Tuesday, November 04, 2008

Short Takes – November 4, 2008

As a lot of you might know, in the past I used to do a regular series of posts called Short Takes in which I wrote about TV related news and gave my opinion on stuff. I sort of gave up on it, primarily because I got behind in grabbing stuff for the column and it got to be a bit of a hassle, and mostly because, by the time I had the column written it was usually old news. I can't say that I really miss writing those pieces but there is a bit of a hole, so I've decided to try to revive the idea. Well sort of. This is an experiment undertaken largely because I want to write about someone that I don't know much about who is in a situation that I don't know much about, but what I know about him, mostly his writing, I basically like and what has happened to him I basically don't like.

Another TV Critic Fired: Eric Kohanik, one time president of the TV Critics Association has been fired as editor and TV critic for the TV Times booklet that appears in most of the CanWest newspapers, including my local rag, the Saskatoon StarPhoenix. According to Bill Brioux, former TV columnist for the Toronto Sun who currently does a weekly column for the Canadian Press (a column that is not seen locally) and produces the blog TV Feeds My Family the fault isn't with Kohanik's work but the general malaise that has infected newspapers in general: "TVTimes, one of the more handsome weekend TV supplements, has been deemed dispensable in this age of high newsprint costs, declining ad revenues and on-screen TV listings. At one time it appeared in 33 newspapers across the country as part of the Southam and later CanWest chains. Like the print edition of TV Guide in Canada, it is being phased out of circulation, reduced to mere listings without editorial content."

Making this about me for a moment, this leaves me without a TV critic that I can read in the local paper, as the local rag basically depends on the syndicate for most of its entertainment content. Now admittedly, even when the StarPhoenix was part of a two paper family owned chain as often as not they farmed out TV criticism to outside sources. For a long time in the 1960s they had a local critic – a man named Ned Powers, whose brother-in-law I bowl with, and who sometimes bowled with my mother – but he usually wrote about once or twice a week and I don't remember much of what he wrote. After all it was nearly 40 years ago. In the 1970s and early 1980s the paper had a column written by Gary Deeb of one of the Chicago newspapers. I think it was the Tribune but I'm not sure. Deeb used to infuriate me when he criticised shows I liked but that's part of being a TV critic. Deeb's column vanished rather suddenly as I recall, and I don't really recall anything replacing him. Eventually, along came Kohanik but I confess I wasn't really aware of when he started being a big part of the TV Times experience for me.

The death by inches of the TV Times and paper TV listings in general is something else that bothers me considerably. To be sure I have issues with the TV Times. For one thing it doesn't carry listings of the full spectrum of cable channels available to me while carrying listings for other channels that I have no way of getting, but I truly like having a full week listing even if it is a listing of majority of the channels rather than everything. Sure, my digital cable has a guide function, and there's a listings channel on the analog part of the cable, but the analog listings channel only covers the next hour or so, and the digital guide at most lets me see a day or two into the future. Beyond that I have to schlep off to the computer to check Zap2It. Sure it doesn't sound that arduous – and it isn't really – but so much easier just to have it in a magazine beside my watching position.

Of course, more important to me than the listings is to have someone who can give me their opinion of a shows, and just to write about them, and that's going, moving to the Internet. Maybe that's a good thing. If you read Ed Bark's blog you'll eventually discover that he has more independence now than when he was working for the Dallas Morning News which was owned by Belo Corporation, which also owned one of the Dallas stations. Bark wasn't allowed to critique local TV news stations even as the newspaper was moving its national TV coverage to wire service copy. I'm not going to speculate that Eric Kohanik had to deal with similar problems while working for the newspapers owned by Canada's third network (newspapers which conspicuously don't take ads from either CTV or CBC, and probably not from Rogers in areas where Rogers' CITY-TV stations are operating). He's always seemed pretty fair and balanced to me, calling crap crap regardless of the station on which it aired. What I am more than willing to say though is that having this sort of thing in my local newspaper is useful to me. And my local newspaper is giving me short shrift when it comes to TV coverage. The daily primetime listings were discontinued to give readers a full page of comics (up from the previous half page – the local rag doesn't like comics – takes away from ad revenue). TV get short wire service news squibs in the Entertainment pages...sometimes. On the Saturday there are a couple of columns that tells us the highlights of TV on Saturday and Sunday (no Sunday papers in the CanWest chain). But TV criticism? They spend more column inches on a snarky gossip columnist, and he doesn't get that much space in a week. Sure, TV criticism on the Internet is fine and may even be where it all ends up, but for me, I like being able to immerse myself in it in a way that I can't while sitting in front of a computer screen and can while reading my newspaper. I guess I'm going to have to buy the Globe & Mail more often.

Network Cancellations: Five so far this year. Do Not Disturb went first, in September. Next, ABC dumped the Ashton Kutcher created game show Opportunity Knocks on October 16th after three episodes. Then CBS dropped The Ex-List on October 27th after four episodes. Finally Media Rights Capital, which was programming Sunday nights from The CW has dropped two of their series, Valentine and Easy Money, although they will apparently burn off the remaining episodes produced of both series. The cancellation of The Ex-List comes as sweet vindication for those of us who came to love Moonlight. On the other hand I am one of those who is still mystified by the CBS decision to cancel the relatively successful Close To Home to create a hole for Moonlight.

I did review Do Not Disturb – found it dreadful – but missed the other four. Actually I had no earthly intention of writing anything about Opportunity Knocks which sounded like one of the worst ideas ever. I had no real desire to write or even view either Valentine or The Ex-List, so the decisions by their respective networks saved me the trouble

Network Renewals: NBC has given back nines to Knight Rider and Kath & Kim. They`re both mysteries to me but Kath & Kim is probably the bigger one – I just don`t get it. CBS's The Mentalist also received a full season order, not surprisingly given that it seems to be the only true success so far this season. They've also increased the order – although not yet to a full back nine – of their Thursday night drama The Eleventh Hour. The CW has given a back nine to their highly publicized 90210 although not to the show that follows it, Privileged. I mention Privileged because while the show loses audience out of 90210 its audience seems to consistently increase by 20-30% when the DVR "Live +7" audience is factored in.

Network Movements: NBC has announced that they will be bringing the original Law & Order back on Wednesday nights in the third hour. The show was originally intended to air on Sunday nights once Football ends but will instead replace the underperforming Lipstick Jungle. That show in turn will move to the third hour of Friday night, unseating the sophomore cop show Life which moves to the second hour of Wednesday night, reducing Deal Or No Deal to one episode a week. With the first hour of Wednesday being Knight Rider, the result is a new Wednesday block of shows labelled "Crime Night" by NBC.

Olbermania: Okay, I confess that since I've been able to get MSNBC for "free" (thanks to Shaw Cable which made it part of the Digital Basic package – though personally I'd rather they'd done that with BBC World instead) I've become a huge fan of Keith Olberman, who for better or for worse has been a huge part of this election cycle. Oh I don't really watch Olberman for his political views, though I largely agree with them, but because the guy is hugely entertaining. The guy's an okay interviewer but I don't watch him for that. I watch for his opinions – and he is opinionated – for his "Worst Person in the World!!!" bits and for those times when he goes on one of those famous rants of his. I mean if I want calm rationality I'll watch Rachel Maddow (I'm in love with Rachel, albeit a mostly platonic love that acknowledges her Lesbianism). I watch Olberman for the crazy. And as the election campaign has gone on the crazy has been infinitely entertaining. Thus it was probably inevitable that Saturday Night Live would turn its satirical light on Olberman. All that was needed was someone who could "do" justice to Olberman. Enter Ben Affleck...

Sunday, November 02, 2008

Who Does The PTC Hate This Week – October 26, 2008

I confess that sometimes I get complacent about the PTC. Like I did this past month or so. It's the little things that drive you towards this. The vague hope that maybe they are sated, for lack of a better term. Alternately the sense that maybe they're losing steam. Certainly the continuing failure to update the "Misrated" column gives a hint of that. Of course they just might not be able to find interns to slave for them, what with the election and all that. And of course there's the repetitive nature of the thing. I mean how many times can you write about their vendettas against South Park and Rescue Men and Two And A Half Men and My Name Is Earl and just about everything that Seth McFarlane has created. And of course there's always the sense that they've gone about as far as they can go in the stupidity sweepstakes.

And just when you think that can't go any dumber, they get a little bit stupider.

I'm not sure how they're going to top their latest descent into the moronic. In a press release dated October 22nd the PTC announced to the world – and more importantly to their 1.3 million members and assorted hangers-on – that they were filing an obscenity complaint against one of their perpetual targets, Two And A Half Men. According to the press release, the October 20th episode "crossed the indecency line." In his statement announcing the complaint PTC President Tim Winter stated, "The shocking episode included a strip club scene that lasts three full minutes and features up close shots of a leading character being 'serviced' by a stripper complete with moaning and other sexual references. The scene was in no way 'fleeting' or accidental; rather, it was specifically written into this scripted program."

At this point gentle (and not so gentle) readers I would refer you to the PTC's "Worst of the Week" page for that very episode. Why? Well the PTC has supplied a clip of the very scene that they are claiming is so indecent that it is worthy of a complaint to the FCC by the PTC and its 1.3 million easily offended members (and assorted hangers on). For those of you using Internet Explorer or Google Chrome, just click the "Play" button on the Player; those of you using Firefox and Safari click the link that says download the clip. Go ahead and do that, I'll wait.

