Daniel R. Smith
The premise of The Trip, currently in its second series on BBC Two, is ostensibly tenuous. While Coogan and Brydon are being employed to write a food column in The Observer on English or Italian cuisine while following in the footsteps of the romantic poets – Wordsworth, Coleridge, Bryon, Shelley and Keats, – the real ‘content’ consists of mimicry of well-known actors, self-parodying their own personas and dealing with being middle-aged and ‘famous but not-famous enough’. And yet this seemingly tenuous link with the romantics is, in fact, the central driving force for the artistic ideology and drama of The Trip. Continue reading
Canterbury Sociology 