Archive for the Behind-The-Scenes Category

April 2020

Posted in American TV (General), American TV Shows, Americans watching British TV, Behind-The-Scenes, BiogTV, British Shows on American TV, hiatus, Internet TV, Reality TV, Reviews, TV Acting, TV advertising, TV channels, TV Culture, TV History, TV News, TV Sports, Watching TV with tags , , , , , , , , , on May 5, 2020 by Tom Steward

New Blog 10.1

Before I started watching Ozark, I didn’t know what it was about. I still don’t know.

The best part of Netflix’s Virgin River is the TV movies on Tim Matheson’s IMDB.

The Real Housewives of New York City is all crescendo and no build.

My son B chose a 90s Spiderman animated TV series over Frozen on Disney + so we can skip the DNA test.

Deciding what to watch first of the abundance of TV you have access to is a skillset not that dissimilar to playing the stock market.

Was Ozark an Arrested Development rewrite that got out of hand?

There is no international crisis that 90 Day Fiance won’t exploit for the sake of good television.

So, was the twist of Star Trek: Picard that Seven of Nine is actually Buzz Lightyear?

Inside No. 9 is proof of what is possible when you do genre fiction by the numbers.

The Good Fight is ashamed of its roots in network television and make artistic blunders because of it.

Was Ozark the product of playing Breaking Bad backwards?

The line separating corporate commercials from PSAs has evaporated in recent months.

New Blog 10.2

Last month I made an offhand remark about Armando Iannucci’s television being “accidentally prophetic.” Since then, the BBC has used scenes from The Thick of It to advocate for coronavirus lockdown and Bill Withers is no longer “with us.”

In 2016, I read an interview with Michael Sheen where he announced he was quitting acting to become an anti-fascist activist. The last I heard he was impersonating Chris Tarrant in a British TV docudrama about the Who Wants to be a Millionaire? Scandal. It’s been quite the four years for liberals.

Mortimer & Whitehouse: Gone Fishing is everything I love about British TV and everything I love about Britain.

I’ve taken to watching Netflix series in instalments which span the last five minutes of an episode and everything but the last five minutes of the following one.

Was Ozark pitched as Northern Exposure if Fleischmann was in the Cartel?

When you see all of CBS’s shows together in one place on All Access, they look like parodies of network shows. And not very imaginative ones.

Thank you, Joel McHale, for not pretending that this public access Hollywood Squares aesthetic is normal for television.

Can’t we just let Andy Cohen spend time with his child and show Rockford Files re-runs until this all blows over?

Take a break from cat videos on the internet and watch Red Dwarf: The Promised Land on Dailymotion.

Outlander chose to experiment stylistically at the worst possible moment and diminished its own power.

TV networks are lining up to make quarantine versions of shows that won’t ever count in the long run.

Maybe Ozark is a Curb Your Enthusiasm story outline that never saw the light of day?

New Blog 10.3

We’re all acting as if our haircuts aren’t going to look like Joe Exotic’s when we come out of quarantine.

ABC Mouse TV is the mad cow disease of early learning websites.

“Dinotrux? What happened to Ambient Mode?” Actual dialogue from my home.

I appreciate all the sidewalk chalk illustrations but it doesn’t make me feel like we’re living in The Walking Dead any less.

Whomever in The Good Fight’s Writer’s Room is pushing science-fiction storylines need to stop.

The Esurance “That’s not how any of this works” woman just turned up in Ozark.

A Fear The Walking Dead DP compared images from the Columbus Stay-At-Home Order protests to zombie horror. Isn’t this about the time they started nuking cities on the show?

Breaking News: The Rolling Stones retire from touring after learning they can perform from their homes and not be the same room as each other.

At Home editions of ongoing TV shows are a useful reminder of how much content is actually being offered. Currently only Last Week Tonight with John Oliver is passing muster.

No f—s or butts on Disney +

I always thought I could play Young Sipowicz in an NYPD Blue prequel. I’ve just learnt that there is only a ten-year gap between my age and Dennis Franz’s when the show premiered. Fox, the ball is in your court.

I never understood the animosity towards Breaking Bad’s Skyler White but whatever the shortcomings of her characterization, Better Call Saul’s Kim Wexler has absolved the original’s sins.

