Right, after what must be hiatus #320 for this blog…
These ten are the ten best shows…of the first half of this countdown. Which is slightly backhanded. Still, there’s a lot to love throughout these ten. Two of my favorite contemporary Buzzcocks comic bookings, a precursor to Jedward, and…the man who essentially wrote the legend of Buzzcocks, are all in this one.
Host: Mark Lamarr
Captains: Phill and Sean Hughes
Panelists: Roy Wood, Kate Thornton, John Hegley and Carl Cox
A lot of the shows I’ve been writing about have had a specific reason for success. Something like ‘a funny panelist who drives the show’ or ‘a really good running gag that springs up out of nowhere’, or ‘Preston being a twat’. But here…Buzzcocks proved that they could make a fantastic show with only a small runner, four lawful, fun panelists, and just a lot of fantastic moments stemming from nowhere. It’s a simple formula, one that could have led to a subpar show, but…man, it worked.
As it was Series 5, there was, like most in the shows this series, one tremendous get on the panel (as opposed to Series 19-22, where the show was HOSTED by a tremendous…oh, you get the joke). In the series’ tradition of Simon Le Bon, Glen Matlock, Rick Wakeman, and…well, Mel Aday, we got Roy Wood, a glam/prog rock legend who’d made a name for himself with Wizzard and ELO. Like the tradition this series, Roy was a fantastic sport, being candid about why he left ELO (“I just got bored”), and being all in on the goofiness, even mounting Phill for a bit (“Not always something you look forward to in your day. “I think I’ll go impersonate the Smiths while being mounted by a glam rock legend.”)
But the panel was balanced enough that it didn’t really seem to be about him too much. You had Carl Cox in the corner laughing, and remixing Mark’s autocue blunders (“The-The-The ANSWER IS- The ANSWER IS…”). You had Kate Thornton doing a bang-up job and getting scared by fellow panelist John Hegley’s aggressive Intro-ing (“RIM-DIM-DIDDLY-DIM-DIM…”), which itself became a running gag. Also, just the juxtaposition of bizarro humorist Hegley on the same panel as TOTP presenter Thornton is funny enough.
There were also just a number of indications that the show had really found its footing. Mark’s ID Parade intros were the silliest yet (“#1, The Real Thing…#3…The Thing…”), Intros became rightfully the centerpiece of the show (so many good ones here), and the producers knew when to adhere to the formula…and when to screw with it.
This episode features my absolute favorite Athelston appearance of all time. Because someone in that writer’s room got the idea of ‘hey, let’s put Athelston in a lineup for THE NOLANS. A bespectacled black-man in a lineup of blonde Irish women! That’ll be a laugh!’ The initial sight of Athelston amidst the lineup will NEVER not make me laugh. As will Mark’s intro of “#2, I’M in the mood for STARING”.
Hell, that ID Parade also led to Linda Nolan being completely ratted out by Mark for giving herself away too much. For one of the first times, Mark Lamarr realized he could compromise the integrity of the game in order to make a joke hit, and despite the fact that he’d be giving Sean’s team the point (though I reckon Sean already knew), he needed to tell Linda Nolan how bad she was at being inconspicuous. It’s…it’s hysterical.
All this, some amazing chemistry, some awesome John Hegley lines, and a runner involving John Merrick, and you’ve got a solid, hysterical show.
Best Moment: ‘John Merrick Sings is Not Available in the Shops
Host: Mark Lamarr
Captains: Phill and Bill Bailey
Panelists: Jimmy Cliff, Sheila Ferguson, Steve Frost, Lauren Laverne
What I learned from watching this show is that sometimes, Mark Lamarr’s brick wall could let up. He was typically very good at staying in character and keeping at pushing the panelists around, and then dropping after the show. But occasionally you’d see him crack. With someone flirty like Boy George or just somebody big like Mike Read.
But then…they managed to book Jimmy Cliff, one of Mark’s reggae heroes of youth. Literally from his intro (“It’s JIMMY CLIFF!”), you can tell how excited Mark is to have him on. Throughout the show, he’s just asking him questions and talking to him, and giving him points for simply being Jimmy Cliff. He can’t keep up the whole ‘asshole host’ thing when one of his idols is in the building. He just can’t. Even if Jimmy is occasionally a bit oblivious to some going-ons, and he may not always get the joke, the show was essentially catered to him. Which he must have gotten a kick out of.
