Archive for the TV News Category

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Trump TV

Posted in American TV (General), American TV Shows, Reality TV, TV History, TV News on January 20, 2017 by Tom Steward

trump-2

Following Barack Obama’s consecutive election triumphs, cultural commentators lined up to congratulate American TV for paving the way towards national acceptance of an African-American President. Among those frequently cited were 24’s David Palmer (played by Dennis Haysbert), TV’s first African-American President outside of a comedy skit or cartoon. Though Hispanic, The West Wing’s Matt Santos (played by Jimmy Smits) represented a minority rising to the Presidency with producers claiming (retrospectively) the character was based on Obama. As Donald Trump takes office, which TV portrayals will be deemed responsible for his ascension to power? Here are some of my personal predictions.

Though only a few weeks into its pilot season, ABC’s Designated Survivor projected that someone who was drastically under-qualified for the Presidency coming from outside the Washington establishment could successfully take office. Given that the 2016 election went right down to the wire and polls were offset in the final couple of weeks before voting, it’s not unthinkable that this fish-out-of-water political drama normalized the idea of a Trump presidency for some swing voters. Although since Tom Kirkman’s lack of fit with the job derives from his liberal bent and academic background, this is where any resemblance to Trump ends.

24 should not be let off the hook either. Palmer had become President by the show’s second year, yet subsequent seasons undercut the legitimacy of his administration, much as Republicans and their affiliated media outlets would eventually do to Obama. Dead-in-the-water after one term, Palmer’s administration is mired in scandal while the Democrat is deemed incapable of handling rising national security threats, and capitulates to an ignominious, seemingly inevitable assassination. As many have viewed 24’s later seasons as a (more) fictional extension of Fox News, the synonymy of their respective rhetoric for debunking an African-American Commander-in-Chief cannot be a coincidence.

trump-1

24 may have overreached in its predictions of Palmer being succeeded by Romney-clone John Keeler (whose fate, thanks to uneven storytelling, we remain unsure of) and later the first female President, Alison Taylor. Although, to be fair, Romney was a close call and Hillary Clinton was twice a foregone conclusion for the office. But the series was right on the money when it prophesized that the US Presidency would fall into the hands of a treasonous, spineless egomaniac engaged in a criminal conspiracy with Russia who demonstrated a reckless regard for weapons of mass destruction. Charles Logan was a trailblazer.

Indeed it’s hard to believe that 24 didn’t have a psychic consultant on staff when it aired scenes of a newly sworn-in Logan rushing former President Palmer into his office to advise the new Commander-in-Chief how to do the job in spite of utter incompetence and inconsistency, before shunning his predecessor and claiming all the credit for their successes.  While many looked back to Nixon (especially considering actor Gregory Itzin’s astounding physical resemblance to the man himself), Logan looked into a Trump crystal ball, which is not only a metaphor but an actual domestic good produced by the Trump brand.

With his rank outsider status, any consideration of what brought Trump into office must also consider what kept Hillary Clinton out of it. CBS’s The Good Wife had a lot to say about that. In the latter seasons of the hit legal drama, Alicia Florrick runs for the political office of Illinois State’s Attorney, having witnessed her husband Peter’s consecutive electoral victories which propelled him to Governor. Despite winning outright, Alicia is forced to resign her office after an election fraught with allegations of vote tampering and concerns about the integrity of the Democratic Party image. Starting to sound familiar?

trump-3

What The Good Wife saw, that most in politics would not, was the inevitability of a woman failing to succeed to the offices that their male peers had risen to against worst odds. Peter is an adulterous ex-con with a reputation as one of Illinois’s most corrupt politicians, yet he glides effortlessly from State’s Attorney to Governor, and even runs for President. Alicia is an outstanding lawyer with no stain on her character, and yet is forced to be the fall guy for a party at war with itself, despite her achievement. Similarly, Hillary Clinton shoulders two unsuccessful bids for the Presidency in the shadow of her philandering, ethically dubious two-term President husband while the marital indiscretions of former Congressman Anthony Weiner provided the impetus for the FBI to besmirch her name just prior to election day. She lost to an inexperienced African-American male and won to an internet troll.