Doh de Doh de Doh Doh Dooooh.

Okay, are we all back? Have we taken care of any uh, side effects, that this scene might have provoked in we poor easily corrupted human males? Good. That is what the PTC currently thinks is indecent! I'm not sure how they get there to be honest with you. The setting is the world's most chaste strip club. The "stripper" in question is wearing more clothes than many women wear on the beach. She is not "Charlotte Ross nude" – the subject of the infamous FCC NYPD Blue decision which is currently under appeal. We are not seeing the "curve of her naked breasts" which was the cause of a PTC complaint about an episode of Las Vegas. No one in the scene is using any of the seven words you can't use on TV including the ones that you've been able to use for a while now. All of the participants in the scene are above the age of consent, which seems to have been the basis for the FCC fine in the Without A Trace "teen orgy" case, nor is it a simulation of a "sexual act" as most of us would be inclined to define it and as the FCC seems to have defined it in that same decision. It is certainly not of the standard of the bachelor party scene from the reality series Married By America which earned FOX an FCC fine. No, to quote the description from the "Worst of the Week" page (because it has the most comprehensive description of the scene that supposedly crossed the indecency line): "The episode begins with Charlie running into teenager Jake's former 5th grade teacher, Dolores Pasternak. Dolores suffered a nervous breakdown and lost her teaching job after Charlie dumped her, and now works as an exotic dancer known as Desiree Bush. She chews out Charlie for ruining her life. In a rare moment of guilt, Charlie feels responsible for Ms. Paternak's misfortunes and decides to help her. Charlie visits the strip club where she works, bringing his brother Alan along. Once at the strip club, Charlie asks a dancer onstage, 'When does Ms. Bush come out?' The dancer replies, 'Whenever Ben Franklin comes out.' Charlie clarifies, 'I mean Desiree Bush.' He turns and recognizes Dolores' rear waving in front of his face. Dolores/Desiree refuses to talk to Charlie unless he pays for a private dance, whereupon Charlie offers to buy one for Alan. Once in the private room, Dolores bumps and grinds on top of Alan, who moans in pleasure: 'Whoo, doggies!' As she straddles Alan he stops her: 'Excuse me, I've got to readjust. I'm playing ring toss with my car keys.' She mounts him again, tosses her head back and sticks her chest out while Charlie offers to hire her as Jake's tutor. When she asks if Alan agrees with the proposal he squeaks, 'Oh…yes. Yes. YES!'" According to the PTC, "This scene was not just sexually suggestive -- it actually depicted a borderline sexual act. The graphic lap dance crosses the line into indecency." Oh puh-lease! Borderline sexual act? Graphic lap dance?! Maybe to an Islamic mullah, but for the rest of us it's hardly the stuff of arousal to sexual excitement. To be sure the script is full of double entendres, and even single entendres but that's pretty much expected of Two And A Half Men, and besides while it may be done in a way that offends good taste it is most assuredly not done in a way that offends the legal definitions of indecency.

Not surprisingly the mainstream media has not picked up on this story, and to be honest with you I'm not sure that they should if only because they can't give it the sort of ridicule that it truly deserves. I've only found two news items about the complaint. One is from OneNewsNow.com, "a division of the American Family News Network" and a website that has stories about whether Obama "supports the radical homosexual agenda espoused by one of his fundraising co-chairs," or how "there would be no mention of resurrecting the 'Fairness Doctrine' if talk radio were dominated by liberals." (The latter is one of those things that makes anyone with a bit of knowledge burst out laughing; the old and now discontinued "Fairness Doctrine" was established in law with the "Red Lion Decision" before the Supreme Court which essentially allowed regulation of the airwaves by the FCC because of the "scarcity of frequencies." Decry the basis of the Fairness Doctrine and weaken Red Lion and incidentally the case of people like the PTC. Click this link to read about Red Lion.) Obviously they drank buckets full of the cheap Kool-Aid substitute. The other news report is from TVNewsday which essentially reprints the PTC press release without comment. However broadening my search a bit further I came upon this from Tom Jicha, TV critic for the South Florida Sun-Sentinal and fellow PTC hater: "The Parents Television Council, which has been having trouble getting its name in the paper because of all the political news, announced it is filing a complaint with the FCC over Monday's episode of Two and a Half Men. The scene in dispute involved Jon Cryer's character getting a fairly explicit strip club lap dance. As it played out, I thought to myself, the Moral Mafia is going to get all worked up--no pun intended--over this. They never disappoint. They are still bringing up Janet Jackson's Super Bowl wardrobe malfunction, largely because it was the last time anyone paid them serious attention. The Super Bowl, they had a point. That was an ambush. But anyone who doesn't know by now that Two and a Half Men is the raciest (and funniest) show on TV shouldn't be allowed near a remote control. This complaint, like almost all the other thousands the PTC and their fellow travelers file, will get nowhere but it will win them some attention that will help in fund-raising, which is what this is all about." He's right of course (except that I didn't find the scene all that racy but then I'm a Canadian and we're made of and used to stronger stuff) but really, the very fact that they even think they have grounds to complain makes it noteworthy in the annals of PTC intolerance.

I'm only going to give brief mention to the PTC's current Worst on Cable. It's another attack on the BBC America presentation of Skins which originally aired on Britain's E4, a satellite station owned by Channel 4, a broadcast network that is known for its cutting edge dramas. The series subsequently aired on the broadcast channel. The particular episode that the PTC found objectionable was a second season episode called Sketch, in which a teenage girl develops a major infatuation of Maxxie – an openly gay male character that goes to the point of stalking. When Maxxie gives her slight encouragement – he asks if she's "single" intending to set her up with his friend Anwar her obsession takes off, to the point where she sneaks into his room and masturbates on his bed upt to the time when he comes home at which point she hides under his bed and apparently stays there all night. Later, when she does surrender her virginity to Anwar, it is apparent from the way the scene is shot (as seen in the clip that accompanies the article) that the only enjoyment she gets out of the act comes from looking at a picture of Anwar and Maxxie, and presumably imagining that it is Maxxie who is making love to her rather than Anwar copulating with her. Having described the situation in explicit detail, the PTC doesn't seem to have many placed to take it. They don't even enter into their usual diatribe demanding Cable Choice and asking why the public is "forced to subsidize" programming such as this. Instead they latch onto something in an "inside look" type commentary that aired during the episode: "Incredibly, during an "inside look" at the show that aired during a commercial break, one of the actors made the audacious claim that '[Skins] is a very true-to-life program.' Only on TV are stalking, hiding in other people's rooms watching them undress, and masturbating in other people's beds considered 'true-to-life.'" But of course the character of Sketch is emotionally damaged – something that the PTC writer admits in his piece – and if there's one thing that we know from "real life" it is that stalkers exist and they are people who are emotionally damaged, and that they do things that go far beyond "hiding in other people's rooms watching them undress, and masturbating in other people's beds." But of course the PTC expects Sketch to be portrayed as though she were emotionally stable even after admitting that she isn't emotionally stable. And this is used as evidence that "Increasingly, on shows like Gossip Girl and Skins, sex is treated as a weapon, a tool girls must use to manipulate men at the expense of their own body. In this toxic media environment, sexual deviance is routinely pawned off as normal." But of course in Skins at least, that isn't the case; Sketch's activities, her "sexual deviance" as the PTC puts it, is most assuredly not portrayed as normal but rather the acts of a disturbed person.

Finally we turn to the PTC's TV Trends column. This time around the Council takes another run at demonizing anyone who dares to appeal an FCC decision that the PTC agrees with. The target this time around is NewsCorp President Peter Chernin. Chernin was recently given the Media Institute's Freedom of Speech Award – or as the PTC puts it, "the Media Institute's so-called 'Freedom of Speech' award." I want to start this part of this post with the conclusion that the writer of this latest screed offers: "Peter Chernin and his fellow media oligarchs claim that their 'First Amendment rights' are in jeopardy. Given the use to which they are already putting their freedoms – and the public's airwaves -- one may legitimately ask: if the Supreme Court rules in favor of Fox and allows it to air whatever offensive and harmful material it wishes, can America's cultural suicide be far behind?" Beyond the fact that I love how the writer puts the words "First Amendment rights" in quotes, as if such rights are an illusion or somehow non-existent for Chernin or the "media oligarchs" or maybe just the broadcast media in general, I have to wonder at a culture so fragile that someone saying "fuck" or "shit" on TV in the heat of the moment will lead to "America's cultural suicide." Because that of course is the issue that the PTC writer is so incensed about, the upcoming Supreme Court appeal of the "fleeting obscenities" ruling by the Second Circuit Court.

But let's go back to the beginning of the article. Chernin had made a speech after accepting the Media Institute Freedom of Speech award which was reported in Broadcast & Cable. The PTC claims that in that speech Chernins said that "the regulation of indecent and obscene entertainment programming on broadcast TV will somehow automatically lead to the overthrow of the democratic process in American politics." As usual this is a case of the PTC deliberately misinterpreting someone's words because what was actually said does not aid their cause. Here is the relevant portion of what Chernin said, as reported by Broadcast & Cable. He begins by noting the coincidence that the FOX case and the US elections are being held on the same day:

Chernin said the coincidence of the two events was appropriate. "The Fox case, if successful, is an affirmation of the First Amendment. The election is an affirmation of our democratic process. And the two are inextricably intertwined. The First Amendment is central to our democratic process because it ensures a full and open dialogue about the candidates for office. Without the First Amendment, our democracy could not be sustained," he said.

