Archive for the TV Culture 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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Peak Hours (Part 6)

Posted in American TV (General), American TV Shows, TV Acting, TV Criticism, TV Culture, TV History with tags , , , , , , , , , on October 30, 2017 by Tom Steward

peaks 8

Strictly speaking, Twin Peaks was not teen television. But while the majority of nineties quality TV for adults focused on the lives of thirtysomethings (like the show … um … thirtysomething), Lynch and Frost’s series had teenagers at its core and made an effort to address issues facing young people in America. Iconographically, the teenagers of Twin Peaks harked back to the fifties but were mired in drugs and violence in such a way that they spoke to contemporary anxieties. The Return shows some of these teenagers as adults but the relaunched series did not ignore the youth of today.

The difference in approach from the original’s depiction of American youth is crystallised by Michael Cera’s cameo as Wally Brando, the son of Deputy Andy Brennan and receptionist Lucy. A mere foetus in Twin Peaks, in The Return a young adult Wally is living out a Marlon Brando fetish, parodying with grotesque comedy the anachronistic depiction of nineties teenagers in the first incarnation of the show. If ever there was a sign that The Return would observe its young in context, it was the sight of Cera dressed as The Wild One mumbling about honor codes inherited from The Godfather.

For the first time in the series, we see young people suffering from the socio-economic deprivation of small-town life. Steven (Caleb Landry Jones) is first shown losing out on a white-collar job (after interviewing with cougar-loving former jock Mike, no less), spiralling downwards in a coke-fuelled nightmare before a suicidal stand-off in a neighbouring trailer park. The drugs were always there in Twin Peaks but whereas previously they helped peel away a veneer of wholesome family values in the town, here there seems to be no alternative lifestyle, either real or imagined, for the young. It’s a wholly systemized decline.

peaks 9

A tangent from Part 1 of The Return seems to suggest something of the dehumanisation young people suffer in the Amazonized workplace. Watching a glass box and changing out the cameras in a bare loft at the behest of an unknown billionaire benefactor, Sam (Ben Rosenfield) has the kind of remote and menial service job performed by most young people in the contemporary economy of casual corporate labour. As soon as he deviates from the banal protocols with heavy doses of coffee and sex, Sam is eaten alive by a demon passing through a wormhole just vacated by Agent Cooper.

Not that all the young adults in The Return are victims, but it’s pretty certain they will become so. Some occupy a vacuum of morality that seems ingrained in their generation, or is at least a mutation of previous ones. Take Richard Horne (Eamon Farren), Audrey’s son and Ben’s grandson, who thinks nothing of abusing women in bars, fleeing the scene after mowing down a child in the road and victimising his grandmother and disabled uncle. Richard is Ben and Audrey’s ambiguity multiplied to the point of sociopathy. His cruel demise is less of a comeuppance than a tragic cycle.

The interplay of generations in The Return is what makes its portrayal of youth so multi-faceted. While condescending to Becky (Amanda Seyfried) for dating Steven, Shelly (Madchen Amick, who was frozen in time since the last one) gleefully dates weapons-grade psychopath Red, after having been with bad-boy (turned Sheriff’s Deputy) Bobby in the original series. Wally Brando is as much the product of Lynch’s self-parody (or Frost’s parody of Lynch?) as he is of his kooky parents, who channel the simplicity of an earlier era in American life. Richard seems to be all that the Hornes have hidden about themselves.

peaks 10

There’s admiration for the younger generation too. At least Lynch digs their music. Most of the young people we see are the fun-loving, hard-drinking clientele of The Roadhouse, who have turned this backwater dive into the nexus of American alternative music, as long as it is somewhat retro in style. Most of the young people we meet simply flesh out the climactic musical numbers set in the bar, and never blossom into fully-fledged characters. But there’s an uncharacteristic warmth (at least where younger characters are concerned) to the way they’re presented, which betrays a discordant note of optimism towards youth.

