This film follows Quigley’s attempt to qualify for the World Championships in Glasgow next month. In this personal documentary, cyclist Josh Quigley recounts how his hard-partying teenage years led to depression and a suicide attempt. “I could not be any further away from what an elite cyclist looks like,” he says of that time of his life, before cycling offered a chance of redemption. He explains how charismatic men – it is usually men – can convince people to give them unquestioning devotion and, of course, their money.
#Another word for brave that ends in ed how to#
Now exiled from Heaven and Hell, angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant), must team up again after a familiar face returns to their lives.įollowing the darkly comic docuseries How to Become a Tyrant, Peter Dinklage (Game of Thrones) narrates this six. Neil Gaiman’s apocalyptic odd-couple comedy (based on his and Terry Pratchett’s novel) returns for a second series. All episodes are available on iPlayer from today (Friday). And the bomb Kath drops at the end of this episode will make you come back for more to see Parker beginning to get his comeuppance at the hands of those he has turned over, including the women in his life, father-in-law Dougie (George Costigan) and Kath’s best friend Gladys (Sheila Reid).
Much of the comedy is broad, but there are lots of good lines and a terrific early 1990s soundtrack. His girlfriend, Kath (Gibson), a mobile hairdresser, is planning celebrations for their 25th anniversary – unfortunately at the same time his oblivious wife, Diane (Rosie Cavaliero), is throwing a welcome party for their daughter’s French exchange student. By the end of the first episode we see why he’s mired in debt and his complicated private life is threatening to unravel. Hill plays Martin Parker, who owns a chain of electrical stores in 1990s Manchester and is all big-house, big-car, shiny-suits swagger, but is struggling to keep his head above water. No one in the play feels known to us, and you end up wishing for more substance to match the production’s ample style.Conleth Hill – who is always good value – leads a strong cast in this amusing and well plotted six-part comedy written by Paul Coleman and Sian Gibson (who worked together on the fabulous Car Share). Some of the performances are halting or wooden, so we do not believe in the connections between these characters. We are let into Ed’s mind during matches – he describes how he feels while playing a game, and there are tiny, tantalising emotional insights in these moments, such as the fact that he wished to be injured as a child in order to get more attention. Ed’s father (also Mackay) occasionally appears, but is shadowy. A physiotherapist (Mackay, doubling up) gives Ed a mental health assessment but this part of the story goes nowhere. He says he fell down the stairs but Charlie suspects he is lying and tells the team, which seems clunky and unconvincing given they are best friends.
The main plotline involves Ed’s apparently broken leg. Characters are flimsy, and the choreography brings pace and visual effects but gets in the way of the story’s development. This conveys the brute energy of the sport, with scrum formations and men charging into each other.īut as important as its subject matter is, especially given high male suicide rates in recent years, Lewis Aaron Wood’s script doesn’t quite fly. Staged just short of a rugby match at 70 minutes, there are artful scenes in which characters run across AstroTurf while Eliza Willmott’s excellent sound design sets their movement against drum’n’bass and electronica. Under Daniel Blake’s direction, the production effectively dramatises the adrenaline charge of the sport and its physical dangers.
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