Showing posts with label 24. Show all posts
Showing posts with label 24. Show all posts

Tuesday, July 17, 2007

Short Takes – July 17, 2007

After the length of time that it took to crank out the last Short Takes I was tempted to make this one a PTC only column to get it done on time. And really this post is pretty much that, only not quite because there are a couple of things that I wanted to talk about.

Gizzie probably going away: The Grey's Anatomy relationship between George (T.R. Knight) and Izzie (Katherine Heigl), which in typical modern media fashion has been given the vaguely obscene sounding designation Gizzie (and if you don't get why that's vaguely obscene sounding, I won't explain it to you – I can be embarrassed by such things) may not survive into the next season. According to Mike Ausiello in TV Guide the George and Izzie storyline may be ended because "A source close to ABC tells me that George and Izzie polled 95 percent negative, leading one of the 200 or so participants to conclude that, 'Gizzie will be dropped.'" Which of course is how all decisions in literature are done; by polling 200 people. Like it or not we the audience aren't the final arbiters of the directions that story lines proceed in. If we were, Gone With The Wind would probably have ended with Rhett Butler knocking on the door of Tara and saying "Frankly my dear I made a mistake when I left you."

Money talks, Art walks: It seems that part of the plan for this coming season of 24 involved shooting in Africa. It was such a major part of the storyline that the decision by studio executives not to shoot in Africa meant a three week delay in production because the entire story for the show's seventh season had to be thrown out. According to Ausiello again, the network found that the idea of shooting in Africa too expensive, and the show's producers couldn't find anywhere in the greater Los Angeles area that looked like Africa. Apparently these picky producers never heard the statement from a old time network executive who, when asked to sign off on an extensive location shoot, said (in a quote generally ascribed to Ronald Reagan) "A tree's a tree."

Some differences between Americans and Canadians: Denis McGrath did what a lot of broadcasters used to do during the summer and put on reruns in his blog last week while he was struggling with some real world writing. One of these typically long posts – Denis is a very opinionated guy and he does go on (and on), although it's almost invariably strong and thoughtful ranting – had some nuggets about the differences between Americans and Canadians when it comes to TV. The article – Getting Schooledis Denis's responses to an e-mail interview from a journalism student named Nicole. Here are a couple of major points. I won't touch on most of the points though if you're interested in Canadian TV it is a must read. To the question of the differences between writing shows for Canadians and Americans Denis responds that Canadians are on the whole less insular than Americans, and that shows which use irony do better with Canadians than they do with Americans. There's truth in this idea that Canadian and American tastes don't always mesh, though I'm not really prepared to quantify it the way Denis is. I do know that even in the last year of its run, when Americans writing in rec.arts.tv were screaming for its cancellation, Caroline In The City was in the top ten (and maybe the top five) in the Canadian ratings. Similarly, Studio 60 On The Sunset Strip was never as unpopular in Canada as it was in the States. Then McGrath adds:

On a more practical level, the differences have to do with social pressure. Because the religious right isn't quite as militant or influential in Canada, you can portray things that you simply can't in the USA: teenagers can have sex on TV here, without immediately getting pregnant. If they do get pregnant, they could actually have an abortion, not be forced to keep the baby or have a magic miscarriage. Degrassi actually had lots of trouble getting some of their shows past the N, though it's their most popular show. Shows that aired here and were no big deal were too hot to handle down south. That's telling. The Sopranos
runs on CTV here unbleeped. Dropping an F or an S bomb won't be thought of as bringing the whole of western civilization to a halt.

He forgot to mention nudity but it falls into the same consideration as "dropping an F or an S bomb." You can show bare breasts – and not just nipples either but the firm round and fully packed object – without anyone demanding fines or that your license be pulled. And they've been doing it for decades –the first bare breast I saw on conventional TV was in the early 1970s. Movies can be shown uncut, but tend not to be because Canadian TV networks get their TV prints from the studios who cut them to shreds so that they can be broadcast in the USA.

But it's in response to a question on the impact of American TV on Canada that McGrath makes a telling point.

We're the only country in the world that receives U.S. network feeds in their entirety on our cable systems. So their shows are all on at the same time as in the USA. No other country has this burden, and it is a burden, because in many ways we really are what Hollywood would like us to be: an extension of the U.S. domestic market.

