Lost About “Lost,” YouTube Tries to Help January 30, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: online video, youtube, Digital Culture, TV, comedy
1 comment so far
Original at Ronebreak
I don’t follow Lost. I don’t mean I can’t follow it, as in I watch it but don’t understand. I mean I’ve completely given up trying to watch the show. Around season three I tried once again to get into it. No go. Too complex. Too many peculiar things happening. What is up with this show?!
Let’s say you’re better than I and you’ve managed to keep up. Maybe you played the Lost ARG years ago (the Lost Experience) and stopped watching for a bit. Or perhaps you’ve watched passively and largely forgotten about the plot over the show’s hiatus.
Good news! (more…)
What Can U.S. Series Learn From Telenovelas? January 28, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: TV, hollywood
Gawker has a post about the cancelation of Ugly Betty, lamenting the end of a “once-great” show that, they say, lost its punch and became de-camp’ed and Americanized as it progressed (Betty glammed up, became good at her job, got a promotion, a man, etc., American myth of success, etc.).
They then make an interesting argument about the cycle of American television shows, and how many shows do not benefit from the U.S. “series” model: where shows go on ad infinitum until the ratings plummet, once everyone hates the show.
Gawker’s suggestion? (more…)
YouTube’s Black Stars: A Look Back (and Ahead) January 25, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: youtube, black, web series, race
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Over a year ago I conducted a little more than a dozen interviews with black vloggers on YouTube. While I never submitted the paper (draft version here) to an academic publication, I did use some of the interviews for an article on The Root. That article focused on the more popular vloggers, but recently I’ve been wondering what happened to the rest of the people I interviewed. Have they grown their audiences? Are they making money?
YouTube remains a mixed bag for minority vloggers, though I tend to air on the side of optimism. Several personalities have achieved stable and even growing audiences, as you’ll see below!
Television and Abortion: Two Shows, Two Different Paths January 22, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: TV, politics, gender
Thanks to Racialicious for reposting this!
Two broadcast television series this week featured prominent narratives on teenage pregnancy and abortion. A rare coincidence, indeed — or perhaps not, giving it’s the 37th anniversary of Roe v. Wade. In Private Practice (“Best Laid Plans“), a rich black family’s 15-year-old daughter, Maya, gets pregnant and grapples with having the procedure. In Friday Night Lights (“I Can’t“), Becky, a minor but regular character, is a working class sophomore in high school also dealing with the same issue, albeit with much less parental guidance (her single mother).
Both shows, in my opinion, feature good storytelling and try to do justice to this difficult issue, in ways that suggest networks are finally moving forward on an issue still most famously explored in 1972 in an episode of Maude (later again on Roseanne).
Television (film too) is infamous for its silence on abortion. If a character gets pregnant, it’s an easy bet she’ll have it. So ironclad is the pregnancy rule it ruins all the drama from the plot point. Pregnancy = baby. Major characters rarely even discuss it (Sex and the City, season 4 did); “abortion women” leave shows quickly. Even adoption is rarely broached. So both Friday Night Lights and Private Practice deserve credit for even using the “A” word, several times, and actually dealing with the issue head-on.
The shows take two different paths. Yes, unbelievably, on broadcast television, a character actually goes through with the procedure.
Did “The Wire” Presage Politics Post-2008? January 20, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: TV, politics, cable
Get ready for reason #573 why The Wire was the best television show of the aughts. In the wake of Scott Brown’s upset in the Massachusetts special election for the U.S. Senate, I’ve been thinking a lot about the cycle of politics. I’ve been a pretty steady proponent of the politics of idealism and, borrowing from Tony Kushner, the ethical responsibility to hope, but the aftermath of Martha Coakley’s defeat may test my resolve. Where can I find the blueprint for my incipient cynicism? The Wire, of course!
The Wire‘s central thesis was simple: short-term politics and the quest for power kills long-term progress and social justice. From gangs to government, the media to schools, the same rule applies. Everyone, sadly, violates the rule. They think about themselves and the system never gets fixed. This is the fundamental cynicism of The Wire: it perfectly diagnoses how groups and institutions kill hope.