The young people in The Return are not the mid-century archetypes that we saw in Twin Peaks. They’re informed by them insomuch as their parents and predecessors have shaped who they are. But The Return’s generation are more recognizably contemporary, though the teenagers of Twin Peaks were hardly shrinking violets.

 

 

 

Stage Set

Posted in American TV (General), American TV Shows, Behind-The-Scenes, Internet TV, TV Acting, TV Culture, TV History on March 29, 2017 by Tom Steward

Stage 1

I’ve spent a lot of time away from this blog because I’m building a career in theatre. However, I’m finding that the playwrights I come across when I’m reading plays or looking for audition monologues are many of the same names I’m seeing in the writing credits of the TV shows I watch. In a previous career as a TV historian, I observed many instances of theatre artists crossing over into American TV – or vice versa – and each time emigres were brought in to help shape or re-define the medium, carrying with them the necessary cultural cache to do it.

And here they are doing it again. Louis C.K’s web experiment Horace and Pete used the internet to deliver a fusion of TV and theatre which was hitherto unseen in the US, and he enlisted the help of Pulitzer Prize-winning playwright Annie Baker in the process. While Baker declined the offer to be a staff writer on the project, the author of The Flick and The Aliens was instrumental in bringing her trademark edge of masochistic naturalism to the third episode of the mini-series (which begins with a 12-minute monologue by Laurie Metcalf), where she is loosely credited as consultant.

Louis C.K. eventually succeeded in getting an award-winning playwright to join his writing staff when he hired author of The Whale and A Bright New Boise Samuel D. Hunter to pen episodes of Baskets, a dramedy starring Zach Galafianakis that he produces for FX. Though far more conventional than Horace and Pete in form, Baskets nonetheless confounds expectations of tone for a series which led strongly with broad physical comedy before existentially breaking down each of the absurd characters. Hunter’s episodes go a long way towards this analytical deepening of the (sometimes literally) massive stereotypes established in the opening episodes.

Stage 2

Orange is the New Black writer Jordan Harrison is also a renowned playwright, with Pulitzer Prize finalist Marjorie Prime under his belt. It’s interesting that a playwright concerned with digital technologies which change human-machine relations should be involved with a series that’s at the cutting edge of the electronic televisual experience. Having seen the play along with his Amazons and their Men, I can see how (for better or worse) the clipped art of TV writing has affected his theatre pieces, with both feeling like they cut away from a scene too early or, more importantly, that they need follow-ups.

Gina Gionfriddo is the playwright of Becky Shaw and Rapture, Blister, Burn. She also wrote for Law & Order and Cold Case. Given the obscenity and offensiveness of her plays, it’s a safe bet she had to self-censor when it comes to satisfying the still-draconian standards of network television, at least where words were concerned. However, if you follow John Mulaney’s thinking (and who wouldn’t?), the two procedurals with their graphic depictions and explications of heinous crimes would be the perfect dwelling place for a writer concerned with the underside of human behaviour. But these are by no means pioneers.

The play format of early American television resulted in the employment of writers who both came from and subsequently went to the theatre, including Horton Foote, Tad Mosel, Paddy Chayefsky and Reginald Rose. Much of the immediacy we still associate with television came from it being written as a live, continuous experience by theatre-savvy artists in those years. Even when TV eschewed theatrical trappings, playwrights continued to enter the medium, such as Neil Simon, who worked on comedy vehicles for Phil Silvers and Sid Caesar in the late 1950s. Simon would later theatricalize this for Laughter on the 23rd Floor.

Stage 3

While we’re used to talking about writers from the movies coming to TV, we’ve traditionally overlooked stage playwrights who moonlight in the medium. In the 1980s, another Pulitzer Prize-winner David Mamet, author of American Buffalo and Glengarry Glen Ross, was ahead of the game when he penned an episode of the transformative cop show Hill Street Blues, before following this up decades later with military drama The Unit, which he co-created with Shawn Ryan of The Shield. The Hill Street Blues episode was before Mamet made the jump to cinema and well before great writers flocked to US quality TV. It’s easy to see playwrights who come to TV as Greek Gods who deign to push us mere mortals in the right direction, but the truth is much messier and speaks to exchanges of ideas between the two art forms which have always been around and are still in development.