The USA is the largest and most successful exporter of culture the world has ever known. And we're right next door. In other countries, people love U.S. shows, but they also love their own cop shows, their own lawyer shows, or family dramas, or soaps, or talk shows. Canada is an anomaly in the sense that most of our top 20 shows are American.

What makes it even stranger is that you'll see lots of Canadians stand up and wave the flag for Canadian music, or Canadian books, -- hell, they'll get all misty eyed at
Hockey Night in Canada
and the 'I Am Canadian' beer ad, but they're more than happy to watch another nation's values and obsessions on TV every night.

And of course he's right. Just ask a Canadian about his Miranda rights sometime – a concept that doesn't exist in Canada because our constitution and our legal protections are different here. It's part of why I almost never review Canadian shows, and part of the reason why I constantly rail at the Parents Television Council for their efforts to treat every viewer like a "pre-tween" child. Because what shows up on American TV is what I'm spoon-fed by Canadian television networks – except for the CBC who have problems of their own – even without cable systems sending an unadulterated stream of the stuff into my home. And yeah I watch it, in part because the Canadian networks arrange their schedules to make it hard to see Canadian shows or even to know that they're on, but also because, too frequently my choice isn't between a Canadian cop show and an American cop show but between an American cop show and an American lawyer show. So sue me for wanting the PTC and the FCC to stop making all TV into pap suitable for a 9 year-old but come close to criminalizing (due to huge FCC fines) programs suitable for adults.

Who does the PTC hate this week?: Anyone who disagrees with a " broadcast decency amendment" to the "Financial Services and General Government Appropriations bill" – in other words a bill that otherwise has absolutely nothing to do with broadcasting but which is necessary to pass. The amendment was proposed by Kansas Republican Sam Brownback, who just happens to be a member of the PTC's advisory board; imaging that. PTC President Tim Winter stated "If Senators are sincere about support for what Brownback's amendment would accomplish, why would they oppose it? The Senate – and the public – are not in a position to wait around for the other committees to act. The recent 2nd Circuit Court of Appeals ruling that allows the f-word and s-word to be aired at any time of the day combined with the upcoming September hearing on the Janet Jackson case dramatically underscore the importance and urgency of this issue. The Senate must not adopt the "wait and see" attitude that it did for two and a half years following the Janet Jackson incident – the entertainment industry's lawsuits do not permit it." Remember of course that the PTC denies the legitimacy of any appeal against what it sees as its victories – most of which come from a regulatory body (the FCC) rather than the courts – and this amendment is an attempt to, as good old Barney Fife would put it, "nip it in the bud – nip it!" There is so much wrong with this effort that it is difficult to know where to start on it. What Senator Brownback is attempting is familiar to online Poker players as the same tactic used to pass the Unlawful Internet Gambling Enforcement Act of 2006 as part of the SAFE Port Act, a necessary piece of law that had no connection with Internet Gambling or the Internet at all. The Brownback amendment is an attempt to make FCC policy as defined by Kevin Martin into rule of law and pre-empt any attempt by the television networks to obtain legal definition of boundaries. The Brownback amendment is an attempt to reinstate legislatively what the Second Circuit called an "arbitrary and capricious" policy. It is a perfect example of the "social conservative" agenda.

Opposition to the Brownback amendment has come from some interesting quarters including the United States Chamber of Commerce which sent a letter to the Chairman and ranking member of the Senate Appropriations Committee, expressing a view which disagrees with the PTC's position on the amendment. In the letter they state that "It is important to note that while the decision affects the FCC's ability to find broadcasters liable for the airing of fleeting or isolated expletives, it does not impact the FCC's ability to assess fines of up to $325,000 per utterance in cases where multiple or repeated expletives were aired in violation of FCC rules. Therefore, the only effect of the amendment would be to unreasonably subject broadcasters to a $325,000 penalty for the random utterance of an expletive at a live sporting event, convention, or performance." This of course is a point that the PTC and FCC chairman Martin are desperate to make people forget. It is their claim that any use of the "f-word and s-word" is by the very nature of the words not only obscene but in the case of the F-word can only be seen in a sexual context, and that by overturning the FCC decision on fleeting obscenities the "liberal" 2nd Circuit has permitted writers to fill their scripts with those words. The U.S. Chamber of Commerce also states in their letter that "Senator Brownback's amendment on 'excessively violent video programming' is fatally flawed because it fails to acknowledge that descriptions or depictions of violence on television are protected as free speech by the First Amendment of the Constitution," and that "The amendment is also unconstitutionally vague and overly broad. It appears to cover everything from fictional violence to war coverage to sporting events. The resulting regulatory uncertainty would needlessly harm the ability of the broadcast industry to supply the type and variety of television programming sought by the American television viewer. Indeed, the amendment could severely distort the market and alter business models by forcing programming and all associated advertising onto alternative media platforms, such as the Internet."

