Comedy

In a new hour-long monologue, Burn, Alan Cumming examines the life and work of Robert Burns. The biographical material is drawn from Burns’s letters, and the poems are read out in snatches. You won’t learn much except that Burns was a poor farmer who later worked as a taxman. To represent his many flings with women, a few high-heeled shoes are dangled on strings above the stage but this looks strangely cheap given that huge sums have been lavished on graphic imagery projected onto a big screen at the rear. Flashing lights and surges of music add to the sense of distraction. Cumming’s performance centres on dance, which looks like a new departure for him.

Grizzled police officers of the old school should probably avoid Channel 4’s Night Coppers for reasons of blood pressure. Like most documentary series with close access to the police, this one paints them in a light so favourable as to be almost comically sycophantic. The trouble for those grizzled types is that – the times being as they are – what’s now considered favourable is to make the rozzers who patrol Brighton after dark all seem like that pathologically liberal Dutch cop played by Paul Whitehouse in the late 1990s. https://twitter.com/C4Press/status/1546908729370632192?

Just how edgy and dangerous is Ricky Gervais? There is no one more edgy and dangerous, we learn from no less an authority than one R. Gervais. He keeps reminding you of this at intervals in his latest stand-up special, for which he was reputedly paid $20 million (to go with the other $20 million Netflix paid him for its predecessor). Every few sketches, he’ll announce to his live audience that this one was so offensive there’s just no way Netflix is going to broadcast it. But Netflix has done just that – and yet, quite incredibly, neither it nor Gervais has been cancelled. Funny that. https://www.youtube.com/watch?

Ricky Gervais has caused a stir. This is not, perhaps, the least expected thing you could hear about the sixty-year-old British comedian, but his new Netflix show, SuperNature, has attracted an unusual amount of opprobrium for what people have perceived as anti-trans jokes. In the show, Gervais makes a distinction between “the old-fashioned women, the ones with wombs” and “the new women... with beards and cocks.” He calls upon the latter to “lose the cock,” and the audience laughs along with him hysterically.

Last April Fools’ Day, Mark Kermode and Simon Mayo wound up their award-winning film review show on BBC Radio 5 Live after 21 years on air. A little more than a month later they are back with Kermode and Mayo’s Take, a podcast so similar in flavour and format that you could call it an up-yours to their critics. While Mayo stressed that it was their decision to go their own way – ‘we have decided, and to be clear: that’s no one else has decided’ – he was slightly more candid about his experience in an interview with the Radio Times a few weeks ago. People of my generation have grown up with Kermode and Mayo, and were as surprised as any by their departure. But we needn’t fret.

Cockburn was crestfallen to learn that James Corden is set to end his tenure as host of The Late Late Show next year. In his eight-year stint Corden has cemented his status as the most welcome British export to America since class snobbery and weak, milky tea.

Chivalry – written by and starring Sarah Solemani and Steve Coogan – is a comedy drama about post-#MeToo Hollywood life. It’s perhaps not surprising, then, that the show’s chief characteristic so far has been nervousness. Somewhere inside it, you feel, lurks an impulse to really let rip. But if so, Thursday’s first two episodes successfully resisted it. Now and again, we did get some jokes that might just frighten the admittedly neurotic horses of the new Moral Majority. The overall effect, though, was of a game of How Far Can You Go? in which the contestants’ answer was a firm ‘not very’. Still, even this level of unorthodoxy seemed unlikely when the programme began.