London Fields # 88
First published Inpress (Issue # 1056), Melbourne on 12 January 2011, and in Drum Media (Issue # 1042), Sydney on 11 January 2011
NB: Each column has a name, but these do not appear in print; printed versions may differ slightly to those displayed here
One of the most successful dramas on British television in recent years came late in 2010 when Oscar winning screenwriter Julian Fellowes based his new series on life above and below stairs in Edwardian society. Downton Abbey proved to be perfect Sunday night viewing and a huge ratings success for ITV, regularly pulling over 10 million viewers. As far as drama goes this was more like a filling pudding than a substantial meal, but it did seem to carry some interesting subtexts, such as how kind the ruling class are, and wasn’t it better and wonderfully reassuring when people knew their place in society? Staying in to watch TV was especially appealing recently; December 2010 was the coldest since records began, while the average temperature of -1C coincided with a big hike in fuel prices. Shops saw their revenues fall far below expectation as snow kept customers away. With January came a further disincentive to spending as VAT rose from 17.5% to 20%, as part of a raft of measures and cuts imposed by the government to tackle the UK’s enormous debt. This was followed by the news that music giant HMV would be shutting 40 of its stores (along with 20 Waterstones bookshops) by the end of 2011. The rise in VAT will affect the poorest most of all, and will help to widen the gap between the haves and the have-nots. As much as the last government failed in its moves towards a classless society, it seems that the new one is intent on making those divisions clear once again.
In his new year address Prime Minister David Cameron stated that these drastic actions were “not out of some ideological zeal”, yet these austerity measures aren’t merely emergency arrangements to be removed when the crises eases, but permanent changes. “We are all in this together” he continued, as the scrapping of the education maintenance allowance (EMA) will make it harder for children in poorer families to stay in education. Meanwhile there has been no move to restrict bankers’ bonuses, and no sign of a more equitable Robin Hood tax. Many of the decisions seem impulsive, like the axing of the Bookstart programme to encourage young readers, which, following protest, was partially reprieved. Transport fares rose sharply for yet another year, and my annual season ticket now costs 25% more than two years ago. It’s been over four years since there was a weekend without any line closures on the London Underground - we’re told that these works and the fare rises are necessary to make improvements before the 2012 Olympics. Yet The Olympic Delivery Authority recently admitted that London Transport will only cope during that period if Londoners don’t actually use the service during the period of the games, and suggests they walk, or work from home instead.
While WikiLeaks revelations drew headlines, on the streets of Birmingham weeks of uncollected rubbish piled up in the streets as a result of snowfall and ongoing work-to-rule industrial action. As cuts hit local services very hard, this may just be the start of things to come. Sharon Shoesmith, who was dismissed from her job as director of children's services in Haringey council over the tragic death of Peter Connelly (better known as "Baby P") said last Friday that these cuts could impact children protection services and so increase the odds of similar tragedies. In the West End, Baby Blue Eyes, a new musical based on the 1983 film A Private Function is using as its tagline: “It's 1947 - austerity Britain, belts are being tightened, fair shares for all, the coldest winter in decades and a Royal wedding. Sound familiar?”. In today’s Britain 12-year-old Nicky Wishart is pulled out of lessons and interrogated by anti-terrorism officers after setting up a Facebook event to protest at the closure of his local youth club in Cameron’s constituency. Meanwhile The Office for National Statistics is setting up methods of measuring the happiness of people living in the UK. Is this the Big Society we were promised? On the streets battle lines are being drawn, between protesters and police, or against groups such as the anti-immigration English Defence League (EDL). It’s as though the country is at war. Yet the only thing it seems to be fighting is itself.
© James McGalliard 2011
Inpress: Published on page 54
Drum: Published on page 56
Showing posts with label ITV. Show all posts
Showing posts with label ITV. Show all posts
Wednesday, 12 January 2011
Wednesday, 27 February 2008
TV Club 18-35
London Fields # 49
First published Inpress, Melbourne on 27 February 2008
NB: Each column has a name, but these do not appear in print; printed versions may differ slightly to those displayed here
In the UK it’s not your 8 cents a day, but rather your £135 a year to fund Auntie. The compulsory TV Licence funds 75% of the BBC’s costs, from TV & radio to the news-gathers & websites. There’s huge pressure to show that this revenue is being used wisely; and the biggest visible shake up recently has been to digital station BBC Three. It’s aimed at the 18-35 market, is the UK home of Man Stoke Woman and The Mighty Boosh, and has just gone through a major revamp. With the BBC cutting back on its news services, questions are being asked about how the licence fee is being spent. Some may say the station is fighting for its very existence.