 

 

No Olds Barred

Posted in American TV (General), American TV Shows, Americans watching British TV, British Shows on American TV, TV History, TV News, Uncategorized with tags , , , , , , , on February 6, 2016 by Tom Steward

In a week when voters decided they didn’t have a problem with a man in his late seventies running the country, I suppose we shouldn’t be surprised that there’s still a place in television for the old. While host of The Late Show Stephen Colbert managed a ten-minute skit based around The Twilight Zone – a show that first aired in 1959 – nineties science-fiction procedural The X-Files continued its revival on Fox. An anthology series about the murder trial of O.J. Simpson began and the miniseries Shades of Blue showcasing the anachronistic acting talents of Jennifer Lopez and Ray Liotta plodded along (and that is exactly the right word!). British television seems no less geriatric these days. Friends’ Matt Le Blanc was this week announced as the new co-host of motoring journal Top Gear, alongside – I might add – star of nineties light entertainment Chris Evans, who in turn has recently relaunched the pub-based variety talk show TFI Friday which had ceased broadcasting in 2000. How is it possible that so many programs and people from television’s past are now to be found dominating the airwaves? Well, there’s really not that much effort required to revive something that has never been away.

old

In Rod we trust.

Syndication and the proliferation of TV channels and services mean that TV of decades past is never far from our screens. It’s a short road from endlessly recycling a show to providing some extra material to pad it out. That might explain the programs but what about the people? Well, in each case, we’re talking about personalities who have managed to stick around long enough to become institutions, or have just come off their own revival. While the idea of J-Lo as an actor is now strange enough to make her performance in Shades of Blue seem jarring, her judging for American Idol and appearances on just about every music awards show on the air makes it a much smoother transition for regular viewers. Matt Le Blanc had endeared himself to the transatlantic public once again with Episodes and Top Gear is merely the crowning of that – although I suspect the BBC will be happy with anyone who falls short of creating an international incident! As to Chris Evans, Channel 4 had yet to replace TFI Friday with anything as exciting in that slot – and believe me it wasn’t very exciting – so broadcasters’ lack of ambition is also a factor.

 

What’s harder to explain is why we’re suddenly so interested in material from the past. No-one who talks about Ryan Murphy’s American Crime Story fails to mention that it has been twenty years since the events surrounding the arrest and trial of O.J. Simpson took place. TV may be a medium that prides itself on currency, but looking back over the decades has become another badge of honour. That’s what made Colbert’s Twilight Zone parody so bizarre. Weeknight talk shows are compelled to restrict their discussion to what’s been happening in that day’s news, and yet this trip down memory was motivated by nothing but fandom and ridicule-ripeness. I don’t know what to think about an X-Files revival (has anyone ever?!) but it’s an interesting case of throwing good money after bad in the wake of Fox’s breakout original programming like Empire. The youngest major network – if we’re still thinking in those terms – Fox has a particular problem letting go of the past. The Simpsons and Family Guy are now decades old, the network is home to a number of movie reboots, and this year primetime Fox vehicles provided a platform for the comebacks of Rob Lowe and John Stamos.

old 2

Surely it’s a Z-File by now!

The number of revivals, period television, and veteran stars on primetime television is staggering. For example, ABC airs two sitcoms set in the eighties and nineties respectively, a drama set in the forties, an anthology series set in the eighties, a revival of a seventies TV franchise, a movie about Bernie Madoff, while featuring among its big names Don Johnson, Ed O’Neill, Tim Allen and Geena Davis. With the increasing competition and likelihood of cancellation, it may seem that TV ruthlessly cuts away that which is ageing, but in fact it seems more accurate to say that a job on TV is a job for life. One thing is certain; there is absolutely no property out there in TV land that is exempt from returning to our screens. I did mean the landscape of television not the recurring nightmare-oriented nostalgia network back there but actually both work just as well!

