Published on 24 Jan 2014
Angus Deayton presents a film award as Rowan Atkinson plays the bad loser accepting the award on behalf of someone else.
Whether mesmerising us with the sheer visual mastery of Mr. Bean, beguiling us with the acerbic wit of Edmund Blackadder, or simply entertaining us as the suave, but rather hapless British Secret Agent Johnny English, you surely won’t have escaped the comic genius that is Rowan Atkinson.
In Rowan Atkinson Live, co-written with Richard Curtis (4 Weddings & a Funeral, Notting Hill, Love Actually) and Ben Elton, Atkinson runs the whole gamut of his remarkably versatile 30 year career, with sketches, mimes and monologue’s that are guaranteed to have you shedding tears of laughter. Performing live on stage alongside ‘straight man’ Angus Deayton, the show features a number of original and familiar routines, including sketches that appeared in the original Mr. Bean series.
November 3, 2016
Rowan Atkinson Live – Award Ceremony Bad Loser
QotD: How culture is spread in theory and in practice
If mediation is necessary for the average person to understand art (and sometimes it is), then this mediation is available in profusion via the same channels as the arts themselves. The local library, your parents, friends, the internet, book clubs, private teachers, interested amateurs … the list goes on and on. These are the vectors by which “culture” is injected into society. We learn culture from the artists and from our fellow men, not from learned dons who sit around stroking their beards and fretting about the malign influence of the hegemonic white-male patriarchy.
“But the internet is full of lies, mistakes, craziness, and utter junk!” the humanities profs might reply.
This is true. But this is also true of university humanities departments. At least YouTube won’t charge you thirty grand a year to teach you nonsense.
Most university liberal arts programs are not really about the arts; they are about politics as expressed through art. These politics are nearly unanimously leftist, and even worse disdain the very social and cultural constructs that gave birth to the “liberal arts” in the first place: literacy, religious belief, cultural confidence, and the notion of excellence in artistic execution as well as artistic intent. The purpose of instruction in many cases is not to teach why this or that work of art is great; the intent is to instead subvert the work and show why it is not great (because the artist is too white, too male, too European, too far outside the Progressive political frame to be acceptable to correctly-thinking people).
These are the wages of relativism and deconstructionism and “critical theory”: there is no magnetic north the artistic compass can point to. There is no way to navigate this ocean. All the humanities professor can say is that since one point is as good as any other, maybe it’s better to just stay where you are. If you must move, any random direction is pretty much the same — there’s no real destination, so you can never be lost. This theory of the arts asks little and returns little; it nourishes neither life nor spirit. Perhaps this is why the humanities courses in universities are dying out.
Monty, “DOOM (culturally speaking)”, Ace of Spades H.Q., 2014-10-28.
