![]() “Not really for me.”) isn’t wholly terrifying.Įlsewhere the three get a lesson on what constitutes a family via a pair of puppet twins Lily and Todney – his name a perfect encapsulation of the series’ entire set-at-a-small-but-wholly-unsettling-angle-to-reality aesthetic. Which is not to say the pink claymation figure constantly melting and reforming in order to try to take the place of dead Duck (don’t worry, it’s an administrative error – he’s back, unfazed, next week. Episode two is about death and is possibly the weakest of the series, perhaps because it’s inescapably creepy even when real children’s shows try to tackle this subject and so some necessary tension is lost. The notional lesson about the value of hard work, sparked by a talking briefcase, is swiftly upended as they are subsumed into the mindless workings of a factory (Peterson’s and Sons and Friends Bits & Parts Ltd – whose bits get recycled into parts and back again) and adult viewers are reminded of why they drink to forget. It repays a rewatch … Don’t Hug Me I’m Scared. I particularly enjoyed catching “Keep an eye on grease fires” written on the whiteboard as part of the trio’s domestic rota. Like The Simpsons, it repays a rewatch with a finger poised above the pause button. The episodes are longer but the characters – never given names, but known to fans as Red Guy, Yellow Guy and Duck (a man in a furry suit and string mop head, plus two puppets, respectively) – the lovingly detailed felt props, the claustrophobia, the growing threat of an existential crisis with every passing minute? They are all as delightfully, thoroughly, relentlessly present as ever. The monstrous nature of time stands revealed by a singing, dancing and eventually screaming clock. ![]() A paean to creativity rapidly descends into an offal-stuffed nightmare. The six episodes – lasting a few minutes each – took the happy learning vibe of children’s television and twisted it into something so creepy you could feel it moving under your skin long after the cheery voices had faded into nothingness. It is the gently, gradually but relentlessly nightmarish vision of Becky Sloan and Joseph Pelling, who met as fine arts students at university and, when stuck in post-grad jobs they hated, teamed up with actor/writer Baker Terry and put their artistic skills to use creating a DIY web series that, between 20, became a crowdfunded hit. It either intrigued people to see more or scarred them for life and had them make sure to avoid seeing anything remotely like it ever again.D on’t Hug Me I’m Scared (All 4/Channel 4) looks like Sesame Street and plays like David Lynch. The high production level, attention to detail, intriguing storyline, and simultaneous use of comedy and horror gives it a truly unique essence, and the first time that door to insanity is cracked really is the defining moment. ![]() This change from "odd" to "what on earth was that?" is what makes DHMIS so popular on the internet. The trio seems happy to play along and sing with the notebook, but truly out of nowhere, the scene goes awry and is filled with unsettling dancing, a change from puppets to humans in costumes, off-beat music, twisted arts and crafts, and as always, haunting screams. ![]() As the trio sits in a lovely Pee-wee's Playhouse looking house set, a cute notebook appears and begins to sing about creativity. Episode 1's sudden twist to nastiness is what put the show on people's radars. ![]()
0 Comments
Leave a Reply. |