Crimetime

Posted in American TV (General), American TV Shows, Behind-The-Scenes, Reality TV, Reviews, TV News, Uncategorized with tags , , , , , , , on January 29, 2016 by Tom Steward

Ever since Homer Simpson purred the words ‘Wow, Infotainment’, true crime has been the beating heart – or lack thereof – of American television. In the last year or so, a high-end alternative to the video-looking, cheaply put together true crime documentaries echoing the trite, uncomplicated and sensational timbre of news has emerged. This sub-genre of true crime TV looks more like the production value-laden, multi-layered serial dramas we’ve seen with exponential regularity in the past two decades and plays without loss on boutique networks and video-on-demand services. The prime suspects are HBO’s The Jinx: The Life and Deaths of Robert Durst and Netflix’s Making a Murderer. Though both series seem to herald a new trend in televised crime, in many ways they are polar opposites. As G remarked, the former is about how privilege and money can get around the justice system no matter what a defendant may or may not have done while the latter is about how poverty and low status count against you legally regardless of your guilt. But their differences go further, speaking to a gulf in the quality and character of the dramatic television produced by these two non-traditional television services. While both appear to have changed the face of television documentary overnight, the nature of the filmmaking involved means that they have been in the works for several years and play off and into TV crime dramas perhaps more than other documentaries in the field.

crimetime

This guy is the Durst!

At ten hour-long episodes, Making a Murderer lasts about long as a typical high-quality TV drama season and offers the same compelling serial narrative we look for in them. Each episode is prefixed with a rich, stylish and lengthy credits sequence equal to and clearly modelled on those that have announced standalone masterpieces in series on such elite platforms as HBO and Showtime. As many of my partners in crime television – including Squeezegut Alley and Dolly Clackett have already observed – this documentary following the trial of exonerated rapist Steven Avery and his nephew for murder in Wisconsin, plays out like a real-life Murder One. Further to the interplay between drama and documentary in crime television, however, Murder One was in no small part indebted to the televised trial of O.J. Simpson, which had concluded a few months before airing and proved that a single trial could hold the attention of audiences for months on end. To complete the circuit, FX are soon to air the first season of their factually-based drama anthology series American Crime Story based around the trial of O.J. Simpson. Critics of Making a Murderer have pointed to the filmmakers’ omission of key pieces of trial evidence and one-sided view of Steven Avery as an innocent patsy. I’m all for directors declaring their biases rather than pretending they don’t exist but it would have been a far better documentary if the emphasis had been on the reasonable doubt about the Averys’ guilt and the distinct whiff of police misconduct surrounding the case rather than conspiracies and frame-ups.

crimetime 2

Avery complicated case!

Though The Jinx shares many visual and narrative similarities with Making a Murderer – not least their elaborate curtain-raisers – in almost all ways HBO’s documentary miniseries is superior to its Netflix counterpart. This six-part account of how business heir Robert Durst became a prime suspect in multiple murder investigations yet remained a free man had greater sophistication in its handling of the subject. The documentary factored in the impact that media coverage of Durst has had on the various cases, including his own attraction to the spotlight which allowed filmmakers direct access to him. They refuse to be drawn on the question of Durst’s guilt until a smoking gun presented itself, at which point the filmmakers are forced into the position of interrogators. The Jinx has also accomplished more for social justice than Making a Murderer, as Durst was arrested for murder following the broadcast of the series while the post-show discussion of the Steven Avery case has yielded an ill-advised petition to The White House which they are powerless to act upon and rancour against the filmmakers for cherry-picking evidence – which is bad documentary practice anyway but given the stakes is a criminal act all of its own. The Jinx might be the reason Durst is under arrest but it may also be the reason he beats jail. Any decent defence lawyer could argue that the documentary has already branded Durst a murder and therefore he cannot get a fair trial. The prosecution would need a jury without HBO subscriptions.

 

 

 

 

 

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.

 

 

<span>%d</span> bloggers like this: