Naqsh’s global identity

interview

In a chat with Instep, vocalist Daksh Kubba talks about the band’s musical journey and their upcoming new video for the song ‘Iltejah’

Cross-border collaborations have given Indian and Pakistani musicians a chance to merge their talents and make interesting music while transcending the barriers of nationality and helping bridge the gap between the two countries. One such Indo-Pak band came together in Canada nearly a decade ago when New Delhi-born singer Daksh Kubba teamed up with Pakistani Canadian musicians Imran Habib and Irfan Lawrence to form Naqsh in 2007. The trio released a couple of singles before unveiling their debut album Saptak in May 2015.

In a chat with Instep, the group’s vocalist talks about the band’s musical journey thus far and tells us about their upcoming new video for the song ‘Iltejah’.

Instep: How has being a “Canadian Indo-Pak” band influenced the sound of Naqsh? What flavours of Canadian, Indian, and Pakistani music have you incorporated into your sound?
Daksh Kubba: [Each of us brought] our cultural flavours with us. Imran and Irfan brought more rock, and I used to write more romantic style ballad songs. Coming together in Canada and spending time with musicians here influenced our style of playing in subtle ways through the change in rhythm, change in mixing and mastering of the songs, and doing music videos in unique ways.

Instep: Why did you name the band Naqsh?
DK: Imran bhai chose the name. Naqsh means “imprint” and through our music and our compositions we hope to leave a mark; even if it touches a few lives and makes them feel strongly about how we feel, [we hope] what we express connects [listeners] with us.

Instep: What inspired you to become a musician? Are there any artists you particularly look up to?
DK: I used to sing and write before [joining Naqsh]. What got me into instruments and completed me as a musician is my good old friend Taimoor Salahuddin a.k.a. Mooroo. Thanks to him I picked up the guitar, and it got me started on the path of solo performance and joining Naqsh.

Instep: What do you bring to the music industry that sets you apart from other pop rock acts in the region?
DK: I think we are very unique, because we have very different skill sets that we bring to Naqsh.
Irfan Bhai is an all-rounder. He plays bass and drums and instantaneously figures out chords when we’re composing; we just have to tell him what the feeling needs to be – sad, happy, angry, ‘bhayanak!’ – and he’ll play a chord for it. He also has an amazing voice and loves singing ghazals.
Imran Bhai is completely rock. Being the lead guitarist, he thinks, eats, sleeps, and breathes electric guitars. Once he is in his zone, he comes up with crazy leads. Just listen to ‘Iltejah’.
I am more about writing meaningful lyrics and composing, introducing different patterns, playing around with time signatures, and using subtle changes that people will feel when they listen to our music.

Instep: You released your debut album, Saptak, last year. How would you describe the album?
DK: Call me biased but I love the album! The reason for that is because you cannot put a genre on the album. Every song is very different from the other, except the two that purposely were made very similar – ‘Pagli’ and ‘Musu’; yet their videos are very different. These two are “lovey dovey” songs.
‘Pagli’ is my favorite. It’s made to inspire women to pursue whatever they want to do in life. Women have it really hard in our culture and have to struggle much more than men to achieve the smallest of things, so this song is truly for them.

Instep: Why did you title the record ‘Saptak’?
DK: Saptak signifies the seven sur in classical music, with the first and last sur being similar and the rest being different. In the same way, our album has ‘Pagli’ and ‘Musu’, which are very similar, and the rest of the songs are very different: ‘Kaka’ is a funny, jumpy song; ‘Iltejah’ a request for peace in the world; ‘Megha’ a fast monsoon song; ‘Saajna’ a slow progressive rock love song; and ‘Armaan’ a break up song.

Instep: You guys have released a handful of singles/videos. How do you select which song and video to release next? Are there any particular characteristics that make a song a good candidate for a video?
DK: Every song we make, we really take our time with it and feel every aspect of it through the composition process. Whatever we feel the strongest about in the moment, that’s what we choose to do. At the moment our aim is to make music videos for all the songs we produce.

Instep: You will release the video for ‘Iltejah’ next. Please tell us about the song.
DK: There are a lot of bad things happening in the world, especially in our home countries, which is very saddening. This song is just a plea to humanity to stop that, and at the very least perform an act of kindness towards someone.

