Plot
Eddie and Richie are two crude, perverted lunatics, with no jobs, very little money and only a filthy flat in Hammersmith (located at "11, Mafeking Parade") to their name. The two spend their time coming up with desperate schemes to acquire sex, attacking each other violently, and getting into dodgy situations. Bottom is considered the most violent example of britcom, examples of violence include teeth being knocked out, heads crushed in fridge doors, fingers being cut off, penises set on fire, legs being chainsawed off, forks shoved in eyes, pencils forced up noses, poison being drunk, legs broken and faces shoved in campfires.
Richie is a clumsy, pompous dimwit who attempts to make himself out as being much higher in social status than he actually is, and is both deranged and desperate, as well as being obsessed with sex. Eddie, a cheerfully violent drunkard, meanwhile spends his time getting drunk and wasting the dole money and secretly steals Richie's family heirloom, although he occasionally has moments of demented genius. Eddie's friends—the gormless Spudgun and Dave Hedgehog—both fear Richie, thinking he's psychotic. Although the pair sometimes venture out (the most common location being the local pub, the Lamb and Flag), many of the episodes are set simply within the confines of the pair's squalid flat.
Read more about this topic: Bottom (TV series)
Famous quotes containing the word plot:
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“There saw I how the secret felon wrought,
And treason labouring in the traitor’s thought,
And midwife Time the ripened plot to murder brought.”
—Geoffrey Chaucer (1340?–1400)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)