Taking time out from sketch group The Penny Dreadfuls, Tuck explored the world of these underrated gems juxtaposed with stories of his failed relationships. However – bar the initial humour of flitting from a tale of heartbreak to Lady And The Tramp 2’s bad CGI –- you wondered where the link between the two was. Neither went into enough depth to warrant a genuine connection between audience and performer, leaving it easy to wish Tuck would either focus the show entirely on his romantic past, or turn it completely over to his take on Disney.
Tuck’s creation of the “medquel” and the “requel” genres (embodied by Tarzan 2 and Cinderella 3 respectively) prompted an interesting observational segment, culminating in a discussion about the metaphysical aspects of The Lion King 1.5. The suspense he built concerning the revelation of an aptly named character in The Return Of Jafar hinted at great storytelling skills aching to get out.
In Tuck’s own words, the show was not yet “perfect”... much like some of the sequels among Disney’s Home Entertainment releases.
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