 

 

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.

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‘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?

The Ch-Ching Crowd

Posted in American TV (General), American TV Shows, TV Acting, TV advertising, TV Culture, TV News with tags , , , , on November 16, 2015 by Tom Steward

Last week, Joel Hodgson launched a Kickstarter campaign to revive Mystery Science Theater 3000 with a characteristically sarcastic video in which he is heckled by Tom Servo and Crow T. Robot over his appeal for money to make a show famous for its low budget. Crowdfunding compliments a cult program like this, but it’s becoming a reality for all kinds of television. As the way we watch TV changes, so does the way that it’s financed. In fact, I’m currently involved as an actor in a TV project that needs a crowdfunding campaign before it can get off the ground.

It's a mystery...why they need money!

It’s a mystery…why they need money!

I’m talking about The Cast Members, a sitcom in the great American tradition of the comic ensemble about the employees of a cinema/theatre (delete depending on whether you’re saying it rightly or wrongly), created by Aaron David Roberts. Even though the concept is so good you can’t believe it hasn’t been done before, the scripts are as tight as those trousers David Bowie wore in Labyrinth, and it features some of the best onscreen and stage talent in San Diego – and in L.A., for that matter – without the backing of a production company or network (in whatever broadcast or digital form they exist now), it’s the audience that has to pay upfront to make the program they want to see. A crowdfunding campaign will start next year and my work for the project so far has been to shoot a promotional video that takes the form of a condensed pilot.

Crowdfunding is common enough when it comes to reviving a show that’s been cancelled by a network, as the Kickstarter campaign that brought Veronica Mars back to our screens as a feature film illustrates. It’s a relatively new concept for launching TV shows, however. Nat Geo’s global pub crawl Chug is considered the first Kickstarter-funded series and that starting airing in 2014. In most crowdfunding campaigns, success is determined as much by the incentives for donating as the product. These ‘perks’ – as they are known – range from bonus material (a callback to the DVD extra and Easter Eggs that made us pay twice to watch TV the first time round) to branded merchandise only available to donors, and usually only by donating a specific amount. It’s easy to see how this form of financing would work in the current TV climate, which is driven largely by multi-platform intertextuality and consumption.

Many of the series funded by Kickstarter campaigns are intended to stream on the web rather than ever make it to air, although the distinction between the two is closing as some of the most highly-regarded TV of our time now begins online and stays there. Chug eventually found a major cable network, despite the fact that it was their collective ambivalence that compelled producers to go the crowdfunding route in the first place, and can’t be seen as representative. The Veronica Mars feature film was streamed on Amazon Instant Video but I doubt whether the decision to add the film to their stores posed much of a quandary for the online shopping giant given that it was a known quantity and that production had already been paid for. I’m sure it’s not normal to exceed funding goals in the way the campaigns for Veronica Mars and Chug did either.

There’s usually some kind of trailer for the project requiring funding to launch the campaign. The Kickstarter for Veronica Mars assembled actors from the series and had them perform their launch video in the style of the teen noir. You might also say that the three seasons of the show were the trailers for the feature remake. For The Cast Members, Aaron decided on a mini-episode, which made the most sense since the actors had already been cast and storylines devised for the first season. It also meant that the Kickstarter could act as a shop window for the series and its stellar cast, as well as a fiscal means to an end. Mounting a pre-pilot also suggests that the ‘starter’ bit of the campaign website’s name is misleading, as projects need to be in an advanced stage, both conceptually and in finances, to even launch a campaign at all.

By all accounts, the Kickstarter to revive Mystery Science Theater 3000 is doing well, as did the one for Veronica Mars, while Chug demonstrated that it’s possible to get a brand new show on the air using crowdfunding. It’s still a high-risk, high-reward strategy that may bankrupt you before launch.