Instep: What can you tell us about the ‘Iltejah’ video?
DK: We are in talks with an amazingly talented director, Syed Noor, who also directed ‘Saajna’ for us. He has a concept ready which we can’t wait to disclose when the right time comes. We are blessed to have his artistic brain on our side.

Instep: With your Indian and Pakistani backgrounds, how do you feel about the ties between the two countries? Do you think the entertainment industry can bridge the gap between these neighbouring countries?
DK: This is ‘the’ reason for me to be where I am with Naqsh. I truly believe music can have the influence to bridge the gap, and it already has in small amounts, us being an example. Our song ‘Iltejah’ speaks to that as well. Nothing would satisfy my soul more than bridging the gap between our two homes through our music, and that’s really the Naqsh – imprint – we want to leave.

Instep: Are you working on new music or any other projects at the moment? What can we expect from you in the coming months?
DK: We are working on a couple of cover songs, music video for ‘Iltejah’, and a rock concert in collaboration with Decibel Entertainment which we are very excited about. It’s very similar in theme to our album launch last year. We post updates weekly on Instagram and Facebook letting everyone know what we’re up to. Leave us a note, comment, suggestion, or even any feedback you may have because we love connecting with people and we really keep that at the forefront.

- By Sameen Amer

22nd April, 2016 - Instep Today, The News *

American Crime Story - legal juggernaut

tv series review

The People v. O. J. Simpson is a triumphant debut for American Crime Story

American Crime Story: The People v. O. J.  Simpson

Starring: Sarah Paulson, Sterling K. Brown, Courtney B. Vance, John Travolta, Kenneth Choi, Christian Clemenson, Cuba Gooding, Jr., Bruce Greenwood, Nathan Lane, and David Schwimmer
Created by: Scott Alexander and Larry Karaszewski

It was the trial of the century, the legal case that gripped America in the mid ‘90s, ultimately culminating in a controversial verdict that remains contentious to this day. Now, nearly two decades later, the murder trial of Orenthal James Simpson returns to television in the form of the inaugural season of the true-crime anthology series American Crime Story.

Titled The People v. O. J. Simpson (presumably because How to Get Away with Murder was already taken), the 10-episode project chronicles the football superstar’s 1995 trial for the murders of his ex-wife Nicole Brown and her friend Ron Goldman, for which he was found not guilty by the jury.

The drama – which is based on legal analyst Jeffrey Toobin’s 1996 book The Run of His Life: The People v. O.J. Simpson – meticulously depicts the 20-year-old events in considerable detail. After the victims’ bodies are discovered, cops – including detective Mark Fuhrman (Steven Pasquale) – descend on the scene of the gruesome crime. O. J. (Cuba Gooding Jr.) soon emerges as the prime suspect, and subsequently hires the so-called “Dream Team” of lawyers – which includes Robert Shapiro (John Travolta) and Johnnie Cochran (Courtney B. Vance) as well as his friend Robert Kardashian (David Schwimmer) – to defend his case.

District attorney Marcia Clark (Sarah Paulson), who assumes charge of the prosecution, is confident she has built a solid case against the defendant, but then watches it all unravel in court, as the defence casts doubt on the state’s evidence and discredits their witnesses. O. J.’s lawyers shrewdly play the race card, crusading against – even capitalizing on – the law enforcement and justice system’s bias against minorities.

A bizarre media circus devolves, and in the end no one comes out looking good, except maybe Robert Kardashian, who is painted here as a noble voice of reason, torn between his allegiance to his long-time friend and his grief over the mounting evidence that proves O. J.’s guilt.

With some terrific performances from an immensely talented cast – especially Paulson as the resolute but ineffective prosecutor and the outstanding Vance as the defender and civil rights activist who orchestrates O. J.’s victory – the series explores the power of prejudices and agendas while contextualizing the events in light of the country’s racial divide. The writers effectively explore the characters, digging into their circumstances and motives to create complex portraits that make the narrative all the more compelling.

The show brilliantly captures the insanity of the proceedings and will often leave you asking, “did that really happen?!” It’s shocking how often the answer to that question is “yes, it really did!” But there are a few times when the series can’t resist employing its artistic license for dramatic purposes, which leads to my only quibble (other than Travolta’s awkward, campy performance) with the otherwise impressive series. The O. J. trial is one of those cases where truth is very emphatically stranger than fiction; tinkering with reality here is completely unnecessary. The moments in which the series chooses to veer from the facts or throw nuance out the window in order to indulge its pop culture fancies (like its multiple nods to the Kardashian’s subsequent reality TV-fuelled fame) leave you constantly assessing its accuracy and unable to tell apart the fabrication from the recreation.

Still, The People v. O. J. Simpson is a triumphant debut for American Crime Story. Powered by strong acting performances, the show offers a fascinating, riveting look at the complex cloud that engulfed a murder trial and possibly derailed justice. Even though it captures events that happened nearly twenty years ago, the series feels very timely, and will resonate with viewers because the issues at its heart, such as racial inequality and police brutality, sadly still remain relevant.

-  Sameen Amer 

Instep, The News on Sunday - 17th April, 2016 *

Deadpool - great power, great irresponsibility

movie review

Deadpool

Starring: Ryan Reynolds, Morena Baccarin, Ed Skrein, T. J. Miller, Gina Carano, Brianna Hildebrand, and Stefan Kapičić

Directed by: Tim Miller

Tagline: With great power comes great irresponsibility.

The success of most films can primarily be attributed to the work of their directors, writers, cast and crew. A huge chunk of the credit for the success of Deadpool, however, goes to its marketing team. Thanks to an unrelenting, ubiquitous and usually quite amusing promotional campaign, Deadpool went from a lesser-known superhero that many of us were unfamiliar with to the protagonist of a project all of us were at least curious - if not downright excited - about.

The advertising blitz sure paid off. Within days of its release, Marvel’s latest outing - their first R-rated superhero flick (parents and younger viewers be warned) - was busy breaking box-office records, quickly turning into the year’s most profitable film (so far). With both the strength of its publicity and the enthusiastic reception by fans on its side, Deadpool is currently the must-watch movie of the moment. But is it really as good as the hype is making it seem?

The mock opening credits sure suggest so. It is charmingly, disarmingly refreshing when a movie starts by telling us that it stars “God’s Perfect Idiot” and “A Hot Chick”, features “A Gratuitous Cameo”, and has been directed by “An Overpaid Tool”. Then the loquacious protagonist comes on screen and quickly wins you over with his Smart Alec-y ways. But after that we get to the actual plot, and that’s where things start to fizzle.

Set in the X-Men universe, the film tells the story of Wade Wilson (Ryan Reynolds), a mercenary who has already adopted the impish Deadpool alter ego when the movie begins. In flashbacks, we find out how the former special forces operative met and fell for escort Vanessa (Morena Baccarin), but their chance for a happily ever after is cut short when he is diagnosed with terminal cancer. Wilson reluctantly decides to participate in a secret experimental programme - led by antagonist Ajax (Ed Skrein) - to cure the disease, only to find himself being tortured for days to awaken his latent mutant genes. The gruelling procedure helps him develop super healing powers, but also leaves him severely disfigured and unable to return to his lady love, thereby sending him on a quest to find the man responsible for his predicament so that he can reverse the damage to his appearance.

It suits the character’s sensibilities that Deadpool isn’t on a superhero quest to save the world but on a mission to gain what he lost and exact some revenge. The plot line, however, reveals a fairly conventional origin story, and there isn’t anything particularly remarkable about it. It isn’t a very elaborate or even a particularly interesting mission.

With a relentless stream of quips and barbs, Deadpool’s wise guy routine, too, starts to get a little tiring after a while, and the film’s overly violent incline is definitely not for the squeamish. While Deadpool is distinctive enough to stand out in the current sea of PG-13 superhero flicks, its non-stop juvenile humour ends up feeling a bit forced. The constant raunchy, foul-mouthed wisecracking makes it seem like the film is trying too hard to be funny and please its audience. The jokes work best when the movie uses meta humour; the self-referencing, fourth wall breaking antics are perhaps the most amusing moments that the script has to offer.

On the whole, Deadpool is a fun outing that targets viewers who enjoy in-jokes and irreverent humour, but because of a formulaic, predictable storyline the project is ultimately not quite as remarkable as its success suggests.

