Archive for the TV channels Category

Time for TV

Posted in American TV (General), American TV Shows, Reality TV, TV channels, TV History with tags , , , , , , , on March 7, 2016 by Tom Steward

As Fuller House demonstrates, TV is always eager to flex its nostalgia muscles but recent programs have shown that it’s still the timeliness of the medium that puts it above others. While Donald Trump scapegoats Mexican immigration for America’s problems and builds his “policies” (and I use that word as broadly as it will stretch) around a wall dividing America and Mexico, Fox is airing an animated sitcom about a racist border agent living in a town called ‘Mexifornia’ who remains oblivious to the generous spirit of his Latino neighbor. Meanwhile in the post-Snowden age, a basic cable drama explores the anti-heroism of the hacker terrorist. But television can never shed anachronism completely and while these shows might be current they are far from new.

border

Deport thy neighbor!

Bordertown is a blatant callback to the ‘bad neighbor’ sitcom that has been one of the most common formats for the genre and usually the vehicle for discussing vast social, racial and political differences between characters. The British sitcom Love Thy Neighbour in which a working-class racist white man lives next door to a middle-class African-Briton is perhaps the best (if that word can ever be used in conjunction with the show) example of this, though Hitler-Jewish couple neighbour sitcom Heil! Honey I’m Home is certainly the most extreme. Previous animated Fox comedies have used this device, forging dynamics between church-hating slob Homer Simpson and God-loving puritan Ned Flanders in The Simpsons or button-downed Texan Hank and extravagant Laotian Kahn in King of the Hill.

The ethics of hacking may not have been addressed as cogently as they have in USA’s Mr. Robot but the act itself has traditionally been a means to an end in TV drama. State-sanctioned hackers like Chloe in 24 helped to move the plot along in real-time, even when the character was faced with the drudgery of coffee shop Wi-Fi. On CBS, there’s a CSI about hacking (the only one left, believe it or not) and something called Scorpion which puts hacking at the centre of story development, even though the show seems designed to make tech people seethe with rage at the inaccuracies. Plus whoever made this has a raging Fight Club fetish, with a delusional loner embroiled in terrorist activities as social protest.

To fight the hate-fuelled bile of Trump’s anti-immigration rhetoric, we need an alternative that doesn’t pull its punches when it comes to condemning the Caucasian culture that engendered his political triumphs. In that sense, the bigotry and ignorance (#bignorance) of white characters in Bordertown is more of an antidote than the polite questioning of Trump on news programming, which ensures their ratings cow remains sacred. While partisan liberal news networks like MSNBC can be counter-attacked for projecting ideology, Mark Hentemann and Seth MacFarlane’s politically incorrect comedy cannot, since it extends its satire to the left and Latino culture, rather than cowering from it. The lack of controversy may be because it is little-watched, but it also could be a sign the public accept its truth.

Like its pre-9/11 cinematic predecessor, Mr. Robot may not have a political perspective as much as simply throwing around politically charged words and ideas. That’s fine, as drama shouldn’t be propaganda, but there’s no doubt it captures our ambivalence as a culture about digital whistleblowers. I’m pushing through the first season slowly so excuse me if I’ve already been debunked but hacker Elliot has neither been confirmed as a hero or villain, nor has his direct action yet been given moral deniability for us as an audience. I’m not sure it’s because the writers can’t make their minds up, but rather that we can’t. They may not have predicted the Apple terrorist phone unlocking crisis but they can count on its like in the news.

roboto

Domo arigot!

Not that I want to draw a false equivalence between the two shows. Mr. Robot is a huge departure for USA, who have typically relied on a bunch of slick ricks to fill their original programming vacuum. Bordertown is familiar territory for Fox, who are the leaders in mainstream adult animation (though Adult Swim is snapping at their heels) and will only enhance a pre-existing reputation. But they are united in their contemporaneity, and the ability to deliver that in a style that seems like it’s always been with us. Because it nearly always has. Both programs test the limits of modern-day American culture, straddling its violent past and technological future. But crucially they also know how to appeal to our overriding sense of nostalgia.