"While a case with Cher and Nicole Richie at its center is probably not one we would have chosen to argue before the Supreme Court," said Chernin, "we don't get to pick our cases. In fact, if anyone had told me that my company would be before the U.S. Supreme Court defending inane comments by Cher and Nicole Ritchie, I would have said, 'You're crazy.' But I would contend that the nature of this speech, and who said it, makes absolutely no difference."

That's because Chernin called the heart of the case "an absolute threat to the First Amendment. It hinges on utterances that were unscripted on live television. If we are found in violation, just think about the radical ramifications for live programming – from news, to politics, to sports. In fact, to every live broadcast television event. The effect would be appalling."

"As a media company," said Chernin, "we have not just a right but a responsibility to stand up to the government when it crosses that First Amendment line in the sand – even if the content we are defending is in bad taste. And in the indecency context, that line has not only been crossed, it has been obliterated," he said.

Now I may be blind, but I don't see anything like what the PTC claimed was in his speech in this article. You know, the part about "the regulation of indecent and obscene entertainment programming on broadcast TV will somehow automatically lead to the overthrow of the democratic process in American politics."

Of course for the PTC what a finding for FOX in this case will mean is a blanket permission to "allow any kind of language on TV, in any amount and at any time of day." But Chernin is clear in his statement that this is not what this case is about: "It hinges on utterances that were unscripted on live television. If we are found in violation, just think about the radical ramifications for live programming – from news, to politics, to sports. In fact, to every live broadcast television event." And in fact that is the context of the case. The court is dealing with a sudden and arbitrary change in a policy that had been in place essentially since the beginning of the FCC's ability to deal with "indecent" content – the understanding that from time to time people on a live broadcast might forget themselves and say a word that under most circumstances would not be allowed, or that such a word might inadvertently be picked up on a microphone.

Then again, to the PTC, FOX is a veritable cess pool of unacceptable content, worse even than the other broadcast networks. The PTC says of this, "Clearly, Peter Chernin has an extremely high opinion of the programming that his networks currently air. In such a context, it is fair to ask: if Fox is demanding the 'right' to air anything it wants, any time it wants, what are the contributions the network currently makes to American culture and civil discourse?" They give as an example – inevitably given the PTC's attitude toward Seth MacFarlane – a couple of scenes from recent episodes of American Dad and Family Guy. I won't go into details except to mention a comment in parentheses at the end of the excerpts: "Of course, if Fox gets its way, "f******" – and every other profanity -- will never be bleeped again." Not true, as we've seen from Chernin's previous statement. However I will counter with what Peter Chernin said in his speech:

Chernin conceded some of the content Fox was defending in this and other cases "is not particularly tasteful," citing "expletives, the brief nudity, carefully placed whipped cream, and, of course, the pixels." He said he would not have allowed his kids when they were younger to watch some of those shows. But he also said Fox would "fight to the end for our ability to put occasionally controversial, offensive, and even tasteless content on the air."

That doesn't mean Fox doesn't make mistakes, he said, but the alternative is a media "ruled by fear of crossing an ambiguous line. Then, he says, the product becomes "less vital and more homogenous," viewers will have less choice, programming that is "provocative and accurately reflects our society will be compromised," and the First Amendment would be chipped away "until it becomes toothless."

The writer of this piece goes to great lengths to attack Chernin's position as being not just ill-formed but elitist and therefore invalid. Part of this is pointing out that the Media Institutes Board of Trustees are "oligarchs" by thoughtfully providing a link to the Institute web page that lists the members of the Board, most of whom are executives at various media companies ranging from Time Warner and NBC Universal to Belo Corporation and Clear Channel. They don't distinguish between the political viewpoints of the various companies or their executives – which I suspect is far more diverse than the political viewpoints of the leaders of the PTC – but that omission is most likely an attempt to make it seem that they all hold a unitary view. The use of the term Oligarchy – rule by a self determined elite who decides what is and isn't good for you – is a keystone for the PTC's argument on this issue since it allows them to paint it as "The People", as defined and given voice by the PTC, versus the evil elite. In fact they come right out and say it:

The entertainment industry often claims that the Parents Television Council is a tiny minority unrepresentative of most Americans, and that therefore our actions in advocating modest limits on indecency should be ignored. But considering that approximately 90% of everything Americans see, hear or read in the media is ultimately controlled by a few dozen network presidents and corporate chairmen, and possibly a few hundred more writers and producers, such a claim rings false. The PTC would willingly wager that our more than 1.3 million members are more in tune with the thoughts and feelings of average Americans than are a tiny clique of media bosses and their so-called 'creative' lackeys.

Obviously the matter of the PTC's so-called "modest limits on indecency" is questionable given the subjects of the their most recent campaigns (The Today Show "obscenity", the Survivor penis, and the Two And A Half Men lap dance) but I have serious doubts that the PTC's 1.3 million members is truly in tune with the majority of the 305.1 million people in the United States.

The PTC takes a very definite leap in logic in "proving" that the American public supports the action of the FCC in levying the fine against FOX on the "fleeting obscenity" issue. See if you can follow this (Emphasis is theirs):

The position held by Peter Chernin and his media cronies is that the U.S. government, following mandates from a Congress elected by the American people, should not enforce the common-sense standards of decency that the overwhelming majority of Americans want. That the overwhelming majority of Americans do want such common-sense standards of decency in entertainment is undeniable; in 2006, the people's elected representatives in the United States Congress passed the Broadcast Decency Enforcement Act, increasing FCC fines for indecent content on broadcast TV. The House of Representatives voted in favor of this measure by a 10-1 margin; the Senate passed it unanimously.

But, because such measures do not meet with the approval of Peter Chernin and his fellow multi-millionaire moguls who control broadcast, cable and satellite television, radio networks, film studios, music companies, newspapers, magazines, and book publishing firms, these bosses demand that the law be overturned. The desires of average Americans be damned, say the Overlords of Media; anything that would limit the entertainment industry's "freedom" to make more obscene profits by deluging Americans with indecent and offensive content must not be allowed.

The logic is so faulty that it is laughable. Setting aside the fact that the Broadcast Decency Enforcement Act of 2005 (not 2006) does not deal with the definition of indecent or obscene content but rather with increasing fines for content defined by the FCC as being obscene or indecent, we are supposed to believe that that the "overwhelming majority of Americans" want this because their elected representatives voted for it en masse. This is, of course because the Representatives and Senators all asked everyone in their states whether or not they should vote for this measure. This is at best fallacious logic on the PTC's part. Let's set aside the dangers that the increased fines pose in terms of creating a chill in terms of what can be broadcast, as described in an article by Garrison Keillor in Salon in September 2005. Let's even set aside the views of the Ayn Rand Center for Individual Rights (yeah I'm shocked that I'm citing them but it's a worthwhile quote) which wrote:

The Broadcast Decency Enforcement Act, which increases the fines for the broadcast of "obscene, indecent, and profane language," is itself an indecent obscenity.

The FCC's power to regulate any speech is a violation of the right to free speech. The First Amendment clearly states: "Congress shall make no law . . . abridging the freedom of speech, or of the press." Such freedom requires that the airwaves, like the printing press, be used in complete freedom – any way their owners wish (short of libel, fraud and the like). Just as each individual should determine what he sees or hears, so each media company should determine what it broadcasts.

Parentsnot media professionals or government bureaucratsare the ones who have the responsibility for supervising what their children see and hear in the media. If people find a program objectionable, they are free to turn it off. It is as simple as that.

Instead, let's get back to the facts of the case that the Supreme Court will be hearing on November 4th. The focus of the case is on the actions of the FCC in rewriting a policy that had been in place for over 50 years. In doing so, and not adequately explaining why it had abandoned this policy, the FCC was acting in violation of the Administrative Procedures which prohibits "arbitrary and capricious" behaviour by government agencies. In other words the FCC, an agency of the U.S. Government acted contrary to the laws of the United States. That this is a First Amendment question is obvious, but it is first and foremost a question of abuse of power.

It is actually my opinion that the position supported by the PTC is losing rather than gaining strength. Certainly that's the case amongst powerful people. Congressman John Dingel of Michigan of the House Commerce Committee wrote in a December 2007 letter to Kevin Martin FCC, that "given several events and proceedings over the past year, I am rapidly losing confidence that the commission has been conducting its affairs in an appropriate manner." In August of this year former FCC Chairmen Newton Minnow and Mark Fowler along with five other former officials of the Commission wrote in an amicus brief for the Supreme Court, "The indecency controls that began as a limited tool for reining in a small number of provocative broadcast personalities and irresponsible licensees have become a rallying cry for a revival of Nineteenth Century Comstockery," and they added that "Broadcasting is no longer unique and it is time for the Court to bring its views of the electronic media into alignment with contemporary technological and social reality." In September former FCC Chairman Michael Powell stated at a National Press Club Event that he had been wrong in approving the policy change: "It was a terrible mistake and I voted for it." He also said at the same event that the agency's regulation of broadcast decency had "gone way too far—we are dancing with the limits of the Constitution." But perhaps the most interesting position on this comes from Supreme Court Justice John Paul Stephens, who wrote the majority decision in FCC v Pacifica and is still a member of the court. In 2002, in a concurrent opinion on ACLU v Ashcroft Stephens wrote, "As a judge, I must confess to a growing sense of unease when the interest in protecting children from prurient materials is invoked as a justification for using criminal regulation of speech as a substitute for, or a simple backup to, adult oversight of children's viewing."