- Sameen Amer

Us Magazine, The News - 1st April, 2016 *

Zootopia - smart and charming

movie review

Zootopia

Voice cast: Ginnifer Goodwin, Jason Bateman, Idris Elba, Jenny Slate, Nate Torrence, Bonnie Hunt, Don Lake, Tommy Chong, J. K. Simmons, Octavia Spencer, Alan Tudyk, and Shakira
Directors: Byron Howard and Rich Moore
Tagline: Welcome to the urban jungle.

Over the last few years, the Walt Disney Animation Studios has been busy re-establishing itself as the best in the business by releasing a string of impressive films like Wreck-It Ralph, Frozen, and Big Hero 6. The animation powerhouse continues its run of strong releases with its newest feature, Zootopia, a smart, charming film that deals with the topics of inclusion, diversity, and discrimination.

Predators and prey have learned to live in harmony in the world of Zootopia, creating a setting where all the anthropomorphic animals coexist peacefully. Even in this seemingly ideal environment, however, some issues still linger, and prejudice continues to rear its ugly head. But Judy Hopps (voiced genially by Ginnifer Goodwin), a little rabbit with a can-do attitude, is determined not to let anything get in the way of her dream of becoming a big city cop, even though there has never been a bunny police officer before. With a lot of hard work, Judy finally realizes her ambition and joins the Zootopia Police Department, only to be relegated to the job of a meter maid by ZPD’s chief Bogo (Idris Elba), a large buffalo who doubts her potential.

In an effort to prove her merit, Judy wiggles her way into an assignment, and ends up being tasked with finding Mrs. Otterton’s (Octavia Spencer) missing husband in the next 48 hours, or else she loses her job. In her quest to solve the case, she forces a sly, hustler fox, Nick Wilde (Jason Bateman), to help her look for the missing mammal. Together, they set out to unravel the mystery while facing prejudices and confronting their own preconceptions about others along the way.

There may not be anything extraordinary about the film’s buddy cop plot, but its fast-paced, action-filled execution makes Zootopia a fun, exciting watch. Directors Byron Howard and Rich Moore do a terrific job keeping the action rolling while they offer smart social commentary and deliver lessons about acceptance without making the movie seem too preachy. The writers have put together a compelling, amusing script, and even though it doesn’t bombard viewers with snarky one¬-liners, it still offers plenty of laughs and lots of witty touches; a gag about sloths running the DMV is particularly memorable.

The animation of both the cute furry creatures and their surroundings is very well rendered. The main characters are likable; it is easy to get emotionally invested in their tale, and you simply can’t help but root for the duo at the centre of the plot. The filmmakers have also done a great job with the project’s casting. Both Ginnifer Goodwin and Jason Bateman are very suitable as the voices of the leads, and neither of them sounds distractingly, overly familiar, as is sometimes the case when film and television actors are hired to do voice roles.

On the whole, its mystery and conspiracy elements may not be extremely innovative, but Zootopia is still very likely to entertain both younger viewers and grownups. This energetic romp offers a timely message in a world plagued with racism and intolerance, and is populated with charming characters that are sure to win you over.

Rating: 4 out of 5

- Sameen Amer

Hi Five, The Express Tribune - 27th March, 2016

Armada - an implausible yarn

book review

Ernest Cline’s second science fiction novel is as far away from hitting all the right notes as it could be

Book: Armada
Author: Ernest Cline

Ernest Cline had remarkable success with his 2011 debut novel Ready Player One, a science fiction romp about an elaborate virtual Easter egg hunt that was fuelled by geek trivia and ’80s pop culture references. Mining the vaults of nostalgia worked so well for him the first time round that he decided to do it all over again in his second book, Armada.

Set in the near future, Cline’s latest novel follows the story of Zack Lightman, a nerdy high school senior obsessed with all things sci-fi. An avid gamer, the teenager spends way too much time playing videogames, especially Armada, a popular online flight simulator, dedicating his nights and weekends to protecting a virtual earth from fictional alien invaders. His life takes an unusual turn, however, when he notices a spaceship in the sky while staring out of his classroom window one day, only to realise that the flying saucer looks just like a Sobrukai Glaive, one of the fighter ships piloted by the aliens in his favourite videogame.

