Archive for the Internet TV Category

Thai TV

Posted in BiogTV, Internet TV, Local TV, Reality TV, Touring TV, TV channels, TV Culture, Watching TV with tags , , , , , , , , , on February 4, 2015 by Tom Steward

I’m sure Thai people are as baffled that we spend our evenings watching millionaires shoot ducks (I’m talking about both Duck Dynasty and Downton Abbey here) as I was with some of the curious and absurd programmes I saw in the country while I was visiting last month, so please take what follows with a pinch of cultural relativism. As I’m pig-ignorant about much of Thai culture, I’m going to stick with what I know and talk about Thai TV’s engagement with English language and culture.

Ridiculing Southeast Asian television is a rite of passage for popular TV critics. In my childhood, there were at least two (probably more) shows like Clive James on Television and Tarrant on TV where westerners who should know better giggled and guffawed at clips of Japanese game shows (now British TV from that era is our source of the very same mockery). I’m not much interested in this glasshouse criticism – though it’s hard to let go of the Thai TV show where they did nothing but pick up pens for half-an-hour – but I still have that same voyeuristic fascination as those orientalist broadcasters did when I was watching Thai television on my recent trip to the country. Bizarrely (though maybe not to Edward Said), it’s those moments of overlap with the English language and culture that are the strangest.

A case in point is English Delivery, a primetime educational programme using the comic talents and general enthusiasm of its hosts to teach English to viewers, and teach it well. It not so much about learning English words (and my limited experience of Thai people suggests they already know a lot) but getting the drop on misunderstandings resulting from translating Thai into English. To wit, the hilarious consequences that might ensue from confusing ‘pig’s balls’ with ‘pork balls’. As you can see from the examples they use, it’s more about conveying aspects of Thai culture to English speakers so they can understand it than learning about the culture or customs of English-speaking nations. That’s more than likely because so much of the Thai economy depend on tourists who speak English, or those that speak it so they may be understood by Thais.

I’m not saying that Anglo-American culture (well English culture, well English sport, well English football, well Manchester United) isn’t a big deal in some parts of Thailand, like Bangkok where we visited, but more often it feels like a policy of ‘do what you want…but give it an English name’. I was alerted to Don’t Lose the Money because I could read the title (and even when I know the Thai word it often isn’t recognizable in writing) but the show itself was simply a succession of contestants running back and forth between piles of money and empty boxes trying to carry one to the other with the use of head magnets. Increasingly we have game shows like this but we ruin their uncomplicated fun with ironic snark or over-complicated rules, or Richard Hammond.

I wasn’t surprised that when we got to the touristy island of Ko Samui there was so much European and American TV in our hotel satellite services. What did take me by surprise was the exchange of movie channels like HBO and Cinemax for a feed of someone’s laptop playing jittery, low quality streams of recent American blockbusters simply called ‘Island’. This became increasingly evident when we would return to our room to find a Windows shutdown message on the screen, and we knew exactly how long each movie had run for because whichever tech-savvy teenager was running it left the arrow and all the player information on the screen. With the trade in pirate DVDS they do in Thailand, it makes business sense.

HBO Thailand!

HBO Thailand!

Not all my jarring experiences of watching Thai TV were in English. At certain, seemingly random, points of the day, whatever was on TV was suddenly interrupted by choirs of fidgety schoolchildren singing in tribute to ‘The National Council of Peace and Order’, which is the name by which the military junta that has run Thailand since mid-2014 goes. It’s a startling reminder that you’re in a country under military rule, something G and I didn’t get a sense of as tourists – until we went to places where military officers were being served and the waitresses reacted like they were all Justin Bieber – and that TV is still (overtly) a propaganda medium in many countries. Come to think of it, the titles were in English.

Reunited…and it feels so dud!