I don't pretend to know how the Supreme Court will rule on the "Fleeting Obscenities" case, although I obviously know how I would like them to rule (and I also know that this would not have been an issue in Canada). I do know that I found the PTC's rhetoric in this piece to be typically self-important and sneering and in a very real way dangerous. It's not something to be looked at complacently.

Thursday, October 23, 2008

Short Lived ‘60s Shows

I saw the following video over on Mark Evanier's site the other day and it was extremely evocative for me. Mark mentions that he remembers watching all of the shows mentioned except for the one starring Bob Goulet. Well, I don't remember as many but I do remember Blue Light, the show which starred Robert Goulet.

I'll go into detail about a lot of the shows after the video, but first a general observation. All of the series mentioned here are from ABC and CBS – nothing from NBC. To me, it seems slightly surprising that a lot of the shows I remember from my childhood come from ABC. You have to understand that in the 1960s ABC was the weakest of the "Big Three" networks by a long shot. To be sure they weren't as weak as they had been in the 1950s, thanks at least in part to being the home of most of the Quinn Martin series like The Untouchables and 12 O'Clock High but they weren't the powerhouse that they would become in the 1970s under Fred Silverman. It's easy to understand why Mark Evanier, growing up in Santa Monica would remember shows from all three of the networks including ABC, but I was growing up in a one channel city that wouldn't get a second channel for about five years, and that channel was, by law, the CBC. So why was I seeing what seems now to be an inordinate number of ABC series?

I don't know, maybe it's because I was in a one channel market that I saw these shows. When CFQC (the local channel) was licensed in 1954 it was a CBC affiliate, meaning it carried CBC shows but was privately owned – in this case by A.A. Murphy who also owned what until 1951 had been the only local radio station. As I understand it, while there were requirements for affiliates to carry most of the shows that the CBC ran they had a considerable amount of leeway over some of their own line-up. This was particularly true in the afternoon, where local stations often programmed their own kids shows in preference to what the CBC was offering, but I expect that there were evening slots that the local stations also programmed. In Saskatoon, for example, the Friday 9-11 p.m. time slot was always available for movies programmed locally. Probably other time slots were treated in the same way.

Of course it couldn't have been easy for a local station owner or manager, particularly in a place like Saskatoon, to buy programming for the local market. Rights would after all be held nationally, and besides the CBC there were two big rights holders. One was the CTV network – the one that we didn't get in Saskatoon until 1971. The other was a station called CHCH out of Hamilton which had dropped its CBC affiliation in 1961 because the CBC's Toronto station (owned and operated by the network) covered the Hamilton market. They didn't join CTV for exactly the same reason – that network's Toronto station covered Hamilton. What this meant of course was that CHCH would buy rights to American shows and own those rights for all of Canada, even though those shows would only be seen on those parts of Southern Ontario covered by CHCH. I guess that the only thing more frustrating than being a local station manager trying to get fresh American programming and having to deal with CTV, CHCH and the Americans was being a kid in a one station town buying the fall preview issue of TV Guide which in the 1960s only showed the new US Network shows, and thinking of these marvellous shows we couldn't see, like this space show call Star Trek. The station manager may have had a lot of headaches but he also had a lot of power in those stations. These days, with Canadian station ownership laws the way they are, the local station manager is probably supremely lucky if he can choose what colour his office is painted, but that's a story for another day.


Good Morning World. CBS Never saw it. Ronnie Schell is probably better known for playing Gomer Pyle's best friend PFC (and later Corporal) Duke Slater on Gomer Pyle USMC. His time on Good Morning World and earlier on That Girl fit between his two stints on Gomer Pyle. The show ran for a single 26 episode season.

I do remember ABC's O.K. Crackerby! with far more fondness than its meagre run really deserves. The great Burl Ives played O.K. Crackerby, an Oklahoma oil millionaire (because Texans were overdone even before Dallas) who is trying to break his kids into high society. A running gag on the show was Crackerby and his family – with new tutor St. John (pronounce – inevitably – "Sinjin") Quincy in tow – arriving at a swanky hotel and being denied service because they're too plebeian. At that point O.K. would call his head office (represented by one guy sitting near a computer) and within a few minutes Crackerby would own the hotel. If the place had been "The Sands" it would become "The Sands Crackerby." I suspect he made far more out of hotels that slighted him and his kids than he did out of oil. Ives, who had already won the Oscar for Best Supporting Actor in 1958's The Big Country would go on to be one of the stars of the anthology series The Bold Ones (with Joseph Campanella and James Farentino) but is probably best known (on TV at least) for being the voice of Sam the Snowman in the perennial Christmas special Rudolph The Red-Nosed Reindeer. The series was the first major role for actress Brooke Adams as Crackerby's daughter Cyntia.

CBS's version of Blondie is a show that I just barely remember. This was the second attempt to bring the comic strip to TV after it had had a significant run as a movie series. Although the show featured Will Hutchins from Sugarfoot and Patricia Harty from (the much than this) Occassional Wife, it is also the first series that Jim Backus did after Gilligan's Island and the only series that Backus did with his wife Henny Backus – she played Cora Dithers to his Julius Dithers.

I only have very vague memories of CBS's The Good Guys as well. If what I understand of the series is correct, this promo would seem to be from the second season – where Bob Denver's character stops working as a taxi driver and goes to work for Herb Edelman's character in the diner that he owns – but the intro (where the announcer says "Bob Denver looks like a winner") suggests that this is from the first season of the show. At least some of the episodes featured Alan Hale Jr. and Jim Backus although I'm unable to determine if they ever appeared on the show together (but it's probably a good bet that they did at least once).

I have no recollection of CBS's He & She so it probably didn't show up around here. The show sounds terrific. It not only featured Richard Benjamin and Paula Prentiss as newlyweds, but also featured Jack Cassidy, Kenneth Mars (best known for his roles in Mel Brooks films, notably as Franz Leibkind, the writer of "Springtime For Hitler" in The Producers) and actor-singer Hamilton Camp (one of two actors to play H.G. Wells on Lois & Clark, but who is probably best remembered as Del Murdoch from a single episode of WKRP In Cincinnati – "Speed kills Del."). The show earned five Emmy nominations including one each for Prentiss, Benjamin and Cassidy and won the award for Outstanding Writing in Comedy...but by that time it had already been cancelled.

I liked to watch Major League Baseball, but the games I saw were on NBC and featured Curt Gowdy and Pee Wee Reese not on ABC. I don't think I ever saw "The King Family" on anything except someone else's show.

Off To See The Wizard seems to have been an umbrella title for family theatrical movies from MGM with 30 second introductory bits from the Wizard of Oz characters introducing the movie. Except of course that the movies were either cut to fit a one hour time slot, or cut in half and serialized. No wonder the series only lasted 20 episodes. Oh, and none of them were the original Wizard Of Oz. Thank goodness.

The Travels Of Jamie McPheeters is another ABC show I never saw. It did have a surprisingly strong cast including Dan Oherlihy, Charles Bronson and a young Kurt Russell. Also present for some episodes were four brothers named Osmond (Alan, Jay, Wayne & Merrill – no Donny).

I didn't see The Time Tunnel in its first run but I did see it later in syndication on CBC (that's where I also saw Star Trek the first time). The show was pure Irwin Allen cheese that could probably be done much better today if anyone had the mind to (which apparently someone did, though the pilot for a revival never did air). The big star was singer/actor James Darren (I always liked him though singers seem to think he should stick to acting and actors think he's a better singer) but it also starred Robert Colbert as the older more cautious man lost in time. Finally the show featured Lee Merriweather (who played Catwoman in the theatrical movie for the 1966 Batman series) and stupidly only showed her in a shapeless lab coat.

I never saw ABC's Honey West – probably much to my regret given the sexy nature of this trailer. Hey even at 9 I liked Diana Rigg, and at this age Anne Francis was almost as hot.

The Patty Duke promo is pretty generic. Besides mentioning her own show, which of course was a staple around here, she also mentions the debut of Batman. I did watch Batman and indeed was swept up in "Batmania" but around here the movie came before the TV series rather than being made during the show's run to capitalize on the success. The series showed up here in the Fall not as a mid-season replacement. The person who put this together was probably more interested in the Robert Goulet series Blue Light though. The show featured Goulet as an American who had renounced his citizenship and was working for the German Propaganda Ministry as a sort of American Lord Haw-Haw. In truth he was using his broadcasts to send intellignece to the Allies as well doing sabotage when necessary. Unfortunately seventeen members of the Blue Light operation had been killed, leaving only Goulet's character David March and his partner Suzanne Duchard (Christine Carère) alive. And because only his handlers actually know that he's working for the allies he's in danger not just from the Germans but also from the Resistance and his own side. Like O.K. Crackeby, another show that I really liked – when I was 10.

Tuesday, October 21, 2008

Who Does The PTC Hate This Month – October 2008

It's been a while since I've done one of these pieces. Part of the problem – or my lack of motivation, I'm not sure which – was that there wasn't much that I considered new and exciting. The PTC files an Amicus Brief on a case even as they criticize others for filing an Amicus Brief that they disagree with? Yawn. The PTC takes credit for something that they had little – no I take that back, nothing – to do with. Same old same old. The PTC gives out one of its awards to a company that it likes and announces the selection of a new board member. Okay, whatever. The PTC tries to use its supposed one million members "who hold a variety of political positions" (and wasn't that written poorly; that suggests that all 1.3 million hold some sort of political office rather than holding political opinions – and I still think the vast majority are Republicans) calling for a focus on TV decency and cable choice. Ho-hum, BORING!

