The Idiot Box
Thoughts on TV shows and my current viewing habits.
The last instalment of The Idiot Box was back in March. Since then Mrs P and I have watched several new shows and tried to diversify our viewing. She has had better luck than I. The issue for me is one of narrative complexity and genre saturation. Some popular shows are very straightforward in both their structure and their intellectual scope. A great deal of “police procedurals” fall into this category. The weekly stories essentially come down to “who is the murderer” with a side helping of the protagonist's ongoing “personal life”. I am currently watching the latest season of NCIS and it struck me how little credible investigative work the team now does. In the last episode that I watched, one of the central character’s mother-in-law was witness to a murder on a cruise ship. The plot was contrived, convoluted and more like that of a soap opera. Such content can be fun but it’s somewhat unsatisfying if viewed to excess.
Thoughts on TV shows and my current viewing habits.
The last instalment of The Idiot Box was back in March. Since then Mrs P and I have watched several new shows and tried to diversify our viewing. She has had better luck than I. The issue for me is one of narrative complexity and genre saturation. Some popular shows are very straightforward in both their structure and their intellectual scope. A great deal of “police procedurals” fall into this category. The weekly stories essentially come down to “who is the murderer” with a side helping of the protagonist's ongoing “personal life”. I am currently watching the latest season of NCIS and it struck me how little credible investigative work the team now does. In the last episode that I watched, one of the central character’s mother-in-law was witness to a murder on a cruise ship. The plot was contrived, convoluted and more like that of a soap opera. Such content can be fun but it’s somewhat unsatisfying if viewed to excess.
And at the other end of the spectrum we have shows that revel in their adult themes and mature content. The Alienist falls into this category. For those unfamiliar with this drama it is set in the late 19th century in New York. Newly appointed police commissioner Teddy Roosevelt calls upon Dr. Laszlo Kreizler (Daniel Bruhl), a criminal psychiatrist, and John Moore (Luke Evans), a newspaper illustrator, to conduct a secret investigation into a child prostitute serial killer. Joining them in the probe is Sara Howard, Roosevelt's headstrong secretary (Dakota Fanning). It is superbly written, with a solid cast and great production values. The stories are very interesting due to the historical setting and the emerging science, technology and social changes. But due to the nature of the investigation, the story explores poverty, sexual abuse and other human failings. Hence it is very bleak and a little bit squalid. Although thought provoking and dramatic, it is a challenging watch.
All of which raises the question, where are the shows that fall between these two extremes? Well they are out there. You just have to do quite a bit of searching and be prepared to try a variety of content on the understanding that you may not like it and end up abandoning it. I also think that a lot of UK and European TV shows occupy this middle ground due to budget and audience demographics. UK “police procedurals” tend to be a lot less hyperbolic and frenetic, compared to their US counterparts. The focus is far more on narrative depth to compensate for other potential constraints upon the production.
All things considered, I did manage to find some interesting new shows to watch. Some are quite cerebral and a couple I would categorise as the viewing equivalent of comfort eating. Here is a brief summary of what I’ve been watching since Easter to the present.
The Equalizer: This reboot of the eighties TV show is more akin to the two recent movies, than the original source material. It is in many ways utterly preposterous, with its flamboyant hero Robyn McCall (Queen Latifah) using her ex-CIA experience to right wrongs, along with her convenient team of skilled helpers. The show is certainly not afraid of addressing social issues and the realities of being an African-American. Yet it is quite sincere, easy entertainment, carried by the personality of its lead actor.
Clarice: This was a very interesting tangential sequel to The Silence of the Lambs, in which the subsequent career of Clarice Starling was explored. Starling, who is struggling to come to terms with her encounter with Buffalo Bill, finds herself part of a new Federal Taskforce that specialises in dealing with violent criminals. A subsequent investigation uncovers a high level conspiracy in which a major pharmaceutical corporation is committing murders under the pretence that they’re the work of a serial killer. This was a clever show with some interesting socio-political points to make. Sadly it was not renewed for a second season.
Unforgotten Season 4: There is obviously a great deal of mental and emotional strain involved in investigating murders, especially “cold cases”. Unforgotten depicts this intelligently and honestly. Season 4 had another harrowing story arc, outstanding performances and a hard hitting ending. Police work is not databases, car chases and eleventh hour psychological interrogations and last minute confessions. It’s foot work, lateral thinking and compassion. Unforgotten has all these in spades.
Debris: This was one of the smartest science fiction TV shows to come along for a while. It worked best when it’s internal lore was vague; the moment you clarify things it can undermine some of the inherent mystery. Sadly, this intriguing concept by J. H. Wyman (Fringe) about debris from an alien vessel and its strange powers, was cancelled, once again due to the TV network not understanding and having any faith in the show. The same thing happened with Wyman’s previous TV series, Almost Human.
