It turns out that Renault’s target customer base in Brazil do, too. Presumably it was a way bigger deal over there than it was here, because this new car ad feels like it could genuinely be a trailer for a live-action reboot of the series. And now I want to watch it.
(I do have some questions, though. Like: Diana was only 14 years old when she and her friends were transported to the Realm of Dungeons and Dragons… so when did she learn to drive? Am I supposed to believe that she just rolled a natural 20 on that driving check? And where does Sheila go when she turns invisible so that Bobby doesn’t end up sitting on her transparent-lap? And how does the car’s navigation computer work: are we to believe that there’s a GNSS network in the skies above the Realm? The Internet must know!)
This epic video (which contains spoilers for Game of Thrones through the third episode of season eight The Long Night). If you’re somehow not up-to-date, you can always watch the earlier iteration, which only contains spoilers through The Spoils of War, the fourth episode of the seventh series.
In the future, media organizations might have to do away with the “film” and “TV” tags entirely, if indeed there are media organizations as we currently think of them.
Based on my own experience chronicling both art forms, I’m increasingly convinced that film and TV started merging a long time ago, before most of us were aware of what was going on. Some of us have accepted the change. Others are in denial about it. But as my grandfather used to say, there’s no point trying to close the barn doors after the horses have already escaped.
Interesting article summarising the ongoing changes to the concepts of what we consider “film” versus “television” and the increasingly blurred distinction, and an exploration of how that’s embodied by phenomena like Avengers: Endgame and the final series of Game of Thrones. Spoilers about the former and about the first three episodes of the latter, obviously.
The “polyromantic comedy” series You Me Her opens its fourth season tonight (Tuesday April 9) at 10 on AT&T’s Audience Network. There is no other show like it on television.
Season 1 was about a troubled couple who, independently, fell for the same third person by way of comic flukes: a novelty gimmick. But creator/producer John Scott Shepherd soon realized that the show was onto something bigger. Season 2 began straight off with the three together in a serious, all-around polyamorous relationship, and things have grown from there.
Life, of course, hasn’t been easy for them. Tonight’s opening of Season 4 is titled “Triangular Peg, Meet Round World.” Season 5 is already scheduled for 2020.
Joy! I loved the first three seasons of You Me Her, admittedly while – during the first couple of seasons at least – simultaneously bemoaning how long it took the characters to learn lessons that my polycule(s) solved in far shorter order. I was originally watching it with Ruth and JTA but they lagged and I ran ahead, and I really enjoyed this first episode of season 4 too.
On 14 June 2017, televisions across the country showed a west London tower block burn. For some, this was history repeating itself – as if five similar fires had simply not been important enough to prevent the deaths of 72 people in Grenfell Tower.
Catherine Hickman was on the phone when she died. It wasn’t a panicked call or an attempt to have some last words with a loved one.
As a BBC Two documentary recounts, she had been speaking to a 999 operator for 40 minutes, remaining calm and following the advice to “stay put” in her tower block flat.
As smoke surrounded her, she stayed put. As flames came through the floorboards, she stayed put. At 16:30, she told the operator: “It’s orange, it’s orange everywhere” before saying she was “getting really hot in here”.
Believing to the last that she was in the safest place, she carried on talking to the operator – until she stopped.
“Hello Catherine. Can you make any noise so I know that you’re listening to me?
“Catherine, can you make any noise?
“Can you bang your phone or anything?
“Catherine, are you there?
“I think that’s the phone gone [CALL ENDS]“
Miss Hickman was not a resident of Grenfell Tower. The fire in which she and five others died happened in July 2009, at 12-storey Lakanal House in Camberwell, south London. But that same “stay put” advice was given to Grenfell residents eight years later. Many of those who did never made it out alive.
Excellently-written, chilling article about a series of tower block fires which foreshadow Grenfell: similar mistakes, similar tragedies. This promotes an upcoming BBC television programme broadcasting this evening; might be worth a look.
The day that Mitchell Hurwitz starts making shallow humor is the day that we rip the mask off of Mitchell Hurwitz and find the real Mitchell Hurwitz bound in his own cellar.
Throughout the first three seasons of Arrested Development, we were treated to some ridiculous attention to details, hidden clues, foreshadowing, Easter eggs, and in-jokes. For instance, ever wonder what was with the obsession with seals in the first few seasons? They were actually a metaphor for Lucille Bluth, the matriarch of the family, who kept poor baby Buster Bluth, a juice-loving man child, terrified of ever leaving the nest (or entering the ocean). As an act of defiance, Buster enters the ocean and gets his hand bitten off by a “loose seal.” Loose. Seal. “Lucille.” Do I need to add a “GET IT?!” there?
