kottke.org posts about TV
Kate McCartney and Kate McLennan, a pair of comedians whose hilarious cooking show I’ve previously featured, are back with Get Krack!n, a series that parodies a typical TV morning show. In this clip, they debut a new segment that perfectly skewers how TV media provides a platform for radical kooks to promote hateful agendas for the mutual benefit of both kook & show. (Note: this clip contains swearing and simulated religious bigotry & misogyny.)
They’re not necessarily views that we endorse or share personally, Kate McCartney, but they’re definitely opinions that we are 100% complicit in broadcasting, and that in time we will go to hell for.
This is an Australian show, but a similar panel and topic could easily have appeared on any number of Fox News programs.
This trailer made by cinematographer and director Morgan Cooper imagines a contemporary reboot of The Fresh Prince of Bel-Air that’s a little darker and grittier than the original. I dunno about you, but that’s one of the best fan-made trailers I’ve ever seen. I say give Cooper the show and let him run with it.
Georgia politician, almost-Governor, and Democratic superstar Stacey Abrams has a secret to her success: she loves Star Trek. In particular, she loves my favorite Trek series, Star Trek: The Next Generation.
In explaining her approach to politics as a black Democratic woman in a state controlled by white Republican men, she devotes several pages to a pivotal scene from “Peak Performance,” an episode from “Star Trek: The Next Generation.”
In the episode, Data, the preternaturally pale android with a greenish cast to his skin, is playing Strategema, a game that appears to be some incredibly complicated form of 3-D holographic chess, against a humanoid grandmaster named Kolrami. Data cannot defeat Kolrami, he discovers, but he can outlast him, drive him into a rage and force him to quit the game, which is itself a kind of victory.
Ms. Abrams writes that this has helped her focus her own thinking. “Data reframed his objective — not to win outright but to stay alive, passing up opportunities for immediate victory in favor of a strategy of survival,” she says in the book. “My lesson is simpler: change the rules of engagement.”
This sparked some predictably joyous reactions among Star Trek fans:
And the following thoughtful thread from Manu Saadia (@trekonomics) on the history of progressive politics, as modeled in the Star Trek universe:
It actually is possible to overthink this. All of this about politics and the imagination and utopian possibilities is true. But at the same time, ultimately, it’s just a really cool show. It’s one we grew up with. And as politicians get younger, it’s one we’ve always had with us, framing our background on entertainment, war, morality, politics, economics — everything.
The world the original Star Trek entered was one where space was only beginning to open, as a direct consequence of the nuclear and geopolitical crisis than enveloping the planet. Now, we have all new geopolitical crises to deal with. Star Trek offers a surprisingly resilient fictional framework for understanding most if not all of them. That’s a powerful tool. It’s foolish to pass it up.
Oh, and Ms. Abrams — keep bustin’ ‘em up.
Like many people my age, Mister Rogers had a large influence on me in terms of how to act as a man. As Maxwell King wrote in The Good Neighbor: The Life and Work of Fred Rogers, he was not perceived at the time to be traditionally masculine:
Rogers himself was often labeled “a sissy,” or gay, in a derogatory sense. But as his longtime associate Eliot Daley put it: “Fred is one of the strongest people I have ever met in my life. So if they are saying he’s gay because… that’s a surrogate for saying he’s weak, that’s not right, because he’s incredibly strong.” He adds: “He wasn’t a very masculine person, he wasn’t a very feminine person; he was androgynous.”
In a 1975 interview for the New York Times, Rogers noted drolly: “I’m not John Wayne, so consequently, for some people I’m not the model for the man in the house.”
When I was little, Mister Rogers was the man of the house. My dad worked a lot and I sometimes only saw him for a few hours on weekends. Instead, my male role models were Captain Kangaroo, the men of Sesame Street (Mr. Hooper, Bob, Gordon, and Luis), and, most of all, Fred Rogers.
Now, some in the LGBTQ+ community are finding Fred Rogers to be a posthumous bisexual role model. Directly after the passage above, King continues:
In conversation with one of his friends, the openly gay Dr. William Hirsch, Fred Rogers himself concluded that if sexuality was measured on a scale of one to ten: “Well, you know, I must be right smack in the middle. Because I have found women attractive, and I have found men attractive.”
