Archive for harrison ford

Beard To Death

Posted in American TV (General), American TV Shows, TV Acting, TV in a Word with tags , , , , , , , , , on April 1, 2015 by Tom Steward

It’s been a season of hashtag-friendly character deaths on The Walking Dead; #Bobecue, #BethDeath, #TyreecesPieces and #NoahFuture. But no loss is more tragic than #RickShave. Rick Grimes’ beard is one of the longest-surviving characters on the show and – even more than Karl who went through puberty – we have watched him grow on TV. He was the only character keeping Rick sane. After losing his beard, Rick seems incapable of ending a sentence without threatening someone’s life. So in lieu of a blog about the season finale, which for an episode set in one street with no major character deaths can be summed up by Nelson Muntz’s review of Naked Lunch (‘I can think of at least two things wrong with that title’), here’s a rundown of the best bearded moments in TV, starting with Rick:

Rick shaves his beard – The Walking Dead – Season 5

As a bearded man myself, I know well the eerie feeling of shaving and not recognizing the man underneath. Here The Walking Dead takes this to proportions of body horror. Afforded the luxuries of running water and private bathrooms, Rick can now part with the beard that has faithfully accompanied him through the zombie apocalypse. Unfortunately, he’s been hiding his moral decay behind that cake-catcher and is no longer the same person beneath. Rather than removing a mask, he’s revealing one. Without looking like Charles Manson, Rick starts to get really insecure about expressing his murderous insanity and massively overcompensates with blood-soaked demonstrations in public and recreating scenes from Romeo & Juliet with passing zombies.

Jack is back with a beard – 24 – Seasons 2 and 6

Where's the shaving balm?!

Where’s the balm?!

When Jack cracks, he grows a beard. It’s our only visual clue that a man who tortures and fakes his death for a living has finally gone off the deep end. But it also acts as a protective seal – grouting if you will – for Jack’s madness. After Jack shaved his widow-grief beard at the beginning of Season 2, he immediately went about severing a paedophile’s head with a hacksaw. An hour after removing his Chinese-torture beard in Season 6, a nuclear bomb went off. Jack remaining clean-shaven after he faked his death was how we knew he wasn’t really serious about giving up work. Well, that and going into hiding mere miles from L.A.

It’s Harrison Ford in there – The Fugitive – Movie

Ok, it’s a movie but it’s based on a TV series but that should be justification enough for what remains one of the most incredible uses of facial hair in screen history. For a third of the movie, Harrison Ford and the star promise of action therein have been hiding behind what looks like mouldy Weetabix on the actor’s face. As convicted murderer Dr. Richard Kimble goes on the run, he stops off at a hospital to engage in a morning routine beloved of all medical practitioners; stealing water and breakfast from a dying old man. He adds milk to his Weetabix and it quickly dissolves, leaving Ford free to jump off viaducts and fight disabled people.

Strike beards – Late Show with David Letterman, Late Night with Conan O’Brien – 2007/8

Before...and way before!

Before…and way before!

During the writers’ strike of 2007-8, late-night chat show hosts David Letterman and Conan O’Brien came out in sympathy with their colleagues by growing ‘strike beards’ throughout the picket. Of course, this assumes that being on strike makes any difference to writers’ shaving routines, which is nonsense, and the sizeable increase in meta-comedy was already enough to demonstrate to viewers that there was a writers’ strike going on. While Conan mutated into a Seinfeld-era Bryan Cranston, Letterman slipped back through time posing first as a Civil War general and then Piltdown man along the way. Otherwise, it gave us a rare glimpse into what late-night television would look like following the apocalypse.

Hiatus beards – Everyone on a show where they have to be clean-shaven – Off-season

Bearded Hamm!

Bearded Hamm!

When you can’t scratch, that’s when you want to scratch. Well, apparently, if you’re an actor on a seasonal TV show, when your face is scratch-free all you’re thinking about is having something scratchy on your face. In those few months between filming seasons, TV actors choose to celebrate their temporary freedom from the yoke of shooting schedules by doing fuck-all with their faces. But it doesn’t make as much sense as it first seems. I’m sure the actors still go out during the day even though they’re not shooting, and wear clothes even though they don’t have to be in costume.

