Whether your go-to method of self-isolation entertainment is a good film, your favourite YouTube channel or old-time TV, the following weeks will provide ample opportunity for binge watching and relaxation – either way, Netflix and Amazon Prime are bound to make a killing.  The former has just introduced Netflix Party, a plug-in for Google Chrome which will allow you to stream with friends, embodying the best of both worlds by allowing you to social distance but still watch things with pals. In times like this we all want a little comfort, so for comic relief, warm fuzzy feelings or unbridled escapism, look no further than the below suggestions:

Film:

• About A Boy – Essentially anything starring Hugh Grant during his prime is bound to ebb the wave of sadness brought on by self-isolation. Honourable mentions are necessary also for Bridget Jones’ Diary and Notting Hill, but for COVID-induced blues About A Boy is an ideal coming-of-age story – for those who are 12 and beyond or, as the film demonstrates, those who are still growing in their mid thirties. Hugh Grant stars as Will, a wealthy Londoner who sponges off his father’s one-hit success and does ‘nothing’ all day, every day. After a dating venture of his goes wrong, he meets young and helpless Marcus (Nicholas Hoult). The pair develop a mutually beneficial friendship; Will helping Marcus out with his issues at school, Marcus helping to open up his mentor’s one-person world. Heartwarming, heartbreaking and offering hearty laughs in equal measure, About A Boy teaches viewers of all ages about the merits of friendship and demonstrates the timelessness of a well-told underdog story.

 

• Twilight – I have no doubt that the inclusion of this blockbuster, which spearheaded one of the most controversial franchises of all time, will seem like an odd choice. For a moment, however, I’d like audiences to consider the merits of this film and – whether you love it or hate it – its perfect compatibility with our dark times as a vehicle for fantasy escape or mocking commentary. With an astonishingly well-chosen lead cast, a sophisticated and ethereal score (with two additions from Robert Pattinson’s musical repertoire) in line with some innovative cinematography, director Catherine Hardwicke (Red Riding Hood, Miss You Already) delivers a near-perfect adaptation of Stephanie Meyer’s YA novel. The wholehearted commitment to a very specific artistic vision is what separates Twilight from the films in the series which follow. 

 

• The Intouchables / Les Intouchables – This French masterpiece – based on a true story – is a real accomplishment, blending organic, belly-ache comedy with sophisticated writing and emotional power. For any films attempting the same, none I have seen have done so as successfully. To paraphrase Bong Joon-Ho’s aphoristic Golden Globes Speech, the once-inch barrier of subtitles is a barrier most definitely worth confronting for this contemporary classic. Starring  François Cluzet and Omar Sy, whose on-screen homosocial chemistry is as refreshing as it is emotionally effective, The Intouchables authentically dedicates itself to representing the challenges evinced by French social stratification, as well as offering a circumscribed insight into the relationship of its two worlds-apart leads. It manifests a story of ability rather than enclosure, choosing not to narrow itself with a tragic commentary on the life of Phillippe, a wealthy quadriplegic, or the struggles of Driss’ (Sy) own social immobility as a product of his disadvantaged environment.

 

• The Princess Bride – A nostalgic hit for me, sometimes nothing else can serve as a substitute for this 80s adaptation of William Golding’s novel of the same name. With a cheesy storyline, and immensely likeable group of characters who follow a delightful, self-aware fantasy arc. A favourite among those who watched and re-watched it as a kid, this is a go-to nostalgic boost. For those encountering it for the first time, the atmosphere and style of storytelling may seem platitudinous or unsophisticated, but in reality, it’s a remarkably heartwarming – but equally cinematically conscious – feel-good hit. 

 

• 28 Days Later  – Danny Boyle’s 2002 post-apocalypse thriller may seem like an insensitive choice for this list, but I’ve selected it mostly on the basis of its high-quality score, plot and acting, alongside its vast potential for deep escapism into a post-viral world far more dire than our own. Composed for the film, the song ‘In a House – In a Heartbeat’ is perhaps one of the finest compositions, especially within the horror genre, for a film soundtrack in the last 20 years. Cillian Murphy delivers an unsurprisingly resolute and polished performance as the anxious lead, serving as a vanguard of a cast composed of Naomie Harris, Christopher Eccelston and Brendan Gleeson. The film deserves special praise for atmospheric qualities, undoubtedly immersing even the casual viewer with its consistent script and cinematographic excellency.

 

TV:

 

• Buffy The Vampire Slayer – No list of comfort recommendations coming from me was not going to feature Buffy. This is my favourite show of all-time and, especially for new viewers, is almost guaranteed to hook you from the get-go. With a campy, deliciously self-aware season with unpredictably nuanced writing – the show defies televisual writing conventions from its very first moments. The show grows into a masterful commentary on the pitfalls of adolescence – especially for its central teens who are coming-of-age at the mouth of hell. The refreshing severity in its approach to the lives of its young leads contributes to its brilliance, its innovative writing and wry humour setting a legacy for so many of the fantasy shows which came to follow. 