But it appears Washington has few Wire fans. (more…)
Why Has Showtime Abandoned Gays? (Death of the “Gay Show,” Part II) January 19, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: Film, TV, gay, cable, representation
Showtime went from the Queer as Folk channel to the home of such butch programming as The Tudors (however awesome it is). This essay was originally published at SpliceToday: comment there!
I’m continuing my discussion of the state of gay representations on television with a look at Showtime’s evolution in original programming. (UPDATE 3/23: On last night’s premieres of Nurse Jackie and United States of Tara, Showtime showed a bit more gay: Marshall, Tara’s gay son, started dealing with politics at school; on Jackie, the narrative suggests Thor, the other, uglier gay, might take Momo’s place as “gay best friend.” Signs of change or too little too late?)
Showtime once was the gay network. Remember five years ago, during that brief period when it housed the two most sexually explicit gay dramas ever—to this day—on television, Queer as Folk and The L Word? Bravo was also a gay network, with Queer Eye for the Straight Guy, and Logo was starting up, but Showtime was where the action was.
Not anymore. (more…)
Where Did The “Gay Show” Go? (Part I) January 16, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: TV, gay, hollywood, representation
I’m assisting my advisor, Katherine Sender, on an undergraduate gay media course here at Penn, so I’ve been thinking a lot about the state of gay representations, particularly on television, for decades the chief battleground for gay media advocates.
Right now, gay characters are in abundance, but series focusing on sexual minorities are a dying brand, relegated to gay networks of lesser quality, Logo and here!.
We live in an odd time. (more…)
The Life of Films: Black People Watched “Traitor”! Sophisticated Urbanites Heart “Milk”! January 10, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: Film, box office
The New York Times has an interesting interactive feature out that maps the top 50 rentals for 2009 based on the Netflix queues from a dozen US cities: New York, Boston, Chicago, Washington, Milwaukee, Dallas, Miami, San Francisco, Los Angeles, Altanta, Seattle and Denver. The list is a bit skewed because these are all fairly cosmopolitan areas — Benjamin Button and Changeling are at the top of the list — though that probably reflects what I assume is Netflix’s popularity in urban and suburban communities to begin with.
The list reminds us films have long lives. The press focuses almost solely on opening weekend box office returns and forgets films go to the rental market, DVD sales, pay-cable and OnDemand. Often these venues are great for films that couldn’t get people in theaters but are nevertheless intriguing or enjoyable. Movies by and about minorities sometimes can find audiences unwilling to shell out $6-$12+ for ticket (the gay film market has operated for years on this assumption).
Why Is ‘Sherlock Holmes’ So Dark? January 2, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: Film, review, hollywood
1 comment so far
Original at SpliceToday!
No one ever accused Guy Ritchie of choosing smart scripts. Ritchie consistently excels at snappy transitions and vibrant action sequences blending fast and slow motion. Still, I’ve always liked Ritchie for his appreciation of “talk”: His characters speak fast, often unintelligibly. Unlike, say, Woody Allen, who appreciates “dialogue,” Ritchie’s protagonists talk for the sake of talking. It’s a good formula. It’s interesting.
Unfortunately, in Sherlock Holmes Ritchie zips too quickly past his best and most chipper talk as if to get it over with and back to the action sequences—which are plentiful and very earnestly directed. I expected lots of action in this film, but it was mostly wearisome.
Daniel Day-Lewis Ruins ‘Nine’ With British Sturm und Drang January 1, 2010Posted by Aymar Jean Christian in Uncategorized.
Tags: Film, review, hollywood
Original at SpliceToday!
I’d been anticipating Nine for months. And though perhaps my expectations were too high and couldn’t be met, I was underwhelmed.
Nine had a big job to do. It had to be fun and entertaining like the musical, and serious and emotionally deep like its source material, 8 ½, Federico Fellini’s masterpiece. Writing a musical based on one of the greatest films of all time is a pretty stupid idea, especially one as artful and sophisticated as 8 ½. Nine does an okay job, though, and it’s certainly entertaining holiday fare, gorgeous to watch and somewhat pleasing to hear. But as a story, it fails to reach its own expectations, let alone mine.