No, for me the big thing has been the absence of really new stuff. The shows that they have been taking a rip over the past couple of months, for the most part, have been reruns. Sometimes in fact they are shows that were previously ripped by the PTC for pretty much the same thing that they're being ripped for this time around. Probably the most blatant example is part of the PTC's vendetta against Seth MacFarlane's Family Guy. Last week the PTC did one of their Worst Shows on TV pieces on the Star Wars satire episode of Family Guy. The interesting thing here was that the PTC stated in their article, "When Fox originally aired the Family Guy's parody episode of Star Wars entitled, "Blue Harvest," it managed to avoid being named Worst TV Show of the Week only by topping our Misrated column. The September 21st rerun at 9:00 p.m. ET, however, did not escape the PTC's scrutiny and has been named Worst TV Show of the Week for being just as raunchy the second time around." They go further than this; from what I can recall of the original Misrated piece (and as usual with the PTC there are no links unless it's something they want to link to) a considerable amount the new review wsa cut and pasted from the original PTC piece. Summer is an off time everyone, including I presume, the PTC.

I've got a couple of good stories on the PTC's efforts to get the FCC to fine networks for perceived violations of decency regulations. I was going to start with the more recent incident first and deal with the event that I am going to talk about now only parenthetically but there are a couple of rather interesting developments on this front that I really want to delve into. According to an article from Ars Technica, "On September 11, host Matt Lauer asked daredevil Hans Lange what his reaction was to crash-parachuting into a mountain wall from thousands of feet in the air. 'I was pretty angry with myself,' Lange replied. 'I was like... wahhhh! Holy shit!'" The offending word was removed from tape delayed versions of the episode that aired outside the Eastern Time Zone. Despite this fact the PTC was predictably incensed. In a press release dated the same day as the incident, PTC president Tim Winter slammed NBC for "its arrogance in choosing not to bleep this profanity, and for its arrogance in choosing not to apologize to its viewers, many of whom included children. NBC continues to show a clear pattern of contempt for the broadcast decency law by airing yet another unbleeped profanity on its morning show. The PTC is filing an indecency complaint and is urging its members to speak out about NBC's utter disregard for decency over the public airwaves." They further said, "NBC could have prevented the 's-word' from being aired by using a 5-second delay, but it clearly didn't want to. NBC obviously thought that the 's-word' was inappropriate to air since it scrubbed the word from broadcasts to the Central, Mountain and Pacific Time zones. So why then does NBC believe they can sweep this under the rug for those families in the Eastern Time zone?" They concluded by saying, "The public is entitled to the expectation that television is not going to assault their families during certain times of day and NBC violated that expectation again. We hope viewers speak out about this and we hope the network is held accountable." There was then the usual link to an email form letter for people in the Eastern Time Zone to use to protest the obscenity – without actually requiring the people who were "offended" to have been watching the offensive incident. It was standard PTC stuff right down to rousing the masses to arms regardless of whether or not they had a right to feel offended because they didn't see the actual event, although it was enough for Ars Technica to email "a representative of the PTC asking whether it was appropriate to encourage people who may not have viewed the program to file complaints about it. We also asked how this Today Show episode harms TV watchers, especially those who did not see the interview." Needless to say they received no reply.

The Ars Technica article did include some interesting tidbits which to my mind casts a pall on the whole decision-making process at the FCC. And no, it was not the New York Times editorial board coming out in favour of the Second Circuit Court decision that is under review by the Supreme Court, saying that the FCC policy, "...seriously infringes on free speech." No, the most interesting aspect is a statement for Michael Powell who was one of the commission members who voted for the new policy! Powell, the son of General Colin Powell, and currently John McCain's top technology adviser was an and FCC Commissioner from November 1997 until January 2001 and Chairman of the FCC from January, 2001 until January, 2005. According to a second Ars Technica story, in a wide ranging criticism of the FCC at the National Press Club event that was part of George Mason University's Information Economy Project on September 16th, Powell stated that the decision on the event that provoked the current wave of indecency prosecutions – Bono's appearance at the Golden Globes – was "a terrible mistake and I voted for it." Going beyond that Powell, who generally holds libertarian views with regards to censorship, stated that the FCC's regulation of broadcast decency has "gone way too far—we are dancing with the limits of the Constitution." According to the Ars Technica article, "If Bono's exclamation was 'indecent,' Powell opined, then the agency had in effect adopted a strict-liability rule, leaving 'no rational principle' for distinguishing 'indecent' from innocent expletives, with the result that enforcement 'becomes terribly political.'" Part of the problem lies with the lack of court opinions on the matter of broadcast decency since the Pacifica Case, despite significant changes in technogy. For Powell however the major point was theso-called "pervasive" nature of broadcast TV. According to Powell, "My kids have no idea what a 'broadcast channel' is. The idea that the First Amendment changes as you go up the dial is silly." He further stated that "the outrage and pressure the FCC faced in the Bono case, and later in the wake of Janet Jackson's Super Bowl 'wardrobe malfunction,' proved that parents themselves were more than capable of penalizing broadcasters who aired inappropriate content during family programming."

Also present at the event was Powell's immediate predecessor as FCC Chairman William Kennard, who served from 1997 to 2001. Although he didn't speak directly to the question of the case before the Supreme Court, he did offer some sense as to at least some of the reasons behind it. According to Kennard a great deal of the problems the FCC faces today stem from the politicization of appointments to the agency dating from a deal that President Clinton made with Senator Trent Lott to allow Republicans to make appointments to boards. According to Kennard, the result is that the agency is becoming demoralized, with political appointees treating the agency's career staff as, "'cannon fodder'—servants to be worked to the bone at best, and at worst, potential troublemakers with their own agendas." It was the professional staff of the FCC who pushed to maintain the status quo (no action on isolated use of profanities – the so-called "fleeting expletive"), and the appointed board members who caved in to pressure who created the current situation, previously described by former FCC heads Newton Minnow and Mark Fowler as "a rallying cry for a revival of Nineteenth Century Comstockery." Ars Technica summed up Kennard's position on the current direction of the FCC by noting that, "Decision-making has become more predictable...as the views of commissioners now tend to reflect those of their patrons on Capitol Hill. As a result, policy-making had also become more contentious and partisan."

I suppose we should turn now to the absurd. On September 30th, the PTC released a press release demanding that their 1.3 million members inundate the FCC with complaints about nudity on the CBS series Survivor. In typically hysterical PTC rhetoric the organization claimed that it was all part of a nefarious plot on the part of CBS: "Unsatisfied with the growing volume of indecent material on live broadcasts, CBS has once again decided to violate the public trust, this time by including an unedited shot of a penis on Survivor. Although this instance was brief, it was nonetheless shocking and purposeful. Unfortunately, with the number of people inside the network reviewing every frame of video, CBS knew full well of this nudity and elected to include it anyway." The event occurred on the show's second episode which was broadcast as part of the two hour Survivor premiere event on September 25th. The first reports of the reports of the appearance of the portion of the portion of the male anatomy in question surfaced a day or two after the episode, around September 27th. It wasn't much of an appearance in either sense of the word – we aren't talking Ron Jeremy or Milton Berle here kiddies – since the penis popped in and out of the boxer shorts of contestant Marcus Lehman for less time than Janet Jackson's nipple was exposed, and it wasn't as immediately obvious that it was the head of a penis as it was that we were seeing Janet Jackson's nipple.

Now here's the sort of interesting (but not very) part. I didn't see it. I watched the show and I didn't see it. Jackie Schnoop, who recaps Survivor for TVSquad as well as her own blog watched the show a lot closer than I did and didn't see it. Hal Boedeker, TV critic of the Orlando Sun watched the episode pretty closely and he didn't see it. More to the point, if we are to believe a CBS statement that is included in Boedeker's article, the editors at CBS and Mark Burnett's production company didn't see it either. Here's the CBS statement: "This was a completely unintentional, inadvertent and fleeting incident that was virtually undetectable when viewed in real time. In the first 24 hours after the broadcast, before freeze-frame images were widely posted online, we received one viewer comment from the 13 million who watched the telecast."

And you know what? I don't think that anyone at the PTC saw it either! Yeah, that's right I think that they missed it too. Look at the time line. The episode aired on September 25th. If the image of Lehman's wee-wee was so offensive and blatant you would expected them to launch an immediate demand for CBS's license the way they did over the Hans Lange incident, but it was all quiet on the PTC front. After Googling "Survivor + penis" the first reference (NSFW) I was able to find was dated September 27th. That reference included both still photos and a slow motion (in other words not real time) video clip of the incident (and as I said, NSFW) in a continuous loop. So in other words it took the PTC five days to get outraged by this incident which was supposedly irreparably scarring to every young person who saw the show. Nevertheless the PTC feels empowered to demand an apology from CBS and "as outlined in the FCC consent decree, to take immediate steps to identify who edited the scene into the broadcast and hold that person or those people accountable." Ah well, at least this penis – uh – flap delivered a memorable quote: "CBS's decision to hide behind excuses that the incident was 'fleeting' and didn't generate an immediate flood of complaints is the epitome of irresponsibly [sic]. The number of 'fleeting' penises we expect to see on broadcast television is zero."