And yet…Jimmy Cliff’s presence is not the reason why this show works. It’s part of it, but the Jimmy Cliff thing is just one big wrapper on what’s already a really funny show. Like…any show where LAUREN LAVERNE is the quietest panelist is already doing something right (and for the record, even she has some great lines in this). The triumph of this was getting Steve Frost, one of Mark’s comedy friends, and an old collaborator of Sean Hughes, to crack some jokes and be himself, and he had some insane laughs in this one. At some points, you’d just get Mark laughing at something small that Steve does. Which is awesome.
But…really, the reason this show works is that despite having an actual legend on, and despite having lawful comedic presences, Mark still has to suffer. There are moments where he’s trying to enjoy himself despite suffering, which means it runs both poles for Mark. And said suffering comes in the form of Sheila Ferguson, who will not shut up and whose energy and enthusiasm keeps annoying the shit out of Mark. It’s as if the panel show gods decided that Mark couldn’t have too much fun this show. The bulk of the show consists of Mark being throttled around, literally and figuratively, by Sheila, with only a paper plate of his face as protection. And look, Sheila tries to be lawful, and I think she gets how the game works, but…her personality may have been too huge for this show.
The way I see it is that once Bill, in Intros, starts doing Mike Oldfield’s Tubular Bells, Steve and Mark can’t tell if he’s doing the intro or just descending into madness over being next to Sheila. And speaking of Bill, this show is his first real standout performance in the captain’s chair. It’s sad that it took being next to Sheila Ferguson for that to happen, but…here we are.
This one is just a test to see how well Mark can withstand both insanely good elements and insanely annoying elements instantaneously. And, to be honest, he did a bang-up job.
Best Moment: Sheila asks Mark to recite a poem for her, knowing he comes from a poetry background. Mark: “I’ll write you a poem right now. What rhymes with ‘shut the fuck up’?”
Sheila, with perfect timing: “…kiss my black ass.”
Host: Terry Wogan
Captains: Phill and Noel Fielding
Panelists: Rufus Hound, James Blunt, Edith Bowman, Imelda May
Sometimes…something is so overblown and unintentionally funny that it just goes all the way ’round back to being intentionally funny. And that’s honestly the best way to describe Terry Wogan’s NMTB show. His style of presenting was very grandiose, very polished, and…not exactly the-most-befitting of the Buzzcocks style. Hell, his previous appearance on a Eurovision special was so grandiose that it’s become one of my least favorite episodes. When someone that big and brash gets the majority of the runtime, it’s not the most fun.
But…the fact that this panel could mix admiration for Terry with a lack of fear of insulting him made this one worthwhile. Because Terry did a fine job hosting the show, and had some very wickedly dark off-the-cuff, and scripted, moments, and he was obviously great at facilitating the show environment. But…y’see, I’m not sure if he was prepared for how insane this show would end up being.
It really starts and ends with Rufus Hound. The guy is funny as hell on Buzzcocks, and always was. But his material would go a bit bawdier than Terry was expecting, (“D’you know I had no idea when I met you…the depths of your depravity?”), as an entire round got the entire panel talking about Lou Reed singing into C-3P0’s cock. Rufus was, in a way, the perfect foil for Terry Wogan; he had no history of being well-put-together on television, and he could honestly say what he wanted without an image to live up to. Now granted, so could Terry, but…he still had a personality to keep up.
The funniest bits of this show are the ones where you can tell that Terry’s being weighed down, at one point even going “ENOUGH OF THIS…SOCIETY ENTERTAINMENT”, which gives way to the loudest Jupitus laugh on record. And look, he’s enjoying himself for most of it, bringing on Cheryl Baker for ID Parade and then flagrantly pointing out which one she is, and having some self-depreciating jabs about the state of this gig. But…the triumph of this show was people like Rufus, Phill, Noel, Edith and so on…terrorizing the shit out of him.
And it wasn’t like the Ne-Yo show or the Juliette Lewis show, where the person had no idea what they were getting into and got more and more depressed. Terry knew the deal, and he just tried to keep the show together. But…by the end, after the entire panel had repeatedly given him shit over an old interview with David Bowie that hadn’t gone well (on a Bowie next line, Noel brings out a Bowie impression and goes “…it was a shit interview, Terry…afterwards you called me a prick!”), Terry could only muster the words “…I used to be Terry Wogan. Good night.”
