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valorpg · 7 years

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>>file number: 125<<

Name: Cherie St. Clyde Codename: Silver Screen Aliases: Anastasia Cloverfield Gender: Bigender Pronouns: She/Her, They/Them Faceclaim: Lily Collins Alternate Faceclaims: Phoebe Tonkin

history:

Date of Birth: March 14, 1944 (24) Place of Birth: Guildford, United Kingdom Nationality: British Occupation: Actress

early life:

Cherie St. Clyde was born for greatness. At the young age of 5, they had already landed their first acting role in a famous British family sitcom as the adorable Anastasia Cloverfield, and exploded into stardom after it’s release. With the support of their middle class parents, Cherie spent most of their nonadult acting career traveling around Europe with their mother, and eventually to the United States, for various acting roles in films, television, and even modeling for the occasional magazine.

They were homeschooled all of their life, and as their career continued to blossom, even with age, Cherie’s mother convinced them they did not have to worry about school. Despite this, Cherie applied to the Royal Academy of Dramatic Arts and was given a full scholarship and even more of a career boost. Cherie not only became a star from sheer talent and charm, they began advocating for gender rights and equality for all, a touchy subject to many, but something they held great passion for.

At 21 years old, Cherie won their first Academy award as a supporting actress in a very moving film about a poor families life during the 1800′s as they struggled to marry their daughters and rebuild their name. Cherie absolutely shined in the movie and used it as motivation to influence the younger generation, poor or rich, they do anything they put their mind to. Cherie’s second nomination came in for the lead actress part in a romance film set during the World War II era, based on a true story.

To say Cherie is a ball of sunshine and a brave person is only skimming the bottom. Cherie would take their mink coat off their back if they passed by someone with rags in freezing weather. They would buy a hot meal and house anyone who showed them the kindness and respect that they often showed others, despite much of the backlash on them for their beliefs.

Currently, Cherie is filming in Los Angeles and New York and travels to both cities and is said to have permanent residencies in both. Cherie loves both areas for their different film, theatre and acting cultures and doesn’t think they could ever settle for just one city. Although Cherie has been taking it easy for the past couple of years and only accepting smaller film parts, as they wanted to take some time to explore the States and meet many others, they are slowly beginning to take on bigger parts. Ultimately, Cherie has many friends and enemies, and is an incredible resource of information, which makes them an easy target for different agencies and mafia leaders looking to exploit the star.

skill set:

Extremely talent with acting, having been trained at the Royal Academy of Dramatic Arts.

St. Clyde has won several awards, including two Academy Awards for their acting efforts.

Little to no proficiency with handguns or hand-to-hand combat, but extremely proficient in wielding chemical weapons, wanting to be able to defend themselves due to their stance on controversial subjects.

An absolute shining star in the movement for equal rights of all genders and has been both applauded and shamed in their efforts.

current movements:

Last Seen: Los Angeles, California Report: Cherie St. Clyde exited the Warner Brothers Studios lot accompanied by her driver and personal assistant. The car dropped St. Clyde off in a nearby park where she sat on a bench for three hours, watching the sunset. A man sat down next to her and they spoke for a few minutes before he left. St. Clyde was retrieved by their driver and assistant fifteen minutes later. The man was a VALOR agent by the name of David Whitehall and he didn’t leave empty handed.

known affiliates:

Alexei Filipov: The man seems to be a bit of a pig in Cherie’s eyes and she does not care for him at all. He represents many of the things she is fighting against and she isn’t afraid to speak out against the man.

David Whitehall: While they are not an official agent of V.A.L.O.R., oftentimes Cherie helps David with cases involving the world in which she is very familiar with. Despite the risks, they are happy to help him, after all, they all want to make a world a better place.

Marjorie Russell: Cherie can’t imagine exactly how she’d manage without Marjorie. The other woman is beyond amazing at her job, and makes her career much more manageable. Even outside of work, Cherie considers Marjorie one of her closest friends and confidants.

>>THIS OPERATIVE IS CLOSED.<<

#lily collins #lily collins fc #civilian #cherie st clyde #cnb #c

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the-hindu-times · 5 years

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April 2019 reviews roundup

Ricky Gervais at Guildford's G Live was followed the week by a trip to Edinburgh. Whilst there, after John Hunt’s ‘After Work Blues’ at The Jazz Barr, we headed to the Usher Hall for DMA's where the floor was a riot of 14 - 18 year olds making the most of their youth and the school break; lifting the music just from their mass attendance.