As Out’s Mikelle Street notes, it’s tough to tell what Rogers meant by that in terms of his sexuality. We do know he was married to his wife Joanne for more than 50 years until his death in 2003. Rogers also advised François Clemmons, who played Officer Clemmons and came out as gay during his time on the program (though not on air), to not go to gay bars while working on the show and encouraged him to marry a woman.
Clemmons did but then divorced his wife to live as an openly gay man, piercing his ear as a sign of his sexuality. He was not allowed to wear earrings while filming though — for years Clemmons masked his own sexuality, under the advice of Rogers, in an effort to be successful.
Could it be that the actor was less forthcoming about his sexuality because he understood what Hollywood then required for success?
If Street is right, perhaps Rogers didn’t come out publicly about his sexuality for the same reason he advised Clemmons to mask being gay and the same reason millions of other people didn’t in the 70s and 80s: fear of social stigma. As King repeatedly writes in the book, Rogers always put the needs of the small children who watched his program above all other concerns. Perhaps he felt that a potential scandal about his sexuality, even a small one, was not worth jeopardizing his relationship with his television neighbors.
For Clemmons though, there was little doubt that Rogers accepted him for who he was:
He says he’ll never forget the day Rogers wrapped up the program, as he always did, by hanging up his sweater and saying, “You make every day a special day just by being you, and I like you just the way you are.” This time in particular, Rogers had been looking right at Clemmons, and after they wrapped, he walked over.
Clemmons asked him, “Fred, were you talking to me?”
“Yes, I have been talking to you for years,” Rogers said, as Clemmons recalls. “But you heard me today.”
“It was like telling me I’m OK as a human being,” Clemmons says. “That was one of the most meaningful experiences I’d ever had.”
Update: Clemmons spoke at length in this Vanity Fair interview about his relationship with Rogers, his sexuality, and appearing on the show. One excerpt:
And [during the show], I could not handle people having an open discussion about the fact that François Clemmons is living with his lover. I did feel like I was risking [something], because people knew who I was. I had a full conversation with Fred about what it could possibly do to the program and to my role on the program, and I didn’t feel I wanted to risk it. You know, the articles that have talked about me, I don’t think they’ve taken into full account that societal norms were vastly different than what they are right now.
I watched Leaving Neverland last night in one four-hour sitting…as in I literally didn’t leave the sofa. Completely riveting. Here are some thoughts I have about it.
1. At its heart, this is not actually a movie about Michael Jackson. It’s about two men, James Safechuck and Wade Robson, whose lives were utterly ruined by a man they idolized & trusted. Their childhood innocence ripped away. Their families torn apart. Their current families left wondering if they can be trusted with their own children. As the movie progresses, Jackson almost fades into the background and the viewer is just left with these men, feeling and empathizing with them and their families.
2. One of the things I was most struck by, especially in the early part of the film, was the way the two men and their families described Jackson in almost a tender, loving way. There was little on-camera anger and lashing out (although there undoubtably was during their still-ongoing recovery process). I was left with a feeling of unease that in a deep and complicated way, these two men still care for Jackson. That feeling’s gonna stay with me for a loooong time.
3. As I’m writing this post, one of Jackson’s songs echoes in my head: “Heal the world / Make it a better place / For you and for me.” I have no idea what to make of this or how to process it.
4. It is pretty simple. Unless you’re willing to perform complicated mental gymnastics to bamboozle yourself into conspiracy theory land, the plain truth is that Michael Jackson was a pedophile. You can feel however you want about that — he was a monster, he was a man broken by his own abusive childhood & twisted by the vortex of fame — but you cannot simply dismiss it. Maureen Orth covered previous accusations about Jackson for Vanity Fair; her recent article is a good short summary of the facts.
5. If you’re a famous actor who spent lots of one-on-one time with Jackson when you were a child, why would you ever in a million years tell anyone that he sexually abused you?
6. A statement released by the Jackson estate said that Leaving Neverland is “the kind of tabloid character assassination Michael Jackson endured in life, and now in death”. Who knows if they actually watched the film because it is the opposite of a sensationalistic hit piece. This isn’t Michael Moore bombast. The film is careful, methodical, and, aside from some slightly ominous music at times, quite respectful towards Jackson given the circumstances. As Wesley Morris writes, “‘LEAVING NEVERLAND’ is long but delicately, patiently done — and so quiet; you can practically hear yourself listening.”