Bridging The Map

Posted in Reviews, Touring TV, TV channels, TV Criticism, TV Culture, Unsung Heroes with tags , , , , , , , , , on November 2, 2015 by Tom Steward

It’s not often that I address Americans as a separate entity – at least not since I went native – for that way lies cultural imperialism. But in this case I feel vindicated because I know it’s for your benefit. Besides, I come from a land with a tradition of broadcasting that tells you what you need rather than giving you what you want. I’m not going to tell you to watch British TV, because you’re already doing that and it’s a problem. Instead, I’m going to ask you to embrace television from countries where you don’t – theoretically – share a common language.

...and brains!

…and brains!

Americans, you need to end your embargo on television subtitles. European TV drama is now so good you cannot afford to ignore it just because of an outmoded preference for television in your (our, sorry!) native tongue. You know this because you’ve spent the last five years remaking European TV shows, from Scandinavian police drama (The Killing, The Bridge, Those Who Kill) to a litter of official and unofficial remakes of the French horror series The Returned (yes, I’m looking at you Damon Lindelhof!). You might assume that TV drama from another culture will lose something in translation, and that’s why it’s better to remake them in American settings. Well, not only are these English-language remakes invariably inferior, in my experience they tend to ham up their European origins to the point where they seem more foreign than their forbearer. And that’s beside the point. It’s just a waste of resources. Get over having to read instead of listen (and you can still listen – the soundtracks are always gorgeous) and simply cut out the middleman.

It’s not as if you don’t already have subtitles on TV. Though it copped out of subtitling in Russian in its pilot episode, FX’s The Americans soon switched to subtitles for all the dialogue between native Russian speakers, and it helps the atmosphere and realism of the show no end. Even ABC’s sitcom Fresh off the Boat feels its Tuesday night audience can handle a beat or two in Mandarin without rushing to cancel their cable subscription. You might think that greenlighting European remakes and co-productions, like NBC’s sold-short summer experiment Welcome to Sweden, is meeting the demand halfway, but it’s actually more like going off at the deep end. As far as content goes, there’s nothing American audiences haven’t seen before: Obsessive police detectives, serial killers, cat-and-mouse games, labyrinthine murder investigations. The Returned is just dead people walking and you can’t move for them in American TV currently. It’s not new, just done extraordinarily well, and once you acclimatise to the foreign accents on your screens, nothing else will jar with your TV experience.

British TV imports might seem like a happy medium, since the country is close enough to continental Europe to share similarities with this new wave of television drama (which shows like Broadchurch and The Fall attest to) and yet can be more or less understood by speakers of American-English. British shows are certainly more popular than ever in the States and fill the vacuum for foreign TV that everyone’s told they should watch. Historically, I’d defend British TV drama but when it’s the dire Sherlock, overrated Broadchurch, and diminishing The Fall against what Denmark, Sweden and France has produced over the past few years, there really is no contest. There’s a level of comfort about British TV in the eyes of American audiences that outweighs quality. The memories of cosy sitcoms and period pieces on PBS Sundays cannot be brushed aside in one stroke, no matter how successful the replacement. And that’s the other advantage. TV drama from continental Europe is far more conducive to the American taste for procedurals and portentous horror than Britain.

The Walking Dead en francais!

The Walking Dead en francais!

Hopefully, this argument will soon be moot. Internet video-on-demand services like Hulu and Netflix sell themselves to subscribers – at least those who have been profiled as viewers of sophisticated drama – on the basis that European series are available in bulk. Some of the arthouse movie channels like Sundance and Showtime have found ways to incorporate subtitled TV drama into their remit. And don’t discount the viewer’s desire to bypass network boycotts of foreign-language imports with simple, straightforward piracy. But there really are shows for everyday television. Inevitably, censorship will be a problem but what’s shown wouldn’t be too much trouble for one of the big cable networks like FX and AMC. There really is no reason compelling enough to hold back the revolution…sorry la revolution!

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