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I’m seeing Lost on the side right now (sssh, don’t tell Meg) but for the most part, we’re a one-at-a-time family with respect to TV shows. With Mad Men on hiatus for who knows how long and spurred by a current lack of cable TV, we finally settled in to watch a few episodes of Arrested Development on Hulu (the whole show is on there) and promptly hopped on the bandwagon for this now-cancelled masterpiece. Great stuff.
The NFL is showing their Sunday night game on NBC (traditional play-by-play broadcast) and online (traditional broadcast plus four other camera angles). Slate declares that the experiment may be the future of sports television.
The “Star” cam isolates on one player from each team-or, in the case of the Tampa-Seattle game, five different players. Other “stars” have included Pittsburgh wide receiver Hines Ward and safety Troy Polamalu, Jacksonville QB David Gerrard, and Cleveland wideout Braylon Edwards. For quarterbacks, this feature is a bit redundant-the camera’s always on the guy with the ball-but it’s fantastic for the other positions. Watching Polamalu fly around the field at full speed on every play is fantastic, and not just because his jouncing hair is hypnotic. Few athletes play with Polamalu’s reckless abandon, and it’s thrilling to try to forecast collisions by watching him bounce around the iso cam.
The Star cam works even better for receivers. After watching Ward and Edwards for three straight hours, I now understand why so many wide receivers are narcissistic-their job is to run one wind sprint after another with only the occasional ball thrown their way to break up the track workout.
TBS did this for the baseball playoffs too, except that they omitted the actual broadcast online and provided only extra footage/angles. Adding to Slate’s complaints of no replays (it’s streaming video only, no pausing, etc.) and no stats info on the other angles, I’d add that based on my experience watching the game online last night, they need something other than a test pattern and piercing tone to indicate that the video player is lagging and buffering. Perhaps a silent “please wait, buffering…” message instead?
Video of the Simpsons Halloween episode opening that spoofs the Mad Men intro.
I don’t know if you’ll enjoy reading a NY Times profile of the Olsen Twins, but I was oddly fascinated.
Mary-Kate’s contribution to the enterprise is a collector’s knowledge. She has been buying vintage Lanvin and Givenchy, among other classic labels of the mid-20th century, for a number of years. (Unlike Ashley, Mary-Kate continues to act, having played, with a perfect semblance of haze and obfuscation, a born-again Christian drug dealer on the third season of “Weeds.” This year she appeared opposite Ben Kingsley in the film “The Wackness.”) Ashley is the more entrepreneurial, the one who will tell you how much she admires Steve Jobs and Bill Gates.
The season’s final Mad Men recap is up at The House Next Door, but it was not written by its usual writer, Andrew Johnston. Johnston passed away yesterday at age 40 after a lengthy battle with cancer. RIP.
Great interview with Matthew Weiner, the creator of Mad Men. Gender roles are a big focus of the show, something that wasn’t necessarily apparent in the first two shows when I thought it was going to be some sort of lopsided misogyny-fest.
And the big intellectual skirmish going on was “Is it great that we’re so different, men and women, or is there no difference at all?” No difference at all is where is started. Let’s have equality and legistlate it like that. And then it became so much more complicated when you added sex to it and biologically the relationship is always sexist in some way. What’s sexist in the office is fuel in the bedroom. We’re wired that way to some extent. Women become more aggressive and it becomes strange for men.
(via fimoculous)
Fun evening activity: type whatever crazy shit is happening on TV into Twitter Search and watch the wittisicms and not-so-witticisms roll by. Example: in game one of the World Series tonight, someone stole a base and every single person in the United States won a free taco from Taco Bell. Instant tweetalanche.
The picture color on your television as a kid may influence the color of you dreams.
Do you dream in black and white? If so, the chances are you are over 55 and were brought up watching a monochrome television set.
Interestingly, studies indicate that dreams were in color before black and white TV came along.
Truthful TV title cards. Heroes becomes No One Dies Ever, Mad Men is Drink Smoke Fuck, and Lost is Winging It.
The NY Post reports that Mad Men has not been renewed for another season. Yet. Eep.
Around the TV business, the news that no plans were in place yet for a new season was greeted with surprise. “I can’t believe they haven’t renewed it yet,” said an executive at HBO, which now sheepishly regrets it did not sign the series about Madison Avenue in the 1950s and ’60s when it was offered several years ago.
(via fimoculous)
Update: Variety reports that the show will return.