Spearheading the re-launch was Lily Allen and Friends, a chat show that was sadly awkward and uncomfortable to watch, and not because of the host. Elsewhere, the ‘light’ documentaries, which may cover serious issues, but tread a fine line with reality TV, continue as a mainstay. These have included the series Freaky Eaters, Sex With Mum and Dad and Can Fat Teens Hunt, and one-offs like My Big Breasts And Me, My Small Breasts And I, Me And My Man Breasts, Dawn Goes Naked, Dawn Goes Lesbian… Yeah, I know these sound made-up – sadly they’re all real.
Amongst all this mire, Being Human - the tale of a ghost, a werewolf and a vampire sharing a house in Bristol - shone. Although it had its light moments, it was no comedy. While it is post-Buffy, but in some ways it feels more like it could be a successor to the fabulous Ultraviolet, the 1998 series in which the Vatican were out to stop vampires (referred to as Code Fives or leeches) from creating a nuclear winter to claim the earth. The vampires of Being Human also feel that they’ve been living in the shadows for too long and, under the leadership of Adrian Lester, things are going to change. At a gathering he chillingly uses a little Blake to question whether evolution gives man any superiority: "Did he who made the Lamb make thee?" I couldn’t wait for the next episode; sadly at the moment they’re isn’t one. Hopefully the powers that be at the Beeb will see sense and commission this as a series. It was written by Toby Whithouse, who has also written for Doctor Who (the one with Giles, K-9 and Sarah Jane at the school), and for Torchwood.
Yes, Torchwood is also back, but it’s been rebooted so savagely you can almost see the tread-mark on the face. While the first series was almost Doctor Who without the Doctor but with added sex and swearing, the new series is about relationships. It’s like when James Bond briefly became a one-woman guy in the aftermath of AIDS. There’s romance, but very little sleeping around – it’s more about the yearning. The series began with the addition of James Marsters (Spike from Buffy The Vampire Slayer) playing, well, Spike from Buffy, except in name. It really doesn’t quite know if it’s Arthur or Martha. Speaking of which, Martha Jones has jumped from the TARDIS to appear in it too. There is an underlying story that a major invasion is underway, but as a story arc it’s suspiciously absent. So far it still fails to involve me; it’s lacking the emotion range of the revamped Who. But I’m still watching.
Over on ITV, Primeval returned, and it too has gone through a major reboot, this time by taking the central conceit of Ray Bradbury’s time-travel classic A Sound Of Thunder. For stepping into the past has changed the present, and only Cutter knows things are not the same. This has allowed the makers to tweak with the story elements, while keeping the core. But the problem with high concepts is that they can wear out rather quickly. The second season of Life On Mars showed strain, but sequel Ashes To Ashes has broken the towrope. This time it’s Keeley Hawes as DI Drake - sent back to London 1981 with a bullet (literally). It’s lacking the charm of its predecessor, kills any ambiguity of the conclusion of Mars in the first few minutes, and just feels forced. Sure it’s fun to visit the Blitz club, but would Steve Strange (playing himself) have worn ear monitors fronting Visage in 1981? But there’s a way out - it’s not the real 80’s, but Drake’s idea of it. But who do we blame for the squandering of the wonderful character of Gene Hunt? Or the soundtrack that feels trowelled on? And, worse of all, for it being dull??
Thanks then for Channel 4’s 18-35 channel, E4, and the second season of Skins. The first series went from the humorous to the very dark, but managed to maintain reality. Its high concept was the weekly baton changing of the focus of the unfolding narrative. The second season is darker, and so far has been telling character’s stories in doubles. If the arc of the first season was the fall of Tony, maybe the key to this one is his rehabilitation? Bill Bailey (complete with his dancing dog) appears as Maxxie’s father (continuing the theme of parents played by comics, mostly in non-comedic roles), while the school is presenting Osama The Musical. Once again, it’s a joy to behold intelligent programmes that don’t talk down to their audience. Why can’t all drama be like this?
© James McGalliard 2008
First published Inpress, Melbourne on 27 February 2008
NB: Each column has a name, but these do not appear in print; printed versions may differ slightly to those displayed here
In the UK it’s not your 8 cents a day, but rather your £135 a year to fund Auntie. The compulsory TV Licence funds 75% of the BBC’s costs, from TV & radio to the news-gathers & websites. There’s huge pressure to show that this revenue is being used wisely; and the biggest visible shake up recently has been to digital station BBC Three. It’s aimed at the 18-35 market, is the UK home of Man Stoke Woman and The Mighty Boosh, and has just gone through a major revamp. With the BBC cutting back on its news services, questions are being asked about how the licence fee is being spent. Some may say the station is fighting for its very existence.
Spearheading the re-launch was Lily Allen and Friends, a chat show that was sadly awkward and uncomfortable to watch, and not because of the host. Elsewhere, the ‘light’ documentaries, which may cover serious issues, but tread a fine line with reality TV, continue as a mainstay. These have included the series Freaky Eaters, Sex With Mum and Dad and Can Fat Teens Hunt, and one-offs like My Big Breasts And Me, My Small Breasts And I, Me And My Man Breasts, Dawn Goes Naked, Dawn Goes Lesbian… Yeah, I know these sound made-up – sadly they’re all real.
Amongst all this mire, Being Human - the tale of a ghost, a werewolf and a vampire sharing a house in Bristol - shone. Although it had its light moments, it was no comedy. While it is post-Buffy, but in some ways it feels more like it could be a successor to the fabulous Ultraviolet, the 1998 series in which the Vatican were out to stop vampires (referred to as Code Fives or leeches) from creating a nuclear winter to claim the earth. The vampires of Being Human also feel that they’ve been living in the shadows for too long and, under the leadership of Adrian Lester, things are going to change. At a gathering he chillingly uses a little Blake to question whether evolution gives man any superiority: "Did he who made the Lamb make thee?" I couldn’t wait for the next episode; sadly at the moment they’re isn’t one. Hopefully the powers that be at the Beeb will see sense and commission this as a series. It was written by Toby Whithouse, who has also written for Doctor Who (the one with Giles, K-9 and Sarah Jane at the school), and for Torchwood.
Yes, Torchwood is also back, but it’s been rebooted so savagely you can almost see the tread-mark on the face. While the first series was almost Doctor Who without the Doctor but with added sex and swearing, the new series is about relationships. It’s like when James Bond briefly became a one-woman guy in the aftermath of AIDS. There’s romance, but very little sleeping around – it’s more about the yearning. The series began with the addition of James Marsters (Spike from Buffy The Vampire Slayer) playing, well, Spike from Buffy, except in name. It really doesn’t quite know if it’s Arthur or Martha. Speaking of which, Martha Jones has jumped from the TARDIS to appear in it too. There is an underlying story that a major invasion is underway, but as a story arc it’s suspiciously absent. So far it still fails to involve me; it’s lacking the emotion range of the revamped Who. But I’m still watching.
Over on ITV, Primeval returned, and it too has gone through a major reboot, this time by taking the central conceit of Ray Bradbury’s time-travel classic A Sound Of Thunder. For stepping into the past has changed the present, and only Cutter knows things are not the same. This has allowed the makers to tweak with the story elements, while keeping the core. But the problem with high concepts is that they can wear out rather quickly. The second season of Life On Mars showed strain, but sequel Ashes To Ashes has broken the towrope. This time it’s Keeley Hawes as DI Drake - sent back to London 1981 with a bullet (literally). It’s lacking the charm of its predecessor, kills any ambiguity of the conclusion of Mars in the first few minutes, and just feels forced. Sure it’s fun to visit the Blitz club, but would Steve Strange (playing himself) have worn ear monitors fronting Visage in 1981? But there’s a way out - it’s not the real 80’s, but Drake’s idea of it. But who do we blame for the squandering of the wonderful character of Gene Hunt? Or the soundtrack that feels trowelled on? And, worse of all, for it being dull??
Thanks then for Channel 4’s 18-35 channel, E4, and the second season of Skins. The first series went from the humorous to the very dark, but managed to maintain reality. Its high concept was the weekly baton changing of the focus of the unfolding narrative. The second season is darker, and so far has been telling character’s stories in doubles. If the arc of the first season was the fall of Tony, maybe the key to this one is his rehabilitation? Bill Bailey (complete with his dancing dog) appears as Maxxie’s father (continuing the theme of parents played by comics, mostly in non-comedic roles), while the school is presenting Osama The Musical. Once again, it’s a joy to behold intelligent programmes that don’t talk down to their audience. Why can’t all drama be like this?
© James McGalliard 2008
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