On Your Marks…Set…HBO!

Posted in American TV (General), Behind-The-Scenes, Internet TV, TV channels, TV Culture, TV History with tags , , , , , on February 22, 2016 by Tom Steward

I hate to use the word adulting – primarily because it’s not a word – but it now seems that every major TV network in America has at least one program that is mature and sophisticated in content, execution or both (except NBC, who are labouring under the delusion that a Ryan Seacrest police procedural is somehow acceptable). It may be true that the best (non-pornographic) adult programming these days comes from basic cable networks like FX (Fargo, The Americans) and AMC (Better Call Saul, The Walking Dead) but that doesn’t mean they got there first. Subscription network – and Adam Sandler movie buyer – HBO has been adulting since the late nineties, when arty prison drama Oz and revolutionary crime drama The Sopranos heralded a wave of complex, experimental and provocative television that has yet to subside. This was politically and artistically reinforced by Six Feet Under and The Wire in the naughties, but overall the network that is an alternative to itself has re-defined just about every genre of TV you can think of, from post-feminist rom-com to news satire. But is it possible that HBO is finally entering a period of arrested development, and might that actually be a good thing?

hbo.png

Well, people would have liked it a lot more!

HBO now looks to re-define quality television for children, mostly by making parents pay – or wait – for it. Last year the network struck a deal with PBS to co-produce the  iconic educational television show Sesame Street so that the show would air first on the subscription-based provider and then on free-to-air TV months later. It’s perhaps the only time I can think of (maybe you can do better) that HBO has exploited an established commodity rather than making an improved version of it and it’s one of the few signature series the network has that doesn’t rely on obscenity to make audiences spend to see it. HBO has now added the football-themed Dwayne ‘The Rock’ Johnson vehicle Ballers to its roster of original series, which seems to be playing to the Fast and Furious-watching, sports-loving element of its demographic. Even a critic’s darling like Game of Thrones which is certainly distinguished by heavy and explicit levels of sex, violence and offensive language resembles the kind of mediaevalesque fantasy stories beloved by the nerdy young and is perhaps the first time that a HBO series with a continuous narrative arc has seemed more like a children’s matinee serial than a novel.

It’s rare that a HBO series goes over its audience’s head – though we all remember the debacle of John from Cincinnati – but last year the high-profile misfire of True Detective Season Two suggested that viewers weren’t always going to lap up the most extreme, idiosyncratic television that the network could produce. Vinyl is just beginning but it’s hard to see where this Scorsese creation detailing the record industry of the seventies will go in exploring the organized criminal elements of historical American leisure that Boardwalk Empire didn’t. The network has cancelled Looking and put a time limit on Girls, which will curb its claim to have the most socially incisive, funniest and best-written comedy-dramas on TV. If it is to continue its unwritten policy of having a maximum of six seasons of every show, then we know that Game of Thrones can’t last much longer, though the saga’s literary predecessor suggests otherwise. So what is the future of HBO? Will the network start to polarise its appeal by producing television that is either infantile or avant-garde, with nothing inbetween? Perhaps the open access of HBO GO and HBO NOW is doing something irrevocable to the adult remit of the network.

hbo 2

‘Finish the series, George, I have indie movies to make!’

I’m sure many have written these ‘death of HBO’ articles before, and I’m sure they were as premature then as this is now. But I’m worried about the point of HBO changing, not the quality. Game of Thrones is wonderfully compelling and I admired True Detective a great deal, but at its best HBO always gave us innovative, game-changing television that never seemed too slight or too weighty. That balance may be in jeopardy as HBO diversifies into a Netflix-style online video service, or perhaps FX and AMC have found the mean when it comes to quality television, without needing to resort to pornographic shock tactics or take too much cash out of viewers’ pockets. Last Week Tonight and Silicon Valley suggest that a change in direction is not necessarily a bad thing, and that HBO is still finding the best people and concepts in television. But for how long?