AMC has formally exercised its option for a third season of the period drama.
However, the show’s creator is looking for more money and may not return. (thx, fladam)
In a 1999 essay about The Sopranos written after its first season, Vincent Canby suggested that the show was an example of a relatively new form of television, the megamovie.
“Berlin Alexanderplatz,” “The Singing Detective” and “The Sopranos” are something more than mini-series. Packed with characters and events of Dickensian dimension and color, their time and place observed with satiric exactitude, each has the kind of cohesive dramatic arc that defines a work complete unto itself. No matter what they are labeled or what they become, they are not open-ended series, or even mini-series.
They are megamovies.
That is, they are films on a scale imagined by the big-thinking, obsessive, fatally unrealistic Erich von Stroheim when, in 1924, he shot “Greed,” virtually a page-by-page adaptation of Frank Norris’s Zola-esque novel, “McTeague.” Stroheim intended it to be an exemplar of cinematic realism.
Megamovies take television seriously as a medium. They have dramatic arcs that last longer than single episodes or seasons. Megamovies often explore themes and ideas relevant to contemporary society — there’s more going on than just the plot — without resorting to very special episodes. Repeat viewing and close scrutiny is rewarded with a deeper understanding of the material and its themes. They’re shot cinematically and utilize good actors. Plot details sprawl out over multiple episodes, with viewers sometimes having to wait weeks to fit what might have seemed a throwaway line into the larger narrative puzzle.
Episodes of these megamovies, Canby argued presciently, are best watched in bunches, so that the parts more easily make the whole in the viewer’s mind. For many, bingeing on entire seasons on DVD or downloaded via iTunes has become the preferred way to watch these shows. If stamina and non-televisual responsibilities weren’t an issue, it would be preferable to watch these shows in one sitting, as one does with a movie.
Since The Sopranos kick-started things in 1999, the megamovie has become a far more common occurrence on TV. Virginia Heffernan recently stated that the creators of nearly all hour-long dramatic series are aiming to make megamovies. I’ve collected a few examples of megamovies accompanied by their total running times below. The list is incomplete but represents several of the best-known and -appreciated megamovies out there.
The Sopranos, 81 hours 46 minutes
Lost*, 61 hours 59 minutes
Mad Men*, 18 hours 6 minutes
Six Feet Under 57 hours 45 minutes
Deadwood*, 36 hours
The Wire, 60 hours 45 minutes
The West Wing, 111 hours 56 minutes
For The West Wing, that’s 4 days and 16 hours of continuous watching. An asterisk marks megamovies that are as-yet incomplete. In the case of Deadwood, it’s as if the film projector broke about halfway through the movie, only no one got their money back and eveyone left the theater pissed.
Update: In his review of the third episode of Mad Men this season, Andrew Johnston talks about the two dominant forms of TV drama and how The Sopranos and Mad Men fit in. (thx, stephen)
In the opening credits of the 80s TV show Webster, the title character is shown lifted into the sky by a dozen helium balloons. Mena Trott recently enlisted her young daughter in an attempt to prove, a la Mythbusters, that a few balloons won’t actually lift anyone anywhere.
Update: Mythbusters actually tackled this question in 2004. (thx, javier)
Mark Simonson takes an extensive look at the typography of Mad Men and concludes that a surprising amount of the type is set in fonts that either weren’t around in the early 60s or weren’t yet popular in the US.
Then there is the Gill Sans (c. 1930) problem. Gill is used quite a lot in the series, mainly for Sterling Cooper Advertising’s logo and signage. Technically, this is not anachronistic. And the way the type is used — metal dimensional letters, generously spaced — looks right. The problem is that Gill was a British typeface not widely available or popular in the U.S. until the 1970s. It’s a decade ahead of its time in American type fashions.
There’s also the Arial problem in the ending credits.
A supercut of every utterance of the phrase “what are you doing here?” on Doctor Who, including dozens of variations. Wow.
HBO is developing a series set 25-40 years in the future when Americans are fleeing the country en masse and settling elsewhere in the world.
In his research for “Americatown,” Winters had explored possible nightmare scenarios that could bring the U.S. to a collapse decades down the road, like the price of oil skyrocketing and natural disasters reaching catastrophic proportions. Then suddenly oil hovered near $150 a barrel this summer, floods hit the Midwest and the South and Wall Street crashed under the weight of the mortgage crisis.
(via bygone bureau)
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