Posted in American TV (General), American TV Shows, Internet TV, TV Acting, TV Culture, TV History, Watching TV with tags , , , , , , , , on March 18, 2014 by Tom Steward

Last week, comedy legend Bill Cosby confirmed publicly that there would be no reunion for his hit 80s family sitcom The Cosby Show. This was a relief since the franchise had already been stretched thinner than Tyler Perry on Slimfast with a deluge of spin-offs and sequels and yet still remains dear to audience’s hearts. But where is the demand for TV reunion shows coming from? There’s never been more old TV available to viewers. A large chunk of cable is devoted to re-running classic programmes and internet TV services archive a range of older series for instant access. This reminiscence fuels the public’s nostalgia and brings archaic programmes back into cultural circulation, which in turn makes them ripe for reunion rumours. Classic shows have become so popular on some channels and services that they are now a part of their brand identity and company executives try to capitalise on this by creating new episodes under their banner. There’s also never been more ways to make and watch television. TV can now be made solely for internet distribution, or pass freely between broadcast TV and online video. This gives programme-makers a wider range of options for content and delivery, which makes reunions more attractive since it doesn’t necessarily mean going back into full-scale production any more. It also makes the reunion less official and thereby received more generously, with fans enjoying it as an indulgent treat rather than criticising it for not standing up to the rest of the canon.

Bill Cosby issues a threat to any comedians considering a TV reunion.

Bill Cosby issues a threat to any comedians considering a TV reunion.

But is a TV reunion ever a good idea? Some programmes are so completely synonymous with a moment in time that to attempt to revive them in any other era is absurd and the effect like an out-of-body experience. Often, so much time has elapsed between finale and reunion that cast and crew cannot – whether due to age, health or simply lost touch – re-capture that which viewers loved so much. Whether or not fans and former viewers are willing to buy into a reunion can come down to the motivations behind it. If a reunion is a genuine attempt to create new fiction based around familiar characters and situations because of interest in continuing the story, then audiences tend to give it a (finite) chance. If the motivations are purely monetary and a cynical attempt to exploit a commodity by prolonging it unnaturally, then how can its devotees feel anything but used? Larry David’s semi-autobiographical sitcom Curb your Enthusiasm faced the problem of reunions head-on. In the show, the cast and crew of celebrated sitcom Seinfeld reject the prospect of 10-year anniversary show on the basis of how pathetic and desperate it would make them all look. Larry selfishly convinces them to do it so he can cast his ex-wife and win her back, and we see parts of the reunion episode in the season finale. David gave Seinfeld fans what they wanted without desecrating their favourite show while demonstrating he was well-aware of the dangers of reuniting.

Just don’t ask about the finale…

Seinfeld staged another reunion this year with a trademark dinerlogue between protagonists Jerry Seinfeld and George Costanza shown on internet TV service Crackle as a video short for Seinfeld’s Comedians in Cars Getting Coffee and on Fox at the Superbowl half-time. Again, the makers of Seinfeld made a big deal of reuniting but had deniability if it didn’t take, a sage move judging by the decidedly mixed reaction. Internet TV reunions have had fairly ambivalent receptions in general, not least Netflix’s revival of cult sitcom Arrested Development. Coming seven years after the series finale, this was a reunion sought after by fans following the show’s abrupt cancellation after only three seasons. Virtually all the cast returned and the fifteen-part series played on longstanding themes, storylines and characterisations with a new ‘story-maze’ concept complimenting Netflix’s instant delivery of all episodes. The innovative storytelling was necessary, but the rest felt too much like fan-fiction, a grotesque re-imagining of the original deviating from and souring its memory in unpleasant ways. It brought critical derision on the stars, creator Mitchell Hurwitz and Netflix executives, the latter appearing to be cashing in more than creating. If there’s a lesson here, it’s that people want reunions more than they ever want to see them happen. That’s why commercials are a happy medium for reuniting TV shows. The Danone Full House cast reunion and Radio Shack tribute to 80s TV shows bring programmes back and then move on to the next – hopefully new – show.