Best Moment: Not sure about best, but this moment, after the first round, always makes me crack up:
Terry: “I have a message from Linda, in Crane, asking if we’re gonna have another round….[looks around panicking] Are we?”
Phill: [completely breaks]
Host: Simon Amstell
Captains: Phill and Bill
Panelists: KT Tunstall, Lauren Laverne, Jeremy Edwards and Jon McClure
Ah yes, in the grand tradition of wall-to-wall wonderful team arrangements, the grouping of Phill, Lauren Laverne and KT Tunstall has to be extraordinarily well-regarded. Literally all three were in sync, and all three were insanely funny. With Lauren, that was a given (she’s been on Mock the Week, for God’s sakes), and she did her usual amount of panel-raising. But KT, who was known then for her numerous crossover pop hits, was surprisingly laid-back and funny, and would do so even in her later appearance. That’s gotta be just who she is, or maybe she was just chuffed to be asked on.
At least the other team had more material for Simon, and thank god- Jon ‘The Reverend’ McClure was there, and Simon, true to Jon’s name, kept serving tea and cake to him all night. And then there was Jeremy Edwards, whose bulging biceps and sex appeal made for an easy target on the day. His finest gaffe was guessing that Bill and Jon’s first intro was ‘a bit Emmerdale’…after which, Phill’s ENTIRE PANEL proceeded to give a demonstration on what the theme actually sounds like.
But aside from their being a great panel, and a surprisingly contained Simon (he behaved this show), this episode works because of the amount of sheer spontaneity that powers it. Halfway through, Simon tries setting KT and Jeremy up, after which Jon produces his hair wax, which he passes off as Jeremy’s sperm. And then they start trying to fling it across the room, Bill puts some in his hair, and it just goes off the rails, albeit lawfully.
Also, let it be known that this was one of Bill’s last standout shows, before leaving at the end of S21. He had some great lines, some great visual moments (literally every shot of him with hair wax on), and some great screwing with the ID Parade. Yes, Phill had the more cohesive panel, but Bill was still acting like his old self, a few shows before he’d inevitably tire of the program entirely.
This may be the most easy-to-watch Simon show. Nobody gets offended, nobody gets seriously insulted, everyone has fun, and someone threatens to throw sperm across the room.
Best Moment: Bill’s idea for a cooking show: “Cooking With Villains. ‘I’ve just broken into this beautiful house. The alarms will go off in three minutes. Time for a lovely summer salad’.”
Host: Lee Mack
Captains: Phill and Noel
Panelists: Jon Richardson, Andrew Stone, Irwin Sparkes, Diana Vickers
During the Guest Host era, you got a sense that a lot of the bookings were very hit-miss. Like, the producers weren’t actively going for people with a history of presenting, they just went with showy names and see if it could work. Literally, in between this show you had two of the most disastrous NMTB host bookings of all time, Tim Westwood and Juliette Lewis.
So it definitely helps when they get a funny guy who knows his way around an autocue. Case in point: Lee Mack singlehandedly lifted a fairly standard panel, just by being his usual fast-paced self.
First of all…Lee and Noel roomed together back in the day, so he had a personal connection to a panelist. Now, this is different from, say, Dermot O’Leary being on with Aston Merrygold on the panel, or Rhod poking fun at his old friend Greg Davies. Noel’s a permanent fixture on the show…and here Lee is, with shit to throw at him. Which, thankfully, Noel returns. But you have that dynamic, which is nice.
You also have Lee’s dynamic with Andrew Stone, who explains a ‘triple threat’ is ‘someone who can sing, dance, act, and is coming for you’…which Lee promptly gives him shit over for the rest of the show…and then towards Noel, when he realizes that Noel’s mom is in the audience. The running gags just had layers on this one.
So many great moments here: the show hitting cock jokes at moment 2, Phill willing his team to pick #2 in ID Parade because he knows it’s her, Noel’s impression of a snowman with an icy erection, so many offhanded lines by Lee…
…and then the Batman incident. Which would have been funny enough if it had just ended normally, but thanks to some clever bloke in the audience who knew a lot about comedic timing, it became one of the hardest laughs I’ve ever had at this show. Even Lee broke a bit, which says something.
If it weren’t for Lee Mack setting off a bunch of dominoes of running gags and smiling through, I don’t know if this show would be the same. Which says a lot for Lee’s hosting, and comedic, abilities.