The day after, we past Isabel Caswell coming out of M&S in Sheffield, realising ‘Calendar Girls’ was in town, whilst heading over to the other end of town for an intimate performance from Chloë Foy and her band at Cafe No.9. Stood around one microphone, the perfect acoustic sound detailed her delicate songs in the highest, audible quality. It was clear there were a few returning regulars filling up the venue but we managed to find the perfect position to hear the mix as, due to the nature of the set-up, sitting on the left hand side may have been too piano heavy.

Mixing folk with classical, the dynamic performance showcased some great melodic writing, whilst using her voice as a true instrument, rapidly putting herself in line with Phoebe Bridgers and Lisa Hannigan.

We were back in London on Monday for the first of Glen Hansard’s 2 nights at The Barbican. Like when I'd seen him with The Frames at the Scala, neither evening was sold out. Since the success of the film and musical 'Once', from around that time, featuring the Oscar winning 'Falling Slowly' and the equally popular 'When Your Mind's Made Up', his two LPs solo, which came either side of 'Didn't He Ramble', expectedly followed on from that style of writing and production The Swell Season (his duo with film co-star and former flame, Markéta Irglová) possessed. Now touring his fantastic fourth full length under his own name 'The Wild Willing', this record seems to be as important to him as 'Didn't He Ramble' in comparison to his other two solo efforts 'Rhythm & Repose' and 'A Season On The Line', which were not featured at all in the first night's setlist. In fact, this new album happened from moments of inspiration and improvisation that took place in between takes from pre-penned songs - eventually casting aside the original plan altogether as the musicians involved propelled Glen's threads of ideas into songs; disrupting the flow if songs were heading in a certain area.

Having been sent the new record’s audio in advance, before I was able to buy the vinyl, it arrived with a strong feeling of weather - like a storm was coming in; as featured at the end of the first night's opener 'Wait Of The World', which eventually became subsumed in wind; emerging like a fog. Balanced on a stall, just for this opener, Glen asked for a set list or possibly a lyric sheet during this new composition?

For the last few years, Glen Hansard had been travelling as a 13-piece, soul revue, big band. Tonight the horn section had been disbanded but had the addition of acoustic guitarist, Javier Mass, (making them 11 on stage) joining them from the second song 'I'll Be You Be Me' - a studio improvisation in France; connecting with the idea of intimacy, surrendering to someone until you become each other. You can hear a split second of Bowie's vocal rasp on the loop (from a cassette demo of the Queen and Bowie session for ‘Under Pressure’) that David Cleary added to the track as the beat.

The end mantra of the third song played 'Don't Settle' built on the advice Liam Clancy gave to Bob Dylan, before the theatre went pitch black for a pre-recorded vocal performance from Aida Shahghasemi at the end of following new number 'Fool's Game' - a song they opened with the next night.

After 4 songs from 'The Wild Willing', a sigh of relief met the plucked intro chords to 'Didn't He Ramble''s 'My Little Ruin, which soon lead onto 'Once' film soundtrack favourite 'When Your Mind's Made Up', which Glen halted momentarily on night 1 just as the drums and bass came in. The 5/4 time signature seemed fine to me – especially with one of the best drummers in the business. On night 2, the Irish singer teased the title lyric about the UK having not made up their mind about Brexit before he showed how his solo/acoustic Swell Season song 'Leave' took on a whole new meaning. Joking aside, the band leant into the shift in dynamic even more so; covering the particular tones of the album’s Iranian musicians, who were absent, along with Aida, after being refused visas into the UK.

After 'Winning Streak' from 'DHR', another 4 songs (including 'Mary', 'Brother's Keeper' and 'The Closing Door') from 'The Wild Willing' were aired, mixing in The Specials' 'Ghost Town' (night 1 only) with 'Race To The Bottom' - a title which is already a play on AC/DC's 'It's A Long Way To The Top...', whilst the lyrics are diary entries of rhyming couplets from day to day occurrences from his writing sessions in Paris. Night 2 saw the only outing for a ‘Between Two Shores’ track with ‘Roll On Slow’ which lead on to a cover from Van Morrison’s former band, Them, in the shape of ‘Gloria’, with help from an audience member on lead vocals.

'Didn't He Ramble' (recorded for the 'Season On The Line' ep and not for the LP of the same name) saw Glen pass his electric guitar down to Javier to improvise a solo, which was better on night 1 but night 2 lead to an extra chorus at the end.