But that’s not even the crazy part. As we’ve talked about before, the hand being bitten off was foreshadowed throughout the entire season. In one episode in season three, the U.S. Securities and Exchange Commission attempts to persuade Tobias Funke, a struggling actor, into cooperating with them and becoming a mole in the Bluth family. He misunderstands the entire situation and inadvertently becomes a mole (in all senses of the word — by which I mean he fucking dresses like a mole.) But the real mole in the family was right under our noses all along since season one …
However, all of this is just a teaser for the grandest mystery in Arrested Development: that of “Nichael Bluth.”
Today, just about all monitors and screens are digital (typically using an LCD or Plasma technology), but a decade or two ago, computer displays were based on the analog technology inherited from TV sets.
These analog displays were constructed around Cathode Rays Tubes (commonly referred to as CRTs).
Analog TV has a fascinating history from when broadcasts were first started (in Black and White), through to the adoption of color TV (using a totally backwards-compatible system with the earlier monochrome standard), through to cable, and now digital.
Analog TV transmissions and their display technology really were clever inventions (and the addition of colour is another inspiring innovation). It’s worth taking a look about how these devices work, and how they were designed, using the technology of the day.
After a couple of false starts, an analog colour TV system, that was backwards compatible with black and white, became standard in 1953, and remained unchanged until the take-over by digital TV broadcasts in the early 2000’s.
An Oxford book store is celebrating the success of The Good Place by selling the moral philosophy and ethics books referenced by Chidi Anagonye (William Jackson Harper) in the series – and its efforts are going viral.
The popular NBC and Netflix series aired its season two finale last week, and to commemorate that, Oxford’s Broad Street branch of Blackwell’s has put up a book stand titled ‘Chidi’s Choice’.
If you’ve not been watching The Good Place then, well: you should have been.
To pre-empt any gatekeeping bronies in their generally-quite-nice society who want to tell me that I’m no “true” fan: save your breath, I already know. I’m not actually claiming any kinship with the brony community. But what’s certainly true is that I’ve gained a level of appreciation for My Little Pony: Friendship is Magic that certainly goes beyond that of most people who aren’t fans of the show (or else have children who are), and I thought I’d share it with you. (I can’t promise that it’s not just Stockholm syndrome, though…)
Ignoring the fact that I owned, at some point in the early 1980s, a “G1” pony toy (possibly Seashell) from the original, old-school My Little Pony, my first introduction to the modern series came in around 2010 when, hearing about the surprise pop culture appeal of the rebooted franchise, I watched the first two episodes, Friendship is Magic parts one and two: I’m aware that after I mentioned it to Claire, she went on to watch most of the first season (a pegasister in the making, perhaps?). Cool, I thought: this is way better than most of the crap cartoons that were on when I was a kid.
And then… I paid no mind whatsoever to the franchise until our little preschooler came home from the library, early in 2017, with a copy of an early reader/board book called Fluttershy and the Perfect Pet. This turns out to be a re-telling of the season 2 episode May The Best Pet Win!, although of course I only know that with hindsight. I casually mentioned to her that there was a TV series with these characters, too, and she seemed interested in giving it a go. Up until that point her favourite TV shows were probably PAW Patrol and Thomas the Tank Engine & Friends, but these quickly gave way to a new-found fandom of all things MLP.
The bobbin’s now watched all seven seasons of Friendship is Magic plus the movie and so, by proxy – with a few exceptions where for example JTA was watching an episode with her – have I. And it’s these exceptions where I’d “missed” a few episodes that first lead to the discovery that I am, perhaps, a “closet Brony”. It came to me one night at the local pub that JTA and I favour that when we ended up, over our beers, “swapping notes” about the episodes that we’d each seen in order to try to make sense of it all. We’re each routinely roped into playing games for which we’re expected to adopt the role of particular ponies (and dragons, and changelings, and at least one centaur…), but we’d both ended up getting confused as to what we were supposed to be doing at some point or another on account of the episodes of the TV show we’d each “missed”. I’m not sure how we looked to the regulars – two 30-something men sitting by the dartboard discussing the internal politics and friendship dramas of a group of fictional ponies and working out how the plots were interconnected – but if anybody thought anything of it, they didn’t say so.
By the time the movie was due to come out, I was actually a little excited about it, and not even just in a vicarious way (I would soon be disappointed, mind: the movie’s mediocre at best, but at the three-year-old I took to the cinema was impressed, at least, and the “proper” bronies – who brought cupcakes and costumes and sat at the back of the cinema – seemed to enjoy themselves, so maybe I just set my expectations too high). Clearly something in the TV show had sunk its hooks into me, at least in a minor way. It’s not that I’d ever watch an episode without the excuse of looking after a child who wanted to do so… but I also won’t deny that by the end of The Cutie Remark, Part One I wanted to make sure that I was the one to be around when the little ‘un watched the second part! How wouldStarlight Glimmer be defeated?