UK with Me: Part 2

Posted in Americans watching British TV, British Shows on American TV, Local TV, TV channels, TV History, Uncategorized, Watching TV with tags , , , , , , , on January 18, 2016 by Tom Steward

Where I continue my rundown of the TV I watched during my time in the UK, as a result of visiting at a time of year conducive to indoor sports that require no physical prowess or ability. Since we didn’t have a darts board, the television would have to do. Much of the British television I had written off as dated and defunct had returned and, though many were old wine in old bottles, there were several programs being broadcast made by familiar names that added something new and interesting to a pre-existing legacy. There were also genuinely innovative moments:

 

Car Share – BBC One

 

uk

Hands up who likes Peter Kay again

 

After emerging in the late nineties as a successor to the observationally rich character comedy pioneered in the North of England by writer-performers such as Alan Bennett, Victoria Wood and Steve Coogan with That Peter Kay Thing, Peter Kay stagnated creatively in the naughties and the teens, content with cosying up to light entertainment until it swallowed his authenticity. The two-hander sitcom Car Share which follows two colleagues carpooling on their commute to and from work was exactly the stripped-down concept that Kay needed to reboot his realism. Punctuated by conversational silences drowned out in the perfectly pastiched audio garbage of satellite radio commercials, the wiretapped feel of the dialogue and understated sincerity of the couple’s interaction reminds us why Kay was once such a treasured comic voice in British culture. Even the more indulgent sequences, such as the fantasy music videos, have an almost Dennis Potter-like quality in the context of the storyline.

 

Toast of London – Channel 4

 

Toast of London

His career is toast

 

Arthur Mathews once co-wrote and created Father Ted, the sitcom of its day and one which – like much British comedy of the time – refuses to date and instead grows in stature the more we find out about the world (or in this case the Catholic Church). Nothing that Mathews has done since has been able to surpass Father Ted, although surreal juxtaposition sketch show Big Train came tantalisingly close. But seeing Toast of London, which Mathews devised with Matt Berry, a comedian, actor and writer who is a darling of cult comedy and possesses a sleazy retro quality that consumes everything he does, you feel as if he might come close. As with Father Ted, the sitcom is set in another sphere of absurd mediocrity; that of the jobbing actor. As heavily stylised as its ecumenical predecessor – which often resembled a live-action version of The Simpsons – it nonetheless discovers inherent truths about the profession that a documentary treatment couldn’t, though you suspect many of the situations encountered are anecdotally motivated.

 

All Aboard! The Sleigh Ride – BBC Four

uk 3

No really…this is it

 

If the successes of Gogglebox and Car Share have demonstrated anything, it’s that extremely basic formats still hold tremendous appeal for British TV audiences. But All Aboard! The Sleigh Ride has taken this to avant-garde extremes. A camera is rigged to a traditional reindeer sleigh and taken on a two-hour journey across the Artic wilderness of Norway. There’s no music or editing or semblance of a narrative, simply the spectacular footage the camera collects as it moves. Of course, TV audiences adore gazing lingeringly at landscapes given the ratings-winning genre of nature programming, but the development here is about time, and how much of it we’ll give without the reward of storytelling and entertainment. Perhaps the structureless viral video has immunised us to the boredom of simple watching, or maybe this is gentle and familiar enough a subject to bring experimental video art into our homes by the back door.

 

Downton Abbey – ITV

 

uk 4

Downton finale criticized for anachronisms

 

I’ll remain as anachronistic as Downton itself by pretending that anyone in America who wants to see the finale hasn’t already used their internet connection to steal it, and not offer any spoilers. Not that there’s a lot to spoil, the finale ramming home how little storylines or character development have to do with the appeal of this piece of virtual tourism versus the other quality television drama of our time. Creator and writer of all episodes Julian Fellowes certainly knows what his audience wants, and is not shy about giving it to them in as tidiest boxes as he can pack. I preferred the series in high melodrama mode and so it was somewhat of a disappointment to me that the electric hair-dryer that everyone kept pointing out was merely historical window-dressing and not foreshadowing some Emmerdale-like fiery disaster to wipe out the cast. Indeed, any hint of tragedy seems to have been smoked red herring.