Host: Mark Lamarr
Captains: Phill & Sean
Panelists: Richard Fairbrass, Billy Bragg, Neil Morrissey, Sarah Blackwood
I’d like to make a statement before we go on: there’s no shows from Series 1 on this list.
Now, there may be outrage, but…if you look back at S1, a lot of the shows are more rudimental in their entertainment, focusing more on gameplay and getting only a little bit into dynamic. Mark’s hosting was a tad stiff, the guests were fairly standard, and even the best show of the series, Episode 4, with Thethelia and Sweet Roland Falling in Brie, still couldn’t match up to some of the lower entries here.
However, you could begin to see the show finding itself towards the beginning of Series 2. Episode 1, another Suggs show, had a ton of stuff with Shaggy, and episode 2 (which also BARELY missed the list) had Edwyn Collins’ ‘student humor’, and the Vortex indecipherable lyrics round. Everyone was getting very comfortable, very loose…and the remainder of S2 would just be a string of greats, with 1 already documented on the list and 2 left for later…not including this one.
This one…broke the show so hard that anything lesser would seem tepid by comparison.
It doesn’t have a ton to do with Richard Fairbrass, because he’d been on before, and he’d done his fair share of gay jokes and ribbing with Mark. That was a given. But…it was this show that perfected it. This show, it became commonplace and expected for there to be A.) Richard Fairbrass, and B.) gay jokes on NMTB. It got to the point where after Series 3 they had to limit his appearances for fear of overexposure, which explains the 6 series drought between the Lemmy show and…his next appearance [LIGHTNING CRACKLE].
But here. He, Sean and Billy Bragg were just having a good time. Literally at moment one of the show, Richard connects the Indecipherable Lyrics song to Candle in the Wind 1997 (“Goodbye England’s Rose, d’you think?”) which is topical enough to get gasps, and then eventually applause [Mark: “I’ve just been told the show’s been cancelled’]. IF THAT’S LITERALLY HOW WE’RE STARTING THE SHOW, then it says a lot about what mood they would continue to be in for the other 28 minutes.
Then, immediately after that, the first gay joke of the show, after Richard points out Sean’s ‘ear-minge’ [Sean: “He had his penis up it earlier”]. And that’s literally how the rest of the show would go. Everyone, even the lesser Neil-Sarah-Phill panel, would be that sharp, for the entire show- hell, Phill’s Indecipherable Lyrics is just as good, with the immortal Suzi Quattro ‘Cacking into the Needle’ bit, and one of Phill’s many orgasm jokes on the program [that would be called back by Sean in Intros].
All this…and I haven’t even talked about the Toblerone bit. A running gag that would span 27 series and enter common lore, and would cement Fairbrass’ status as Buzzcocks’ go-to panelist. Because my gosh. The way that gag dominated the rest of the show was unlike any running gag to that point, and would be unrivaled until…well, another Fairbrass show. But…the amount of mileage everyone got out of Fairbrass sticking a Toblerone up his ass was amazing to me.
So yeah. After this show, and after the insane highs that Fairbrass and company hit, there was no going back.
Mark, Next Lines: “I’m every woman.”
Fairbrass: [motions to self]
Billy: “It’s inside me!”
Billy, pointing to Fairbrass: “It’s inside him]
Host: Warwick Davis
Captains: Phill and Noel
Panelists: Chris Ramsey, Alfie Boe, Tom Fletcher, Emma Willis
As discussed during the Hey Mr. DJ writeup, themed episodes don’t usually work on Buzzcocks, solely because the theming usually takes away from the proceedings unless there’s a good enough panel and/or host.
Well…having a Movie themed Buzzcocks was a bright idea anyway, as movie music is always fun to talk about. And getting Warwick Davis was an even better idea, as he’s one of those guys that’s had a long, storied career in film…and still is a spry, charismatic dude. Plus, any and all short jokes seemed to not faze the guy, which is another plus.
And look, the theming went pretty well on this one. The Intros round were all songs from movies, and you had to guess the movie rather than the song title. The ID Parade featured a noted voiceover artist for film trailers, as well as both David Bowie’s AND Warwick’s stunt doubles from Labyrinth. The theming was broad enough to be evident, but not overwhelming- a solid comedy show could still go on.