Turning from the ridiculous to the merely moronic, it's time to look at the PTC's Worst Show of The Week. The current one is the FOX series Bones. According to the PTC, the October 1st episode of the show is the worst of the week because of "excessive gore and implied violence." The scene (one scene!) that earned the show this accolade was described in detail more graphic than you'd actually see on the episode by the PTC as follows: "The October 1st episode began with office workers riding an elevator up a metropolitan high rise. As the elevator car rattles violently, a dismembered, decomposed leg wearing fashionable black pumps falls from overhead. Later, forensic anthropologist, Dr. Temperance 'Bones' Brennan, and her colleague, Dr. Camille Saroyan, inspect the elevator shaft. The camera lingers on hunks of tissue plastered on the wall. 'I'm gonna need a spatula to scrape off all the flesh and the organs,' Dr. Saroyan announces dryly. Dr. Brennan replies, 'The bones are in hundreds of pieces. I want them bagged.' Putrid blood and liquid fester around a severed hand resting on top of the car. The doctors turn their flashlights upward and illuminate the dead woman's remains smeared along the length of the elevator shaft." Having watched the episode (I confess that I'm a confirmed fan of Bones – and many of the other forensic series, but like NCIS, Bones has a personality and a sense of humour that the CSI franchise shows lack – at least intentionally), I have to tell you that that is written in a way that makes it sound a lot worse than it was. And even the PTC admits, "Admittedly, the rest of the show is relatively tame, but it should be noted that the series' goriest material consistently airs at the beginning of the (nonexistent – BM) Family Hour." In other words the PTC objects to the discovery of the bodies. And as the PTC points out, "Unfortunately, parents have little recourse if they wish their children to avoid such scenes while channel surfing." Well except for, you know, changing the channel, turning the TV off, knowing enough not to turn to FOX if the object to the program, setting up the V-Chip to block shows like that. Yeah, parents have virtually no recourse at all in this situation.

But of course the PTC uses this to promote the "bigger issue" – violence on TV. According to the PTC, "Over the years, crime procedurals have contributed to the nearly 100,000 acts of violence that children watch before the age of 18. The consensus within the scientific community affirms that there is a relationship between children who watch violent programming and their aggressive behavior in later life. There is also evidence that watching such programming leads to desensitization towards violence and fear of becoming a victim among child viewers. This past spring, the FCC urged lawmakers to consider regulations that would restrict violent programs to late-evening hours, when fewer children watch television." Of course they don't bother to tell us over how many years the phrase "over the years" means, or whether all of those "100,000 acts of violence that children watch before the age of 18" occurred during the times when children are most likely to be watching TV – the first two hours of prime time. Unsurprisingly (since it is the favoured bastion of the Social Conservative) they echo the current leadership of the FCC in demanding more restrict when violent acts can be seen and the power to levy fines – and of course what constitutes a finable "event" will be left up to the FCC to define. Because that has worked so well with language and nudity.

The PTC doesn't offer a way to check previous Worst Show on Cable in the same way that they do with the worst show on Broadcast TV. Currently the worst show on Cable is an episode of South Park although the current link on the PTC website says that the show is It's Always Sunny In Philadelphia. Neither of these is a surprise of course but a couple of weeks ago the show was the BBC America series Skins which originally appeared on the British network Channel 4. The description on the IMDB page for the shows says, "The story of a group of British teens who are trying to grow up and find love and happiness despite questionable parenting and teachers who more want to be friends (and lovers) rather than authority figures." And that of course is exactly what the PTC objected too. I'm not going to go into their points item by item – mainly because I can't find them. Rather I bring this up because it illustrates the "throw out the baby with the bathwater" problem that is central to the PTC's demands for "cable choice." The PTC would have their members demand that they "not be forced to subsidize" shows that they object to and be able to cancel their subscription to channels that show them. But here is a show that is on a channel which the PTC doesn't ordinarily object to and by most objective standards airs a lot more good material than objectionable. More to the point they air a great many shows that are of high quality by any measure. Are cable subscribers supposed to forego the good programming On BBC America and other networks because they object to the (PTC defined) "bad shows?" Or perhaps the PTC would like to extend cable choice to its ultimate end point where viewers can pick and choose which individual programs they will "subsidize." And here I thought that this is hwy we have advertisers and ratings.

Okay, a quick visit to PTC's Misrated column, even though it's been left unchanged for a few weeks. The show – predictably enough – is Gossip Girl and the PTC article contains a couple of absurd bits of supposition and one outright fabrication in its demand that the show, which was rated TV-14 DL, have an "S" descriptor attached. Here's what the PTC objects to (with my snarky comments in parentheses). "The show opened with Serena and Dan waking up on the beach, apparently having "hooked up" the previous night, with Serena clad only in a bra. (Prove it. Short of seeing Serena bottomless – which would provoke other demands from the PTC – they can't.) Later, on a bus back from the Hamptons to Manhattan, Serena pulls Dan into the bus bathroom, kissing him passionately and presumably proceeding to other sexual activities. (Again, prove it. Oh wait, they said "presumably" which means that they aren't dealing with fact – or even what passes for it among the PTC and their acolytes – but with innuendo and smutty minds.)" But here's the real clanger: "The end of the episode, however, brings the truly appalling scene: Blair looks for her new boyfriend's stepmother Catherine. Blair finds Catherine and teenager Nate on the floor, among discarded items of clothing. Catherine's legs are wrapped around Nate's body and they move against one anther [sic] as they kiss. As Catherine is about 40 years old and Nate is about to begin his senior year of high school, the (mostly teen) audience is exposed to a scene of statutory rape." Uh no. The last time I checked, most high school seniors have passed their 17th birthday. The show is set in New York City and – I checked this myself – the age of consent in New York states is 17. In Canada and much of the United States the age of consent is 16. So by any definition of statutory rape, Nate and Catherine are not guilty. As far as the scene itself, it's on the PTC's website. I watched it and if that's the worst the PTC can come up with all I can say is that they've obviously come up with a new way to define sex. We see a lot of Catherine's legs (at least I presume they're Catherine's) but everyone seems to have all the necessary clothing – Nate's pants are on and he's still wearing his T-shirt (though admittedly it's pulled up to his shoulders), and Catherine's breasts seem to be covered enough. In short they ain't doing it yet. Maybe this scene qualifies as "moderate sexual activity" which is the standard for the "S" descriptor in a TV-14 show but it seems pretty mild compared with some of the shows that are also rated TV-14 and also don't have the descriptor.

Finally, let's turn to a fellow traveller on this pseudo-crusade of mine against the PTC and their fellow travellers. I first found the link to this article by TVWeek's Joe Adalian thanks to the Creative Voices in Media blog and let's just say that it says all of the things that I've said and feel about the PTC. Adalian's basic point is that while the PTC claims that it does what it does as an organization "Because our children are watching," (the motto on the masthead of their website) the fact is, according to Adalian, "the PTC's actions and words too often have indicated that its real mission includes pushing for government-sanctioned censorship of the media and the elimination of any and all programming that conflicts with its far-right social and political philosophies. What's more, rather than working with networks to figure out ways to increase family-friendly programming and offer true protection to children, the PTC is obsessed with denouncing shows clearly aimed at adult audiences. The PTC doesn't want to make TV safe for kids. It wants to make it safe only for those shows that fit into its narrowly constructed worldview of what constitutes acceptable TV." Adalian cites a number of examples of the PTC condemning shows that may or may not be intended for audiences that include children. Most notable of these was the PTC demands that local CBS affiliates pre-empt the series Swingtown because it "undermines the institutions of marriage and family." Says Adalian: "It doesn't matter that "Swingtown" contained no obscene language or nudity. The fact that CBS aired the show at 10 p.m. in most of the country is irrelevant. Adult viewers simply shouldn't be able to watch this show, period, according to the cultural crusaders of the PTC." He notes that Fringe was named worst show of the week once for "because of an opening scene involving some flesh-melting" (deemed violent by the PTC, "icky" by Adalian, and derivative by those of us who saw Raiders of the Lost Ark during its theatrical first run). Another show named worst of the week was a tribute to American troops called America United, condemned because it "contained some randy humor, an appearance by a scantily clad Pamela Anderson and a performance by Snoop Dogg." (Just how "scantily clad" Pam Anderson was is a matter for debate; every frontal shot of her was covered by a superimposed phone number to call – we don't know if she was showing something she shouldn't, if someone at ABC decided not to take the chance that she might be showing something she shouldn't, or if ABC just didn't want to run the risk that someone at the PTC would protest because the thought she was showing something she shouldn't.)

But for Adalian, as for me, it is the hypocrisy of the PTC's aims that are difficult to deal with: "What's most irksome -- and dangerous -- about the PTC is the way it uses children as human shields to hide its real agenda. There's nothing wrong with any person or group declaring their disgust with what's on the small screen. It's part of what I do for a living, after all. But the PTC is being morally and intellectually dishonest by pretending that it's simply trying to protect kids. How are children helped when the PTC spends so much of its time railing against shows that clearly aren't intended for their eyes? How are America's families strengthened by an organization that wastes its time ginning up bogus outrage over a half-second shot of a penis on "Survivor" that could only be seen by viewers watching in HD and using the freeze-frame function of their DVRs? If the PTC really cared about kids, they'd spend as much time coaching parents on how new technologies can help them monitor their kids' viewing as they do trying to censor networks. Instead, the PTC regularly twists the technicalities of decades-old obscenity regulations to force networks to spend millions defending programming that is very clearly not obscene." But of course coaching parents on how "new technologies can help them monitor their kids' viewing" is exactly the opposite of what the PTC wants to do. We seen in every one of those "Misrated" columns that I've sited over the years that the PTC is in the business of convincing parents advertisers and probably the FCC itself that those new technologies don't work – don't protect kids from smut and violence and "icky" things – because the networks habitually and deliberately underrate their shows for reasons which I confess I don't understand at all. Could it be ....Satan?!