With Glen coming to the front of the stage to sing 'Grace Beneath The Pines', he strummed a few of the chords on guitar for it on night 2 before putting it down. Despite having his string section with him, Glen decided to sing the fiddle part at the end of his 'DHR' solo, piano song 'McCormack's Wall', clapping along with the audience. This song was traded for a completely unplugged (like ‘Grace Beneath…’) version of 'Falling Slowly' on the second night, with the strings and keys watching closely for the changes. Maybe he was about to perform it on night one too before Javier Mas returned to the stage a song too early. Glen asked him to stay to duet one from his former boss: Leonard Cohen's 'Famous Blue Raincoat'. Night 2 saw the band go into Cohen's 'Bird On The Wire' after DHR's 'Her Mercy', Night 1, instead saw a snippet of 'Wedding Ring', from the same album, thrown in at the end, which wouldn't have been right now that Curtis Sonny Fowlkes is no longer in the band to come to the centre stage to sing a verse. After an old Frames rock number ('Revelate' on night 1, switched for 'Fitzcarralado' on night 2) the whole band did get an opportunity to take turns to sing a part of Pete Seeger's 'Passing Through' as the last song on the opening night, and Brendan Benhan's 'The Auld Triangle' at the end of the second.

As intended, he's certainly uncomfortable again and both nights proved how beauty exists outside of comfort. Don't settle.

On night 2 we had gone to Rough Trade East beforehand for 'Idlewild: in conversation'. With no live performance, I went down to Southampton Engine Rooms to see them the following Tuesday.

photo by Nic Bennett

The next day, we caught a bit of Lauren Aquilina's [mostly] solo performance at the House of St Barnabas private bar in Soho, where we’d previously been taken to by Starsailor, before catching the second half of Newton Faulkner’s set at the London Palladium – a place he deserves to be after the career he’s had so far.

After Ed Byrne at Kingston’s Outside The Box, we headed over the road for a sleepy Peter Doherty & The Puta Madres New Slang gig. We were back at Outside The Box for Tom Rosenthal & Ian Stirling as the month came to a close.

Nic Bennett

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talektoubale-blog · 7 years

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Nina Toubale, University of Brighton, Brighton England

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skiinggray5-blog · 5 years

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‘The joke is always on us’: how People Just Do Nothing struck comedy gold

In a dimly lit room backstage at an underground club in east London, four men in their 30s share their masturbation secrets with me. Seapa finds it difficult at the moment: it hurts. Seapa also says (Seapa does most of the talking) that Steve does it with his legs behind his head, and that he spits on his... Well, I won’t say, in case you’re having your breakfast.

Anyway, he’s joking, he says. “We all wank perfectly normally.”

“Very healthy masturbation,” Asim confirms.

Until Seapa remembers Hugo. “Hundred per cent a fact: Hugo has to do it on his knees.”

They are proper friends from way back, with no secrets and no no-go areas

Rather than deny it, Hugo corrects him. “Not even on my knees,” he says. “Squatting on all fours.” He has an explanation, too, one that harks back to his teens and verges on the Freudian. “I think it’s when I had a family computer downstairs at this level,” he says, indicating its height. “Literally, the laptop’s there and my chin’s there…” I’m not totally picturing it, and not trying too hard, to be honest; the four of them crack up.

Apologies for sharing, but this is symptomatic of the entire 90 minutes I spend with Seapa, Steve, Asim and Hugo. These men know each other very well, are proper friends from way back, with no secrets, no no-go areas, and who cares if there’s a geezer from the Guardian here as well (“You’re a journalist, you’re not a human,” Seapa tells me). They relentlessly take the piss, out of each other, out of me; they’re boysy, rude, open, very funny – individually, collectively, all ways.

It has to be said that the line between fact and fiction isn’t always clear. I’d guess the story about Hugo is true, about Steve not (I hope). I’m not even sure how we got on to masturbation. Oh, yes, they were talking about “blazing” (smoking weed, something else they do a lot of, although there’s some talk of having stopped) and how it affects the senses, vision and touch, and it progressed naturally from there, do you see?

As well as being blazers and wankers, they – real names Allan “Seapa” Mustafa, Steve Stamp, Asim Chaudhry and Hugo Chegwin – are the creators, writers (principally Steve and Seapa) and stars of the award-winning BBC comedy People Just Do Nothing.

Big up PJDN

Confession: I’m a fan, big time. If you know the show, you surely will be, too – and if you don’t, you should get involved. A mockumentary sitcom centred on Kurupt FM, a pirate radio station broadcasting UK garage to not very many people at all in west London, it won a Bafta last year (beating Phoebe Waller-Bridge’s Fleabag), which Seapa doesn’t let you forget.