7. No One Deserves As Much Power As Michael Jackson Had by Craig Jenkins:
If you don’t believe that Jackson touched anyone inappropriately, you have to reckon with the fact that he knowingly coerced families into allowing their children into his orbit while incrementally driving their parents away; that he nudged them out of the picture as they got a little older, only remembering to call when he needed someone to testify in a court of law. You have to listen to the Robson family explain how Jackson’s machinations pried the young boy’s parents apart, how the singer convinced them to move to Los Angeles from Australia, how Robson’s father committed suicide because they left him.
You come away from the film with the sense that Jackson was, at a minimum, a troubled and deeply manipulative person, more so than we’d ever imagined.
8. In Michael Jackson Cast a Spell. ‘Leaving Neverland’ Breaks It., Wesley Morris grapples with his fandom of Jackson (just as he did with Bill Cosby last year).
The story was that Jackson never molested anybody. And we stuck to it, and it stuck to him. And the question now, of course, is what do we do? It’s the question of our #MeToo times: If we believe the accusers (and I believe Wade and James), what do we do with the art? With Jackson, what can we do? Wade became a successful choreographer who’s made a career out of teaching his version of Jackson’s hydraulic bounces, whips, and stutters to Britney Spears, ‘N Sync, Cirque du Soleil and rooms full of aspiring dancers. “Look Back at It,” the big single from A Boogie Wit Da Hoodie’s No. 1 album from January, is built out of two Jackson hits. Michael Jackson’s music isn’t a meal. It’s more elemental than that. It’s the salt, pepper, olive oil and butter. His music is how you start. And the music made from that — that music is everywhere, too. Where would the cancellation begin?
9. Where does the cancellation begin? I have no idea about the music; I love so many of his songs (my kids are fans too, which is a whole other thing I don’t know how to deal with) but “Don’t Stop ‘Til You Get Enough” now has a second sinister meaning that I will never be able to shake. I will say this though: I’ve posted a number of things about Jackson on kottke.org over the years that are unrelated to the sexual abuse allegations. Not anymore. It’s time to hear other stories.
Ava DuVerney has written and directed a four-part TV series called When They See Us that “chronicles the notorious case of five teenagers of color, labeled the Central Park Five, who were convicted of a rape they did not commit”. Here’s a teaser trailer:
The series starts airing on Netflix on May 31.
And if you haven’t seen it, the documentary The Central Park Five (directed by Ken Burns, Sarah Burns, and David McMahon) is excellent.
After a nearly three-year wait, the second season of the excellent Fleabag is coming soon (March 4 in the UK, May 17 in the US on Amazon). Here’s a snack-sized trailer:
If you aren’t on the Fleabag train yet (and you definitely should be), you can catch up with the first season on Amazon Prime (it’s only six 25-minute episodes). Oh, and you can catch series creator and star Phoebe Waller-Bridge in Fleabag the play in NYC starting next week.
Set to air on HBO starting March 3rd, Leaving Neverland is a two-part documentary film about the experiences of two men who were befriended by and allegedly sexually abused by Michael Jackson as young boys. Here’s the trailer:
Leaving Neverland is a two-part documentary exploring the separate but parallel experiences of two young boys, James Safechuck, at age ten, and Wade Robson, at age seven, both of whom were befriended by Michael Jackson. Through gut-wrenching interviews with Safechuck, now 37, and Robson, now 41, as well as their mothers, wives and siblings, the film crafts a portrait of sustained abuse, exploring the complicated feelings that led both men to confront their experiences after both had a young son of his own.
As this quick timeline of abuse allegations against Jackson notes, both Safechuck and Robson previously denied that Jackson had abused them.
Robson, by this point a choreographer for stars like Britney Spears, testified that he had spent the night at Neverland more than 20 times but that Jackson had never molested him or taken a shower with him.
James Safechuck, who had met Jackson as a young boy in the 1980s when he was cast in a Pepsi commercial, also denied publicly that he had been abused, although he was not called to testify.