The drawings in each of the quadrants of the circle logo that change with every episode of Ozark remind me of educational children’s television.

 

 

 

 

 

 

 

 

March 2020

Posted in American TV (General), American TV Shows, Americans watching British TV, Behind-The-Scenes, BiogTV, British Shows on American TV, hiatus, Internet TV, Reality TV, Reviews, Touring TV, TV Acting, TV advertising, TV channels, TV Criticism, TV Culture, TV Dreams, TV History, Uncategorized, Watching TV on April 2, 2020 by Tom Steward

New Blog 9.1

I’m escaping quarantine by watching lovers separated by walls, animals in cages, people trapped on a cruise liner, and the after-effects of a deadly global virus.

Maybe U-Verse should re-consider using the word “cowering” when talking about the characters in Day of The Dead given the current state of things.

McMillions raises the question of how weather ever makes the news.

The quarantine edition of Last Week Tonight with John Oliver was effectively a crossover episode with Black Mirror.

Avenue 5 confirms that Armando Iannucci only makes accidentally prophetic television.

If I’ve learned anything new about Trump from his televised Coronavirus press conferences, it’s that he says “contagion” like Kevin James’ Doug in The King of Queens.

Curb Your Enthusiasm may be the handiest guide to social distancing in the whole of media.

With an ABC sitcom, Disney cartoon and Bravo reality show on the way, this is Indian-Americans’ TV year. Let’s hope networks don’t pull it away from them as fast as they did with Mexicans and South-East Asians.

Homeland is trying to break 24’s record of Presidential turnover before it ends.

Netflix doesn’t need to add a button to remind you that you’re alone.

My Samsung TV is recommending movies for me to watch while I’m working at home. Either it knows I’m a critic or thinks we’re a nation of liars.

Inside No. 9 just El Camino’d Psychoville. If you don’t get those references now, you will after months of quarantine.

New Blog 9.2

Isn’t now a good time to reboot those CNN election coverage holograms? I don’t think I can take another home news report on an iphone.

We’re all now basically the BBC News interviewee whose children burst into the office during broadcast.

Whomever was responsible for closed captioning of Top Chef Allstars LA did well to add a question mark to Padma Lakshmi’s opening assertion that Los Angeles was “one of the best food cities in the world?”

Vanderpump Rules needs to omit the skits and cartoons. Anyone watching already knows the show is cheap, nasty and artless and doesn’t mind a bit.

Breaking News: The Walking Dead reboots as Lifestyles of the Rich and Famous.

With its stolen memoir and culinary school plots, the finale of Fresh Off The Boat was an apology letter to its estranged subject.

If you want to know what TV is going to look like for the next few months, check out a 90-Day Fiance Tell-All.

There’s been a staggering number of new series about people facing global crises in the past few months. It seems that Coronavirus was in our art before it found its way into our lungs.

HBO missed a golden opportunity to re-launch its 1970s science-fiction remake as Westworld in The City.

There’s never a good time to do an entire episode about penicillin, but if there was Outlander nailed it.

Korean animators must be working 24/7 to get those Disney Channel and Nick Jr. Coronavirus PSAS out.

One wonders if Game of Thrones could have salvaged its reputation by crossing over into the Westworld universe before it ended.

New Blog 9.3

Picard is like a version of Star Trek where your parents and schoolteachers make out in front of you.

G literally prayed for a Netflix show like Tiger King to come along. Be careful what you wish for.

Jeff Goldblum’s commercials for Apartments.com are bringing out the lighter side of illegal data mining.

I’m starting to think I should have paid more attention to those episodes of The Sopranos where Uncle Junior was under House Arrest.

TV networks are giving away more content for free than a theatre major with an iphone.

I’m sure the female guests on Talking Dead feel safer now that they don’t have to share a room with Chris Hardwick.

The Real Housewives of New Jersey filled a time capsule entirely with items that future archeologists would need to know their 2019 activities in order to understand.

I generally prefer that documentary directors be fly-on-the-wall observers but I wouldn’t have been averse to Eric Goode or Rebecca Chaiklin opening the cages at any point during the filming of Tiger King.

The person who accidentally broadcast a MyPillow.com infomercial during a televised White House Coronavirus briefing must be in serious trouble.