UK with Me: Part 1

Posted in Americans watching British TV, British Shows on American TV, Local TV, TV channels, TV History, Watching TV with tags , , , , , , , on January 15, 2016 by Tom Steward

I spent Christmas in England, which meant that for the majority of my trip I was under or adjacent to water. This – coupled with apples not falling far from family trees – left me watching a lot of television. After going cold turkey with British television in my first couple of years living in America – literally in the case of the daily cooking shows I opted out of when I left – returning this time I felt as if I had been missing out, not just because of what British TV makes but also what it shows. Here’s my travel watch list:

 

The Bridge –BBC Four

 

bron

Sex is Sex

 

It might seem perverse that the first program I watched upon returning to the UK was Scandinavian but that’s testament to the BBC’s policy of screening the best in European television crime drama, which is currently the best in the world. The third season of the police detective show about crimes that cross the Danish and Swedish border remained as flawlessly acted, written and photographed as the first two, even following the departure of star Kim Bodnia in the run-up to filming. As in previous seasons, a repertory of outstanding Scandinavian character actors were there to play supporting roles but were given more screen time and development, particularly Nicolas Bro formerly of The Killing who guarantees at least one laugh-out-loud moment per episode. Sofia Helin’s new co-star Thure Lindhardt (or Saga’s new partner Henrik) is still the perfect counterpoint to TV’s twitchiest detective, but his sardonic cynicism is also much-needed relief from Martin’s increasingly grating emotional naivety. Creator Hans Rosenfeldt has talked about the rule of three in Scandinavian TV drama in relation to The Killing and Borgen but with both Saga and Henrik having story arcs in progress, he can afford to break with tradition.

 

Tim Peake – BBC News

 

tim

Ground Control to Major Tim

 

I woke on the first full day of my trip to catch TV news coverage of the launch of the rocket that took British astronaut Tim Peake to the International Space Station, the first Briton to do so. Never mind how visually unstimulating and uneventful the launch was as television or how difficult it was to extract a milestone from the seventh British person to enter space, but it says something about how little there is to be proud about in Britain in years that don’t have major international sporting events that Peake’s journey into space was such big news in the national media. A live transmission from the space station with the inevitable satellite delay was some of the most tedious television you’re ever likely to witness.

 

Peep Show – Channel 4

 

peep

No more kicking off

 

I didn’t even know the final season of Channel 4’s longest-running and possibly finest sitcom was on the air, and was even less aware that the episode I started watching mid-way through was the finale. It says something about my ignorance but even more about how good the writing on the series is. No need for self-aggrandising, Peep Show left us with as unassumingly brilliant an episode as it had ever produced, with a nod to the perpetuation of a gloomy cycle of immature repetition that dooms Mark and Jeremy to a life of wanking and watercolours. Nine seasons – especially in British terms – of a sitcom is impossible without a foolproof concept and filtering the action through Mark and Jeremy’s first-person perspective – some early camera tomfoolery aside – was innovation that lasted. Even so, the key to sustaining the show was gradually escalating the abhorrence of the character’s life choices from jilting spouses to attempting murder, and happily the finale continues to raise the stakes.

 

Gogglebox – Channel 4

 

goggle

Talking Heads

 

A reality show about people watching TV was always the sleeping lion of television pitches, but it needed exactly the right execution to succeed, and that’s exactly what Gogglebox did in 2013 when it blended fly-on-the-wall and sitcom formats to a perfect consistency. Since I last saw the show, however, it has bloomed into Channel 4’s flagship Friday night program and even spawned (quite literally) a spin-off in the shape of Gogglesprogs, which marries Gogglebox to another immaculate format; children obliviously saying funny things on TV. One particular sprog who looked like an Alan Bennett doll appeared to have already figured out how David Cameron rose to power through pre-existing privilege and public apathy and was the mouthpiece of abolitionists young and old throughout Britain when remarking on Queen Elizabeth’s record-breaking reign as British monarch: ‘Doing what? She just walks and waves.’ From the mouths of babes…