People Just Do Nothing is not a million miles from The Office – in actual mileage (it’s about 10 from Brentford to Staines), as well as in format and vibe. They’re massive fans of Ricky Gervais’ show: Seapa’s character, MC Grindah, is a kind of tower-block David Brent, while The Office producer Ash Atalla has become their executive producer. (As well as Gervais, they mention Alan Partridge, Brass Eye, Peep Show, Spinal Tap, Summer Heights High and documentaries such as the BBC Three series Tower Block Dreams.)

But PJDN is much more than The Office at 130bpm. It’s a heartfelt homage to a very different world – beautifully observed, authentic down to the music samples and trainer brands, because it’s a world its makers know inside out, having grown up in it. It’s more than a television show, too; as Kurupt FM, they have toured clubs and venues, played Glastonbury and taken over Radio 1Xtra.

You don’t need to know your UK garage from your drum’n’bass, or be a pirate radio aficionado, to appreciate People Just Do Nothing. Because, more than anything, it’s about people – not doing nothing, so much as doing the wrong thing.

4x4 - The Kurupt playlist

Styling: Tanja Martin. Grooming: Kristopher Smith at Terri Manduca. Shot at hangarlondonfields.com. Photograph: David Titlow for the Guardian

I realise this could be getting a little muddly: four different characters, being played by four different people. Usually, for interviews, as with their live shows, Kurupt FM remain in character. Today, they’re letting the masks slip, but it’s a blurry line between the real and the invented. So, for reference, your cast:

MC Grindah, convinced he’s the greatest MC on the planet, unwisely unwilling to let go of the dream, unrelated to the dating app; played by Allan “Seapa” Mustafa, 33, who also writes.

It’s tricky, because pirate radio is such a boys’ club. We’ve worked hard to get more of the female perspective in there

DJ Beats, Grindah’s lieutenant, loyal and loving, in spite of Grindah’s bullying (he is like a badly treated labrador); played by Hugo Chegwin, 33. Hugo, incidentally, is a nephew of Keith “Cheggers” Chegwin. Doesn’t play pop, though.

Chabuddy G, their sort-of manager, a wheeler-dealer Arthur Daley kind of fella and hopeless entrepreneur; played by Asim Chaudhry, 31.

Steves, basically on drugs, a “wiggy mess”. If they were the Happy Mondays, he’d be Bez; played by Steve Stamp, 33, who also writes.

***

Even if you’ve never tuned into a pirate radio station, let alone been to one, you will know one or more of a Grindah, a Steves, a Beats and a Chabuddy G. Know and likely also love, because, despite their absurd foolishness, there is lots to root for, too.

It’s also about jokes – ongoing jokes, such as Angel, Grindah’s daughter with his girlfriend (later wife) Miche, who clearly isn’t – biologically speaking – Grindah’s daughter, on account of the colour of her skin (she’s mixed race; Miche and Grindah are white). Then there are the smaller, more ephemeral jokes, such as Grindah’s definition of salvation: “McDonald’s on the horizon when you need a shit.” Or Chabuddy G’s devotion to Sean Paul Gaultier fragrance. Or Chabuddy’s explanation of what hormones are: “Little balls of anger that live inside women.”

Lily Brazier as Miche. Photograph: BBC

Yes, PJDN is undeniably blokey. “It’s tricky, because pirate radio is such a boys’ club,” says Steve, possibly the most thoughtful of the four, and definitely the tallest. “I think we’ve worked hard to try and get more of the female perspective in there.” This comes mainly via Miche (the brilliant Lily Brazier, who grows into the role and demands a place at the cast’s top table).

“One thing I would say, though, is the joke is always on the men,” Seapa says. “Grindah’s pretending to be this bravado guy, but he always gets bit on the arse and looks like a dickhead in the end.”

The show’s pilot and the first four episodes were only loosely threaded together. But from the second series, story arcs began to form, narrative rainbows over the concrete Brentford skyline – themes, issues, even. Not just male hopelessness, but loss and grief, addiction, bankruptcy and homelessness, abusive relationships. Prepare yourselves – in the fifth and final series – for gentrification. And, sadly, for everyone having to grow up. First, though, back to the beginning...

Midpoint reload

If you’re up to speed, you’ll know this means going back to the beginning halfway through – just as Grindah does in the middle of Grindah and Beats’s track, Heart Monitor Riddim (Lyrical Blow To The Jaw). “So me and Steve used to run a dogging company, out of a car park in Guildford,” Seapa says in the dingy backstage room (the club was the location for today’s cover shoot; this room, though horrid, seems entirely appropriate).

