Imagine yourself in the vast outback of a nondescript wasteland, you peer down and find yourself cocooned in a poncho made entirely from the feathers of infant fire birds.

To your left you see a man furiously gyrating in front of a sleek curved mirror as he smooths down one side of his hair, you catch a glimpse of his reflection and realize that its David Bowie. You wonder how the mirror got there. Your train of thought is interrupted by a bare chested fellow on a white stallion riding across the horizon, his golden locks glisten in the fleeting light of sunset, you see his face, it is Mick Jagger, he comes to an abrupt halt as an eagle leaving a trail of glitter dust to be picked by the wind swoops down and perches on his outstretched arm, he simultaneously begins to perform a haunting rendition of ‘Fool To Cry’.

Congratulations. You have successfully navigated your way through the intrepid mind of Noel fielding and quite possibly a discarded sketch from The Mighty Boosh.

On the surface, The Mighty Boosh is a prime example of the absurdo-psychedilic shtick that formed the premise of a significant number of new age comedies, heralded by the turn of the millennium.

Offering ridiculous narratives embroiled within non linear plots surrounding Genies, A Cream Cheese Moon, Bubble Gum Human Nose hybrids and the Grim Reaper, Noel Fielding and Julian Barratt are the creative minds behind this anarchic and often bizarre comedy, continuously pioneering heavily surrealist nuances with each new episode.

Notably, the pair have often voiced their disdain in being described as surrealist writers, however with episodes that showcase narratives such as Vince Noir being infected by the hoodoo spirit of jazz, resulting in Howard Moon having to be shrunken down to an atomic level, in order to be injected into Vince’s blood stream thus making the treacherous journey towards the pituitary gland in order to fight the jazz virus – it becomes increasingly difficult to describe the show as on par with other shows that quite clearly execute elements of ‘comedic realism’ such as Jesse Armstrong’s  Peep Show.

Although The Mighty Boosh garnered a mass cult following by breaking away from the archaic comedic styles of British martyrs such as Monty Python and The Goodies, it is ultimately impossible to maintain an ambivalent stance on the show, it truly is one of those programs that you’ll either love or hate.

The show provides a medium of escapism from the harrowingly grey drudgery of everyday life, the reality of the dog-shit stained pavements of London and the bustling repetitiveness of a 9 to 5; The Mighty Boosh gives the opportunity to rediscover a repressed child-like awe and wonderment, enabling us to peer at the world through the vividly wobbly kaleidoscopic glasses of the writers for half an hour sit ins at a time.


Words By Sandra Falase (@musingsandtea)

Feature photo by Dean Chalkley