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The thing is they're all on vacation TOGETHER. It's complicated, they have a compound that you can only get to by snowmobile - you guys ever see the Oprah episode where she went to Tom Cruises' house and Katie Holmes welcomed the camera crew with "I Love You"? It's nothing like that at all.

Martin, if you haven't seen it, Bayless is blogging at www.root4rick.com. He posted a Q&A yesterday, and his "guilty pleasure" answer was shockingly funny.

I haven't checked his blog for a week or so, but you really can't front on the guy's enthusiasm. It's infectuous.

How come the weekly mighty boosh recap still gets thrown in with the reviews? There's no analysis of why it's anything but an unfunny flight of the conchords, so we poor readers are forced do the reviewing ourselves and conclude that this is so.

ok, I read it again and there was some reviewing going on. I apologise, I was blinded by rage. Rage and jealousy of the annoying one from the mighty boosh's lifestyle.

Tom - Why did you wait until the last one to say this? I review every episode for 3 seasons and now you chose the time to call me out? And do you really want to side-by-side compare Conchords and the Boosh? Because s2 of the Conchords was the biggest letdown on tv in a long damn time.

I didn't watch the second series! I'm being intellectually dishonest! It's a trick we internet commenters use all the time!

That last one is one of the funniest comments I've read in a while.

Even the worst of Season 2 Conchords beats out the best of the Boosh. But it's not really fair to compare the two of them, because the Boosh really isn't a music show. There's a lot of talking about music, and at times the various characters lapse into song, but the songs are rarely funny and never catchy. As oddball humor, the Boosh is great - as anything to do with music, it's kind of embarrassing.

What makes the Boosh interesting, to me, is just how utterly nightmarish its world is: we're presented with these two characters, Howard and Vince, and the show lures us into expecting that it's going to be about them and their wacky adventures running into various oddball side characters. But this isn't the case: the show is really just about Howard, the only person on the show who appears to be remotely human, and the various horrifying things that happen to him week after week. Notice, the plot is almost never about things that Howard does - Howard is almost inevitably a passive observer as various elements of a hostile, incomprehensible and semi-retarded universe visit their arbitrary fury upon him week after week.

One of those elements, of course, is Vince, Howard's own friend, who we initially take to be a sort of co-protagonist in the standard sitcom odd-couple mold. But Vince is a plant: he's every bit the oddball side character that the Hitcher and Old Gregg are, and he serves the same function they do - to goad the plot along by tormenting Howard. (In most of the early episodes he's merely a passive participant in this; by later episodes like "Fountain of Youth" and "Eels," Vince is an active source of misery.)

Initially we're encouraged to believe that the massive imbalance between Howard's and Vince's fortunes is some form of karma, that Vince is simply being rewarded for being cooler, more laid-back, for listening to more current music. But Vince's mullets and eighties power-pop cassettes are as anachronistic as Howard's funk and fusion, and their acceptance as mainstream in the world of the series is as markedly out of place as the show's omnipresent use the euro. It's not that Howard has done something or represents something that needs to be punished - it's that the show's universe, as represented by Vince, the Hitcher, Bollo, etc., has arbitrarily decided to inflict pain upon him, over and over again. In this sense, The Mighty Boosh is a comedy about the singular hell of an ordinary, unremarkable, pitiable human being, which, whatever you want to say about it, is notable, at least.

Damn moose, that is some food for thought.

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