Oscar The Couch

Posted in American TV (General), American TV Shows, Internet TV, TV Acting, TV Criticism, Watching TV with tags , , , , , , , , , on March 11, 2014 by Tom Steward

Last Sunday was the first time I’ve watched the Academy Awards ceremony on TV live and continuously from start to finish. In Britain, the time difference means that if you want to watch the Oscars you have to stay up all night, which sounds fun but in reality resembles an inventive form of torture designed to give the re-opening of Gitmo some Hollywood pizzazz. In recent years, the ceremony hasn’t even been broadcast live on any of the UK’s free-to-air channels but rather on subscription-only cable movie channels as if it were an experimental art film where people open envelopes for five hours.

This year’s Oscars were so chocked full of embarrassing gaffes and faux pas that I was able to see the value of watching the ceremony as it went out. Not that the cringing diminishes upon repeat viewing after the fact, far from it in the case of John Travolta, whose creation of an entirely new name for singer Idina Menzel was prefixed with ‘one and only…’. But there’s something uniquely thrilling about seeing these disasters as they unfold in front of the world in the knowledge that they cannot be taken back or censored (even though anything truly provocative would be edited out with delayed transmission).

http://www.youtube.com/watch?v=bmXqL8-9dqk

But this year TV wasn’t just the relay of the Oscars, it was part of it. Host Ellen DeGeneres is a creature born of television, with her celebrity coming entirely from talk shows and sitcoms, and Best Actor winner Matthew McConaughey (not a typo, time travellers from the 1990s!) was awarded as much for his part in the celebrated HBO cop series True Detective than his underwhelming (in every sense of the word) performance in The Dallas Buyer’s Club. TV’s assured standing in America both culturally and artistically seems to be getting harder and harder for the Academy of Motion Pictures to ignore each year.

‘I’d like to thank television’

2014 also marked the year that the Oscars took note of the long-standing links between TV and the internet. Of course the web has been reporting news from the Oscars as it happens for decades now, but the Academy’s publicists are finally coming to realise that this is happening in tandem with the live TV coverage and not necessarily in a vacuum from it. This was the first year that Oscars’ coverage was offered as a live internet stream on the ABC website, a long overdue acknowledgement of how TV can be watched without a TV. DeGeneres’ Twitter-breaking celebrity selfie perfectly complimented the live-tweeting of the TV broadcast.

Even with the slightly more sociable option of live-pausing – for those that have a cable service – the five to six hours of television that the Oscars eats into can still be a slog if you’re going all the way to the Governor’s Ball. Television is medium of repetition to be sure, but even it cannot contain the mechanical monotony of the ceremony and the grinding formula of its acceptance speeches. The land of series marathons and genre channels is still not able to cope with the conformity that the Oscars produce. TV’s unending transmission is about the only way a bloated ceremony like the Oscars could be brought to the world but they’re still pushing at the limits of what even the most entrenched TV viewer can handle.

Oscars Admits Internet Exists!

TV gets its money’s worth either side of the ceremony as well. Hours of broadcast prior to the official start time of the Oscars are taken up with reporters transmitting live from the red carpet-lined entrance as stars rotate their bodies more slowly than a Virgin Trains toilet door and answer existential questions like ‘who are you wearing?’. Following the ceremony, various incarnations of Ryan Seacrest try to get the clearly traumatised Oscar guests to talk about what they witnessed before they repress it forever. Then there are the Oscar-themed talk shows and post-show analysis programmes. It’s past midnight before anyone in TV admits there is a world outside the Dolby Theatre. It’s surprising that politicians aren’t block-booking venues for press conferences on embarrassing indiscretions all day on Oscar Sunday.

Despite these torments, I’d watch the whole thing through again next year. It certainly beats trying to piece together fragments of information about what happened from rolling news stations the next day, which tends to take the same amount of time as the live coverage anyway. And now that TV is playing a far bigger role in the Oscars than ever before, it’s the obvious place to start.