And…THAT IT DID. Chris Ramsey spent most of the show feuding, lovingly, with Warwick, and their back and forth fueled the latter half of the show. Chris also had some of the best lines of the show, after a few quieter appearances. This show also had, arguably, the most successful tiebreaker round in Buzzcocks history, wheeling a trying-not-to-laugh Redd Pepper back out. For once, the panel didn’t seem burned out by this point, as Phill, Noel and Chris kept yelling things out and distracting Redd as he tried to read clues.
But, of course…I can’t talk about this episode without mentioning ‘Squirrels Ate My Cake’, a runner that started in round one and made it through the entire rest of the episode without getting old or tired, withstanding two Alec Guinness impressions and Redd Pepper’s composure. Literally nothing could stop this runner- it was funny initially, like ‘haha, the squirrels probably got diabetes’, but then…it kept coming back up, and it became absolutely indestructible. Thank God Warwick enjoyed it as much as we did.
Plus, just a loose, fun show. Even Alfie Boe, west end legend, could kick back a bit. Warwick Davis was probably the last great guest host the show had, and this may have been the best themed show they ever did.
Best Moment: Everyone starts making Redd Pepper say things in his movie trailer voice. Then, Noel realizes he’s got a runner to keep going…forgets it halfway through, and finishes it: “Can you say ‘Squirrels….ate my cake?'”
Host: Mark Lamarr
Captains: Phill and Sean
Panelists: Daphne & Celeste, Par Wiksten, Graham Gouldman, Stuart Maconie
I’ll use this as an excuse to say that the Jedward episode is not on this list. And here’s why. Jedward ate a whole bunch of candy before the show, and were bouncing off of the entire panel, to the point where Katy Brand had a nervous breakdown, Noel was about to walk off and Phill had to switch with him. On that show, you can tell that everyone on the panel was burned out by the end, and it wasn’t especially as fun as it could have been.
This show does not have that problem.
The difference between tween-pop-act Daphne & Celeste and Jedward is that…Jedward are that annoying in real life. Daphne & Celeste were manufactured by pop producers trying to bring a new novelty act to the UK, and you can tell that even if these two ARE, in fact, chatty teenage girls from Jersey, they’re just riding the wave of a fad, and they’re being as genuine as the deceit could allow them to be.
Literally from moment one, Mark Lamarr knew exactly what he was going to be in for. Daphne and Celeste babbling to each other for like 30 seconds, Graham Gouldman (a genuinely cool 70s rock get) and Phill just being drowned out. Mark just goes “…this is gonna be a good show for me to watch…”
And that was the show. Daphne and Celeste doing silly teenage girl things, Mark playfully telling them to behave like he was some schoolteacher, and the show going on. And look, they were lawful, these two teenagers. They had some self-awareness [looking more at Celeste here, who had one or two moments of ‘what the fuck did I agree to?’], some fun lines, but…look, they derailed the show a few times with some ADD sensibilities, and Mark was only sort-of having it. By intros, when he passed it over, he didn’t want to look at Phill’s panel “or else I’ll encourage them. SO, PHILL’S TEAM?”
Mark: “…who was that, Celeste or Daphne?”
On the other side of the stage, the other source of humor, in a more intentional sort, was Par Wiksten of the Wannadies, who gave one of the most funny performances from a musician act on this show. Him and Sean’s rendition of Oops I Did it Again has been named by many youtube commenters as one of the funniest things they’ve ever seen [even D+C loved it]. Plus, after some ribbing from Par, he even goes “your producer just said, “you’re giving too much attention to the girls, throw some shit on the man with the wig”.
Additionally, Mark’s autocue readings were sharper than ever, Sean’s Freeze-Frame round, featuring Brigitte Nielsen singing to an old man, was a classic, and so many fundamental bits of the show got natural laughs. After the classic Series 6, the show was proving it could still churn out great shows after The Coif Years. And if it meant setting two teenagers loose on a studio of music personnel, then so be it.
Best Moment: Par guessing that what happens next in the Nielsen video: “any hope for a golden shower or anything?”
Daphne and Celeste can’t believe what they’re hearing.
Mark: “…well I’m a little busy at the moment…”
Host: John Barrowman
Captains: Phill & Noel
Guests: Jason Manford, Helen Skelton, Jason Derulo, Joe Wilkinson
Regardless of the hit-miss nature of the Guest Host-era bookings, the show definitely was consistently well-booked for Christmas. Two great Christmas shows that just missed the list were hosted by Bob Mortimer and Johnny Vegas. So they definitely got good people for those, even if some of them (looking at you Johnny) got drunk.