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TV Old

Posted in American TV (General), American TV Shows, Reviews, TV channels, TV History with tags , , , , , , , , , , , , , , , , , , , on June 5, 2013 by Tom Steward

The pleasures of American TV are not confined to seeing new episodes of great shows as they air. They are also to be found in the re-discovery of some of the best TV from years gone by. This is aided considerably by a host of cable channels that do nothing but re-circulate old TV. Given that such stations are generally found in the undiscovered country of niche cable, these shows don’t exactly float to the surface. Their scheduling is hardly conducive to life as a functioning member of society either. With a little sifting, there’s gold in them there hills:

The Fugitive (MeTV Mondays 12.00am)

Though you might be more familiar with the 1993 movie re-make with Harrison Ford (which unusually for a Hollywood revival of a classic TV show doesn’t disgrace its predecessor), this long-running series from the mid-1960s is a classic in its own right. Falsely accused of his wife’s murder, Dr. Richard Kimble (played by a perpetually constipated-looking David Janssen) escapes from custody and drifts from town to town doing a variety of blue-collar jobs until his identity is discovered by the locals-who somehow don’t spot him by his iconic tweed jacket and jet-black hair-at which point he moves on. Kimble is occasionally pursued, when he can be bothered, by Lieutenant Gerard (the coathanger-jawed Barry Morse) and his wife’s murderer, a one-armed man played by a fat Worzel Gummidge. Each episode is an impeccably crafted chamber drama and the weekly guest stars are amongst the best character actors of their era. It’s also a scathing indictment of American society. Those in the justice system are invariably the villains of the piece and Kimble wanders an America full of corrupt institutions where the scum of society has risen to the top. It would be the highlight of anyone’s career, if it weren’t the creation of Roy Huggins, the man behind Maverick and The Rockford Files.

The Golden Girls (TVLand, whenever you turn on the channel)

It’s easy to be put off by the dated production values, air of tackiness and cloying music of this 80s sitcom but it would be a shame to let cosmetics get in the way of a show that otherwise is pure joy. Four senior ladies, sour divorcee Dorothy (Bea Arthur), her old school insult comic mother Sophia (Estelle Getty), southern belle-in-waiting Blanche (Rue McClanahan) and naïve farm girl Rose (Betty White), share a house in Miami looking for love and late-life fulfilment. It’s sharply written with an underlying sarcastic wit that counteracts the mandatory sentimentality beautifully. The show was utterly fearless about confronting issues facing people in later life, like dementia and disability, as well as those that matter specifically to women-one memorable episode has Dorothy facing down a male doctor who misdiagnosed her based on her age and gender in a restaurant. In this sense it harks back to the socially responsible American sitcoms of the 1970s but it has a streak of misanthropic humour we more readily associate with sitcoms today. It’s impossible to underestimate how important the central performances are to the success of the show. I’m particularly enamoured of Getty’s pinpointed quick-fire delivery and White’s knowingly played bravado turns of bumpkin innocence.

Star Trek (MeTV, Saturdays 9.00pm)

After countless sequels and movie versions, it’s good to get back to the ground floor of this franchise and see exactly why people think it so worthy of resurrection. Enduring iconography aside, I was struck by how captivating the storylines of each episode were, and the perfect pace at which the mysteries unravelled while still leaving space for that surreal and colourfully psychedelic camp that people treasure about the show. One episode I caught, ‘The Corbomite Manoeuvre’, is structured like a poker game and ends with Captain Kirk having cocktails with a grown-man baby alien played by Ron Howard’s brother. It’s also quite remarkable how the character flaws of the main cast are highlighted as much as, if not more than, their heroic qualities. I always had it in my head that Kirk’s chronic womanising was a fan fiction add-on that got recouped as canon after nudie-freak JJ Abrams got his pervy little hands on the franchise. But here Kirk is cruelly lascivious without apology or remittance. If like me you grew up with the relatively co-operative crew of The Next Generation, you’d be shocked at the amount these guys argue with each other. Dr. Bones in particular is more insulting to his fellow crew members than a drill sergeant with piles.

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