 

 

 

 

Sound and Television

Posted in American TV Shows, Americans watching British TV, Behind-The-Scenes, TV Acting, TV channels, TV History, TV News, Unsung Heroes with tags , , , , , on January 12, 2016 by Tom Steward

David Bowie was – among other divinities – a consummate self-promoter and it’s for this reason alone I feel justified in exploiting a niche in the market of Bowie obituaries; his appearances on television. Looking back at what Bowie has done on and for TV, it’s all too clear that his genius – like Elvis before and Madonna after him – was in breaking down barriers of genre and generation. His TV – see one thrive:

 

Top of the Pops (1972)

Though in retrospect Bowie only ever flirted with LGBT imagery and shed his public bisexuality as quickly as he did all his other personas – including the one at the root of his sexual ambiguity, Ziggy Stardust – his performance of ‘Starman’ on British chart countdown Top of the Pops in 1972 was a watershed in the visibility of gender and sexual fluidity in the mainstream culture of Britain. Bowie’s androgynous dress and appearance was one thing, his suggestive embrace of guitarist and collaborator Mick Ronson entirely another. Viewers may have been reading between the lines, since Bowie had recently come out as gay (or possibly bisexual) in rock magazine Melody Maker. That this risqué – and risky – display had such an impact is due as much to the three-channel limit of TV viewing in the UK in the early seventies which meant it was seen by most of the country’s television audience as it is to the content of the performance. But that doesn’t diminish the power it had on those who were awakened and liberated by Bowie’s gesture, including future British pop legends Boy George and Ian McCulloch, nor does it make this surreptitious statement of social change less significant.

 

David Bowie and Bing Crosby (1977)

Despite being constantly innovative and revolutionary in his music, Bowie was never one to shun tradition, as evidenced by his affection and appreciation for the cabaret singers and crooners who were the pop sensations of their eras. Bowie seemed to have a particular fondness for American pop music, and became a fully-fledged part of it in the seventies and eighties when – inexplicably – he stood shoulder-to-shoulder with the  most legitimate funk and soul artists in the USA. If you take all that into consideration, the awkward chemistry and textbook-illustration culture clash of David Bowie singing with Bing Crosby on his Christmas show in 1977 disappears into thin air. If the lacklustre banter about the irrelevance of a  generation gap in musical tastes doesn’t convince you of their parity – and it won’t – then the complimentary idiosyncrasies in their duet medley of ‘Little Drummer Boy’ and ‘Peace on Earth’ makes a compelling case for their historically inextricable legacies as pop stars.

 

The Snowman (1982)

As a recent orchestral performance of the British animated feature based on Raymond Briggs’ beloved children’s book I witnessed reminded me, the live-action introduction featuring David Bowie as an adult version of the main character remembering his childhood experiences is more often omitted from showings than it is included. It’s not really surprising as the appearance of a clean-cut, bleach-blond Bowie is the only aspect of this timeless film that dates it as a product of the early eighties. But this appearance unlocks a history of extraneous and bizarre movie cameos that is as much part of Bowie’s place in pop culture as his music. The Snowman is aired every Christmas Eve on British TV station Channel 4 and I suspect that in future years the melancholy of this beautiful film about loss and transience will have as much to do with Bowie as it does the Boy.

 

Extras (2006)

Speaking of extraneous and bizarre cameos…Though celebrity appearances like Bowie’s would eventually spell the end of Ricky Gervais’s credibility as comic actor and writer, his industry-set sitcom Extras created a self-contained world in which celebrity sightings were eminently plausible. The irony of Bowie’s appearance in the second episode of the sitcom’s final season is that a music star of his ilk is the last celebrity sitcom actor Andy Milman is likely to run into. It’s not much of a leap to suggest that this might be a sly reference to Bowie turning up in projects he didn’t need to be in. It’s one of the few occasions that Gervais had the humility to credit someone else with his success. Gervais’s self-effacing ode ‘Little Fat Man’ is styled so perfectly for Bowie, it acknowledges the extent to which Gervais’s physical and vocal mannerisms which have won him international adoration – especially as David Brent – are informed by the late performer.