David Ehrlich saw the film at Sundance and was completely convinced by the stories of the two men.
It may not be much of a secret that Michael Jackson acted inappropriately with a number of young boys, but there’s no way to prepare yourself for the sickening forensic details presented in Dan Reed’s four-hour exposé. It’s one thing to be vaguely aware of the various allegations that were made against the King of Pop; the asterisks that will always be next to the late mega-star’s name. It’s quite another to hear the horrifyingly lucid testimony that stretches across the entire duration of “Leaving Neverland,” as two of Jackson’s most repeat victims bravely lay bare how a universal icon seduced them away from their realities, splintered their families beyond all recognition, and leveraged their love for him into a disturbing litany of sexual acts.
The eloquent and straightforward “Leaving Neverland” was made for no other reason than to give shape to a nebulous cloud of rumors, many of which were floated in public before they were silenced behind settlements, and none of which a jury was able to prove beyond a reasonable doubt. In the wake of Reed’s film and the shattering interview footage that it exists to share with us, there’s no longer a reasonable doubt. There’s no longer any doubt at all. Not only do the documentary’s two main subjects perfectly corroborate their separate accounts in all of the most tragic of ways, but they do so with a degree of vulnerability that denies any room for skepticism.
Other stars who previously had private or ignored abuse allegations leveled against them — Kevin Spacey, Bill Cosby, R. Kelly, Woody Allen, Louis CK — have been judged more harshly and their accusers have taken more seriously in recent years, and it’ll be interesting to see what happens with Jackson after the documentary airs.
With the 50th anniversary of the Moon landing coming up this summer, the media is about to go into Apollo overdrive. (And I am fully here for it!) So far, there’s been First Man and this Apollo 11 documentary featuring a recently discovered trove of 65mm footage. Add to that Apollo: Missions to the Moon, a documentary series by Tom Jennings for National Geographic. Here’s the trailer:
Engadget has some info on the content of the film:
Director Tom Jennings (who previously documented the Challenger explosion and Princess Diana) is relying on a few uncommon technological tricks to enrich the experience. He’s melding NASA footage with Apollo black box recordings, for example, and is syncing 30-track audio from Mission Control. The aim is to create an “Apollo-era time machine,” Jennings said.
Add an original Hans Zimmer soundtrack into the mix and this could really be something special.
I’ve been keeping track of every media thing I “consume”, so here are quick reviews of some things I’ve read, seen, heard, and experienced since the beginning of the year. One of the reasons I like doing these posts is the great recommendations I get back from readers. Turns out some of you know me and my tastes pretty well by now. For instance, a reader emailed a rec for the amazing Apollo 13 podcast listed below. I never would have found that on my own…thanks, Jason (no relation).
Vice. Inventive filmmaking from McKay. Watching parts of this was difficult though…Cheney is a ghoul. (B+)
Bird Box. Mindless but fun. The aliens made no sense… (B)
Rainbrow. Faces weren’t designed to control games. I think I may have sprained my eyebrows? (C+)
Roma. A masterpiece from Cuarón. My pick for the best film of 2018. (A)
A Fish Called Wanda. What was the middle one again? (B+)
The Apollo 13 series on the Brady Heywood Podcast. Sean Brady is a forensic engineer and in this five-part series about the Apollo 13 mission, he does a play-by-play of what went wrong on the mission and how the NASA and the three astronauts worked together to solve it. This is five hours of storytelling stuffed full of technical details and I was completely riveted the entire time. A thrilling engineering tale. (A)
Uplift standing desk. Still getting used to it, but I like being able to alternate between sitting and standing. (B+)
Sir Gawain and the Green Knight. I read the Simon Armitage translation to the kids as our bedtime story over the course of a few weeks. The English epic was not the fan favorite that Harry Potter or the Odyssey were. (B)
The Departed. Probably not the best Scorsese film but perhaps my favorite? (A)
Desktop Tower Defense. I still love this game. (A-)
Coming of Age in the Milky Way by Timothy Ferris. A bracing history of how humans learned where and when we are in the universe. (B+)
They Shall Not Grow Old. The restoration & colorization brought World War I right into the present, but I found myself wondering if all the digital editing & sound effects crossed the line into fiction. (B+)
