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Jamali Maddix: Aston review – bursts of brilliance and a wicked sense of humour

Jamali Maddix: Aston review – bursts of brilliance and a wicked sense of humour

The Guardian11 hours ago
'I used to be a cool young comic with cool young fans,' bewails Jamali Maddix. He's certainly one of the most intriguing, though not perfectly formed, comic voices of his generation, with little by way of filter and never one to be swayed by on-message orthodoxy. He may now be moving into middle age, at 34, with touring show Aston, but this isn't a step forward – just another characteristic compound of fearless and sometimes lazy thinking, pitted with brilliant moments casually moved on from and underdeveloped.
One thing the Ilford man has never been backwards about is his own delinquency, and Aston opens with a life update from a man who self-identifies as 'toxic but cheeky'. He's no longer cheating on his girlfriends. He held out for only three days before surrendering his ID to access porn online. He's also now using Ozempic to control his weight (cue a fun gag about submitting naked pics of himself to a pervy doctor) and addicted to the TikTok output of former light-entertainment icon Michael Barrymore.
The running Barrymore gag is the one you'd expect from any comic with a wicked sense of humour. The show's best section finds Maddix addressing himself to racism and British identity. Again, the quality veers wildly, from a choice line on Nigel Farage ('He's got poor people thinking other poor people made them poor') to a glib remark about small boats. But this is the section where Maddix's own thinking expands, as he conjures with the idea and lives of poor white people (some in his own family), marvels about the quantity of hate in the air, and imagines racists being given, if only for 24 hours, the country they think they'd like to live in.
This sequence finds our host contemplating his own stake in Britishness. What does it mean to have a face that represents the new Britain – and be told you can't be British? When Maddix is good, he's profane, surprising and insightful all at the same time. He's just never quite as rigorously good as he could be.
At Monkey Barrel, Edinburgh, until 24 August
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The thong bikini boom: why the skimpiest swimwear is back
The thong bikini boom: why the skimpiest swimwear is back

The Guardian

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  • The Guardian

The thong bikini boom: why the skimpiest swimwear is back

There are plenty of places where no one would bat an eyelid at the sight of a thong bikini; on a beach in Brazil or around the Love Island fire pit, visible butt cheeks are practically de rigueur. But my first sighting this year was not while surfing in Australia or sunbathing in the Caribbean, but at an open-water swimming spot, on a rainy day in Scotland. I should not have been surprised. Tiny swimwear is huge news this summer. It is no longer confined to sunny climes, but cropping up everywhere from lidos to leisure centres – and lochs, apparently. The trickle down from catwalks and influencers to holidaymakers and shoppers is notable. A search for 'thong bikini' on Asos yields 187 results, ranging from high-leg styles, to side-tie, to tanga (somewhere between a thong and a standard brief), while high-street outlets including H&M, Calzedonia and Zara all have thong bikini bottoms in their collections. 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Once [the fashion industry] has forgotten something, then it can be recuperated – and it makes for a little sense of novelty.'

Elouise Eftos: Australia's First Attractive Comedian review
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  • The Guardian

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Can you be funny and good-looking? You'd think the question barely needs asking – but Elouise Eftos has done so, and received quite the reaction. She makes a stellar fringe debut with Australia's First Attractive Comedian, a tongue-in-cheek title some have treated, by her account, as no laughing matter. Should we be surprised the relationship between comedy, feminism and sexiness isn't as resolved as we might have thought? In the space between them, the Perth comic makes great stacks of hay here, in a show premised on her extreme hotness. She chats to an audience member; we cut away to the erotic Elouise Eftos fantasy unfolding in that person's head. She demonstrates the yawning gulf between herself and 'normies'. She jokes about cat-calls, and the expulsion from the Beatles of handsome Pete Best. She makes common cause with her fellow bombshell, that innocent bank-teller turned patron saint of making wives jealous, Dolly Parton's Jolene. Is it all a hilarious wind-up? Or are we to take Eftos's lofty self-image at face value? The show's neat trick is to be equally funny regardless, or because, of that ambiguity. Either way, Eftos has nailed a wickedly amusing and original stage persona, sky-high self-regard but charm in spades too, all flashed smiles, tossed hair and matter-of-fact superiority to we lesser mortals in her crowd. And, unlike beauty, the show is not only skin deep. In its later stages, Eftos keeps pushing her ideas – and what we might think about them – into material about sex, her body and a final sequence, in character as a malfunctioning 'femmebot', that implies some unstated ambiguity about the role she's choosing (or has been forced?) to play. There's also a questioning routine about the act's feminist credentials, which get sharply challenged by one or two senior female comedians – whose shocking correspondence with Eftos is displayed on an upstage screen. Impudence – towards her elders, towards the comedy industry at large – is a feature of this fabulous provocation of a comedy hour, nipping and tucking at our ambivalent relationship with good looks. At Pleasance Courtyard, Edinburgh, until 24 August All our Edinburgh festival reviews

Real Madrid icon leaves locals stunned as he pops into Scots pub for a curry – before returning the very next night
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Real Madrid icon leaves locals stunned as he pops into Scots pub for a curry – before returning the very next night

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