kottke.org posts about TV
We’re not big on TV for our kids (they watch maybe two hours a week and frequently less than that), but one show we’ve come to love watching with them is Shaun the Sheep. Produced by Aardman Animations (Wallace and Gromit), Shaun the Sheep has a number of things going for it:
- No dialogue. Not even the humans talk. Everything is communicated through grunts and gestures. Your three-year-old can follow it, as can your grandfather who only speaks Chinese.
- It’s frequently hilarious. I’ve never heard Ollie laugh so hard at anything. And not just for kids…my wife and I are usually in stitches next to them on the couch.
- Non-topical, non-contemporary. The show is almost entirely self-contained…you don’t need to know anything about pop culture to get the jokes. The humor is timeless…the show will be as good in 50 years as it is now. (There are plenty of pop culture references for the parents though…as with Bugs Bunny and Wallace and Gromit.)
- Non-violent. The humor is typically not mean-spirited and not predicated on characters hurting or attacking or making fun of other characters.
- Not gender specific. Mostly. This aspect could be a lot better (e.g. all the main characters are male), but the show is not specifically for little boys or little girls in the way that some kids shows are.
In short, it’s the perfect entertainment for 3-8 year-olds and their parents. I don’t think it’s available on Netflix Instant anymore, but you can get in on iTunes and at Amazon.
According to an upcoming book by ESPN reporters Mark Fainaru-Wada and Steve Fainaru, the NFL “conducted a two-decade campaign to deny a growing body of scientific research that showed a link between playing football and brain damage”.
Excerpts published Wednesday by ESPN The Magazine and Sports Illustrated from the book, “League of Denial: The NFL, Concussions and the Battle for Truth,” report that the NFL used its power and resources to discredit independent scientists and their work; that the league cited research data that minimized the dangers of concussions while emphasizing the league’s own flawed research; and that league executives employed an aggressive public relations strategy designed to keep the public unaware of what league executives really knew about the effects of playing the game.
Excerpts of the book are available from ESPN The Magazine and Sports Illustrated. An episode of Frontline based in part on the book airs next week. Interestingly, ESPN was collaborating with Frontline on this program, but they pulled out of it in August.
I love Girls, I love Saturday Night Live, I love Tina Fey, so this was pretty much perfect for me:
An Albanian girl named Blerta moves to Brooklyn and offers sage advice to Hannah, Marnie, Jessa and Shoshanna.
Lex Friedman details how to use DNS services (like AdFree Time) to route around region-specific content locks, so you can do things like watch all NFL games in HD from anywhere, change Netflix regions (for access to different content), etc.
Third-party services like AdFree Time offer up a DNS-based solution: Pay a monthly fee and use their DNS services, and the NFL’s website treats you as if you’re coming from Europe. You thus get to watch every NFL game streaming online in high definition, since the league offers that option to folks in Europe at no charge. Americans, usually, miss out. I could pay for DirecTV’s insanely overpriced Sunday Ticket, but I think it’s a ripoff when I’m only looking to watch about six to eight Eagles games that won’t show here.
This beats hate-reading the NFL TV maps every weekend.
It’s NFL season again and it’s time to tune into the NFL TV maps site to find out when your favorite team isn’t on TV because the network is contractually obligated to show the pathetic Jets.
Building on yesterday’s “The dirty BLEEP,” here are a few more great moments in the artful use of censorship (or its illusion):
- Neven Mrgan and James Moore have an iOS game called “Blackbar” that involves playful use of blacked-out text. (If my last name were missing an expected vowel, I’d be interested in intentional omissions too.) It’s described as “serious,” “artsy,” and “texty,” all adjectives I hope I will one day earn.
- Jimmy Kimmel has gotten a lot of mileage out of “Unnecessary Censorship,” a recurring sketch that uses bleeps and blurs for comedic effect. A proprietor of a popular internet site named J—n K——e confided in me this week that “Kimmel’s… skit always makes me laugh until I pee my pants,” a pretty stirring endorsement if I’ve ever heard one.
Also, besides using the appearance of censorship to remix existing text, audio, and video like “Unnecessary Censorship” does or fully scripting the bleep ahead of time like Arrested Development or South Park do, there’s been a real rise in a mode that’s in between, something that’s deliberate but has the feel of being off-the-cuff. This is probably best exemplified by The Daily Show and The Colbert Report. Check out Ashton Kutcher’s “surprise” experience on Colbert:
Here the tension isn’t just between what you’ve heard and what you know was said, but also between the live experience and that of broadcast. It used to be that if you heard a bleep of an event that was recorded live, someone had gone off the rails, like Madonna on the David Letterman show.
Now, TV mostly just lets anything and everything rip for the people in the room, knowing it will amp up the energy in the crowd, but can be bleeped for broadcast later. Then sometimes (like with The Daily Show or Chappelle’s Show on DVD or Netflix), you can catch the uncensored cut at home.
So we get the live, the censored, and the edited-but-encensored experiences, and we’re always mentally bouncing between all three. We know it’s not really spontaneous, but knowing is part of what lets us in on the joke, even though we can’t be in the room.
Looks like Syfy has ordered a “cast-contingent” hour-long pilot for an adaptation of Terry Gilliam’s Twelve Monkeys, with an eye to make it into a proper TV series. One of the producers of Gilliam’s 1995 film is on board, and Terry Matalas and Travis Fickett, who both worked on Terra Nova and Nikita, wrote it. The model here is Battlestar Galactica: a movie reboot that could be a mini-series that could be multiple seasons.