The Chamber's letter also cuts to the heart of the difference between economic conservatives and social conservatives – because I'm sure that at its philosophical heart the U.S. Chamber of Commerce is a conservative organization – and that is the need for government to regulate. In the second paragraph of its letter the Chamber states, "Government regulation over broadcasting should be kept to the minimum and exercised only to the degree clearly required by the public interest. Parents currently have the tools necessary to protect their children from inappropriate content.... Moreover, two-thirds of all U.S. households do not even include a child under 18. Therefore, there is not a public interest justification for further government regulation of the broadcasting industry." They state this point again in the next to last paragraph saying that, "Moreover, the amendment would constitute government intervention where there is not a market failure. If a show does not achieve high enough ratings, it is removed from the schedule. At the same time, parents have the tools needed to protect their children." But of course the PTC has argued and continues to argue to anyone who will listen that the tools that parents have (and the letter specifically mentions the V-chip) not only don't work but are worse than useless, and that parents need government to intervene in order to protect their children (and, though the PTC doesn't come out and say it, themselves). This is in stark contrast to the TVWatch survey that the letter quotes that states that "92% of parents agree with the statement: "Government involvement in curbing the amount of violence on television is okay in theory, but at the end of the day, the best way to prevent a child from seeing content deemed inappropriate is a parent in the home...not a politician in Washington."

The PTC's Broadcast Worst of the Week is a show which was on the list a couple of weeks ago and which was cancelled even before that; The Loop. The PTC cites "multiple instances of casual sex, infidelity, and strong sexual innuendo" as reasons for naming it as the Worst of the Week. The storyline they describe has Sam, wearing a fat suit after a complaint from some passengers on the airline for which he works, being seduced by his boss's girlfriend who he was meant to spy on because she was suspected of being unfaithful. The PTC takes a certain pleasure in detailing a "graphic scene is shown of Sam receiving implied fellatio and moaning in the airplane lavatory." The big thing though is the conclusion that the PTC emerges with: "The Loop represents some of the worst and most inappropriate programming for the family hour, unapologetically polluting prime time with raunchy sexual themes. The Loop is exactly the type of program that parents should guard their families against." Set aside inflammatory adjectives like "polluting" and the reference to the non-existent "Family Hour" which only the PTC believes still exists. It's that last part of that last sentence that counts: "...parents should guard their families against." The PTC's entire point in their lobbying is that parents don't/can't/won't guard their families against objectionable programs so that an organization like the PTC has to do it for them by lobbying and pressuring government to do the "right" thing – the right thing being defined by the PTC, rather than by parents themselves who know their own families and know what they themselves want and don't want their kids to see.