The sighting leaves him questioning his sanity, while reminding him of the conspiracy theory his late father, Xavier Lightman, had detailed in one of his journals. Before his death when he was only 19 and Zack was just a baby, Xavier had made notes about a top-secret project that he believed he had uncovered, suggesting that the US military was working in collusion with the entertainment industry to prep the populace for the impending arrival of extraterrestrial beings through alien-invasion-themed movies, shows, and books, while readying them for combat through training simulators in the form of videogames.

Zack soon discovers that he hadn’t been hallucinating about the spacecraft. The ship he saw was, in fact, real, and his gaming expertise, as well as the skills of all the gamers around the world, is the only thing that can save the planet from annihilation.

Drenched in geek references and overdosing on nerd nostalgia, Armada stumbles from one pop culture nod to the next without saying anything substantial in between. Cline lazily relies on the efforts of better writers, using fragments from their works to evoke emotions instead of bothering to do so himself. For instance, instead of telling us how Zack actually feels, Cline writes, “I’d felt like a young Clark Kent, preparing to finally learn the truth about his origins from the holographic ghost of his own long-dead father. But now I was thinking of a young Jedi-in-training named Luke Skywalker, looking into the mouth of that cave on Dagobah while Master Yoda told him about today’s activity lesson: Strong with the Dark Side of the Force that place is.” At another point, he states, “I felt like Luke Skywalker surveying a hangar full of A-, Y-, and X-Wing Fighters just before the Battle of Yavin. Or Captain Apollo, climbing into the cockpit of his Viper on the Galactica’s flight deck. Ender Wiggin arriving at Battle School. Or Alex Rogan, clutching his Star League uniform, staring wide-eyed at a hangar full of Gunstars.”

The story gets buried under an avalanche of references, and disappointingly, the author doesn’t even do a good job creating a sci-fi patchwork. The constant onslaught of trivia isn’t merged seamlessly into the text, and at times its inclusion serves no purpose beyond giving readers a chance to pat themselves on the back for being familiar with yet another movie or game allusion. Nostalgia dependence overpowers the narrative and makes it seem like the American novelist doesn’t have anything original to say, an impression that is reinforced by the tiresomely derivative and annoyingly predictable nature of the plot.

There are fragments of interesting ideas buried within the story but they aren’t fully explored or developed. Instead, the ‘gamers save humanity’ storyline unfolds like a nerd wish-fulfilment fantasy without making any attempts to look for something deeper under the tale’s self-indulgent surface. The writer could have embedded something meaningful into the novel, using its plot as a chance to comment on drone warfare and the psychological impact on young pilots, but he makes no effort to do so here. Instead he puts together a badly paced, implausible yarn, devoid of exciting twists and drained of suspense because of too much foreshadowing which never leaves you in any doubt as to how things will eventually turn out.

The way Cline describes the gaming aspects of the story makes it seem like he wrote the novel with its film adaptation in mind, and while the reported seven-figure film deal will serve him well, the dry, descriptive writing style is very unfair to his readers; his notes might one day help create exciting onscreen action, but it really isn’t very exciting to read at length about a space battle between drones.

Armada is populated with one-dimensional cardboard cut-outs instead of well crafted individuals. There isn’t a single well-written, engaging character in the novel, which makes it hard to care about anyone’s fate. The depictions just seem like a pile of young adult clichés; the dialogues and reactions simply don’t ring true. The protagonist sounds less like a teenager than a grown-up clumsily trying to give his own youth culture an unconvincing teenage voice. Zack’s journey from daydreamer to “intrepid young space hero” embarking on an epic adventure isn’t particularly captivating, and the sense of danger that he and the planet are facing is never quite palpable.

Had the writer bothered to add some depth to his potentially entertaining (albeit very unoriginal) premise, Armada could have been an exciting, fun read. But Cline just opts to indulge in nostalgia worship, borrowing heavily from works like Ender’s Game and The Last Starfighter and stringing together a stream of geeky references instead of trying to create something remarkable himself. As a result, the novel keeps reminding readers of the many works that it’s influenced by, unwittingly displaying just how dull Armada is in comparison to those far more interesting and creative efforts.