Love is Blind is proof of what dating shows can achieve when they don’t have to remind viewers of the concept every twenty seconds.

Better Call Saul is The Sopranos of legal dramas.

Mickey Mouse’s guide to the Internet is no Mickey Mouse operation.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

January and February 2020

Posted in American TV (General), American TV Shows, Americans watching British TV, Behind-The-Scenes, BiogTV, British Shows on American TV, Internet TV, Reality TV, Reviews, TV Acting, TV advertising, TV channels, TV History, TV News, TV Sports, Uncategorized, Unsung Heroes, Watching TV on March 2, 2020 by Tom Steward

New Blog 8.1

I seriously doubt there’s anything in No Time to Die that can compete with Graham’s laser shoe from Spyfall.

Seen through the prism of a constantly buffering HBO Go app, the final season of Silicon Valley was an unintentionally interactive viewing experience for me.

qubo specializes in cartoons from yesteryear that look like they’re being watched from another room.

Have the rights to Ted Bundy recently gone into the public domain?

The Magic Motor Inn episode of Fresh Off the Boat proves that G’s back-door spinoff-dar is military grade.

Netflix’s Cheer is not to be confused with the first screen outing of Ted Danson’s Sam Malone.

Time jump finales in HBO Original Series are now contractually binding.

The advertising for the BBC’s Seven Worlds, One Planet makes it seems like Earth is a TV show leaving a streaming service in 2020.

I don’t know if I’m more amazed that a musical act on The Bachelor once dated a contestant or that a contestant had prior knowledge of a musical act on The Bachelor.

American quality television is having its own papal war.

HBO’s McMillions recalls Ben Affleck’s comment on Argo that “even the feeblest execution” of such a compelling real-life story would still make for great entertainment.

G was expecting Shrill to be like a live-action Nature Cat, demonstrating that as parents of a toddler we are no longer able to distinguish between adult and children’s television.

New Blog 8.2

The MSNBC reporter’s racist outburst in reporting of the death of Kobe Bryant and the subsequent resurrection of Mr. Peanut in his honor suggests that TV’s priorities on grief may need re-evaluating.

The best media satire I see on network television is in Geico and Progressive Commercials.

Larry David may be Bernie Sanders’ best impersonator but, judging by this season of Curb Your Enthusiasm, he could also be Trump’s most effective speechwriter.

Avenue 5 is a worthy addition to the British science-fiction sub-genre of Shoddy Space.

When Adam Driver hosts Saturday Night Live, it feels like improvised jazz rather than a hit-and-miss sketch show.

Killer Inside: The Mind of Aaron Hernandez made me wonder why there isn’t a rolling news channel devoted to this story.

I urge you to watch reality shows with closed captioning as they put inverted commas around words that don’t exist and they come thick and “fastly.”

The Oscars 2020 really made the case for the continuing importance of commercial cinema with an opening musical number recreating an iconic moment of public television.

U-Verse On-Demand needs to accept that I am not going to rent A Simple Favor.

Season Three is the new Season Two. We need to be talking about Junior Slumps.

Last Week Tonight with John Oliver is the best argument for only reporting the news when it’s not happening.

If parents are confused as to which version of The Adventures of Paddington Bear is the newest one, just remember it’s not the Canadian one with a bloated expositional theme tune that even The Simpsons couldn’t credibly parody.

New Blog 8.3

Unexpected bonus of AMC’s uncensored airing of The Godfather films Part 1 – 8am boobs.

Unexpected bonus of AMC’s uncensored airing of The Godfather films Part 2 – The Godfather Part II now gives two fucks.

Unexpected bonus of AMC’s uncensored airing of The Godfather films Part 3 – Doesn’t apply to The Godfather Part III so you have an excuse to skip it.

What is anyone on Married at First Sight talking about? They all sound like malfunctioning self-help robots.

The world television premiere of El Camino was somewhat undermined by the fact that millions of viewers had already seen the movie on television.

Haven’t we done enough damage to Pizza Hut crusts without making them their own appetizer?

Bad News Breaking – Breaking Bad Now The Sequel To Better Call Saul.

In terms of romanticizing of the Taliban, the final season of Homeland picks up where Rambo III and The Living Daylights left off.