The PTC's Cable Worst of the Week (all the Cable Worst of the Week links go back to the current WOTW so you may not see this) is Kathy Griffin's My Life On The D-List (on Bravo) which the PTC says, "started as a mock-umentary, chronicling Griffin's pseudo-celebrity misadventures. But now the show documents her climb to A-list fame. Not only has Griffin performed in Carnegie Hall and garnered an Emmy nomination, she may just become the newest addition to ABC's The View." This may come as a news flash, but none of that puts her on the A-List or even rising to the A-List. Still, that's not the PTC's objection, though they warn ABC to "look over this comic's raunchy and crude reality series." What caught their attention in this particular episode is Griffin's appearances as hostess of the "GayVN Awards" (which is an off-shoot of the Adult Video News – AVN – Awards). A the PTC puts it, "If you aren't familiar with the GayVN awards, they highlight 'acting' accomplishments within the homosexual pornography industry. Homosexual Porn Oscars, if you will. A niche market, yes—but one near and dear to the heart of Kathy Griffin." The review then describes Griffin picking out her wardrobe for the show, which given that this is Kathy Griffin we're talking about, was probably done with an indescribable edge that doesn't come across when read on the printed page. But greater anger seems to be derived from the venue for Griffin's appearance, the awards show itself. Now I have no doubt that the PTC would be just as irate if Griffin had been hosting the main AVN Awards, which are more oriented to the mainstream side of porn (though they don't object to Gay porn there either) but because it's the GayVN awards, there's a bit of a patina of homophobia. The highlight this moment in particular: "An unnamed presenter and presumable porn star, gives this introduction before handing out one of the gala's many awards: 'Best all-sex video. That would be that slap on it, spit on it, stick it in the ass kind of video you love to see.' The crowd's reaction? Effusive cheering." After noting that Bravo airs the episode "at noontime and even at eight in the morning" they add, "It's clear that BRAVO pushes this indecent content in pursuit of ratings. What's less clear is why all cable subscribers — whether they watch it or not — are forced to subsidize it every month." Setting aside the fallacy that cable companies "subsidize" shows that don't perform well in the ratings – and it is a fallacy – the material that the PTC describes in their review hasn't shown me any indication of "indecent content" except that the appearance was at an awards show that honoured Porn – Gay porn at that – and I'm not entirely sure that the objection isn't primarily due to Gay Porn being the focus of the awards.

Tuesday, May 24, 2005

24 Finale - Stinky Bad

I was trying last night to sort out my feelings about the 24 season finale - having failed miserably to sum up my feelings about Desperate Housewives the night before (suffice it to say I'm a late convert but I am actually looking forward to reruns to catch what I missed when I was foolish enough not to watch) - and then today it hit me as I was reading another blog: it was bad! Admittedly it was this review at Blogcritic.org but it crystalised my thoughts on the matter. The finale, and more specifically episode 24, was terrible. (Just promise me one thing. If I ever channel the Comic Book Guy and write a review with a title that includes the phrase "Worst. Episode. Ever." and I'm serious about it, please make an intervention. That phrase has "jumped the shark" (but then so has "jumped the shark) as far as I'm concerned.)

The problem is a simple one. The story was both too rushed and to leisurely at the same time. Too rushed in that the resolution of the main plot occurred without any sort of revelation as to what the motivation behind the plot was. At no point was there any explanation of what Marwan hoped to accomplish or why his plot was so involved that it required trying to melt down 107 nuclear power plants, shooting down Air Force One, and attempting to nuke Los Angeles, not to mention where he got a stealth cruise missile, assemble a huge Terrorist Army (tm), or was able to find a Stealth Fighter that actually carried an air-to-air missile. I mean there's a certain suspension of disbelief that goes along with 24 but in this case a little explanation might have helped. It's like building a thrilling roller coaster which doesn't quite get us to the unloading platform.

Of course it may have been a tip-off when the whole "Mandy and Tony" subplot took most of Hour 23 to unravel. There we were, no closer to Marwan than we had been since the terrorists sprung him a few episodes ago and it's the end of the next to last hour. You have to end the series in the next hour but you've got this great gimmick for the end which is going to take time and so there's no time for any explanations. That means killing the antagonist without finding out from him or anyone why (or how) all of this mess happened. Or maybe the writers just decided that we didn't need any resolution, that we'd buy anything they were willing to sell us and thank them for it.

And then comes the leisurely part. Having successfully saved the world - okay the United States - okay Los Angeles three times running (the first season doesn't count - all he did there was save David Palmer) our gallant hero and his team of intrepid sidekicks returns to CTU. Not quite in triumph of course because Jack has to get ready to turn himself over to the Chinese for his part in the Consulate attack thanks to that weak-willed moron Bern (and forgetting for the moment that the only way they got him was to kill two Americans on American soil) because Jack will always do exactly what the President tells him to do even when the President isn't David Palmer or even John Keeler, but acting President Charles Logan (which is what Logan is - remember Keeler didn't die when Air Force One crashed). Still there's time for Audrey to look longingly at Paul's body bag then give Jack the big "I love you but we can never be together even if you aren't going to be set up as the fall guy for the Consulate operation" speech; for Buchanan to look overly serious; for Michelle and Tony to do log some serious screen kiss time to the point where it would have been better for everyone concerned if they'd just grabbed a quickie in Interrogation Room 1; and Edgar and Chloe pledge eternal geek love - oh sorry, that was my nightmare last night, I meant express incredulity that they're going to give Jack to the Chinese. Plus there was actually time for Jack to change his clothes before the denouement.