Remote Possibilities

Posted in American TV (General), Internet TV, Reality TV, Reviews, TV advertising, TV channels, Watching TV with tags , , , , , , , , , on March 4, 2014 by Tom Steward

After months of watching TV on instant video applications like Netflix and HuluPlus, G and I have subscribed to cable. This meant shouldering an extra financial burden to meet the inflated monthly service costs but in both our eyes it was worth it. When we watch television, we want to watch television not find a programme to watch. We’re far more interested in watching television just because we can than seeing something specific. Internet TV was supposed to free viewers from the unwanted content of on-air broadcast (advertising, interstitials, filler programming) but to G and I TV only makes sense when they put the crap back in. I, for one, had no idea that the fake commercials in Portlandia appear in the middle of ad breaks where they serve a greater satirical purpose than popping up mid-episode. Also, the choice afforded to viewers by instant video had become a burden on us. So much so that we’d rather leave it to the bigoted, money-grubbing idiots who programme the TV schedules to decide what we watch.

Local advertising during IFC’s Portlandia.

The change isn’t as drastic as you might imagine. The notion of bingeing and marathons has now become so ingrained in the way TV schedules are created that you often find networks showing the same programme back-to-back throughout the day. As such, cable TV sometimes resembles a protracted version of what you might do on Netflix if given the chance. Perhaps the biggest difference is the licence cable TV gives you to stumble upon some of the strangest programmes you’ll encounter outside of a parallel reality. These are not programmes you would ever seek out or patiently endure buffering for, but when they are handed to you as samples that come free just for touching a button repeatedly you don’t feel you’re losing anything to give them a try. But don’t think these programmes are abnormal. They are indicative of precisely what television does when it’s not a one-in-a-million show like True Detective or Justified. It’s the act of filling time with a formula that works entirely on its own terms. That’s why we have…

Rev Run’s Renovation (DIY Network, Saturdays)

Rev Run’s Renovation: Not exactly Cribs!

A programme seemingly pitched on the basis of alliteration and anagram possibilities, Rev Run’s Renovation follows Run DMC rapper Rev Run as he renovates his New Jersey home. I know what you’re thinking. It’s a stylised reality show about the ridiculous and extravagant re-modelling that rappers do on their property a la MTV’s Cribs. Think again. It’s a completely matter-of-fact home improvement programme where the ins and outs of house renovation are laid out for viewers with an eye to budget and practicality. What does Rev Run have to do with renovation? Beats me.

Vanilla Ice Goes Amish (DIY Network, Saturdays)

Spot the Amish guy in this photograph.

Aside from being the perfect audience since it’s guaranteed they haven’t heard his music, Vanilla Ice Goes Amish is the feeblest juxtaposition of topics since Ted Nugent tried to fight Obamacare with Dr. Seuss. It’s not even that much of a mismatch. Vanilla Ice doesn’t programme code for Apple, he’s a rapper from the last century. He’s anachronistic enough now to have more in common with the Amish than differences from them. And it seems the Amish people aren’t as dated as we think. It should be called Vanilla Ice Does Nothing Different.

Wahlburgers (A & E, Wednesdays)

A 12-inch Wahlburger!

You know those businesses founded on a pun (‘Hair We Are Barbers’, ‘The Codfather Fish & Chips’ etc.) that won’t be there the next time you pass by? Well, this is a reality show about one of those businesses and the television equivalent of it. Wahlburgers is a chain of burger restaurants run by Chef Paul Wahlberg and his celebrity brothers Mark and Donnie. Wahlburgers is a show about Wahlburgers. The show and the restaurant are called Wahlburgers because they are Wahlbergs who make burgers. Expect nothing more complicated than this and you’ll be fine.

Unknown (Can’t Remember, Saturdays I think)

It’s not often I make an appeal to readers but as with many shows you encounter while channel hopping I only have a very sketchy memory of its name and where and when it aired and I’ve not been able to find it again nor any mention of it in the public domain. So please send me a comment or tweet (@wtvamericans) if you know what show I mean. It’s a tone-perfect, late-night digital cartoon parody of a morning news show which featured a location report from Legoland depicting it as an independent nation.