For Joe Adalian, and for myself, it is far easier to see sinister intent in the action of the PTC than it is in the broadcasters. Adalian points this out when he examines the PTC current obsession with cable TV and their demands for 'cable choice:' "In recent years, the organization has even started challenging cable, doing all it can to defame shows with even an ounce of edge. PTC founder L. Brent Bozell last month launched a verbal broadside against FX and its president, John Landgraf, because Mr. Bozell thought the network's Sons of Anarchy represented the 'gruesome unfolding of a pervert's mind onto a national television screen.' He denounced FX for being more concerned about artistic vision than the 'prospect of a 10-year-old boy finding a terrifying castration scene as he's flipping channels in his home.' Personally, I'd be more troubled by the irresponsibility of the parents of any 10-year-old who would allow their son to be channel surfing, unattended, at 10 o'clock at night. There's a reason Mr. Bozell and the folks at the PTC have broadened their attacks beyond broadcasters. They want Congress to require cable operators to offer channels on an a la carte basis. Their argument: Consumers shouldn't have to subsidize "filth" on channels they don't like. The problem, of course, is that a la carte would mean the death of numerous cable channels, and a severe restriction in programming budgets for those that survived. There would be far less choice for consumers, and far fewer outlets producing cutting-edge fare such as Sons of Anarchy." Of course by describing Sons of Anarchy as being cutting edge or having any artistic merit at all, the PTC would accuse Joe Adalian of being a typical elitist TV critic (or rather non-critic) who are, as a PTC writer put it, "heaping praise on the most extreme examples of graphic and gratuitous gore, sex and profanity.... [who] rather than responding to the obvious wishes and desires of their readers, persist in celebrating only the most disturbing programs on TV. And despite the fact that such critics work for outlets across the country, they share a nearly identical mind-set…one which rarely agrees with that of the viewers and readers in their local area."

In his summation Joe Adalian reiterates the point "It's not cable choice the PTC and its allies want. It's not even to shield kids from smut. It's control of what you get to watch." Or, as I've put it occasionally, if the PTC is indeed intent on "protecting the children" they must regard all Americans as children to be protecte, from what the PTC as parents considers "bad."

Thursday, October 16, 2008

True Recall Or Total Lies

(This review was delayed by that pesky Canadian election, which managed to irritate the crap out of me because of the way the candidate I supported lost. Someday maybe I'll tell you about it.)

When I first heard of the concept for My Own Worst Enemy my immediate thought was that it sounded like the Arnold Schwarzenegger movie True Lies. In that movie Arnold plays a married computer consultant with a wife and kid and a best friend (played by Tom Arnold) who in reality is a super-spy who goes around romancing Tia Carrere. As publicity for the show increased and we found out more about the premise we learned that the lead character had two very distinct personalities that didn't know about each other. The concept at least started to seem more innovative. Having seen the first episode I am led to a slightly (but only slightly) less interesting conclusion, namely that My Own Worst Enemy is like a mash-up of True Lies with another Schwarzenegger movie, Total Recall, in which he plays a man who believes himself to be one thing only to discover that who he thought he was has been artificially imposed over his real personality (of course that could also be untrue and his adventures are part of a futuristic computer vacation program).

The first time we encounter Edward Albright is on a video recording in which he warns someone to call his wife and tell her that he can't make the kids' soccer game. It's the one way he can save his own life. Immediately we are taken forty-eight hours into the past. The location is Paris and Edward is talking to someone we can't see before he meets with a young woman. He very quickly seduces her and after they have sex the talk turns to someone named Uzi Kafelnikov who, as Edward puts it, has taken something that doesn't belong to him. As the woman goes to the bathroom, we see her loading a silenced pistol. As she goes into the bedroom she fires into a man shaped bump on the bed. She thinks it's Edward but that's the last thought she has as Edward puts a bullet through her brain. Back in Los Angeles Edward meets with a woman named Mavis. Mavis is Edward's boss and she's not happy that he killed the woman in Paris – he was supposed to interrogate her and get information about Uzi. As he leaves Edward comments on the nice suit that he's wearing and mentions that "he buys off the rack," speaking in the third person. After his meeting with Mavis Edward goes to meet with a "tech geek" who gives him detailed memories about a business trip to Akron and puts Edward "to sleep."

The next thing we see is Edward getting out of an elevator. He looks subtly different and answers to the name of Henry Spivey. Henry is a senior consultant for a company called A.J. Sun which consults in the financial and investment areas. Henry is happily married, has two kids, a dog and a minivan. He is also dreading a meeting with the company psychiatrist, something that he talks about with his friend Tom. Henry has had a strange dream, which in itself is unusual because Henry doesn't dream. In his dream he was in a hotel in Paris with a woman who called him Edward. Most puzzling of all is that he has a matchbook from the hotel that he was at in his dream, the Hotel Lyonnais in Paris...and Henry's never been to Paris.

After that things start coming apart. As Henry is reading a book, Edward suddenly emerges. Worse, Henry emerges as Edward is on a mission in Russia to do surveillance on, and possibly assassinate Uzi. Henry fires the sniper rifle that Edward is equipped with, giving away his position. Uzi's men shoot Henry, although fortunately Edward was wearing a bullet-proof vest, and Uzi proceeds to torture Henry to get information (though of course he thinks he's torturing Edward – to say this gets confusing is an understatement). Suddenly a rescue is staged by an agent in a mask who gets Henry out of the building and also manages to grab the briefcase that Uzi had taken. Safely away from Uzi and his men the hooded agent reveals himself to be Henry's friend from A.J. Sun, Tom. Except Tom insists that his name is Raymond!

Needless to say Henry is confused (more so than we are but then we're seeing a lot more than he is). Raymond takes Henry to meet with Mavis who explains things in great detail to him. Henry has only existed for 19 years while Edward is the real personality, someone who submitted to the technique to create an alternate personality of his own free will. The problem is that something is breaking down the barriers. Taking Henry to Edward's living quarters, Mavis tells him they'll get to the bottom of things. Exploring, Henry discovers not only Edward's large supply of champagne (a bottle of which he proceeds to drink) but also a hidden room containing Edward's personal effects including press clippings from when he was a high school football star, his parent's obituary, and his Medal of Honor. He also finds Edward's car keys and taking Edward's Camaro drives home, only to have Edward take over part way through the trip. Mavis contacts Edward and tells him that Henry is going to be "erased." Edward decides to take the opportunity to find out what Henry's life is like and arriving at home makes very passionate love to Henry's wife. During the night Henry takes over and finds a message written on his hand telling him not to drive Edward's car again. He also has a very appreciative wife. When Henry rides up to the office in the elevator he asks Tom some questions about tom's personal life and in return Tom asks about his life. Henry mentions that his parents died in a fire, but it was Edward's parents who died in the fire not Henry's, and it wasn't Tom in elevator, it was Raymond. Raymond, Mavis and the computer geek take Henry into a white room where, we're led to believe that either Henry's or Edward's memories were destroyed.

Apparently it was Edward who was erased because we see Henry arriving at home and checking his mail. His wife called to remind him about the soccer game but suddenly he's attacked by Uzi and one of his goons Henry is taped up with duct tape and tortured by Uzi's goon. Henry manages to persuade Uzi that he has a split personality but that he knows how to get where Edward hid the case with the items that Uzi had stolen thanks to a GPS that Edward left in Henry's car. This took them out into the desert. Henry digs a big hole – nearly grave sized in fact – and at the bottom finds a crate with a brief case in it. It's pretty clear that the hole would be Henry's grave but when Uzi makes it clear that his wife and children will also be killed, Henry activates something on the GPS and ducks into the whole. The case explodes killing Uzi and his henchman but leaving Henry alive. The DVD from Edward explained that he had hidden a fake case in the desert and that the GPS has "an interesting" feature. The last scene features Edward, waiting for a meeting with Mavis watching a DVD made by Henry.

In spite of the fact that My Own Worst Enemy boasts a strong cast that includes Alfre Woodard as Mavis, Mike O'Malley as Tom/Raymond, and Madchen Amick as Henry's sexy wife Angie, the truth is that the series rises or falls on Christian Slater's ability to play Henry and Edward. It is crucial for us as an audience to get the sense that while the man is the same there is a distinct difference in the two personalities. Henry and Edward are not multiple personalities in the true sense of the word. Rather they are closer to two sides of the same person both allowed to have equal control. Henry is responsible, monogamous, peaceful and in the end not adventurous. Edward is a rule breaker, promiscuous, violent, and a thoroughgoing risk taker. Most people have both aspects within them but with one or the other having control, usually the responsible one, although those other aspects come out on occasion. Henry and Edward are split artificially, the perfect cover for a spy and assassin but also the perfect way to have the violent rule breaker under control and only available as needed. In a way Edward is a prisoner to be let out only when needed, with Henry as his prison. It's apparently not an accident that Slater's two characters are named Henry and Edward, the same names as Dr. Henry Jekyll and Mr. Edward Hyde. What I think is interesting is that it is the "Hyde" side of Henry and Edward that is the original man – the athlete, linguist, and war hero as well as the violent risk taker and rule breaker – while it is the "Jekyll" side – the responsible family man – who is the construct.

