Knighthood.

Also the fact that monarchs did exist in Ancient Remnant in Volume 6 which further cements the fact the knights existed and with Ozma/Ozpin being a knight during that time.

Its almost as if saying Robyn Hill isnt based off of the Romanticization of Robin Hood because this, this, and that. Or because it does not in exist in Remnant. Once again RWBY's characters are based off of Fairytales, Historical, or Mythological figures we know of IRL. and yes even Romanticized Fairytales can count as well.

Yes I know some people will come at me and call me a Jaune Hater just because me and many many others rag on him. But at the same time... I rooted for him to become better. And due to idiotic writing decisions from Miles Luna and making him into a Ron Stoppable, shoe horning him into important scenes and the like. It only made me hate him more. The

I Like Him For the Character He Could Have Become.

Instead he is a failure to live up to his historical allusion and even fails at being a knight/ paladin archetype.

TL;DR: Another revision on how I explain why Jaune fails at being a Joan of Arc Allusion and a Knight Allusion

[pulpsandcomics2]

Treasure Island (1934) Directed by Victor Fleming

Wallace Beery - Long John Silver Jackie Cooper - Jim Hawkins Lionel Barrymore - Billy Bones Otto Kruger - Doctor Livesey Lewis Stone - Captain Smollett Nigel Bruce - Squire Trelawney

[talentforlying]

@formshaper: [dream] do you visit cemeteries often? — GARDEN OF EARTHLY BODIES STARTERS

' what, you don't? tch, the way you doll up, squire, i'd've thought trippin' amongst the tombstones would be yer go-to weekend off. best be careful, or the kids'll call you a poser. '

it all falls dismally flat, artificial mirth tapering out into heavy silence. he tips his head back and blows out a breath, the rising fog of life crystallizing in the cold air; the only sign of life, within these gates. ' you askin' me if i do it fer kicks, or to grave-dig? answer's the same either way: not really. ' he looks sideways to flash dream a humorless grin. ' gets dead boring around here. '

two rows back and three left from the open grave he's standing in, alba suria is buried. four back and seven right is nigel archer, despite his fervent fucking wish to be cryo-frozen and sunk to atlantis, the numpty. ritchie simpson had been cremated — no choice, the state of him — but his sister's plot is three rows down from rick the vic's, which is eight across from straff and his mum, forty feet from the fence that separates all your average everyman's corpses from intruding on the solace of the wannabe pharaohs of london and keeps albert case securely guarded inside the sackville mausoleum.

so, yeah, maybe he does visit cemeteries a bit often. why not? all his friends are here.

' . . . do they dream? where they are? ' he doesn't know why he asks. he certainly doesn't fucking want to know the answer. he chucks the spade out of the hole and crouches down to shove his hands in the dirt, digging with a viciousness born of defensiveness, carving past worms and shavings of rotted wood and grimacing as tiny pebbles squeeze up underneath his fingernails. there's something cathartic about the pain, about breaking his manicure down into mess. there's something cathartic about getting his hands dirty. ( better late than never, right me old mates? ) ' always sort of hoped they would. maybe just to pass the time, like. or to make it easier losin' everything and everyone you ever cared about. 'ere — '

he straightens up abruptly and tosses something out of the grave to dream: it's a skeletal forearm, with just enough stubborn ligament to keep most of the hand flopping comically at one end. the middle finger is up. constantine's grin is just as wide and toothy as every other six-foot-down denizen of this shithole.

' — give us a hand, wouldje? '

see, that's the really fun thing about being mates with a guy who's not so up on human culture: all the old jokes never get old.

[rich4a1]

Turn it up with Gerry Casey Show #239

Making a Scene Presents Turn it up with Gerry Casey Show #239 and his Guest Alice Armstrong Liam Gallagher & John Squires  Raise Your Hands Wildstreet  Come Down Nigel Connell  Everybody’s Born To Run Bruce Springsteen  Letter To You Ben Reel  Come A Long Way Davy K. Project  The Loner JJ& TJ  Highwire Blues Southbound Snake Charmers  On My Trail Robert Jon & The Wreck  Dragging Me…

[dustedmagazine]

The Smile — Wall of Eyes (XL)

Thom Yorke, Jonny Greenwood and Tom Skinner’s second album as The Smile, Wall of Eyes, is a notably different beast to its 2022 predecessor, A Light for Attracting Attention. The new record comprises five songs that the band has been playing live over the last year or so (“Teleharmonic,” “Read the Room,” “Under Our Pillows,” “Friend of a Friend” and “Bending Hectic”), plus three new songs (the title track, “I Quit” and “You Know Me!”). The eight-song track list feels rather scant compared to ALFAA’s 13 songs, and the album clocks in at an economical 45 minutes, neatly divided into four songs per side. Another notable difference is the absence of producer Nigel Godrich, replaced by Sam Petts-Davies, who’s previously worked with Yorke on the Suspiria soundtrack. How does it stack up against my favorite album of 2022?