Shoplifters. What does “family” mean in the 21st century? Watching this made me think of this story about older Japanese women purposefully shoplifting in order to go to jail. (A)
The Lego Movie 2: The Second Part. I had no idea going in that this movie was exactly about my family: an older boy (who likes space battles) and younger girl (who likes Friends and parties) who struggle to play Legos together under constant threat of me chucking all of them into the trash if they don’t stop fighting. They nailed it, right down to the crack about Radiohead’s music being depressing…every time I play RH in the car, I hear a chorus of boos from the back seat. (A-)
The Mule. I don’t know who this movie is for or why I went to see it. (D+)
Minding the Gap. You might think this is about how skateboarding binds three friends together. And it is! But it’s also about the compounding debt of domestic violence, toxic masculinity, and economic depression in America. My sole complaint is that it could easily have been 30 minutes longer. (A)
Classic Doctor Who marathon on Twitch. Nothing makes me more nostalgic for my childhood than old episodes of Doctor Who. I may have over-indulged in this marathon. (B+)
You Were Never Really Here. Excellent direction, music, and sound design. (B+)
Widows. Fun ensemble thriller. (B+)
Burning. Engaging but the slow burn was a bit too slow. I also watched this in a terrible theater and my opinion might have been different if the quality were better. (B+)
If Beale Street Could Talk. Beautifully filmed romantic dread. I didn’t know whether to feel happy or sad at the end. (A-)
Russian Doll. Groundhog Day adjacent. Natasha Lyonne is mesmerizing. (B+)
Killing Eve. Was I supposed to hate both of the very annoying main characters? And why is everyone so incompetent at their jobs? Villanelle is so sloppy and arrogant she would never have gotten away with one murder, let alone a dozen. I don’t think this show is for me, but I can see why others like it. (B-)
The Three-Body Problem trilogy by Liu Cixin. A re-read…burned through all three books in a week, by far the most concentrated reading I’ve done in years. (A)
Crazy Rich Asians. A rewatch. I’m not suggesting this should be up for Best Picture at the Oscars or anything, but this movie deserves some end-of-the-year recognition as a romantic comedy that also did some heavy thematic lifting without being either frivolous or overbearing. The filmmakers hit it just right. (A-)
Heat. This is Allen Iverson’s favorite movie. No one chews scenery like Pacino in this movie. Wow. (B+)
Past installments of my media diet are available here.
The team at BBC Earth have announced that they’re working on five new nature documentary series set to air in the next few years, including Planet Earth III and One Planet: Seven Worlds, narrated by David Attenborough. Here’s a teaser trailer:
Fantastic news…Planet Earth II and Blue Planet II are two of the best documentaries I’ve seen in recent years. There’s more information about the new shows in these two BBC press release.
Perfect Planet will be a unique fusion of blue chip natural history and earth sciences explaining how the living planet operates. This five part series will show how the forces of nature — weather, ocean currents, solar energy and volcanoes — drive, shape and support Earth’s great diversity of life. It will broadcast in 2020.
Frozen Planet II will take audiences back to the wildernesses of the Arctic and Antarctica. Ten years on from the original Frozen Planet, this series tells the complete story of the entire frozen quarter of our planet that’s locked in ice and blanketed in snow. It will broadcast in 2021.
Planet Earth III will be the most ambitious natural history landmark ever undertaken by the BBC. Combining the awe and wonder of the original Planet Earth, the new science and discoveries of Blue Planet II and Planet Earth II, and the immersive character-led storytelling of Dynasties, the series will take the Planet Earth experience to new heights. It will broadcast in 2022.
One Planet: Seven Worlds, airing sometime later this year, will consist of seven episodes, one for each of the world’s seven continents.
Millions of years ago incredible forces ripped apart the Earth’s crust creating seven extraordinary continents. This series will reveal how each distinct continent has shaped the unique animal life found there.
We will discover why Australasia is full of peculiar and venomous wildlife; why North America is a land of opportunity where pioneers succeed; and what the consequences are for life racing to compete on the richest of all continents, South America.