Of course the denouement is a good one. Having decided to hand Jack over to the Chinese with the reluctant approval of ex-President Palmer, President Logan's security chief decides that Jack knows too much and will tell all under interrogation. He had previously suggested that Jack have "an accident". Logan tells him no, but the security chief gets in touch with the Secret Service Agent who is going to get Jack and tells him that Jack is going to have an "accident" before he can be delivered to the Chinese. Now setting aside the total unlikelihood of a Secret Service Agent not only committing an illegal act (like murder) but doing it on the orders of someone who is not the President Of The United States or even the acting President, you know this is going happen because of the actor playing the agent. He's Patrick Kilpatrick, and as sure as I've never seen Gregory Itzin (Logan) play any character but spineless weasels I have never seen Kilpatrick play anyone but a hard-ass who will obey any order he's given. Sure enough, Logan is a spineless weasel because he refuses to listen to Palmer when David begs him to make sure that Security Guy calls off the hit (Mike Novick overheard Security Guy's end of the phone call), and Palmer is a resolute enough friend to warn Jack of what's coming. Jack, Tony, Michelle and Chloe (Chloe?!) concoct a cunning plan that lets the Secret Service Agent think he's snuffed Jack and allows Jack to get away scot-free with the clothes on his back, the money in his pocket, a clean cell phone and false papers that will get him into Mexico. Of course they could have set up a retirement fund for him, but you can't have everything and why would he come back for season 5 if he did?

In a season that has led viewers though a series of plot elements that have not only required willing suspension of disbelief but a total detachment from reality - which most of us have been willing to do - the pay-off was disappointing to say the least. And yet the viewers (including me) will flock back in January just to see what is going to happen to Bauer next. Just a guess but I don't think he'll be sipping margueritas on some beach surrounded by bikini clad babes.

Tuesday, March 08, 2005

To Be Continued ... Next Week

Monday night is "must tape TV" night around my house. From September to April I'm out of the house on Monday nights, bowling, but so many of the shows I like are on that two VCRs and a time shifting feed on one of the TVs is just barely enough to catch everything I want to see. Take last night. VCR #1 - the mono JVC that I bought from my ex-sister-in-law when she and my brother got married and didn't need two VCRs - was taping Medium on CTV (an episode I hadn't seen otherwise I wouldn't have bothered) and CSI: Miami. VCR #2 - the Panasonic with Stereo and Commercial Advance and connected to the digital box - was taping Celebrity Poker Showdown and then, later 24 on the time shift feed. I also caught the last half hour of The Contender, but that wasn't enough to really evaluate the show. Today I'm writing about 24.

24 is a serial in the best sense of the word. Serials are a form that television has never really gotten, which is really surprising since as a form it would seem to be ideally suited for TV. To be clear about what I mean we need to define terms, or at least I need to define what I mean by some terms. In my book a serial is episodic, has continuity, has a definite beginning and ending, and at no point becomes episodic. The main storyline is the storyline. Episodes must connect with each other in an easily comprehensible manner and to hold audiences there should be a hook at the end of an episode in the form of a cliffhanger to get viewers to come back for the next one. There may be sequels but although the sequels may have references to the previous installment in the series but the end of a storyline is definitive. There are series that have had continuity over the years, many that have had ongoing story arc some of which have lasted a whole season, but in the case of most such shows - Buffy the Vampire Slayer is a good example - have submerged the season long story arc to do one-off episodes or even mini arcs within the year. There have been plenty of series to use cliffhangers, usually at the end of a season to pull fans back for the start of the next season. Soap operas, daytime or nighttime, are not examples of the serial using my definition because they don't have definitive ends even though storylines do. In a Soap one major story arc may be building to a dramatic climax while the next major story arc is starting to develop.

