Ep 6. MAY THE BEST MAN WIN

The New Statesman is a British sitcom that originally aired from 1987 to 1994, featuring the unscrupulous and manipulative Conservative MP Alan B'Stard, played by Rik Mayall. In the second season's sixth episode, titled MAY THE BEST MAN WIN, the show continues its satirical take on the British political landscape of the time.

In this installment, Alan B'Stard is once again up to no good in his relentless pursuit of power and personal gain. As the title suggests, there is a contest at the heart of the episode, and the stakes are high, both politically and personally for B'Stard. The episode weaves a tale of deceit, underhanded tactics, and the darkly comic machinations that have become the hallmark of the show.

MAY THE BEST MAN WIN opens with B'Stard in his element, concocting a scheme that will ensure his continued ascent within the ranks of the Conservative Party. Alan's latest plan involves taking advantage of a political opportunity that has presented itself within his constituency, but he's not the only one eyeing the prize. There's competition from an unexpected quarter—a rival who threatens to upset Alan's carefully laid schemes.

As Alan prepares to engage in this political battle, he enlists the help of his long-suffering wife, Sarah (played by Marsha Fitzalan), and his dim-witted assistant, Piers Fletcher-Dervish (played by Michael Troughton). The comedy unfolds as B'Stard devises a series of increasingly unorthodox and dubious strategies to outmaneuver his opponent.

As always, the show doesn’t shy away from controversial topics, touching on political sleaze, the mechanics of British parliamentary elections, and the self-serving nature of those in power. Through the episode, audiences are treated to a masterclass in manipulation as B'Stard twists allies and enemies alike to bend to his will.

Despite the seemingly insurmountable obstacles put in his path, Alan displays remarkable resourcefulness and an absence of moral scruples. His actions are designed to leave viewers both appalled and entertained, as one can never be quite sure if Alan is the hero or the villain of his own story.

In MAY THE BEST MAN WIN, satire is weaved into the fabric of the episode to create a setting where the lines between right and wrong are not just blurred—they're completely redrawn according to B'Stard's needs. The humor is sharp, often dark, and unabashedly critical of the political establishment. The sharp-witted dialogues and irreverent takes on sacred institutions characterize the screenplay, maintaining a rapid pace throughout the episode.

Interestingly, while the series is deeply embedded in the political and cultural context of the late 80s and early 90s, the themes of ambition, corruption, and political maneuvering remain timeless, resonating with audiences who have witnessed political theater in different eras and contexts.

Throughout the episode, the supporting characters also get their moments to shine, contributing to both the tension and the hilarity of the situation. Each character's interaction with Alan reveals different facets of his character—some shine a light on his cunning mind, while others expose the comical absurdity of his inflated ego.

As the episode draws to a close, viewers are given a front-row seat to a climax that is as unpredictable as it is sidesplitting. Without revealing any spoilers, it is safe to say that MAY THE BEST MAN WIN delivers on its promise of a cutthroat political showdown presented with the series' characteristic cocktail of satire, silliness, and sharp observation.

True to form, The New Statesman's second season continues to explore the trials and tribulations of Alan B'Stard with biting satire, memorable performances, and a sense of humor that delves into the darker side of politics. MAY THE BEST MAN WIN stands out as a quintessential representation of the series' ability to entertain while also encouraging a critical look at the world of politics.