The commercial for the “Battle for the 2020 White House” commemorative chess set is the best piece of television to play parody chicken with.

I bet the voice actors on Superwings: Mission Teams increasingly regret having ticked the Accents and Dialects box on their online submission for the casting call.

Made my national television commercial debut and now worried about being typecast as “Man in Bermuda shorts and Hawaiian shirt that doesn’t fit him ignoring Phil Mickelson.”

Apparently, Saturday Night Live having a host and musical guest I’m equally excited to see only happens every four years.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Last Post of The Year

Posted in American TV (General), American TV Shows, Behind-The-Scenes, British Shows on American TV, Reality TV, Reviews, TV Acting, TV advertising, TV History on December 11, 2019 by Tom Steward

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UPDATE: Kurt Sutter’s departure from Mayans M.C. resulted from abusive behavior not white guilt. Potato, patata.

Counting down to the new season of 90 Day Fiance by watching new seasons of 90 Day Fiance.

Half of the movies I’ve seen at the theater this year are based on television shows. The other half I wish were television shows.

El Camino is a feature-length post-credits scene.

Molly of Denali is made by someone who really misses esoteric nineties dramedies.

My first thought upon re-watching The Running Man was that no TV network would ever give away this much content for free.

Netflix have made a holiday special starring The Captain of The Polar Express, Satan, and The Burglar from Home Alone.

The Crown should be re-named Queen Who.

Nonny in Bubble Guppies is either a really good stab at portraying an autistic child or a terrible take on a nerd.

The Mandalorian is an exercise in the art of the end-credit.

Scorsese says Marvel movies are “not cinema” in an interview promoting his latest video-on-demand content.

In the age-old tradition of Star Wars selling old wine in new bottles, The Mandalorian is Have Gun, Will Travel in Space.

New Blog 7.2

Disney + should stick one of those “outdated cultural depictions” warnings on The Phantom Menace.

Standing in the lobby of the Netflix-owned Egyptian Theater in Hollywood performing a live immersive theatre rendition of scenes from The Witcher to the audience for the cinema premiere of the show wondering what television is anymore.

You know you’ve assimilated when your reaction to a TV commercial for a Mac n’ Cheeseburger is: “I suppose it was inevitable.”

In the dark sequel to the Peloton Holiday ad for Aviation Gin, the protagonist plays an in-world Paul from Verizon.

With their Godfather and James Bond marathons, cable television has correctly identified the two major themes of Thanksgiving as immigration and colonialism.

I want to buy a crate of Romulan ale for whomever thought of using Star Trek V: The Final Frontier to extinguish IFC’s 24-hour Godfather Thanksgiving marathon.

With the accusations of racism in the seating of Franklin in A Charlie Brown Thanksgiving, viewers are finally seeing the darker side of this holiday special about a clinically depressed pre-teen boy.

I’m convinced that the “Cut for Time” sketches on Saturday Night Live are removed from the broadcast to ensure that the show’s best writing get a wider audience on the internet.

As Inside The Actors Studio moves to Ovation, Bravo severs its last links to a culture beyond Andy Cohen.

With the return of Dirty John as a true crime anthology series, will we see Eric Bana as a moldering John Meehan hosting the episodes a la Tales from The Crypt?

Those complaining about Rudolph’s acquiescence to his abusers in Rudolph The Red Nosed Reindeer should remember that this was a cartoon made the year The Civil Rights Bill was signed into law.

New Blog 7.3

Not content with being Reality’s answer to The Sopranos, The Real Housewives of New Jersey is now aping the story structure of the first Godfather movie.

The Irishman does nothing to challenge my long-standing belief that Martin Scorsese should no longer direct anything but documentaries.

That a half-century old period drama such as The Crown remains one of the best documents of contemporary Britain is an indictment of how little we’ve progressed as a nation in the intervening years.

There’s been a noticeable dip in the amount of subtitled dialogue in Fresh Off The Boat, which I’m desperate to believe executes a long-form story arc about assimilation not a network note.

If everyone can get excited about a four-minute sequel to E.T., then why do we need another feature-length Ghostbusters?

I’m now at a point in my life when I turn off Scorsese crime movies and put on British heritage dramas instead of the other way around.

