The horror, the oppression

Paul Mayhew-Archer: ‘I had to write Vicar of Dibley jokes to feed my family’

The cruelty of modern life, eh?

He has also worked as a script editor on shows including Mrs Brown’s Boys, Spitting Image and Two Pints of Lager and a Packet of Crisps.

Hmm, that last, well, torn between someone did write jokes for it and yes, OK, that’s real oppression.

10 comments on “The horror, the oppression

  1. It is becoming harder and harder to recognise genuine articles from satire if you just read the headlines.

    For example, the one last week, which wen’t something along the lines of “I wanted to know what ordinary people think, so I talked to Bono”.

    Godfrey Elfwick lives!

  2. Sorry to hear about the Parkinsons, but even so the BBC should demand a refund.

    The Vicar of Dibley was, from my dim memory of a couple of episodes, not fvcking funny at all. In this it continues the recent comedy output of the BBC. We should demand that their comedy shows give us some funny jokes and also that their current commissioning editors of comedy shows are themselves de-commissioned sans compo for abysmal failure to meet their brief.

  3. HB we must pray that Paul reads your comment and now realises why all those rip-roaring belly laughs about “sodas at the drugstore” never quite came off…

  4. Bravefart – different people like different things. I rather liked how funny Vicar of Dibley was.
    Made me laugh many times even now having seen some episodes over 2 dozen times.

  5. Martin

    OK. Of course, I allow you to have different comedic tastes. However, to illustrate my point about BBC (lack of) comedy can I raise you one Marcus Brigstocke?

  6. Talking of comedy, Nick Cohen has a good piece up at the Spectator on the left and their attitude to issues like racism and misogyny when carried out by the left and how its ignored by lefty writers and comedians. I thought this was rather good:

    They may not only be motivated by a prudent bourgeois concern to keep the paying customers satisfied. It is not at all clear to me that left wing or liberal audiences want a party line. At the Edinburgh Festival this summer, for instance, Matt Forde, one of the handful of comics who is prepared to break taboos, set up a gag in deadpan style. He explained:

    ‘Corbyn is against the EU because it limits a Labour government’s ability to control business – so he’s a nationalist.

    ‘And he wants to take control of businesses – so he’s a socialist.

    ‘Put that together and he’s a national socialist… I just hope he’s checked the Jewish community are OK with that.’

    A few members of the audience walked out. But most stayed and enjoyed a transgressive thrill. Just as in the Labour party itself, party-line doctrine is set and followed by cliques rather than the broad mass of leftists.

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