“We were on a forum, because we all caught the same disease,” Hugo adds.

Neither is true (I don’t think). But they all agree that Hugo was central to the beginning of what became a beautiful thing. “Hugo’s the clitoris,” Seapa says, taking it back down there. That’s Seapa’s role, as well as doing most of the talking, and the reminding about their Bafta.

Hugo – more of an introvert, less readable, equally comfortable with filth – goes with it: “And these guys are my orgasm.” Loads of laughing at that.

Here’s the actual truth (I think). Hugo grew up next door to Steve in Brentford, on the other side of the M4 motorway from the towers of the Haverfield Estate, as featured in the show. Hugo met Asim (from Hounslow) and Seapa (from Chessington) at Thames Valley College through a shared passion for smoking weed and creating music. Hugo would make hip-hop beats in his room; Asim rapped and made videos. Seapa ran a tinpot pirate radio station, and hung around squat parties and raves.

Photograph: David Titlow for the Guardian

When Seapa and Hugo dropped out of college, they used their student loans to visit Steve in Thailand; he was travelling having finished uni (English literature at Sussex). They went to beach parties, where Steve, who wasn’t really taking serious drugs, would pretend to be on pills just for a laugh. (This was the birth of his character Steves.)

Back in London, they continued to hang out, smoking more weed, messing around with Xbox Live and early camera phones, creating more characters. They used to make prank calls, too, which is where Asim’s character, Chabuddy G, began, partly inspired by his father, a bit of a hustler who once ran a business from a portable office.

Takeover of The Charlie Sloth Show.

I wonder if Asim – warm and instantly likable – has ever been accused of stereotyping, playing a comedy south Asian businessman with a finger in a lot of pies? “I’ve had a bit,” he says. “But you have to look at the detail behind it, the layers of research that go into it, and the real-life connection you have to it.”

Chabuddy G could be any race or culture, he says; it’s his self-delusion that makes him funny. This is nothing like, for example, Hank Azaria, a white guy, doing Apu on the Simpsons. “No one talks like Apu in real life, no one says [he puts on an Apu voice], ‘Thank you, come again.’ A lot of people speak like Chabuddy, a lot of people dress like Chabuddy, a lot of people are Chabuddy.”

Anyway, Asim, who had been camera operator (because he had a camera), was now in it, as Chabuddy G, even if he wasn’t clear what it was.

People just do something

What would become People Just Do Nothing was born, chiefly, out of experience, hence the pinpoint authenticity. But the irony of authenticity is that a lot of work went into it.

They created their characters, and improvised material that they posted on Asim’s YouTube channel. Some of the people they knew wondered why the hell they were doing it, investing all this time and energy into posting YouTube clips (this was before everyone starting spending all their time posting YouTube clips).

“We were about 24, and everyone else was working, and we hadn’t really achieved anything,” Seapa says. “We didn’t start out like, ‘This is going to be on telly and earn money’, we just did it. We were in shit, dead-end jobs, but we always made sure we were doing something creative.”

At one point, three of them were working in the same call centre. Hugo also worked at a will-writing firm, in accounts (if he were in The Office, he’d be Tim).

The wedding of Grindah and Miche. Photograph: BBC

“All I had on my CV were admin jobs that I wasn’t proud of,” Steve says. “If I wanted to get something I enjoyed, I would have to create my own work and show that I can do stuff outside the admin world. There always needed to be projects – writing.”

Steve always wanted to write. “I didn’t know if it was going to be scripts or...”

“Romantic novels,” Seapa butts in.

“Romantic novels,” Steve agrees, going along with it, a little resignedly at first, then raising him. “Erotic novels.”

“At one point, you were into Ukrainian erotic novels, weren’t you?” Seapa asks, not just seeing him, but raising him further. And they’re all off again: they were all into Ukrainian erotic novels and read them aloud together, sitting back to back, topless, but no one wanted to do it with Asim, because of his back hair. Make up your own mind about the veracity of that one.

Urban powerhouse/radio station/family

The YouTube episodes were not an overnight viral sensation; the viewers trickled in over a couple of years. But the producer Jon Petrie, who worked with Atalla at the independent production company Rough Cut TV, saw them and got the boys in for a meeting in early 2011.

“They basically said, ‘Are you happy for us to approach channels on your behalf and try to get you a pilot?’” Steve says.