 

 

Queen Me

Posted in American TV (General), American TV Shows, Americans watching British TV, Reviews, TV channels, TV Criticism, TV News with tags , , , , , , , , , on December 21, 2015 by Tom Steward

It’s Christmas so TV is all about messages. Though if you know your McLuhan, then you’ll already be aware that TV itself is the message. Far be it from me to buck seasonal television trends, so as this is the final blog post of the year I’ve prepared a Christmas message. As I hail from the land of tea and war (where do you think we got the tea?), the message will be delivered as if it were Queen Elizabeth II’s televised Christmas address to the nation, which all British subjects watch devoutly each year without ever ignoring it completely.

What are all you people doing in our house?

What are all you people doing in our house?

In the House of Commons this November, MPs debated whether to change the symbol of Britain from a lion to a hedgehog or, to put it another way, whether to write off the country by tying its fate to a species with a rapidly declining population. We are reminded of our long-lost children in the colonies who this year lost iconic hosts of late-night on their moving billboards. Like changing a lion for a hedgehog, the replacement may not seem as strong as its predecessor – and more difficult to pick up – but the more they stick out their noses and appear at our doors each night, the more the infants of the new world will grow to love them. We are also reminded of this because a couple of the new hosts look like hedgehogs.

Nocturnal hedgehogs

Nocturnal hedgehogs

If Britain does decide that it’s only economic salvation – following the debacle of a government I could’ve stopped if I had wanted to – is Beatrix Potter brand synergy, then we are reassured by the success of spin-offs in the living room magic lantern shows of the Europe’s emancipated teenager. As hedgehogs to lions, such derivations seemed paltry and incidental creatures yet they possess a unique quality all of their own that has been resting in the shade of bigger animals for so long it comes to light as soon as they shift their lumbering rears from view. Except CSI: Cyber.

There is always the possibility of reinvention – look at us, we’re much more cheery than we used to be – as the recent trend in the wall-mounted viewfinders of Columbus’s Indies for season-long anthology series reminds us. It is difficult to adjust to change – especially if one writes for HitFix – but we should remember that, like that bloody hedgehog we wish we’d never used as a metaphor in the first place, transformation has the potential to preserve a species that would otherwise have died out a lot sooner, or ended up on Hulu. It takes a true detective to see the worth in exchanging a tried-and-tested point of pride for something offbeat and challenging, but we must fargo our trepidations in order to save what we love while it still has a slim chance of survival.

The year of my lord – well he is technically my employer – 2015 was the end of an era, although not for me as we became the longest-reigning British monarch, of which we would like to say on record: ‘suck it, time’! But those less fortunate than us, such as everyone, have had to endure the loss of the many sinful delights that sit within the devil’s hatbox, especially those that hail from the land of not-having-one-of-me-in-charge. We are justified to feel sadness though we would be mad men if we didn’t notice that Parks & Recreation was just shit now.

Lions – for my speechwriter says that you’re simply all too stupid to handle more than one metaphor per message – are lazy and parasitic as well as strong and proud, so it is not with complete regret that we see two and a half of these individually wrapped entertainments make way for an animal that isn’t quite so boring and doesn’t steal from others…like a mentalist! There are those who say it is a scandal that those animals with such a grey anatomy should get away with murder, but here’s the catch. The ecosystem needs every animal – no matter how much it feeds off a rotting carcass – so, however much they induce dread, the lions of this world are just as important to the hedgehogs and, yes, my butler does mix drinks that badly as well.

To play us out, we have the Christmas TV movie carol ‘Edelweiss’ which this year reminds us of a world which my uncle would have been proud of. A very happy Christmas to you all… except those of you who want me to pay taxes.