But then…why get one of those when you could just get John Barrowman? He sings, he dances, he reads the autocue like a pro, and he makes more gay jokes than Richard Fairbrass could ever dream of.
For the record, really any Barrowman-hosted show would have made the top 60 anyway, but…this one works because the panel was able to work with Barrowman’s over the top nature. For instance, Jason Manford was just happy to be joking along with him, to the point where they ended up kissing a third of the way through the show. There’s a point where most of the panel is just doing poo-related anecdotes.
Barrowman just carries this undercurrent of sexual energy throughout the show, to the point where even Jason Derulo, a man so sexy that even singing his own name incites female orgasms, is bothered and put off by Barrowman’s ‘ways of the force’. Hell, Barrowman spends most of Intros hitting on Jason, in a very…wholesome mutual sort of way. It’s not creepy, it’s not overdone, it’s just…silly enough. And it works that it’s happening to Jason Derulo.
Still, as a Christmas show, it works as well, as the bells and whistles are evenly in place: there’s some carolers that help perform intros, leading to a really good one on Phill’s side. Both intros rounds, one even involving the Wombles, are inverted, as the panel has to guess which one WASN’T in the supposed band. There’s a final song number, and a final Phill-Barrowman kiss [“WHAT DID YOU EAT??”], and a truly inspiring final moment…while also just being a really funny show with Jason Manford and Joe Wilkinson bumming around.
Just a strong, insanely funny Christmas show, one that works because of the amount of energy John Barrowman brought to the proceedings.
Best Moment: John torturing Phill with the Mr. Blobby song.
Host: Mark Lamarr
Captains: Phill and Sean
Panelists: Shovell, Richard Fairbrass, Mark Owen & Lisa L’Anson
Two shows after the hair-raising 2×03, this show may have been the turning point.
And yes, having Richard Fairbrass back on the program MAY have helped.
This show was the first real Buzzcocks to experiment with breaking format. For instance, in Indecipherable Lyrics, instead of giving a recitation of the ‘actual lyrics’ [after the joke ones], Shovell (yes, the drummer from M-People) just sang them along with the song. Also, this was the first Connected round to experiment with playing and talking over the clip, instead of just showing stills. Sean, during the Debbie Harry/Toyah connected round, gets the guy to play the clip back and does a full analysis as the clip is going on. This would be normal once Bill came onboard, but it was new here.
And this was also the first time that a team was so woefully beaten by the end that it became a joke in itself, with what may have been the first superteam of Mark Owen, Sean and Shovell, just flat-out asking Mark to give them the 15 points necessary to make a tiebreaker round. This team was so fun, so giggly, and so pathetic that even layup Next Lines were tricky to them [“Mother NATURE comes to me?”]. Hell, once the round ended, Mark was just high-fiving everyone, as if they’d won. For a TAKE THAT member to come in with that hysterical attitude…that says something.
NOTE: Yes, Gary Barlow was also in that same mood when he was on, 4 episode earlier, but his episode juuuust missed the mark. Blame Edwyn Collins’ haircut.
Compare this to an episode from the latter half of Mark Lamarr’s run and it fits right in: Phill wailing while doing a Jimmy Somerville impression in Intros, Phill using David Dundas’ Jeans song to make a Fairbrass slam, copious slams at Chris DeBurgh and Yoko Ono, and a panel, Sean’s, that was so in sync that it carried the show.
This had to have been the first one to transcend the format of the show to allow humor to come naturally, just from teams goofing around. I know I’m saying this like it’s revolutionary, but up until that point, the show had been very round-based, and very rudimentary. This one broke format, and went for goofiness, even more than E3 did. And it’d help the show, because literally 2 shows later the format would be completely shredded for the sake of humiliating the regulars (and believe me…we will get to that one.)
But…for the time, just having a panel be this…ON. Especially during intros? It was the start of something huge.
Best Moment: Just Sean and Mark’s whole Intros round to Shovell. So much energy, so much funny shit going on. It just has to be seen.
Expect ten more entries for this sooner than later. Some definite classics coming up, with a lot of more insane moments coming up. As a tease, I’ll say that you should expect ducks, chickens, bunnies and pandas