- Sameen Amer

Books & Authors - 27th March, 2016 *

Do Unto Animals - all creatures big and small

book review

Tracy Stewart’s book is a light read that inspires compassion towards animals

Book: Do Unto Animals: A Friendly Guide to How Animals Live, and How We Can Make Their Lives Better
Author: Tracey Stewart
Illustrator: Lisel Ashlock

From small furry creatures to giant majestic beasts, the living beings that we share our planet with come in lots of different shapes and sizes, exhibiting an awe-inspiring display of nature’s many wonders. But ever so often we fail to marvel at their all-round awesomeness and acknowledge their importance for our own continued existence. Animals not only play a vital role in supporting human survival but also bring joy to our lives, and that’s the message Tracey Stewart wants to communicate in her first book, Do Unto Animals: A Friendly Guide to How Animals Live, and How We Can Make Their Lives Better, a tome that tries to inspire us to be more compassionate towards all creatures, furry, feathered, or scaled.

The book — which first came to the world’s attention when the writer’s husband, comedian Jon Stewart, plugged it during one of his final episodes as host of The Daily Show, instantly spiking its sales — finds the former veterinary technician sharing her love for animals, as she conveys the warmth and fulfilment they provide her and implores others to treat them with more kindness.

Do Unto Animals begins with a section titled ‘Animals at Home’, in which the writer discusses the creatures that are closest to us — the ones we often adopt, bring into our homes, and cherish as pets. Her focus is primarily on our feline and canine companions, as she opines that “most people are not equipped to provide at home the very specialised and nuanced care that more exotic creatures require.” Tracey offers advice on how best to take care of our four-legged friends, including tips on understanding their body language, learning the art of the animal massage, and making toys and treats that will keep our pets happy. She also advocates spaying and neutering animals, adopting from the shelter instead of purchasing animals from pet stores, and considering virtual adoption for those who aren’t in the position to keep a pet at home but still want to make a difference in the lives of dogs and cats in need.

The animal advocate then turns her attention to ‘Backyard Wildlife’, sharing information about critters that act as a workforce in our gardens, below and above ground. Examined therein is the role played by what Tracey calls the “landscaping team”, “pest control team”, and “cleanup crew”, explaining how everything from bees and bats to earthworms and crows play a crucial part in maintaining our gardens, and why we should take care of them while humanely dealing with any unwanted visitors.

In the third and final section of the book, Tracey talks about ‘Falling in Love on the Farm’, shedding light on the emotions and intelligence possessed by barn animals, while highlighting the cruel, traumatic practices — like separation from their young ones, mutilation, confinement to gestational crates, improper shearing, and ill-treatment in industrial, factory farms — that bring sorrow to these lovely creatures. The book wraps up with inspirational stories of animals rescued by Farm Sanctuary that will break your heart.

Sprinkled throughout the text are animal-related stories and reminiscences from the writer’s own life, including an encounter with Jon’s cat (an animal to which she is allergic) at the start of their relationship that involved the feline leaping up and attaching himself to her face with claws, and the experience of getting a pregnant cow back on her feet by massaging her muscles and then assisting in the birth of her calf, an incident she describes as one of the happiest days of her life.

True to its title, the style of the book is very “friendly”, and even the more difficult topics are broached with gentleness and restraint. The writer’s voice is very amiable and her passion for her subject is palpable as she celebrates the relationship between animals and humans, empathising with the farm gang and seeing beauty in the existence of the creepy-crawlies that others may see as a nuisance. Accompanying Tracey’s words are beautiful, colourful illustrations by artist Lisel Ashlock, which make Do Unto Animals one of those books that instantly put a smile on your face; just looking at the cute drawings of adorable critters is sure to cheer you up.

Despite how charming it is, however, the book is a little light on content. The selection of animals is a bit narrow and obvious, and there is very limited information on each topic. Other than a handful of scattered facts, there isn’t much on offer here that most animal lovers won’t already know. Still, while Tracey doesn’t dig deep enough as she explores the world of fauna, her effort might inspire you to explore the issues further. Plus, someone advocating compassion towards animals and bringing animal rights issues to the forefront can never be a bad thing.

Perhaps this colourful book is better suited for younger readers who haven’t had much experience with the animal world, as it could potentially inspire them to learn more about animals, serving as a good starter to raise awareness about animal issues.

