No Happy Endings: The Lo-fi Brilliance of ‘Spaced’
One night, Tim (Simon Pegg), Daisy (Jessica Stevenson) and Brian (Mark Heap) spend the evening watching the Star Wars Trilogy. As the credits roll on Return of the Jedi (1983), Tim, moved to tears by the films, explains to Brian that the events of the entire trilogy can be attributed to the actions of one minor character: the gunner on the Star Destroyer in the first film. Inspired by this new information, Brian then expounds on Chaos Theory, “the notion that reality as we know it—past, present, future—is in fact a mathematically predictable preordained system,” connecting it to the idea of fate in the Star Wars films. Tim, Daisy, and Brian pause to reflect on the heady concept before Tim, wide-eyed and excited, realizes that he has some “fuckin Jaffa Cakes1 in [his] coat pocket!” They exclaim in joy and then debate who has to get up from the couch to go retrieve them.
It’s a scene that feels so eerily familiar to my life even though it’s from the late-90s UK show Spaced, created by Pegg and Stevenson and directed by Edgar Wright. Spaced features wannabe comic book artist Tim Beasley and wannabe writer Daisy Steiner, two London twentysomethings who pose as a professional couple to meet the requirements to rent a cheap apartment in Tufnell Park. In the building lives their alcoholic landlady Marsha (Julia Deakin) and Brian, the quirky conceptual artist who lives on the floor below Tim and Daisy. Tim and Daisy’s best friends, Mike (Nick Frost), a self-described weapons/Army expert, and Twist, a ditsy fashionista, are frequent visitors as well.
Spaced is concerned with many things—arrested adolescence, living a creative life, freeing yourself from a seemingly idyllic past in favor of an uncertain future, and forming a makeshift family—but the common thread that runs through the entire series and connects all the characters together is pop culture—not just as a centerpiece, but as a lens to understand the world. Tim and Daisy see their lives as a confluence of film imagery, video game conventions, and televisual archetypes: both as an escape from daily drudgery and as a perpetual coping mechanism. Spaced was uniquely adept at using pop culture as a visual and referential language to quickly explain characters, environment, and emotional situations. In the series’ first episode, Tim and Daisy claim that when they playedScooby-Doo as children, they were Freddy and Daphne respectively, only for the camera to pull back to reveal that Tim is dressed like Shaggy and Daisy is dressed like Velma. It’s a simple way of expressing that both Tim and Daisy are two geeky characters that believe they’re much cooler and more heroic than in reality, and that Spaced will primarily shine a spotlight on normal-looking “sidekick” types instead of their glitzy, charismatic counterparts.