 

• The Hook-Up Plan – Premiering in 2018, this Francophone Netflix original is set against an idyllic Parisian setting with an irrevocably stylish lead in Elsa (Zita Hanrot), The Hook-Up Plan (or to give it it’s original and far superior title, Le Plan Coeur) offers an albeit hackneyed storyline with a contemporary re-imagining. Elsa is loveless, mourning over ex-fiancée Max (Guillaume Labbé) when her friends decide to boost her confidence by hiring male escort Jules (Marc Ruchmann) to date her – known to her as sweet schoolteacher Julies. A Parisian, gender-swapped Pretty Woman is the ideal feel-good romantic entertainment for those looking for more than a single hour and a half offering. The supporting characters provide genuine depth, offsetting the central romance with arcs of friendship, the financial tribulations of the group and general struggling 30-somethings mishaps. Genuinely charming and only a little bit cheesy, The Hook-Up Plan is the French answer to your Corona woes.

 

• Queer Eye – Who hasn’t heard of the Netflix reboot of the noughties hit (and oftentimes miss) which employed five gay men to help out straight guys with their fashion sense and more? The intersectional recast reinvigorated the format, focusing on personal emotional improvement, improving on the concept of the original show by directly tackling the agents of toxic masculinity which require the ‘makeover’ in the first place. By bolstering the ‘heroes’ (the show’s participants) confidence, Queer Eye the reboot promotes healthier relationships with self-image, while offering a broad-ranging list of participants which allows for conscious reflection and discourse on behalf of both the main cast, those they help, and viewers. 

 

• My Mad Fat Diary – CONTENT WARNING: This show references Eating Disorders, Self-Harm and Mental Health difficulties. Please view with caution. Embodying a sense of carefree fun bolstered by its retro setting, while concurrently offering a meaningful and nuanced commentary on the life of a 16-year old experiencing mental health difficulties after a period in a psychiatric care facility, My Mad Fat Diary is a stand-out coming of age story. Rae Earl (Sharon Rooney) negotiates a new group of friends as well as her prolonged issues with body-image and self-harm in a wonderful uplifting but never undermining story about the struggles of coming to terms with adolescent identity in the throes of mental health difficulties. The mid 90s setting is manifested in many of its central characters, whose love of music becomes a recurrent theme and means of establishing the show’s fresh and angsty character.

 

YouTube:

• StarKid – Live theatre is out for a while, but, thankfully, StarKid professionally record and post all of their shows on YouTube. Most of their early musicals are parodies, like ‘Holy Musical Batman’ or the ‘Very Potter Trilogy’, but they have also staged entirely original shows in genres not often approached within musical theatre. ‘Starship’ is a sci-fi musical about an alien trying to join an all-human team of space travellers. ‘The Guy Who Doesn’t Like Musicals’, my personal favourite, is a horror about an alien contagion which comes to earth, forcing everyone it comes into contact with to sing. Ignore the endless updates about the virus and get lost in its hilarity! 

 

• Contrapoints – For the more politically-minded quaranteen, consider Natalie Wynn’s Contrapoints. Wynn isn’t the only left-wing Youtuber to emerge over the past few years, but she is one of the most recognisable — and, at least to this viewer, the most entertaining. Contrapoints is set apart from its contemporaries by its subject matter and use of theatrics. Sporting titles such as ‘Canceling’, ‘Incels’, and ‘Are Traps Gay?’, Wynn’s work is particularly relevant to the concerns of a youthful, social media-aware audience. Her wry humour and her surprising amount of empathy for those attracted to more right-wing political philosophies allows Contrapoints to dialogue with viewers instead of dictate to them — it’s certainly a more nuanced political discussion than “MILO YIANNOPOULOS SHUTS DOWN SJW & FEMINISTS COMPILATION #3”. Furthermore, Wynn’s flair for the dramatic should not be ignored, using visually striking makeup, numerous characters and intricate set design to move beyond the standard video essay into far more compelling territory. Regardless of your political leanings, Contrapoints is worth checking out for the spectacle alone — and who knows? You might just learn something too.

 

• Cody Ko – This YouTube comedian rose to fame on Vine, but made a successful transition to the world’s biggest online video sharing platform when the app shut down. Along with fellow vine star Noel Miller, Cody has grown to become an immensely influential comedian, offering a range of comedy parody rap videos as well as his prescription to a commentary-style of comedy video. Personally, Cody’s videos have been a source of comfort for myriad stressful life events, indicating a rare talent by always managing to make me laugh. In times of COVID-19, I’d say look no further.

 

• PAQ – This fashion channel stars four young men with a keen eye for fashion, all with versatile senses of style. Dex, Shaq, Danny and Elias are all British, competing in weekly challenges involving thrifting, creativity, and budget spending. All bringing charismatic personalities to the table as well as radically different tastes, PAQ should be typologised in terms of the most formulaic ‘challenge’ channels which have mysterious back-stage funding, but instead creates something truly unique. The four young men are so visibly passionate and unabashedly creative in their approaches that PAQ breaks this mold, and is truly immersive in times such as these.

 

This article was written with help from Brian Laurito and Gillian Doyle.