Wall of Eyes’ three singles are all very different, immediately suggesting an eclectic listen, aching to be brought into coherence. “Bending Hectic” arrived first, prior to the album’s announcement, and initially seemed like it would be a standalone single. Clocking in at a whopping eight minutes, with a hair-raising “Day in the Life”-style string crescendo, it’s The Smile’s heaviest track to date. It builds delicately in its opening minutes with eerie string bends and a loose, exploratory rhythm section, before locking into a tentatively loping groove. After the nightmarish string section scythes through, all three members burst in, playing hard and heavy, the guitar and bass tones crackling with distortion. Second single “Wall of Eyes” is a much more restrained offering in 5/4 time, delicately played on nylon-string guitar, bass and tom-toms. The strings here are especially subtle and deeply satisfying, betraying Greenwood’s cinematic experience. Third single “Friend of a Friend” is different again, dominated by Beatles-y piano and a surprisingly dry and spacious mix. It couldn’t help but come across as a rather odd choice of single, but is much more successful in the context of the album, following the ambient coda of “Under Our Pillows” and opening side B with restraint and grace.

The album’s gorgeous standout, “Teleharmonic,” arrives early in the track list, almost trip-hop in its atmospheric color and muted palette, and featuring some lovely flute from guest musician Pete Wareham. Dynamics are summoned via Greenwood’s pulsing bass figure, plus cymbal washes from Skinner that are looped and pitch shifted to create a disorientating backdrop to Yorke’s most affecting vocal performance on the album. On “Read the Room,” Yorke’s gutsy bass-playing has the grit and fretboard-leaping dynamics of Yes’s Chris Squire, as the trio lock into a prog-indebted series of passages.

One criticism I levelled at their debut was the instrumental transitions within songs such as “Thin Thing” and “Skrting on the Surface,” which often felt a little rudimentary and underdeveloped. The shift from the satisfyingly strident first half of “Read the Room” into its head-nodding krautrock finale is achieved via a rather basic-sounding electric guitar riff from Greenwood. At the end of side A, “Under Our Pillows” opens with Greenwood’s trademark needling delayed guitar tone, which on first listen sounds uncannily similar to ALFAA’s “Thin Thing.” The song evolves similarly to “Read the Room,” but its transitions are far more elegant, the song finally dissolving into an extended outro of synth static.

The remaining two tracks, “I Quit” and “You Know Me!”, work well enough in the context of the tracklist, but don’t offer much in the way of memorable songwriting or engaging performances. “I Quit” acts as a light palate-cleanser, sliced and diced with glitchy effects, before “Bending Hectic” throws the listener off a cliff. Then, at the album’s close, “You Know Me!” is the kind of glacial piano-and-strings ballad that Thom Yorke can pull off in his sleep.

Compared to its predecessor, Wall of Eyes can’t help but come across as transitional. While there are some undeniably great moments, the overall experience feels a little low-stakes and disappointing. The Smile may have their own unique and burgeoning musical chemistry, but I for one hope the rumors that Radiohead may reunite this year prove to be true.

Tim Clarke

[sonofcoulson]

1914 Freedom's Five (Limited series)

Victorex Prime or the Scarlet Centurion (a Kang variant) is bored of life in the 40th century, having conquered everything there is to conquer. He has now resorted to conquering various eras of the past to alleviate the boredom. He has been trying to conquer earth during the chaos of WWI, identified as a good point in earth's history. Suitably advanced, but no notable superheroes. He has future tech and future fighters and they are mistaken for ‘martians’ by the public.

The Time Variance Authority aren't pruning regularly yet as this is still the time war, though He Who Remains (not named in the show) has worked out the technology. They have to stop the Scarlet Centurion to finally bring about the sacred timeline. They've stopped him twice and he escaped both times. They know if he continues to mess with this timeline then time eaters (demons from outside of time) will eventually consume it anyway. We will see this take effect in Legion later on.

Revonna Renslayer, a time judge, wants to use the new technology to prune the timeline, Kang variant and all. Mobius wants to try something different to see if the timeline can be saved. 

He tips off an obscure superhero team of the period and they take out a ‘martian’ tripod by themselves, proving to Renslayer that there is a possibility to save this timeline. 

Our heroes have to fight alongside the TVA against the invasion whilst simultaneously staving off being pruned by the same group.

The team are called ‘Freedom's Five’ (cringe) and consist of:

The Crimson Cavalier - Jean-Luc Batroc, an antecedent of Batroc the Leaper from CA:TWS. Equally adept at savate, swordsmanship and proto-parkour athleticism (studied under Georges Hérbert at Reims University in France). He was a criminal in peace time but fights for the freedom of France. (Played by David Belle).

Iron Fist - The Orson Randall version. Orson abandoned his post as protector of  the heavenly city of K'un Lun (luckily they replaced him before the city was attacked). Born in K'un Lun to an American father, he is headstrong and brash but also brave and protective of his comrades. He channels the mystical power from his fists into dual-wield pistols, extending the range and accuracy of his power as well as being an expert martial artist. He replaced the Silver Squire in the Squad. (Played by Brandon Lee).

Phantom Eagle - Karl Kaufmann. American born German who fights for the allies. The aceiest of flying aces and skilled at hand to hand combat too. (Played by Dolph Lundgren)

Sir Steel - Ned Chapel, a Yorkshire blacksmith, worked on the Armatage Estate and was bequeathed the enchanted armour Sir Steel. He is a master swordsman and has near invulnerability from his enchanted armour. His sidekick the Silver Squire is currently injured and therefore absent from the team. (Played by Sean Bean)

Union Jack - A young Lord James Montgomery Falsworth. Studied at Reims with Jean-Luc. Equally adept at the proto-parkour style of athleticism. Dead shot with a pistol and skilled at hand to hand combat. Sometimes converses in French with Jean-Luc. (Played by JJ Feild. Though I'm tempted to replace him with an age appropriate Nigel Havers).

TVA characters:

Judge Revonna Renslayer

Agent Mobius M. Mobius

General Dox

Hunter B-15

Hunter C-20

Hunter X-5

Various hunters and agents, maybe some clerical workers back at the TVA.

Other characters:

Lady Falsworth, the fiancée of James who holds a secret (she is Inhuman).

John Falsworth, younger brother of Lord James. Irked at being second in line for the title.

Ursula Frankenstein, John's love interest, has an ulterior motive for being with John. She is close to making a breakthrough in reanimation and is willing to go to whoever will fund her, including Hydra and mysterious cults.

Scarlet Centurion's warriors

Also Military types of the era

In the end they succeed, with TVA having to wipe everyone's memories of future tech and time travel. The government, with limited information, pass it off as a massive German bombing raid.

The Freedom's Five know it wasn't that, but they don't know what it was.

Back at the TVA, Mobius is disappointed that they had to take their victory away from them. Renslayer reminds him that was the only thing that saved them from being pruned.

[thehistoryone]

Oooooh this is hard

Reece: Viktor(once removed), Judee Levinson (log), Ollie plimsolls (log) , his character from hh, Maureen sowerbutts(Psychoville/in9)

Steve: Pauline (log), tish (log), David sowerbutts (Psychoville/in9), Barry styles (in9),Nigel squires (in9)

Think all my mutuals are tagged so join if you want! <3

had this idea for a tag game for quite some time now and i am curious to see your choices

Share your top 5 comfort characters of Steve Pemberton and Reece Shearsmith

mine are:

Steve

Reece

Tagging some lovely mutuals alphabetically

@a4chocolate @almost-born-in-1893 @amalthea9 @cryingfortheday @elizabeth-gadge @gavetheflamingswordaway @haras24 @lapis-lazuliie @9leaguesofmirrors @legzakimmbo @lemonwisp @lilac-paeonia @parnagfegg @paulinewoodall @retourne-toi-eurydice @rumproastgirl84 @rumrum1708 @screamqueenobv @the-20th-century-girl @thehistoryone @vaexathear @whizbang-cap @yonderghostshistories and everyone else who likes to join

[imagine-a-dream]

Imagine being Nigel's favorite student.

"Yes, Y/N?" You stood up and he could not hide his delight when you gave a perfect answer to his question. He nodded and shot you an approving smile.

He was slightly proud that it was you who raised a hand. On the other hand, it was quite predictable, you were one of the smartest students he have had a privilege to teach. But maybe his judgment was a little biased with you.

"Good one, that's correct!" He exclaimed and turned back to the board to write down the conclusion, hiding his smirk noticing the way your face has light up.

masterlist | request rules

[thebeautifulbook]

THE WHITE COMPANY by Sir Arthur Conan Doyle. (New York: Morrow, [1988]). Illustrated by N.C. Wyeth.

In 1366, while England is at war with Spain, young Alleyne Edricson becomes a squire to Sir Nigel Loring and travels to France to join a bold band of archers known as The White Company.

Originally published (New York: Cosmopolitan 1922)

source

[ofmdbigbang]

Title: found wanting Author: foxtails  @ratchet Artist: myoonmii Beta readers: lacuna & blackandwhiteandrose Characters:  Edward Teach, Stede Bonnet, Oluwande Boodhari, Black Pete, Lucius Spriggs, Mary Allamby Bonnet, Jim Jimenez, Chauncey Badminton, Nigel Badminton Relationship(s): Edward Teach/Stede Bonnet, Black Pete/Lucius Spriggs, Oluwande Boodhari/Jim Jimenez Rating: Explicit Additional Tags: Alternate Universe - Medieval, Inspired by A Knight's Tale (2001), Action/Adventure, Jousting, Slow Burn, Strangers to Lovers, Historical Inaccuracy, False Identity, Minor Injuries, Adventure & Romance Warnings: small, canon-typical reference to domestic violence Summary:

Sir Hornigold is dead, leaving behind three squires, an ill-fitting set of armour, a few swords, and a horse that he'd barely broken in. In his absence, Ed managed to win a tournament with no training, armour that wasn’t his, and a horse he’d never before sat on, let alone ridden. In just a few moments, he’d changed the trajectory of his life in a way he never dared dreamed he could. And he’d proven himself. He’d won. They’d won. He’s holding in his hand more money than he’s ever personally owned in his life, and Ed doesn’t want to use it to get home. He doesn’t want to admit defeat in the only life he’s ever really known. or: an A Knight's Tale au

Wordcount: 36,178

found wanting by foxtails

Art by myoonmii: instagram, twitter

[groupiesoutrageously]

Excerpts from a Nikki Squire interview by Paul Secord, 2000. From the Notes From the Edge website. 

PS: How did you get interested in music? 

NS: I always loved music, especially singing, so my friends and I would regularly put on shows in one of the houses in the street and all the children would come and I would be the singer. 

However, when I became a teenager, I knew that the East End wasn't where I wanted to be forever. I was ambitious and so I went to business school in the evenings, Corona School of Drama in the day, worked a Saturday job, eventually working in the West End. I started my own business and took piano lessons, always listening to music, some of that being: ska (Prince Buster), reggae, Woody Guthrie, Bob Dylan, Joan Baez, Joni Mitchell, Judy Collins, James Brown, Jimi Hendrix, Thelonious Monk, Charlie Mingus, Stevie Winwood, The Beatles, Crosby, Stills and Nash, Neil Young, Stravinsky, Holst, Bob Marley. All of these artists are as they come to mind not in order of time or preference and of course there are still others like Cream, Iron Butterfly, the Eagles, Led Zep (Kashmir being one of my favorites) — I’ll stop there!

PS: How and where did you first meet Chris Squire?

NS: Chris and I met in the then-famous Speakeasy Club. I think the best music club of that period, not a jazz club, but a place where Derek and the Dominos (Eric Clapton), Jimi Hendrix, Keith Moon, and others from the list I have already mentioned, played. 

Everyone in the business frequented the place, it was excellent, and on the evening of the 12th of August 1970, we began what was at first a friendship and the rest, as they say, is history! 

PS: What was your life with Chris like? 

NS: [...] In the very beginning Chris and Yes had not yet finished recording The Yes Album. There were only the two previous albums, Time and a Word and Yes, so full-on success and international success was yet to come. Therefore as a couple and with Carmen, a family, there were so many different dynamics to our lives, we were both around twenty-three and things were exciting. 

We lived in North London, then later in Notting Hill Gate in London. Chris was touring in America and Yes were becoming more and more successful. In those days we both disliked being separated but, as they say, it goes with the turf. Having said that, Carmen and I did go on tour quite a lot, Carmen would always sit on Chris' bass speaker with her little legs swinging in time with the band. 

In December 1972 we bought a house in Virginia Water in Surrey, known as "New Pipers.” Chandrika, our second daughter, was born a few months later, in February 1973. We set about renovating, and redesigning the home. We also built the recording studio under the house. Relayer was recorded there, along with Fish Out of Water, the Esquire album and many other projects — but both Chris, myself and the girls lived with builders for years! 

We tried, and succeeded in many ways, to have a normal family life, along with the builders, the recordings, rehearsals, touring, business meetings, school functions and family get-togethers — it was varied and never dull. 

[…] We were all vegetarians and lived on organic food (since about 1970) so food preparation was quite a big thing. In the grounds of the house we had a kitchen garden, so we had homegrown produce too. Chris and I took an active interest in matters of ecology and health and cultivated the land surrounding the house using organic methods. I studied health and diet extensively (I am involved in this still). It was incredibly busy sometimes and took a tremendous amount of organizing. Then in the summer of 1977 Camille was born — the youngest of the girls. We lived at home, toured together (whenever possible), lived in other countries together took holidays, we were, in every sense of the word, a family  — and we loved each other. 

PS: You mentioned your second daughter, Chandrika. That is a very interesting name; is there a story behind it? 

NS: When Chris was young, he had a very good friend called Darian. Darian's father was Indian and his mother English. They lived in Hampstead in London and were an extremely interesting family. Chris spent a lot of time at the family home and there was a bond between him and them. Chris and I had visited together, very artistic people I remember. They also had a daughter in this wonderful family called Chandrika, this name was passed on to our daughter. An Indian name by origin, Chandra (pronounced “chundra”) means Moon. So Chandrika means “Little Moon.”

PS: What kind of influence did you have on Chris' writing with Yes and his solo work? 

NS: In between all that I have already spoken of above, there would be many times where I would sing with Chris at the grand piano or Chris would sing something to me and I would give an opinion or an idea. The same with the guitar or the bass and downstairs in the studio it would be the same too, or I would watch him working and learn. Chris has a brilliant sense of harmony and is a fine musician, singer and bass player, so being there and taking it in has certainly influenced me! 

He would always carry stacks of 'out-take' cassettes from the studio and practice vocal harmonies to and from London, which was an hour long journey at least, I would be there and sing them with him, or make a suggestion perhaps, or simply be there. 

What influence I have had specifically on Chris is not for me to say, but we certainly shared a lot of musical and family life together. Creating music, by it's very nature, is a tapestry of people, times, moments, influences and inspiration, taken in by all we see around us —  therefore how could we not have influenced each other. 

PS: Did you and Chris ever write together? 

NS: Yes; it's very difficult to say all the small bits here and there that we may have contributed to each others songs, a few words, a line, or even one word, but all of the elements I have just mentioned have happened. 

For the most part, this question is answered above, but one song that does come to mind is "Red Light Ahead." We sang that song together so many times — I have always loved it. Some of the same lyrics feature on the closing vocal that Chris sings on “What You've Been Saying”, one of the tracks on the Esquire album. Although I write all my own lyrics, it wouldn't be unusual for Chris to make an appearance like that, with his lyrics and vice-versa, this being an example of one of the subtle crossovers that inevitably would occur in our life as it was. 

PS: What role did Chris play in the early days of Esquire? 

NS: Chris was always very supportive and would listen with interest to the developing demos. He was not staying at the house very much, sometimes living and recording in London and sometimes in the U.S., although I would often play him the tracks down the telephone line — to get his opinion on the tricky bits! 

If Chris was at a particular Esquire recording session, he would give his undivided attention as any dedicated musician would. Sometimes coaching me whilst singing — and he was tough, I had to do it perfectly and reach the high notes spot on. 

I always enjoyed working when Chris was around. I think Chris's influence was with me, whether he was there or not, always thinking if he would approve of my approach to a vocal, a lyric, a harmony etc., embracing a standard that I had not only admired in Chris but in Yes as a band and it's members. 

Chris and I worked closely on "To the Rescue" with Nigel and Charlie in a studio in California, called Record One. Although the song had already been written and was in demo form, Chris embellished the song tremendously as well as singing harmonies, some of those prominently in the middle eight. Then, of course, Chris and Esquire were together for all the mixing of the album at Ocean Way studio in California too. 

There were long times apart and long times together whilst the Esquire album was being written and recorded, but, as I have said, Chris's musical influence was there throughout for me personally, I think it always will be.

[constantviewings]

The TV Show Trials - Inside No. 9

Inside No. 9 is a British black comedy anthology series that first aired in 2014. It is written by Reese Shearsmith and Steve Pemberton. Each 30-minute episode is a self-contained story with new characters and a new setting, and all star both Pemberton and Shearsmith.

12 Days of Christine

When Christine brings Adam home from a costume party, her life begins to unravel. Her happiness slowly turns to sorrow.

It’s only fitting that this episode is the most popular as it is what introduced me to this entire series. This episode is phenomenal and I really enjoyed it, even though I knew the entire plot going into it. Shearsmith and Pemberton where really smart in placing the elements of the conclusion throughout the entire episode for you to piece together at the end.

Rating: 5

The Devil of Christmas

In a film within the episode, The Devonshires arrive at the alpine chalet for a holiday. The caretaker, Klaus, tells them about a local legend of Krampus, the Devil of Christmas. Meanwhile, the film’s director provides audio commentary.

I really like the production of this episode, with it being shot entirely on equipment from the 70s, but I have issues with the ending. The ending, and the twist, feel unceremoniously tacked onto the third act and come out of nowhere, which left me confused and unaware of how to feel.

Rating: 3

Cold Comfort

Andy takes a job at Comfort Support Line’s call center, a helpline for the lonely and desperate. Will he be able to cope with the emotional stress after he becomes the target of a stalker?

The choice of having this all shown through security cameras is fantastic, as you can watch camera-by-camera as a character does something and provides visual interest to otherwise standard framing methods. The story is also pretty good with the twist being satisfying, but it doesn’t make much sense in the context of the characters.

Rating: 3

The Riddle of the Sphinx

Nina breaks into the office of Cambridge Professor Nigel Quires, who publishes cryptic crosswords in the student newspaper as “The Sphynx”. Squires proceeds to teach Nina how to solve cryptic crosswords using the next day’s puzzle.

This is my favourite of the episodes that I watched. I’m a big fan of ‘double twists’ where a character thinks they’ve won, but they’ve actually lost everything and that happens twice in this episode.

Rating: 5

Tom and Gerri

Tom is a frustrated primary school teacher and aspiring author. One night, a homeless man named Migg returns Tom’s lost wallet, and Migg ends up living with Tom, to the frustration of Tom’s girlfriend Gerri. Tom’s life changes dramatically as a result.

This episode doesn’t stand out to me like any of the others, it’s reasonably enjoyable but didn’t leave a lasting impression.

Rating: 2

The Bill

A group of friends go out for tapas at Number Nine after a day of golfing; but tempers escalate quickly when they can’t agrees on how to settle the bill. Who will pay the ultimate price?

I’m going to be completely transparent, the bickering between the four main characters is extremely grading and I was over it ten minutes into the episode; but I’m interpreting that as fantastic writing. I also think they could have been a bit more inventive with the ‘No. 9’ element of this episode by having it take place at table nine instead of the restaurant “Number Nine”. Despite those two less than stellar elements, the final twist almost makes the thirty minutes of grading bickering worth it.

Rating: 3

La Couchette

A group of passengers in carriage nine on a train from France try to get some sleep, but the compartment quickly fills up and the possibility of sleep dwindles away. Then one of the passengers suddenly dies.

Similar to Tom and Gerri, I could take or leave this episode. It’s not that it’s particularly bad, it just isn’t particularly good or memorable. In a hypothetical situation where you can only choose five episodes of Inside No. 9, this one wouldn’t make the cut unfortunately.

Rating: 3

Once Removed

According to the Holes and Rahe Stress Scale, the three most stressful experienced in life are the death of a spouse, divorce and imprisonment. Moving house is only 32nd on the list. But anything could happen in the last ten minutes inside no 9.

I’ll be honest, most of the points for this episodes rating can be chalked up to its unique story structure where it jumps back in ten minute intervals whenever the plot catches up. Other than that, I found this episode quite standard.

Rating: 3

To Have and To Hold

When Adrian’s career as a wedding photographer starts to get in the way of his own marriage, his wife Harriet is determined to find out why.

This episode is somewhat mediocre, until the twist rears its head and then it’s all uphill from there.

Rating: 4

Bernie Clifton’s Dressing Room

It’s been 30 years since Northern double-act Len and Tommy last appeared on stage together. Then Tommy walked out on Len, and that was curtains for Cheese and Crackers. Until now – and one last gig in front of an invited audience.

This episode hits different, the entire episode (apart from maybe a minute) is just Shearsmith and Pemberton doing old, outdated skit comedy and it’s fantastic.

Rating: 4

Thinking Out Loud

Inside house no. 9, seven extremely disparate characters share their stories with a camera, their fats inevitably, inextricably, and unknowingly set for a head-on collision.

I’ll be completely honest and say that I was let down with this episode. Every time a new character was introduced I was piecing together the ways in which they could be connected to the others, only for them to all be split personalities. While I can’t comment on the accuracy of the portrayal of DID, it still felt stereotypical as a narrative device.

Rating: 3

And the Winner Is…

We join jury no. 9 of a television awards company as they decide on who is going to win the Best Actress award. But only one of the eight actresses can be chosen.

This episode was a little bit, dare I say it, uninspired? While it stars an impressive cast, it doesn’t make up for the lacklustre story. Maybe you need to know more about the industry to get it…

Rating: 2

Zanzibar

Strangely-farcical goings-on are in store for a group of unwitting guests, who have all booked adjoining rooms on the ninth floor of the Zanzibar hotel in London. This episode’s dialogue is written entirely in iambic pentameter.

On top of all taking place in a single hallway, this episode has another gimmick in that it is all performed in iambic pentameter which adds a unique charm to an otherwise unimpressive story.

Rating: 4

The Harrowing

In this horror comedy with a grim twist, a teenage girl is hired to housesit a gothic mansion, but it appears that there are scary things going on inside no 9.

I’ll give them this much, they tried something different. Did it work out? Not for me. Though Shearsmith singing Lord of the Dance flung me back into catholic school mass…

Rating: 2

Sardines

Rebecca and Jeremy hold their engagement party as Rebecca’s family mansion. The guests play a game of sardines, and as Rebecca’s friends and family are packed into a wardrobe, secrets are gradually revealed, leading to a dark and sinister discovery.

Like the 12 Days of Christine, I cheated slightly with this episode. This was the first episode I ever watched of Inside No. 9 and is the whole reason I am reviewing the show. This was my third time watching the episode, and it’s still just as good as the first two.

Rating: 5

(Bonus Episode) Dead Line

When Arthur finds an old mobile phone in his local graveyard, he makes the mistake of trying to contact the owner. But some mysteries are best left unsolved, and as Halloween draws near Arthur is plunged into a nightmare of his own making.

The plot description above isn’t exactly what the episode entails, because this is the live broadcast Halloween special from 2018 where they faked the whole thing going wrong. While it doesn’t have the same effect watching it on a laptop two years after the fact, if you can put that aside and fully immerse yourself into believing what they want you to, it’s still amazing.

Rating: 5

Did I like it? Most of the episodes, yes.