Viewer Discretion Televised

Posted in American TV (General), American TV Shows, Internet TV, Reality TV, TV advertising, Watching TV with tags , , , , , , , , , on February 5, 2014 by Tom Steward

There can be little doubt that the internet has become the established medium for pornography or that TV with its subscription-based, restricted-run porn provision wouldn’t rival its online competitor which boasts free use and plentiful content. But as we’ve seen with TV’s co-opting of Twitter as an advertising platform, television is not above appropriating an online success story to secure its place in the ever-growing media marketplace, and there’s no success as runaway as internet porn. Because of the moral, political and religious imperatives of broadcasting regulations, putting pornography on television has always been problematic. It might slip through the net as the accidental by-product of experimental art or adult drama or a moment of bravado in a piece of titillating entertainment, but would rarely go unchecked or unchallenged. The more serious pursuit of pornography can be found in the pay TV channels available on the much less regulated satellite, cable and digital services as well as some of the content on graveyard networks at an appropriately late time of day, although this is porn in a modified form suitable for TV that’s much lighter on the graphic side that the equivalent in other media. In short, pornography is always fighting a losing battle with TV. Of course this doesn’t preclude TV from taking lessons in how the porn industry puts bare bums in seats.

This is about as pornographic as it gets on Showtime Preview!

Why am I talking so much about porn? It’s because I’ve started to notice how much American TV takes from pornography. For all the reasons listed above, most TV is not explicitly pornographic but neither is it free from the influence of porn in how it advertises, entertains and lures its audience. I have an internet TV hub and recently noticed there was an application called ‘Showtime Preview’ which ran free season premieres from the subscription network. I wanted to watch the first episode of Season 3 of the industry sitcom Episodes. Since this was a promotional device designed to draw me in to starting a series and getting a network subscription to keep watching, I was surprised when the episode was edited to remove all violence, sex, nudity and swearing, which you might say are Showtime’s unique selling points. But I was taken aback when a sex scene with blurred images of nudity and intercourse bore a caption at the bottom of the screen saying ‘Want to see what you’re missing?’ followed by a subscription link. The very point was to withhold all the explicit content of Showtime’s programmes that couldn’t be aired on network or basic cable TV and then wield it as capital for subscribing. This is exactly how the porn industry incites users to upgrade from softcore teasers to hardcore features.

It’s not TV it’s HB-ho!

The more I thought about, the less right I had to be surprised. Hadn’t HBO – the city on the hill of quality TV – pulled exactly the same trick when wooing subscribers? The difference between HBO and other TV wasn’t just quality and sophistication of programming but explicit representations of sex, violence, nudity and swearing. Often there isn’t even the cultural cache to justify such excess. For every self-legitimating spectacle of obscenity like the artful, challenging The Sopranos there’s pure exploitation like sex industry documentary G-String Divas. HBO is hardly ashamed. The title sequence to prison drama Oz packed as much blood, gore, sex acts and intimate body parts as it could into a minute and a half montage. There’s even an in-joke in Oz making it clear the network are aware of their pornographic reputation, as inmates start receiving HBO and cheer in unison as G-String Divas airs.

ABC launches new Bachelor sex cam.

Networks like HBO and Showtime operate in a very similar way to subscription porn channels so we shouldn’t be too surprised when their marketing techniques overlap. But what about network TV, which claims to disavow any resemblance to pornography with its excessive and self-righteous censorship of content? The Bachelor: Sean and Catherine’s Wedding in which two former contestants were married live on air did all it could within broadcasting regulations to make viewers at home visualise the couple’s wedding night in graphic detail. A live camera feed reminiscent of a sex webcam was set on the bed in Sean and Catherine’s honeymoon suite throughout the ceremony. The pre-recorded wedding build-up centred on the wedding night, including Sean shopping for titillating lingerie and Catherine posing for a wedding gift of boudoir photographs. The strong feeling was that if ABC could have kept the cameras rolling into the night, they definitely would.