Coen Artists

Posted in American TV (General), American TV Shows, Behind-The-Scenes, TV Acting, TV advertising, TV channels, TV Criticism, TV News with tags , , , , , , , on November 30, 2015 by Tom Steward

As someone who once publicly stated that hiring Steven Moffat as showrunner of Doctor Who was a good move by the BBC, I’m not used to my predictions about television coming to anything. So I was even more surprised to be vindicated about two separate predictions I’ve made on this blog in recent weeks. However, the ways in which they both came to fruition was enough was enough to make me think I should be more careful in what I wish for. As with the posts where these predictions were first made, this one comes with a lot of spoilers:

No guts, no glory

No guts, no glory

After weeks of waiting, on Sunday’s episode of The Walking Dead we finally found out what had happened to Glenn. Which was nothing. Despite it looking as if his guts were being eaten by a herd of walkers the last time we saw him, it was in fact Nicholas whose insides were being devoured, giving Glenn time and space to hide under a dumpster until the coast was clear. Like all those who appreciate Steven Yeun’s performance in the show, I’m relieved that he’s still around and believed he would be. But, unlike many, I’m not convinced this was the masterstroke of storytelling it’s currently being spun as, largely by people involved in the series. In fact, I think it’s cheap. Teasing the death of a beloved character for a month exploited the goodwill of fans towards the show for the sake of publicity and added nothing dramatically to it.

Post-show discussion program Talking Dead (boy, Chris Hardwick must really think I have it in for him!) did its usual whitewashing of the drama’s shortcomings, re-imagining Glenn’s death hoax as some kind of statement about the mindset of characters in the world and aligning the audience with it. Frankly, it smelled worse than Daryl surely does. I know the entire remit of Talking Dead is to make every artistic decision taken in The Walking Dead seem purely creative and exponentially meaningful – and feel the collective silence if like Kevin Smith you dare to critique some of the choices made – but this isn’t an artistic decision. At least it’s no more artistic than publicity stunts like ‘Who Shot J.R.?’ or whatever they do on Scandal each week to keep people coming back to that steaming pile of crap. It amounts to fixing something you purposefully broke just for the inevitable attention.

Last week’s episode of Fargo could’ve been dubbed a musical tribute to The Coen Brothers. While the FX series is always prone to the borrowing of visual imagery from its cinematic forbearer, more recently it has been honoring its muses through the aural. In the first season, there was an effort to connect Fargo to the timeline of the original movie, but in the second what seems more important is a – specifically musical – link to the Coen universe. Versions of ‘Man of Constant Sorrow’ and ‘O Death’ from O Brother Where Art Thou and ‘I Just Dropped In (To See What Condition My Condition Was In)’ from The Big Lebowski litter the soundtrack. At points, characters paraphrase or precis lines from Coen Brothers movies, as if quotations belong to the lexicon. It’s about half as satisfying as it sounds, and yet another distraction in a show full of them.

I was writing about Fargo in reference to playing with our understanding of what is TV and what is cinema. I seem to have given the series far too much credit since it is evidently more interested in propagating the cult of the auteur, something not even The Coen Brothers are that concerned about doing with their movies. It recalls the worst excesses of Quentin Tarantino, when the director decides to reference his own movies rather than other people’s. Or how Steven Moffat (because there’s only a few people I can ever write about) would remind audiences that all his garbage comes from the same bin. It’s a more style-conscious season, as anthology demands change, and I suppose intertextuality has got more on-the-nose as a result. But there’s a sense that the story doesn’t really stretch to ten episodes this time, and this – like shootouts – may be a way of prevaricating.

A style-conscious season of 'Fargo'.

A style-conscious season of ‘Fargo’.

I saw it coming and now I feel responsible. Whether it’s the survival of Glenn or the cinematic engagement of Fargo, it happened more or less as I expected it to. But perhaps that’s the problem. I think I saw through what these programs were doing, rather than seeing them.

 

 

%d bloggers like this: