Physical copies of Slow Shutter have arrived! A woozy descent into tabloid filth and personal turmoil. From me, @EllBalsonArt and @HassanOE . Thanks as always to @ComicPrintingUK for the stunning print job. Available from https://t.co/tym5lUZoPL
@TylerJamesComic There was a strong implication that people should be welcoming and embracing, and I think there's certainly levels of door opening that are less easy to swallow than others. Is this anything but an attempt at being contrary?
Imagine explaining to people that the guy who became a nationwide hate figure for trying to undermine the NHS, to the point where he couldn't show his face in public without being called "Hunt the Cunt," is now running for Prime Minister... and he's the LESS repulsive candidate.
@AdlaiM "OF the moment. I said OF the moment. There is a huge difference between me saying "Nicola, I'd like to go for a lovely walk with you" and "Nicola, I'm going to make a hat out of your fucking entrails."
Bethanys journey through Y&Y will hold up really well on rewatch I think. Her ease and warmth increasing as she becomes more modded and connected has been told almost entirely through the acting, rather than called out explicitly, but it's there and white wonderful.
The concentration camps pitch scene is maybe a good microcosm of why it works for me? Past and present reintroduced so we see its genesis 5 minutes in the future, stripped of the contextual luxury of slow creep and given solid immediacy. Stark, implausible logic.
I hope there are many many thinkpieces about how "Years & Years" achieves what it does. It compresses so much of the past and present into one instantly recognisable horror, but I really want to start why and how this show in particular manages to be so effective.