Like the Noble a lot - one of the most genuine pieces Jeremy has done in a long time, with some proper reactions. In fact, I'm watching this bit again right now because it just works. It felt like it could have come from any point in the last, say, four or five years, possibly because the Noble being quite a challenging car gave him something to actually think about. He looked like he was actually enjoying it, despite the fear. That proper enjoyment has been missing this series, and it was good to see.
Wasn't completely convinced by the art gallery film, but it entertained me. I liked the idea if not the execution, but I do think that after the dust settles, it will stand up to future viewings. Slightly oddly edited though. However, it did inspire me to look up the beginning of
The Italian Job on YouTube, which is a definite bonus - and features a car that I
would put in an art gallery
SIARPC: I've always liked Jenson Button, and I was happy to see him back on the show. So that was fine by me.
Which brings me onto the best thing about the show for me.
There was a suggestion that the old spark was maybe a bit back in this week's studio segments. There is only so much that can be achieved in a short space of time, but I do feel that some of the criticisms that have been levelled at the show recently had been taken on board. With that in mind, I was pleasantly surprised at this year's Top Gear Christmas present extravaganza. Anyone who thinks series 14 has been littered with knob gags should remind themselves of the innuendo-fest that was the pre-Christmas 2008 episode, complete with 'cock rings' and James May's pork sword... It was quite odd to be anticipating knob gags and for them not to arrive, but I thought it felt like they'd actually tried to pull back from that.
It was also lovely to have a first glimpse of the Rapide. I know some people think it's a bit pointless when they have a car in the studio just as a show car and they can't put it around the track and they can't film anything with it but given that it's only been seen on the street in the UK within the last fortnight, and doesn't formally launch until April, I was happy to see it at all. Not that I'm saying
that was a hark back to earlier shows, but they used to do that from time to time in the past. It really is a thing of beauty. If they'd had that, they could have shoved it in the gallery and not needed all the other malarkey!
Anyway, I've given that far too much thought.
What it boils down to is that I was just glad to see the boys not looking completely knackered for the first time this series, and actually responding instead of sitting there being exhausted.
The strange thing though, is that although I didn't hate any part of the show, and that I thought everything but the big film felt very good, it somehow managed to feel like it was less than the sum of its parts. Does that make any sense at all? Perhaps the lack of substance to the MIMA film brought down an otherwise nice show.
I don't see the point in picking apart the negatives too much at this stage. Andy has acknowledged the problems that have beset this series, and hopefully this will bode well for the remaining series, however many there may be. They're aware that this has not been
Top Gear at its best. I'm aware it has not been
Top Gear at its best. Fingers crossed next series will be a return to form.