Syfy’s Mark Stern talked about it with The Hollywood Reporter, back when the pilot was 90 minutes long and still waiting to be approved for production while the network and producers figured out what the whole series would be about:
It’s a return to our roots in terms of science fiction: cool, interesting push-the-genre science fiction. Some we’re looking at doing straight to series, because you really want to give them the flexibility and do a closed-ended, arced run. Some of them are going to be traditional pilots, and then we’ll decide and they may be a bit more episodic.
Given the time-travel theme, the fact that the source material (both Twelve Monkeys and La Jetée) are well-known, and the way TV’s changed over the last ten years with jigsaw-puzzle series like LOST and the revived Arrested Development, I’m curious to see if the showrunners might mess around with the timelines a bit, jumping around, giving the audience previews of things the story doesn’t explain right away, and generally making Doctor Who look like it’s for precocious kids (which, really, it kinda is).
Via Adi Robertson at The Verge.
Jason posting the trailer for “Her” (which I love and feels like my life except I’m the one in the phone?) reminded me a lot of this episode of Black Mirror titled “Be Right Back”. Black Mirror is a modern, British version of The Twilight Zone. The title refers to the dark, reflective surfaces of our smartphones and TVs and how we’re constantly staring into them. There are 6 hour-long standalone episodes of Black Mirror, many of which are available on Vimeo (for now, at least). They’re all great but “Be Right Back” is my favorite.
Now this looks interesting: Steven Johnson is doing a six-episode series on PBS about the 500-year histories of several aspects of modern life. Sounds right up my alley…and also quite Connections-ish.
The show builds on many of themes in the innovation history trilogy of The Ghost Map, The Invention Of Air, and Where Good Ideas Come From, but is based on new material with a completely different structure. Each hour-long episode takes one facet of modern life that we mostly take for granted — artificial cold, clean drinking water, the lenses in your spectacles — and tells the 500-year story of how that innovation came into being: the hobbyists and amateurs and entrepreneurs and collaborative networks that collectively made the modern world possible. It’s also the story of the unintended consequences of these inventions: air conditioning and refrigeration didn’t just make it possible to build ski slopes in the desert; they also triggered arguably the largest migration of human beings in the history of the species — to cities like Dubai or Phoenix that would otherwise be virtually uninhabitable.
Outside of the nature documentaries like Planet Earth, I haven’t seen a decent science series on TV in a long while — most of them are too slow with too much filler and not enough actual, you know, science — so I’m not getting my hopes up too high, but hoping this one bucks that trend.
Been waiting for this one for awhile: a three-minute trailer for Cosmos: A Spacetime Odyssey, a sequel to Carl Sagan’s Cosmos.
The show will be hosted by Neil deGrasse Tyson and is being produced by Seth MacFarlane (Family Guy) and Sagan’s widow Ann Druyan. If MacFarlane’s involvement raises some eyebrows, it shouldn’t: he came up with the idea of rebooting the series and is apparently a big space nerd and fan of the original series. (via devour)
From The New Yorker: Jenny McCarthy’s Dangerous Views. She’s been hired as a new host on The View. Some worry that we’ll be hearing a lot more about her anti-vaccine postions. Of course, if you are making life-decisions based on the views of people on The View, you might want to consider the host who thought the world might be flat.
Adapted from Brett Martin’s Difficult Men, this piece in Slate gives a glimpse of what it was like on the set of The Wire.
In the isolated hothouse of Baltimore, immersed in the world of the streets, the cast of The Wire showed a bizarre tendency to mirror its onscreen characters in ways that took a toll on its members’ outside lives: Lance Reddick, who played the ramrod-straight Lieutenant Cedric Daniels, tormented by McNulty’s lack of discipline, had a similarly testy relationship with West, who would fool around and try to make Reddick crack up during his camera takes. Gilliam and Lombardozzi, much like Herc and Carver, would spend the bulk of Seasons 2 and 3 exiled to the periphery of the action, stewing on stakeout in second-unit production and eventually lobbying to be released from their contracts.
Oh, McNutty. (thx, sam)
[Sherlock season 2 spoilers ahead…] At the end of the second season of the excellent BBC series Sherlock, Holmes jumps off the roof of a building in Smithfield, London. Ever since then, fans of the show have been leaving notes near where he would have landed.
(thx, phil)
The first season of Sesame Street aired in 1969-1970 and this photo of the cast dates from then:
The giveaway is Oscar the Grouch’s orange fur…it would switch to green for the second season. Here’s the first 15 minutes of the first episode:
And here’s part 2, part 3, and part 4.
Sesame Street is insane, BTW. They aired 130 60-minute episodes over six months for that first season and over its 43 seasons, the show has averaged 100 episodes per season. A truly amazing combination of quantity and quality.
The Writers Guild of America recently selected their list of the 101 best written TV series of all time. Here are the top 20:
1 The Sopranos
2 Seinfeld
3 The Twilight Zone
4 All in the Family
5 M*A*S*H
6 The Mary Tyler Moore Show
7 Mad Men
8 Cheers
9 The Wire
10 The West Wing
11 The Simpsons
12 I Love Lucy
13 Breaking Bad
14 The Dick Van Dyke Show
15 Hill Street Blues
16 Arrested Development
17 The Daily Show with Jon Stewart
18 Six Feet Under
19 Taxi
20 The Larry Sanders Show
The full list is here in PDF form. Lost above Deadwood? And Homicide? And several other more? Maybe they ignored everything after the first couple seasons?
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