Capturing the essence of an era is not an easy task, especially for a sitcom writer. For every ‘The Young ones’, there are ten ‘Gimme Gimme Gimme’s. However, in the same way that Ben Elton and co. managed to encapsulate the self-obsessed attitude of the masses during Thatcher’s Britain in the 1980’s, the post-new labour fall out of the late twentieth century is documented brilliantly in the two series that make up the existing legacy of Spaced
In much the same way as all those little boxes buried 3 ft under the Blue Peter garden, it would be fair to say that this TV show possesses time capsule-like qualities. So embedded in the late 90’s/ turn of the millennium zeitgeist is the humour and sly reference, however, that it is unlikely that the silver suited freakish alien of the future would be able to understand much of it’s appeal. Following the plight of two (just about) twenty-something flatmates still immersed in the youth culture that helped them along the path to ‘maturity’, Spaced is a visual and aural delight.
The mix of Simon Pegg and Jessica Stevenson’s script and bizarre story twists and director Edgar Wright’s almost maverick approach to shooting and painstakingly editing it all together made it an instant cult classic. The fact that the credit for the series was always shared between the two writers and the director is in itself unique for a ‘sitcom’. Do you know who directed ‘Fawlty Towers’ or ‘Only Fools and Horses’? No, me neither, because it was never that important. Spaced’s appeal is as much indebted to the way it looks as to anything else. Superficial? Possibly. Exciting? Definitely.
The premise of the show is pretty much straightforward. Built on a farcical arrangement in order to rent a flat, the advert stating that applicants must be a ‘Professional Couple only’, Tim (Pegg) and Daisy (Stevenson) are immersed into a world of meaningless jobs, odd-ball neighbours, getting pissed and what can only be described as a series of ‘comic capers’, very much in the vein off the cartoons which that very phrase invokes images of. Even though this is merely a stylised version of most young people’s lives at the time, that in itself could be the very key to its enduring appeal. Any show that can echo the world of those watching it is definitely off to a good start.
In fact, despite gaining a following during and after its broadcast, it would seem that Spaced had cemented its reputation as a cult classic even before it had been first aired on channel 4 in 1999. By referencing a whole list of other cult classics, and featuring a massive list of cameos (David Walliams, The League of Gentlemen’s Reece Shearsmith and Mark Gattiss, Kevin Eldon, The Bluetones and Simon Pegg’s dad amongst others), it’s fair to say that there was always going to be a guaranteed audience, and sure-fire market for the home releases. The sheer volume of homage’s that series contains is enough to make any Sci-Fi / movie geek wet their pants at the sheer prospect. Even the less train spotter amongst us will recognise some of the scenes which owe a few pennies to The Shining, Scooby Doo, The Matrix, Taxi Driver, The A Team, The Sixth Sense and the X files, not to mention Star Wars.
As with most comedy programs, the first series is all about getting to know the characters. Once Tim and Daisy have moved into the new flat, they are introduced to their landlady, Middle aged wino Marsha and the reclusive Art freak from downstairs, Brian (played to perfection by Mark Heap). In the spirit of the classic relationship sitcoms 'Friends' and the far superior (and funnier) 'Coupling', Daisy and Tim’s best friends are the remaining two people who make up the six main characters. Territorial Army enthusiast Mike (Nick Frost), who provides the light comic relief whenever things are getting a bit too sensible, and Fashion obsessed half-wit Twist. However, whereas the situations that bring them all together aren’t completely out of the ordinary (Performance art, paintballing, clubbing and saving their dog from a mysterious dognapper - what, you mean to tell me you’ve never done that?!), they’re all done in a skewed and consistently funny way, always managing to slip in a classic line here and there, some of which are lifted straight from the silver screen.
With the greetings and niceties out of the way, the second series allows you to sit back and watch the characters fall in love, fuck up, rob offices and throw things at each other. Not to mention appearing in an underground robot wars contest. In many ways its the predecessor’s sexier, funnier older brother, these seven episodes deliver on everything that the first series promised. It seems that Pegg and Stevenson got all the mistakes and naivety that they may have had writing the first installment out of the way, and the result is a much more accomplished creation. Not to say that it’s grown up or anything (thank god), but there seems less need to explain the actions of the characters this time and just let them get on with it. Also, furthering the ‘cult’ appeal mentioned above, the second series contains a countless number of jibes aimed at ‘Star Wars Episode 1:The Phantom Menace’, and Tim loses his job in the comic book shop (owned by Bilbo aka Bill Bailey) for refusing to sell a Darth Maul toy to a child because, even though at the time the film was 18 months old, “it still hurts”. A thought echoed my much of the audience no doubt.
In terms of laughs per minute, Spaced doesn’t churn out constant giggle fodder. There isn’t the kind of joke every other line which you get with 'Father Ted' or 'I’m Alan Partridge' for instance, and if you don’t get the many film references which the characters pay homage to, then you’re already off to a bad start. But by replacing the, some would say, winning formula of easily accessible gags with observational and surreal points of humour, Spaced manages to plough its own furrow and sit there in a deck chair, bathing in it’s own sunshine. It’s not always what the characters say, it’s how they say it. In other words, there aren’t as many actual jokes as we have conventionally come to expect from a half an hour sitcom - in the rare instance that one seeps through, it’s usually acknowledged with a knowing remark (when Daisy refers to the axe on Tim’s Robot as a ‘big chopper’ it’s met with the response of “Don’t cheapen this”). However, because the main humour comes more from what the characters are doing and where they are than a joke for the sake of a joke, Spaced is in many ways the ultimate situation comedy. It’s just that, well, some of these situations involve FBI agents, zombies and simulated warfare.
Skip to the end…
For a show whose visual ammunition is chiefly the American film industry, it seems strangely ironic that Spaced should act as a portal to British society, but that it does. It may be of its time, but not a lot has changed in the last four or five years and thankfully it’s still as enjoyable to watch as it was then. For those who enjoyed ‘Shaun of the Dead’ but have never seen the series, then stop reading this and go and get your hands on a copy and watch every episode from beginning to end. Now! Tonight you’re gonna party like it’s 1999. Again.
Stephen Morse.
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Recommended Links:
Spaced Out - The Unofficial Official Fansite, which is the only place you really need to go for all of your Spaced needs.
Classic Tv Archive:
The Larry Sanders Show.
Twin Peaks.
Brasseye.
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