A man is seduced by his wife's midwife and has sex with her in the next room whilst his own wife is in the middle of giving birth. A doctor insists on going to the next room to listen to his patient...
Live from his luxury apartment in London's glittering East End, Dean Learner (Club owner, Celebrity Manager, Entrepreneur and Publisher of high-class gentleman's magazines) invites you to meet some of his closest friends, Man to Man.
This parody series is an unearthed 80s horror/drama, complete with poor production values, awful dialogue and hilarious violence. The series is set in a Hospital in Romford, which is situated over the gates of Hell.
After publishing a rant about 'idiots' - frantically hip, ignorant scenesters - Dan Ashcroft finds these same people embracing him as his idol and his nerves constantly tested by his biggest fan, moronic scene personality Nathan Barley.
A collection of bleakly dark comedy sketches pushing the boundaries of taste, decency and television in general, shot using new and different techniques and fading slowly in and out of each other against a slow musical soundtrack. Regular themes include death, insanity and, most often of all, the medical profession. Written by
Rather than have credits, each show ended with a black screen with "www.jamcredits.com" on it. See more »
During the Thick Agency sketch in episode 1, the CCTV footage of Julia Davis approaching the help desk shows both the boom mic and camera operators standing behind her. The camera is visible again moments later in the sketch, reflected in the help desk's window. See more »
When dancing, lost in techo trance, arms flailing, gawky Bez, then find you snagged on frowns, and slowly it dawns, you're jazzing to the bleep tone of a life support machine that marks the steady fading of your day old baby daughter. And when midnight sirens lead to blue flash road mash, stretchers, covered heads and slippy red macadam, and find you creeping 'neath the blankets, to snuggle close a mangle bird, hoping you soon too will be freezer drawed. Then welcome. Mmm, ooh chemotherapy wig....
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"...and he's got tears in his eyes; like some sad-voiced freaky clown"
With Channel 4 bleak satire/comedy Jam, Chris Morris welds the Beckett-nihilism with the ability to capture in visuals a dreamlike quality of Bunuel or Lynch. Oh, and Burroughs' cut-up lyricism. The acting is never less than well-judged and occasionally downright superb, with David Cann creating many very engaging characterisations- his clinically sedate and perverted Doctor is so well done. Cann features in a sublime scene where a happy, middle-aged man wishes to be literally buried in his prime. The image of him jazzing in joy to Jackie Wilson's "The Sweetest Thing" while sitting in his coffin is priceless.
The "Mr Lizard" and "40-times from the first floor" sketches are perhaps my other two favourites. Morris himself makes an appearance at the start of each episode in the deranged intros- intoning dark tone poems over disturbed, frenzied visuals- and makes three effective appearances in sketches. Episode 4's intro was particularly brilliant. The music is brilliantly selected, with excellent use of Brian Eno's "Apollo" record, Beta Band and a striking use of Minnie Riperton's "Loving You" in the opening episode. The satire of Jam is perhaps an attempt to cope with painful subject matter by treating them as absurd. The emphasis on abortion and children is quite large. In a sense, Morris's comedy is a continuation of the great British absurdist tradition of Milligan, Sellers, Peter Cook (check out Morris' hilarious work with him from 1994, "Why Bother?") and Monty Python, only more dangerous and bleak. Jam's the sort of programme that can inspire endless interpretations, and even if you don't like it, it is undoubtedly thought-provoking about many aspects of life. It's a rare slice of intelligent TV in an age of largely formulaic, bland television. Not as immediate, hilarious as "The Day Today" or "BrassEye", but more entrancing. Morris's rare gift for language use is again on display, especially in the intros; he's light years ahead of the competition in the comedy field and also, perhaps tellingly, the "serious high-brow TV" category. It's loneliness in the modern world, dreams of the ill in a vacuum: welcome in Jam.
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