There were some nits to pick with the writing of the first episode mostly related to the timeline that has been imposed on Edward and Henry. We're told at the start of the episode that forty-eight hours have past between the events in Paris and Henry watching Edward's DVD. And yet we're also supposed to believe that in those two days Edward/Henry flew from Paris to Los Angeles spent one night at home (as Henry), flew (as Edward) from Los Angeles to Moscow, set up a position where he could observe and possibly assassinate Uzi, been captured (as Henry) and tortured, then rescued by Raymond, flew from Moscow back to Los Angeles, met with Mavis, had sex with Angie (as Edward pretending to be Henry) then (as Henry) been caught by Raymond and Mavis and apparently treated. Oh yes, and set up the equipment to save Henry from Uzi and made the DVD. That time scale is rather difficult to accept as you can imagine. Indeed the whole premise, if looked at from a point of view that demands realism in TV shows is rather difficult to accept. However there is such a thing as willing suspension of disbelief. In this case, while the physics of Edward/Henry's transportation situation (as described) are at Santa Claus or Superman levels – and Edward wears neither a red suit nor a red cape – the idea that a shadowy portion of the intelligence "alphabet soup" might concoct a plan where they deliberately split personalities and store dangerous agents inside ordinary people is a believable enough premise to serve as a jumping off point for a series. If nothing else it feeds into our present fear, distrust, and dislike of intelligence agencies.

Reaction to My Own Worst Enemy has been mixed. Some people have been drawn into it and others have at the very least been disappointed by the show. I fall into the former group. Even though, as the title of this post suggests, I remain unconvinced about the originality of the concept I have to say that I found the execution of the concept to be intriguing enough to get me back on a regular basis for as long as the show hangs around. One thing I will say, as usual, is that the true measure of the show won't be found in the first episode – where the concept is set up – but in how well the writers make use of the dual nature of Edward and Henry in future episodes. You have to hope that every episode doesn't involve Henry popping up to screw up one of Edward's missions, or Edward pulling off some superspy trick to save Henry's life and protect his family from a bad guy who has discovered their secret. If they can avoid that, if they can keep the ideas relatively fresh and relatively innovative this could be an interesting show to follow. One thing's for sure, of the three new series released by NBC so far this fall, it's the best of the lot ... not that that's saying much.

Monday, October 13, 2008

Series Premieres And Season Debuts – Week of October 13-19, 2008

I think this is the last of these that I'll do, as the networks have really rolled out the last of their shows and only a few stragglers remain. In fact I nearly forgot to do this one! So without any further ado, let's get going.

Monday

ABC brings back Samantha Who? Their one successful sitcom from last year, featuring the beautiful Christina Applegate and the beautiful Jean Smart.

NBC has the series debut of My Own Worst Enemy starring Christian Slater as a man who lives part of his life as a married consultant for companies and part of his time as an international spy and assassin. Sounds like the Schwarzenegger move True Lies but the hook here is that rather than playing a role, Slater's character actually has two personalities neither of which knows about the other. If nothing else the concept is intriguing.

Tuesday

ABC has the season premiere of their other legal series Eli Stone. Johnny Lee Miller stars in this series about a lawyer who has – or had – visions, which was enough of a hit last year to bring back in a new time slot.

Canadians (like me) have an election to watch.

Wednesday

Americans have a Presidential debate.

Friday

NBC has the two hour debut of Crusoe, a straight retelling of the story of Robinson Crusoe, starring Philip Winchester as Crusoe and Tongayi Chirisa as Friday. I am really dubious about how well this will work as a weekly series on a long term basis.

And with a couple of exceptions that's it for the Fall season.

Saturday, October 11, 2008

Kath & Kim – Better Than Advertising For Aspirin Sales

I may not have mentioned this before, but I have three basic rules – so far at least – about reviewing TV shows: (1) Never review a show where you haven't seen an episode from start to finish – it's unfair to not see just how bad it really is before you talk about it; (2) Never review anything when you have a headache – it's hard to focus when every heart beat seems to bring a new pulse of pain; (3) Never give anything resembling a good review to a show that gives you a headache – the thing never turns out well in the end. That particular rule never fails to be accurate by the way. I have never gone into a show without a headache and gained a headache during it and found the show to be worthwhile. Ever.

On Friday night I watched a tape of two NBC comedies. The first was the premiere episode of Saturday Night Live's Thursday Weekend Update. It did not give me a headache. It wasn't very good, and I was hard pressed to find a laugh without Tina Fey as Sarah Palin, but it didn't give me a headache. Then I watched the other NBC comedy Kath & Kim and my head started to ache. As the half hour progressed, the pounding got worse. When that show ended it was time watch the latest episode of Life. It took a little bit but as if by magic the headache started to go away. The headache test doesn't fail.

I am not going to give an episode recap of the first episode of Kath & Kim. I have no desire to relive that memory, and it was a basic pilot episode designed to set up the characters. It was something about Kath Day, who is described by her daughter Kim as being a loser magnet, being exultant about her new romance with Phil who owns a mall sandwich shop. At the same time Kim has broken up with her husband of a few weeks (days? – with Kim it could be either), Craig because he wants her to "do things" like microwaving supper and asking him how his day was. Kim has decided to move home only to discover that Kath has turned her old room into a home gym. There are some problems about Kim's romance with Phil because he sees her eating a sandwich from another shop in the mall, but by this point my head was really throbbing and I didn't write down much more about the show.

Instead, let's try to find out what went wrong with this show. It's not the actors. Both Selma Blair, who plays Kim and Molly Shannon are talented actresses, although Blair seems to be known more for non-comedic roles while Shannon appeared on Saturday Night Live for a number of years and has made appearances in a number of sitcoms. Of the two supporting players the actor who plays Phil – John Michael Higgins – is by far the more experienced. He has appeared on a number of TV series including several episodes of Arrested Development as well as working on the Christopher Guest movie A Mighty Wind where he also arranged some of the music. Mikey Day, who plays Craig is primarily known for his work in improve comedy.

So if you can't legitimately blame the actors, where does the problem lie? Well the scripts aren't really that funny and the situations that the characters are placed in are, well they're pretty dumb, but the real fault goes deeper than that. There is nothing at all about any of the two main characters that is likable, and very little about the two males in the cast works either. Kim is so awful that the term "spoiled brat" doesn't really cover it. Her great ambition is to be a trophy wife and when Craig, who works for a Circuit City type store in the mall, doesn't cater to her every whim – presumably like her mother did – she left him. Kath is almost as self-centred, although her major problem is that she keeps falling in love and most of her romantic choices are wrong. She's not particularly bright and is easily distracted by whatever comes into her flighty little head. Neither woman is particularly happy about not getting her own way – the both have a tendency to sulk at the drop of a disappointment.

I think a major part of the problem is that this is yet another imported series – this time from Australia – and this time around the American "creators" don't have any real understanding of the series that they're trying to recreate for the North American audience. The original Australian series was created by series stars Jane Turner and Gina Riley and was based on skits that the two had done for almost eight years on a number of comedy shows. These in turn were based on a number of Australian "fly on the wall" reality shows and were essentially a satire of aspects of those shows. As a result the characters were not only well understood by creators/actors, but they had a basis that viewers could identify with. On the American series the writers have no connection with the characters. All they have to base their version of the characters on is the Australian version of the series and they seem to have taken all the most prominent characteristics without any understanding of where those characteristics came from and don't have any concept of the redemptive qualities that these characters have (well maybe not Kim if I read the Wikipedia entry on her character correctly). That's certainly evident in the transition of the Kath character from the Australian series, who is described as, "a strong, successful mother who embodies the stereotypical housewife/mother personality. At times Kath is naive, and gullible to her daughter's antics, but is usually determined and strong in handling difficult situations." The character has none of those qualities in the American show.

Earlier this year I described Do Not Disturb by saying that it "doesn't suck as badly as I thought it would." Kath & Kim "doesn't suck as badly as I thought it would" either. It literally sucks worse than I thought it would. There were at least a few redeeming features to Do Not Disturb if only for a couple of the character who went slightly beyond the stereotype and because there were situations in the one episode I saw were sort of funny, even with the oppressive laugh-track that the network inserted. Not only am I unable to find anything really redeeming in the main characters, but I didn't find anything really funny in the situations that the characters were involved in. I don't even think a laugh track would work for this show.

Under normal circumstances I would say that I couldn't understand how this show managed to get as far as actually showing up on a TV network. Someone should have caught just how bad this show was during the pilot process and either revamped the show, or not picked up the pilot. But of course under the supervision of Ben Silverman, NBC decided that the pilot process was outmoded and too expensive, so the network decided to go with a system where only scripts were submitted. This is the first example of this new system in action, since Knight Rider had a backdoor pilot in the form of a TV movie. If Kath & Kim is an example of the fruits of Silverman's new regime the stockholders of NBC-Universal are going to yearn for the happier times of Kevin Reilly's tenure as head of NBC Entertainment. Reilly's shows may not have drawn any better ratings but even the worst was measurably better in quality than Kath & Kim.