Attenborough is narrating this series but it’s not clear whether he’ll be doing the same for Frozen Planet II or Planet Earth III. For one thing, the man is 92 years old and for another, Netflix is luring the BBC’s talent with promises of bigger budgets and wider reach.
Cignature Films is showing the first episode of Mad Men in its entirety but with all of the cigarettes replaced with kazoos. Here’s a short clip (watch the whole thing here):
Though smoking in movies was a staple element of old Hollywood, the Center for Disease Control and Prevention found that tobacco has had a resurgence in recent years on the big screen. It has been reported that 44% of adolescents who start smoking do so because of smoking images they have seen in the movies. Cignature Films wants to change this statistic for the better.
They also have plans to do the same with Fight Club, The Godfather, and Stranger Things. I’m wondering how long this is gonna stay up though…a clip or two is perhaps covered under fair use but I can’t see studios allowing entire movies and episodes to be shown without some kind of legal action. (via rob walker)
Ever since the Huffington Post struck SEO gold in 2011 with their post about what time the Super Bowl started, pretty much every online publication now runs a similar article in an attempt to squeeze some of Google’s juice into their revenue stream. My “attempt” from last year: What Time Isn’t the Super Bowl?
For this year’s contest, Sports Illustrated decided to ask theoretical physicist Carlo Rovelli, author of The Order of Time, his thoughts on time and Super Bowls.
6:30 p.m. is the time the Super Bowl will start in Atlanta. Most of us are not in Atlanta. So for us, the game will start later than that. You need the time for the images to be captured by the cameras, be broadcasted to air or cable, be captured by my TV screen, leave my TV screen, get to my eyes (not to mention the time my brain needs to process and decode the images). You may say this is fast — of course this is fast. But it takes some time nevertheless, and I am a physicist, I need precision. For most of us, the game will actually start some time later than the kickoff in Atlanta.
Not only that, but time moves at different speeds for each of us:
We have discovered that clocks run at different speed depending on how fast they are moved, and depending on how high they are positioned. That’s right, it is a fact: Two equal clocks go out of time with respect each other if one is moved and the other is kept fixed. The same will happen if one is kept, say, above your head, and the other lower, say, at your feet. All this was discovered by Einstein a century ago; for a while it was just brainy stuff for nerds, but today we are sure it is true. A good lab clock can check this, and it is truly true. Your head lives a bit longer than your feet (unless you spend a lot of time upside down).
So, the clock of the guy up in the high sections of the stadium runs faster than the clock of the referee on the field. And Tom Brady’s clock (if he were to wear one) runs slower, because Tom moves fast (okay, maybe not “fast,” but faster than the people sitting and watching him).
P.S. The Super Bowl starts at approximately 6:30pm EST on Feb 3, 2019. (via laura olin)
As part of their YouTube series on how the Saturday Night Live sausage is made, this short video details how the cue cards that the actors read from during the show are made and used. There’s even a tiny little bit in there about how they use whitespace (between words and lines) to make sure the cards are readable from a distance.
I am kind of amazed that the cue card process is still done by hand. I don’t want to see any hard-working staffers or interns getting fired, but it seems like a couple of fast large-format color printers capable of printing on poster stock and a block letter handwriting font could dramatically streamline the workflow, particularly when late-stage changes are needed.
These visualizations of the speed of light I posted last week somehow demonstrate both how fast light speed is and how slow it is compared the vastness of the galaxy & universe. Science fiction often bends the rules of physics as we currently understand them, with fictional spacecraft pushing beyond the speed of light. In Star Trek, the measure of a ship’s velocity is warp speed. Warp 1 is the speed of light, Warp 6 is 392 times the speed of light, etc. In this Warp Speed Comparison video, EC Henry compares the top speeds of various Star Trek vessels (the original Enterprise, Voyager, the Defiant), racing them from Earth to the edge of the solar system.
Once again, you get a real sense of how fast these ships would be if they actually existed but also of the vastness of space. It would take 10 seconds for the fastest ship to reach the edge of the solar system at maximum warp and just over 6 hours to get to the nearest star, Proxima Centauri. Wikipedia lists a few dozen stars that are within a day’s journey at full warp…a trip that takes light more than 16 years. The mighty speed of light is no match for the human imagination. (thx, jim)
Newer posts
Older posts
Socials & More