At least part of the appeal is probably that the show is better than most other contemporary kids’ entertainment, and as anybody with young children knows, you end up exposed to plenty of it. Compare to PAW Patrol (the previous obsession in our household), for example. Here we have two shows that each use six animated animals to promote an ever-expanding toy line. But in Friendship is Magic the ponies are all distinct and (mostly) internally-consistent characters with their own individual identity, history, ambitions, likes and dislikes that build a coherent whole (and that uniquely contributes to the overall identity of the group). In PAW Patrol, the pups are almost-interchangeable in identity (and sometimes purpose), each with personality quirks that conveniently disappear when the plot demands it (Marshall suddenly and without announcement stops being afraid of heights when episodes are released to promote the new “air pup” toys, and Chase’s allergy to cats somehow only manifests itself some of the time and with some cats) and other characteristics that feel decidedly… forced. MLP‘s writing isn’t great by any stretch of the imagination, but compared to the other things I could be watching with the kids it’s spectacular!
And compare the morality of the two shows. Friendship is Magic teaches us the values of friendship (duh), loyalty, trust, kindness, and respect, as well as carrying a strong feminist message that young women can grow up to be whatever the hell they want to be. Conversely, the most-lasting lesson I’ve taken from watching PAW Patrol (and I’ve seen a lot of that, too) is that police and spy agencies are functionally-interchangeable which very-much isn’t the message I want our children to take away from their screen time.
It’s not perfect, of course. The season one episode A Dog And Pony Show‘s enduring moral, in which unicorn pony Rarity is kidnapped by subterranean dogs and made to mine gemstones (she has a magical talent for divining for seams of them), seems to be that the best way for a woman to get her way over men is to make a show of whining incessantly until they submit, and to win arguments by deliberately misunderstanding their statements as something that she can take offence to. That’s not just a bad ethical message, it also reinforces a terrible stereotype and thoroughly undermines Rarity’s character! Thankfully, such issues are few and far between and on the whole the overwhelming message of My Little Pony is one of empowerment, equality, and fairness.
For the most part, Equestria is painted as a place where gender doesn’t and shouldn’t matter, which is fantastic! Compare to the Peppa Pig episode (and accompanying book) called Funfair in which Mummy Pig is goaded into participating in an archery competition by being told that “women are useless” at it, because it’s a “game of skill”. And while Mummy Pig does surprise the stallholder by winning, that’s the only rebuff: it’s still presented as absolutely acceptable to make skill judgements based on gender – all that is taught is that Mummy Pig is an outlier (which is stressed again when she wins at a hammer swing competition, later); no effort is made to show that it’s wrong to express prejudice over stereotypes. Peppa Pig is full of terrible lessons for children even if you choose to ignore the time the show told Australian kids to pick up and play with spiders.
I probably know the words to most of the songs that’ve had album releases (we listen to them in the car a lot; unfortunately a voice from the backseat seems to request the detestable Christmas album more than any of the far-better ones). I’m probably the second-best person in my house at being able to identify characters, episodes, and plotlines from the series. I have… opinions on the portrayal of Twilight Sparkle’s character in the script of the movie.
I don’t describe myself as a Brony (not that there’d be anything wrong if I did!), but I can see how others might. I think I get an exemption for not having been to a convention or read any fanfiction or, y’know, watched any of it without a child present. I think that’s the key.
Netflix’s BoJack Horseman was quickly put on many people’s radars when the newest season released in September addressed asexuality. During the new season, Todd Chavez explicitly comes out to BoJack saying that he is asexual. As someone who is asexual, this representation means a lot to me. Not only am I actually being represented, but he specifically said the word asexual multiple times. Even though it had seemed the series was building to this scene, I still did not expect it to deliver. It was first indicated during the season three episode “Love And/Or Marriage,” when Todd rejected having sex with his friend, Emily. Initially watching this scene I did not have asexuality on my mind. I just came to terms with the fact that asexuality was something that would never be represented in media. Naturally, I explained it away as Todd likely being interested in another person and feeling like he would be “cheating” on said person if he were to sleep with Emily. But this arc gets a more definitive continuation in the season three finale, “That Went Well,” when Todd tells Emily, “I’m not gay. At least I don’t think I am, but I don’t think I’m straight either. I don’t know what I am. I think I might be nothing.” This scene and everything it stands for took BoJack Horseman from a show I enjoyed to one of my favorite shows of all time. Throughout the yearlong wait for season four, I constantly watched this scene. I rewatched it at least once a week, and more often than not, I cried while watching…