The serial is designed to bring people back each week, and they have a long and proud tradition. The novels of Charles Dickens were written as serials in magazines, as were the Sherlock Holmes novels. The adventure comic strips were serials. In radio the serial was a staple, primarily for juvenile audiences. In the movies the serial reached its high point. They were there at the beginnings of the movies with The Perils of Pauline and other films being made for mainstream audiences. The first Flash Gordon serial was the only serial reviewed by the New York Times. The form carried on, weakening gradually until the last serial was produced in the mid-1950s. In all cases the reasoning was simple - to get people coming back, whether coming back meant buying the magazine, the newspaper, Kellogg's cereal, or tickets to the movies. Strangely TV has never done much with the serial format. The last "real" serial (using my definition) on TV was probably the first season of Murder One, the season with Daniel Benzali as the lead actor. It treated the form seriously. An earlier series, Cliff Hanger (1979) didn't; it treated the entire genre with tongue firmly planted in cheek. Now there is 24.

24 works mainly because of its star, Kiefer Sutherland as Jack Bauer. He's a brooding presence, someone of whom you'd expect anything, if you know him. If you don't he might seem ordinary. In a recent episode a character (who Jack has been torturing) describes Jack as a "common thug". Thug perhaps, but scarcely common. In the past he's killed a man and cut off his head with a hacksaw in order to reestablish his cover, set up a situation where it appeared that the children of a terrorist were being killed on his orders, become a heroin addict, and cut off the hand of his daughter's lover so that a deadly pathogen wouldn't be released in a school. Bauer is dedicated, even single minded, about his job and his job is protecting his country. He'd willingly die for his country - in fact he already has once.

Surrounding Sutherland is an ever changing cast of supporting characters. Only one other actor has been in all four seasons of 24 - Carlos Bernard as Tony Almeida although in the fourth season his character has appeared in fewer than half the episodes (there's also a promise that Dennis Haysbaert will make a guest appearance in the show). This doesn't mean that the supporting characters aren't engaging. Some are, some aren't but at best what they do is support Sutherland and at worst are somewhat annoying scenery for him to work with. An example this season is CTU office head Erin Driscoll, played by Alberta Watson, who spends most of here time second guessing Jack and part of her time obsessing about her mentally ill daughter. More interesting are the villains, but then villains usually are more interesting.

This season has featured a family of Arab terrorists, played by Nestor Serrano, Shohreh Agdashloo and Jonathon Ahdout. The portrayal has caused a protests against the show, notably in Britain, as portraying all Arabs as terrorists. There's a certain justification for this, although not all of the Arab characters that we've seen, even in this season, have been terrorists and in previous seasons there have been many more sympathetic Arabic characters than there have been terrorists. On the other hand, government agencies haven't exactly been portrayed as "nice guys" either. Although there have been occasional examples of torture in previous seasons, this season has seen three or four cases of characters being interrogated by a US government agency in methods that would be more suited to Argentina during the Dirty War. In three of those cases the characters who were tortured (Richard Heller, Sarah Gavin, and Paul Raines) have not only been American citizens, but non-Arab American citizens.

Direction and the visual look of the series are first rate. It is in the area of writing that it falls a little short of the mark it tries to hit. The plotlines at times seem a bit formulaic from season to season. A season usually starts with what seems like the "big threat" and the "big villain. As events proceed it turns out that the "big villain" is merely a cog in a bigger organization and the "big plot" is merely a prelude for something even bigger and deadlier. In addition viewers are asked to swallow various absurdities in a challenge to the concept of willing suspension of disbelief. In order to carry the storyline as whole you have to be willing to accept something like Jack dying of a heart attack, being revived and then an hour later literally being almost as good as new ... at least until the plot needs for him to suffer complications from the heart attack. You also have to endure poorly refined sub-plots for supporting characters. The series of stories surrounding the character of Kim Bauer are legendary - of Kim's three boyfriends in the series, one died, one lost his leg, and one had his hand cut off (although at least he got his hand sewn back on unlike the other guy's leg). And yet, accepting the absurdity of the situations is part of what makes the show worth watching. About the only thing we can be sure of in the continuing story of 24 is that each week is going to bring a big plot twist and another tense cliffhanger. And after all, isn't that what serials are all about?

Friday, February 11, 2005

If You Love 24...

...as much as I do, you'll love this piece from the Washington Post. Sure these TV satire memos are as common as dry leaves in October, but they're usually fun. Thanks to the guys at TVGeekSpeak.com for this one.

Jack Bauer in a Hawaiian shirt. BWAHAHAHA!