They were keen to – and did – retain creative control, hanging on to the baby that had been conceived over a big chunk of their lives, in their bedrooms, blazing, back to back (maybe). But they also got some help with things like how to write a script, which they hadn’t done before: the YouTube webisodes were all improvised.

Today, there is still room for improv to sneak in: they reckon it’s about 70-30 script to improv in the final cut. “We’ve been in these characters since 2010, so we’re very comfortable with them,” Asim says. “We know how they’re going to react, what they’re going to say.”

After the pilot went out on BBC Three in 2011, a series was commissioned, followed by a second, then a further two. The Bafta came after a poignant third series that ends – on Valentine’s Day – with a birth and a death.

With Craig David. Photograph: BBC

There’s irony in their success, too, because, while in many ways their lives mirror those of their characters, they have also left them way behind. A big part of the ongoing joke is that, while Kurupt FM claims to be the biggest and baddest pirate station in the land, even the more conservative claim of “over 100 listeners” is hopelessly optimistic – it’s probably time to think about throwing in the mic. Whereas for Seapa, Steve, Asim and Hugo, things are kicking off big time. It’s not just the series, the live show and the real radio station takeovers (where they hold their own alongside Stormzy and Craig David); there is the hilarious sketch they did with very game “urban artist” Ed Sheeran on Comic Relief last year (they attempt to make him “less shit”); Chabuddy G has a comedy advice book out, How To Be A Man; and if you’ve taken a British Airways flight recently, you will have seen him as the lead in the (actually funny) safety video. After this final series, there’s going to be a film, which they’re working on (they’ve been talking to the Inbetweeners people, who successfully translated their sitcom to the big screen).

You don’t have to go to the Edinburgh festival, or be in a drama club, if you’ve got a camera and funny friends

About all of which, they’re dead proud – not so much about where they’ve got to, more where they started from. “Where I’m from, no one I know has come into this industry,” Seapa says. “I didn’t even know it was an option.”

“You don’t have to come through the conventional route,” Asim adds. “You don’t have to go to the Edinburgh festival, you don’t need to be in a drama club, you don’t need to do this – you’ve got a camera, you’ve got funny friends.”

“For the younger generation who’ve grown up with YouTube and stuff, maybe we can be a small inspiration,” Hugo starts to say, before being interrupted by Seapa: “Hugo Chegwin, motivational speaker!”

More than anything else, People Just Do Nothing is – at risk of sounding cheesy – a massive shout-out to friendship. “You can be talented, you can be creative, but if you’re not in the right circles…” Seapa begins, and by the right circles he’s not talking about media contacts or LinkedIn connections. “These are my best friends. We were all cruxes [sic; he means crutches] for each other, spurred each other on – that’s why we got through.”

People Just Do Nothing in collaboration with Ed Sheeran for Comic Relief.

Speaking of sic, they don’t say sick (with a k, for Kurupt FM), as in good, as much as they do on the show. Or trust me. Or bruv. But they do finish each other’s sentences, as only people who are close do. Mostly Seapa finishes them.

What is clear – while we talk, but also watching them arse about in the photoshoot – is they enjoy hanging out together, and it’s from this, and trying to make each other laugh, that the comedy comes. “These are my funniest friends,” Steve says. “The more I work with other actors, I realise that, even though we’re not actors, what we do in front of camera is impressive.”

Asim agrees, and says that for him it’s mainly about trying to make Steve crack up. Hugo talks of the journey, the experiences, the bond they’ve formed – something that a lot of music acts don’t have.

Are they the Beatles of Brentford? “I don’t know,” Seapa says. “Have they got a Bafta?”

Our time is up and Seapa has the last word, unsurprisingly. Nor is the direction he takes it in surprising. “Nice little chat,” he says. “Hope that was good for you.” And he laughs, they all do. “It’s like we just had sex.”

• The fifth and final series of People Just Do Nothing starts on BBC Two next month. Kurupt FM tour the UK from 9 November 9.

Opening shot: Asim wears jacket, Balenciaga at Harrods. Tracksuit bottoms, Stone Island at Browns. Steve wears sweatshirt, Palace. Allan wears vintage jacket, Stone Island. Tracksuit bottoms, Stone Island at Browns. Hugo wears Camo polar jacket, Stussy at Mr Porter. Cap, Lacoste. Tracksuit bottoms, Stone Island at Harvey Nichols.

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Source: https://www.theguardian.com/tv-and-radio/2018/oct/27/the-joke-is-always-on-us-how-people-just-do-nothing-struck-comedy-gold

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