Will I continue watching? God yes, thank god it’s been renewed for two more seasons…

[marjanefan]

The Riddle of the Sphinx as a Greek Tragedy

Warning – this essay includes spoilers (under the read more link)

It may be set in modern day Cambridge but in its referring to the story of the Sphinx of Thebes (and Oedipus) and its plot involving multiple revelations and betrayals, its exploration of revenge it deliberately calls back to the golden age of Greek tragedy, This is a point Steve Pemberton and Reece Shearsmith have commented on in interview, particularly to explain the episode.

As mentioned, the main story from Greek mythology that the episode references is Oedipus, specifically his banishing the Sphinx from Thebes by answering her riddle. However, it also references elements from Sophocles play ‘Oedipus Tyrannus/Rex’ and other Greek tragedies both in plot elements and how the narrative unfolds.

Firstly it is important to note that there are some major differences between this episode and Greek tragedies. For example there is no chorus commenting on the action and we see all the major action happen in front of us rather than key events happening off stage which then are relayed by a messenger, amongst other things (However it could be argued the crossword itself acts as a Greek chorus commenting on the action and as the messenger as it will tell others what has transpired between Squires and 'Nina')

However, there are a great number of ways in which this episode very accurately reproduces the practices of ancient Greek drama.

In Greek tragedy we usually see dialogues between two characters (Sophocles introduced a third actor, but we usually only see two characters interact in his and Euripides plays). We only see dialogue between Squires and Nina/Charlotte then Squires and Tyler. There are often long passages of exposition and monologues which are also echoed in this episode with Nina, Squires and Tyler all getting opportunities to explain what is happening.

The Riddle of the Sphinx (like many episodes of Inside No.9) conforms to the three Aristotelian unities for drama set out in in The Poetics. It has unity of action (it concerns Squires confrontation with Nina/Charlotte and Tyler with no subplots), unity of time (it occurs in real time over a half hour) and unity of place (Squire’s office). Indeed, almost two third of the episodes of Inside No.9 in the first four series also conform to these three unities.

The plot could be said to conform to three-episode structure of Greek tragedy with Squires and Nina/Charlotte’s initial interactions about crosswords being the first episode, Nina/Charlotte revealing her true motives being the second episode and Tyler’s arrival being the third episode. The Poetics also set out that a discovery should occur within a play and this certainly happens in The Riddle of the Sphinx!

The referencing of the myth of Oedipus in the story must be deliberate with Squires involvement with the death of his two children and sexual assault on a young woman who turns out to be his daughter echoing Oedipus unknowingly killing his father Laius and marrying his mother Jocasta.

Squire’s real crime like most characters in Greek tragedy is his ‘Hubris’ (ὑβρῐ́ς). This goes beyond our concept of pride or arrogance (both of which Squires is more than guilty of). In Greek Tragedy it is almost a form of blasphemy (certainly in the plays of Sophocles and Aeschylus) in that it is a form of disrespect for the gods and fate. Oedipus may be infamous for (unknowingly) killing his father Laius and marrying his mother Jocasta. But in Greek myth, this is not his actual crime. His and his parents were informed separately by oracles that Oedipus is fated to kill his father and marry his mother. They both take action to try and avoid this, but these actions only ensure that they occur. More pertinently it is flaws in all three’s personalities that allow these events to pass. All three act rashly or impulsively when told about the prophecy (Laius and Jocasta command baby Oedipus to be left to die, Oedipus runs away from his adopted parents). In spite of the prophecy Oedipus and Laius get into a violent argument when they encounter each other which leads to Laius’s death. So both had tempers that leads them to have violent arguments with apparently random strangers they encounter. Jocasta marries Oedipus almost immediately when he arrives in Thebes as a hero for having vanquished the sphinx even though she has only recently been widowed and he is quite literally young enough to be her son (despite the prophecy).

The plot of Sophocles’ ‘Oedipus Tyrannus/Oedipus Rex ‘occurs years into Oedipus’ rule of Thebes and concerns the eventual revelation of his actions. Throughout the play Oedipus behaves in high handed and arrogant manner toward all those around him, such as the sear Tiresias, in investigating the cause of the plague that has befallen Thebes and the circumstances of the death of Laius. He refuses to heed warnings of what he might uncover or that he may himself be the cause of the plague. This exacerbates his horror when his actions are eventually revealed. Jocasta kills herself offstage (hanging herself – with her scarf, rather like Simon had done) and Oedipus blinds himself.

It could be argued that Squires has his fate foretold him in Tyler apparently warning him that Nina/Charlotte plans to kill him. In trying to avoid this fate and not exploring why Nina/Charlotte wants him dead or Tyler’s motivation for telling him, he ensures his eventual death and that of his daughter.

Squires thinks he can outwit ‘Nina’ and that he will not be called to account for his behaviour toward others who have less power than him (Simon in the crossword quiz, the other young female undergraduates he presumably sexually assaulted). He refuses to show sympathy for those who have suffered because of his arrogance. In the end one of his victims, Tyler, will call him to account in the most horrendous manner possible.