Now that Poldark has ended, spare a thought for the actor playing the local banker who has lost his annual gig telling Ross he can’t give him any more gold.

It seems the latest trend in event television is live broadcasts of musical remakes that ruin childhoods.

John Mulaney having both an adult and family-friendly comedy show featuring kids on Netflix is going to be a stern test of the platform’s algorithm.

The most recent season of The Walking Dead strikes me as the TV equivalent of a deep-franchise horror sequel whose connective tissue to the original movie dangles by a thread.

Merry Festivus and Happy Who’s Here.

Peak Hours (Parts 3 & 4)

Posted in American TV (General), American TV Shows, Behind-The-Scenes, TV Acting, TV Criticism, TV Dreams, TV History with tags , , , , , , , on September 24, 2017 by Tom Steward

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When Mulholland Drive topped the BBC’s list of the 21st Century’s Top 100 Films last year, Time Out film editor Geoff King was interviewed about David Lynch on BBC News. King was subjected to the kind of bullyboy pedantry that has infected BBC journalism since the era of Jeremy Paxman, and apparently now taints its arts coverage. The reporter banally badgered King about whether or not he understood Lynch’s movie, a question which the critic sensibly dodged by challenging its relevance to an appreciation of the film, adding “I think I’m getting everything that Lynch is putting out there”. I couldn’t have said it better and it’s a sentiment that should inform any attempt to write about Twin Peaks: The Return.

I’m not suggesting I’m any better than those who try to make literal sense out of Lynch’s work. I recently clicked on a YouTube video that was doing the rounds on social media called “David Lynch comments on the ending of Twin Peaks: The Return” which turned out to be a montage of the finale with Lynch as Gordon Cole edited in for comic effect, asking “What the hell?” In spite of myself, I still feel the need to rationalise what Lynch (and, in this case, Mark Frost) puts up there on the screen. Yet I genuinely believe that the critical reception of the series focuses far too much on meaning and not nearly enough on feeling.

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Looking for plausible explanations of what happens in The Return immediately reveals its own futility. Take any of the series’ unsolved mysteries, for example: “What happened to Major Briggs’ head?” The question itself is so absurd; it renders any answer moot. I’m more interested in talking about the sublime image of Don S. Davis’s head floating through space like an early cinema moon. Critics are on firmer ground when they ask legitimate questions about cliffhangers from the original series. In the first incarnation of Twin Peaks, these storylines would most likely have been resolved, while here they are surrounded by even more uncertainty. The continuation of Audrey Horne’s story arc from the third season finale is a case in point.

We learn that Audrey fell into a coma after being the victim of an explosion at the Savings & Loan while she was handcuffed to the vault. We also surmise that she gave birth to a child, Richard, fairly soon after. That is exactly as much as we know, and we don’t learn any of it in the scenes in which Audrey features. In those scenes, Audrey appears to be caught in a loveless marriage and has taken a lover. But there’s an odd doctor-patient vibe of her relationship with husband Charlie and the denouement of her storyline has Audrey clearing the dance floor of The Roadhouse as she slow-dances to her eponymous leitmotif, followed by a last-second jump-cut to an expressionistic close-up of her face inside a mirror surrounded by clinically coloured and lit walls.

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In Audrey’s story, there’s a perfectly rational explanation of her fate, a completely fantastical one, and everything inbetween. Viewers can latch on to the “fact” of her coma and ascribe her appearances to an elaborate fictional life created in unconsciousness, which is then broken in those final few seconds as she comes out of it. The reverse works just as well. At any point, we may be in the real world or the realms of fantasy, and they could switch at any time. This is an openness of storytelling seldom seen in television. I also suspect this may be a satirical comment on the trope of “retconning” in TV revivals, as information previously understood to be true in a show is unconvincingly revoked or revised by future versions of it. Here Lynch and Frost become the least reliable sources for what has happened to the characters they themselves created.

The Return keeps original Twin Peaks characters dancing on the edge of cliffs in an entertaining holding pattern that promises more resolution than it can ever deliver. At times, Lynch and Frost (my instincts tell me mainly Frost) pay heed to the viewers’ desire for closure but these are hollow gestures, with the exception of Norma and Ed’s happy ending. As the series drew to a close, it appeared that Cooper might return to his original status in the show, but all the different variations of the character seen in The Return coagulate into the muted, half-speed version of the Dales we encounter in the finale episode.