It is fairly obvious that Do Unto Animals has been put together with a lot of affection. Tracey’s enthusiasm is contagious, and while most readers won’t necessarily learn a lot from the book’s contents, they will be left with a gentle reminder that we need to be kinder and do more for the creatures that make our lives better in so many ways.

- Sameen Amer

Books & Authors,  Dawn - 13th March, 2016 *

Fuller House - blast from the past

tv series review

Fuller House borrows many elements from the show it’s rebooting, but it’s just cornier, more forced, and lacking in charm

Fuller House (season one)

Starring: Candace Cameron Bure, Jodie Sweetin, Andrea Barber, Elias Harger, Soni Nicole Bringas, Michael Campion, and Dashiell/Fox Messitt
With special guest appearances by: John Stamos, Bob Saget, Dave Coulier, Lori Loughlin, and Scott Weinger
Tagline: Everywhere you look…

There can be no greater testament to the power of nostalgia than the recent reboot of Full House. The feel-good family sitcom has been resurrected by Netflix, two decades after it was cancelled by ABC, in the form of the spin-off sequel Fuller House, a predictable retread that cashes in on the appeal of its predecessor while delivering the show’s patent brand of warm, cheesy, cutesy humour.

Rehashing the plot of its parent series (while flipping the genders), the show centres on the recently widowed D.J. Tanner-Fuller (Candace Cameron Bure), the eldest Tanner daughter, who has lost her fire-fighter husband, with whom she has three sons – Jackson (Michael Campion), Max (Elias Harger), and Tommy (twins Dashiell and Fox Messitt). Realizing how overwhelmed D.J. is at the prospect of being on her own, her sister Stephanie (Jodie Sweetin) – now a DJ and aspiring singer – and best friend Kimmy Gibbler (Andrea Barber) – now the mother of a teenage daughter, Ramona (Soni Nicole Bringas) – decide to stay with her, moving into the old familial home to help raise her sons.

Also there to lend an occasional helping hand is the rest of the primary Full House cast (minus the Olsen twins), who reprise the roles they played during the original show’s run from 1987 to 1995, coming together in the pilot for a Tanner family reunion, before relocating to different cities – Danny (Bob Saget) and Rebecca (Lori Loughlin) move to L.A. to host their own national morning show, followed by Jesse (John Stamos) who joins them in L.A. to work as a music composer on the soap opera General Hospital, while Joey (Dave Coulier) goes back to performing in Las Vegas – and making sporadic appearances here and there for the rest of the season.

Fuller House is very aware that it exists primarily as a vehicle for administering a heavy dose of nostalgia to Full House fans, and it promptly misses no chance to fulfil its throwback duties. Self-referential jokes and meta humour abound as familiar faces return to the screen. Old catchphrases are dusted off, memorable incidents revisited. There is even a Comet Jr. Jr. for obvious nostalgic reasons (and added cuteness).

But once most of the original cast disperses after the first episode and the new setup comes into focus, even the comfort of nostalgia can’t keep you from wondering if the Full House revisit would have been better as a reunion movie instead of a spinoff series. Past its pilot, the show doesn’t really seem to have any reasons for existing, and if it had been a new, standalone series with no links to a beloved ‘80s and ‘90s sitcom, it is very doubtful that it would have been able to attract a substantial audience.

This obviously isn’t highbrow comedy and award winning acting, but the series even falters as a cheesy sitcom. Bure, Sweetin, and Barber are likeable enough as the leads, but everything about their storylines is unoriginal, predictable, and bland. The younger cast’s attempts at being cute often come off as cloying; child actor Elias Harger, who depicts middle child Max, is especially unconvincing, despite being adorable, mainly because he has been directed, for some confusing reason, to scream his lines instead of delivering them with a normal cadence. And the new catchphrases are downright cringe-worthy and very lazily incorporated into the script.

Just like Carly Rae Jepsen’s saccharine remake of the show’s theme tune, Fuller House borrows many elements from the show it’s rebooting, but it’s just cornier, more forced, and lacking in charm. This schmaltzy 13 episode first season doesn’t really have the quality to make a mark on its own merit, but if you liked the original series, then you will probably enjoy this spinoff too, especially when the old cast members make an appearance and the familiarity takes you down memory lane.

- Sameen Amer 

Instep, The News on Sunday - 13th March, 2016 *