Jacob Tyler in many ways acts in the role of the avenging god that we see frequently appear at Euripides’ tragedies (such as Dionysus in the Bacchae). These gods often reveal at the end of Euripides plays to the central figure the full consequences of their action and punish them accordingly. Tyler’s actions bring around the downfall of Squires and he exposes Squires hubris in his treatment of others. He could also be said to act as a Deus Ex Machina (a trope especially associated with Euripides) in supplying Squires with the bullet to kill himself with. However, these figures are frequently shown to be petulant and deeply cruel in Euripides’ dramas (particularly in plays such as The Bacchae and Hippolytus). Tyler is shown to be similarly cruel and petulant with no compassion toward Squires or even Nina/Charlotte who he raised as his daughter.

Jacob’s first name may be an allusion to Jacobean tragedy. Many Jacobean tragedies (also known as revenge dramas) were every bit as bloody and revenge driven as many Greek tragedies and undoubtably this was another influence on Pemberton and Shearsmith.

Professor Squires middle name Hector (revealed only at the end of the episode) may be another allusion to Greek myth. In the Iliad Hector was the Trojan warrior who kills Achilles’ companion Patroclus in battle. This evokes the wrath of Achilles (the stated theme of the Iliad) who in turn kills Hector.

One of the main themes of the Iliad and many Greek tragedies is ‘honour’ and its maintenance. Characters such a Medea are shown to go to extreme lengths when they perceive themselves as being dishonoured. Squires is determined to maintain his honour as a Crossword specialist over a young man even if it means cheating and abusing his position of power. Tyler feels he has lost his honour both by Squires cuckolding him and his resulting withdrawal from his promising academic career. Both men have an unhealthy preoccupation with their standing in the eyes of others and with being successful. Honour and excelling is linked to identity and power in Greek myth and is seen as almost conferring a form of immortality. The maintenance of honour becomes a deadly matter. Tyler can only see one way of restoring his lost honour- by avenging himself upon Squires and robbing him of his honour by exposing him to shame.

Nina/Charlotte has some interesting comparisons with two figures from Greek tragedy in Electra and Antigone. Electra and her brother Orestes’s killing of their mother Clytemnestra and stepfather Aegisthus in revenge for the murder of their father Agamemnon was the theme of plays by both Euripides and Sophocles (and the Oresteia). In Euripides’ play Electra’s desire for vengeance is met but she is then beset by guilt and regret. It is also worth notig that at least in Euripides plays Clytemnestra's killing of Agamemnon was in large part motivated by his apparent sacrifice of their daughter Iphigenia)

But Nina/Charlotte also has some parallels with Antigone, Oedipus’s daughter (who is herself the subject of a play by Sophocles). Antigone ensures her brother Polynices is given a proper burial after her uncle Creon expressly forbids anyone doing this. She is caught and punished by being entombed alive. Like Antigone, Nina/Charlotte is concerned with doing what she perceives as right by her dead brother. Her fate of being left completely paralysed while dying a slow death could be said to echo Antigone’s fate.

Alexandra Roach gives a powerful performance as Nina/Charlotte showing her fierce determination to avenge her brother and later her horror as the extent of Tyler’s betrayal become evident (all the more so as the character is completely paralysed – but her eyes speak volumes). She has been betrayed by both her ‘fathers’ (particularly Tyler) and her life has been lost as collateral in their power game. This echoes both Electra and Antigone having little power as women in their stories, a reflection of the highly patriarchal nature of ancient Athenian society.

There was always a clear moral purpose to Catharsis for the of any Greek tragedy. These were collective experiences whih deliberately explored religious and moral questions for the audience. To this end each play needed an act of ‘Catharsis’ (fear and pity) which Aristotle wrote was so critical to a successful drama. We get this act of catharsis. Squires is confronted with his role in the death of his two children (and the fact he assaulted his own daughter). Steve Pemberton manages to make Squires a pitiable character in the final moments of the episode. We see Squires is genuinely distraught at what he has done to Nina/Charlotte as he cradles her in her final moments. We pity Squires as a man who inadvertently destroyed the family he could have had if he had been more honest, less arrogant and less lecherous. We are also left with feelings of fear that people like Tyler are so ruthless in their quest for revenge and that our own misdeeds. The gunshot at the end resolves the action and ironically both Squires and the audience are released from the tension of the events of the episode.

The Riddle of the Sphinx may at first be nasty fun but as with much of Inside No.9 there is a moral message. Both Squires and Tyler behave in a toxic and entitled way which no one in the audience is supposed to admire. Squires may be physically destroyed by the end of the episode but Tyler is destroyed morally. Nina/Charlotte is so warped by a desire for revenge she is consumed (quite literally!) by it. All this in a story apparently about crosswords