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One thing Lynch is putting out there that I’m definitely getting is the casting. In the first incarnation of Twin Peaks, the cast comprised largely of Lynch favourites (Kyle MacLachlan and Jack Nance, the protagonists of Blue Velvet and Eraserhead respectively), teen pin-up eye candy (Sheryl Fenn, Sheryl Lee, Madchen Amick, James Marshall), veteran actors from Hollywood movies of the 50s and 60s (Richard Beymer, Russ Tamblyn, Piper Laurie) and those selected for bodily attributes (The Dwarf, The Giant, The One-Armed Man). The mix of old and new in The Return is already complicated by a pre-existing cast that looks backwards and forwards simultaneously. The dual sense of history and youth is retained but, once again, that means something entirely different in casting The Return.

Lynch’s 21st Century films are represented here by the leading ladies of Mulholland Drive and Inland Empire, Naomi Watts and Laura Dern. Though, along with Harry Dean Stanton (in his final television role), Dern connects The Return with Lynch’s oeuvre of the 80s and 90s. She does more than that. By casting her as Diane, who remained offscreen for the entirety of the first run, Lynch has entrusted Dern with giving life to a character that never had one. It really speaks to the idea that Diane is a figment of Lynch’s imagination manifested in the body of his favorite actress. The way Diane’s story plays out onscreen and the agency that Lynch (as Gordon Cole) has in her scenes eerily mirrors their professional relationship.

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Like Twin Peaks, The Return is unashamedly sexy in its selection of actors. But there’s a different aesthetic here. While the original titillated viewers with the eroticism of preppy high-schoolers and teenage beauty queens embracing the darker sides of their sexualities, the revival finds the same quality of desire in adult femininity. Agent Tammy Preston’s hourglass figure, hip-slinking walk and lithe chic is the object of Lynch’s lust. Were this not obvious from the way he shoots her, Lynch’s Cole is also the voyeur in front of the camera. We can draw similar conclusions from Cole, the character once again interchangeable with the director, talking about “one of his Monica Bellucci dreams”, a fantasy which the actress gamely indulges for Lynch. The sexualisation of Diane’s hard drinking, smoking and swearing is another indication of Lynch’s fetishes achieving maturity.

With over a half-century gone since the era of Hollywood that Lynch and Frost plucked their Twin Peaks stars from, it’s remarkable that Beymer and Tamblyn remain to keep the torch of movie nostalgia alight in The Return. This is topped off with the addition to the cast of Don Murray, whose brushes with mid-century Hollywood glamour (having acted alongside Marilyn) and character actor chops make him the perfect Peaker. But The Return also pays homage to the Indiewood cinema and quality television that has dominated American popular art since Twin Peaks first went off the air. Think of Tim Roth and Jennifer Jason Leigh’s pair of assassin lovers as American indie cinema’s Prom King and Queen, with Michael Cera and Amanda Seyfried the first-grade pretenders to the crown. Robert Forster as Sherriff Truman manages to straddle associations with both mid-century Hollywood and the nineties US indie boom.

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While James Belushi might seem a curious choice, for the TV connoisseur his presence puts Twin Peaks into a quality television timeline that acknowledges early nineties virtual reality thriller Wild Palms and then culminates in contemporaries such as Mad Men and The Walking Dead, whose stars make punchy cameos here. Lynch and Frost seem to recognise that the paradigms of pop art have shifted with time. Actors are still cast on the basis of their different bodies (though refreshingly not made to play mythical creatures this time) but there’s a few nice twists on the theme. I was particularly enamoured of the three Las Vegas detectives, all named Fusco (and possibly all brothers), who have a heavyset uniformity that makes them seem like actors all waiting to audition for the same part.

In short, there are ways to appreciate Twin Peaks: The Return that don’t involve interpreting it. We should enjoy the freedom that Lynch and Frost give us to experience the characters without the burden of story arcs hanging over them. Sometimes, the significance of characters is not related to their role in the story but is closer to the actor playing them, and what they mean to the world of the show. I don’t feel cheated and I hope others don’t either.

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