The War: The military and tactical aspects of World War II has been thoroughly explored over the years, with The World at War possibly being the definitive TV documentary. Ken Burns’ takes a different approach examining events from the perspective of four US towns and how WWII impacted upon their economy, lives and world view. It is the personal stories of soldiers and their families that make this show so interesting. The recollections of Daniel Inouye (who won the Medal of Honor and went on to be a US Senator) are particularly poignant and stand out.
Endeavour: Season 8 appears to be the last in this prequel series to Inspector Morse. Morse is dangerously close to becoming an alcoholic and destroying his career. Fred Thursday’s son goes AWOL in Northern Ireland causing domestic strife. Oxford continues to have complicated murders and showrunner Russel Lewis still litters his scripts with niche market pop culture references, which are a delight. After three episodes the season reaches a definitive crossroads clearly linking one show with the other. It’s been a tremendous journey but all things must end.
Dan Brown’s The Lost Symbol: This TV show plays out just like the three big screen adaptations of Dan Brown’s other books. There’s lots of frenetic running between historic locations and pseudo-academia flying about to solve arcane clues. Ashley Zukerman plays a young Robert Langdon (played by Tom Hanks in the movies). It’s all a bit silly but if you want entertainment that isn’t too taxing, it’s a pleasant enough way to spend 42 minutes.
The Equalizer (2014)
Denzel Washington is one of those rare actors who can elevate a movie by his screen presence. It is his star quality, along with a better than average story that makes The Equalizer a cut above your average action movie. There is a half decent attempt to transcend the usual alpha male, revenge bullshit that permeates the vigilante sub-genre and explore deeper themes. The film takes it's time to focus on Robert McCall's wider motivation, philosophy and personal morality. It ponders the nature of ethics and alludes to the notion of "knights" in a time when they're no longer required or desirable. However rather than wallow in the notion of an existential crisis, the central theme is self-determinism. On top of all this weighty pondering there's also some very hard-edged violence and death by power tools.
Denzel Washington is one of those rare actors who can elevate a movie by his screen presence. It is his star quality, along with a better than average story that makes The Equalizer a cut above your average action movie. There is a half decent attempt to transcend the usual alpha male, revenge bullshit that permeates the vigilante sub-genre and explore deeper themes. The film takes it's time to focus on Robert McCall's wider motivation, philosophy and personal morality. It ponders the nature of ethics and alludes to the notion of "knights" in a time when they're no longer required or desirable. However rather than wallow in the notion of an existential crisis, the central theme is self-determinism. On top of all this weighty pondering there's also some very hard-edged violence and death by power tools.
Director Antoine Fuqua, who previously worked with Washington on Training Day, crafts a rather languid but in-depth thriller, which takes time out to play to his leads great acting strength. McCall is not just a two-dimensional special forces cliché but a man with a soul and a strong personal philosophy. Whenever Steven Seagal strayed from action into personal musing and introspection, the audience quite justifiably told him to fuck right off. But in the case of The Equalizer, it greatly enhances the film. There is a real sense of purpose and meaning to Denzel Washington's actions which makes a welcome change, as this genre is not usually known for its depth. His character also sports some credible OCD foibles such as a tendency to time everything and a propensity to tidy.
Of course, in films such as these, there is a requirement for a suitable nemesis. On this occasion it is supplied with relish by Marton Csokas, who oozes malevolence as a Russian enforcer and once again utilises his wonderful metered diction to great effect. The film takes an unusual approach by setting the story in a distinctly blue-collar world. McCall works in a hardware and building supplies warehouse and champions the causes of his fellow workers as well as local prostitute Teri (Chloë Grace Moretz). Director Fuqua does not try and glamorise the criminal fraternity either, choosing to portray it as monolithic, perfunctory and soulless. He also wrong foots certain viewers when McCall visits his former governmental handlers. He is greeted by Bill Pullman and Melissa Leo and the person he seeks is not necessarily the one you automatically assume it to be.
One of the strongest aspects of The Equalizer are the action sequences which are extremely hard hitting and brutal. Because of the above average calibre of acting and film making, the violence is quite disturbing and may have more than a few viewers squirming in their seats (especially the shot glass in the eye). When McCall initially kills a group of Russian gangsters I was surprised at the way the carnage was dwelt on both before and after. The film also has a very strong contemporary soundtrack by Harry Gregson Williams, as well as utilising several songs to great effect. I was also impressed by Denzel Washington's succinct distillation of Ernest Hemmingway's The Old Man and the Sea. You don't expect to find literary criticism in a movie that also sports IEDs and stabbings with corkscrews.
The Equalizer ends with a rather positive message and leaves scope for a further outing for Robert McCall. Overall, the film does run a little too long and could have easily lost twenty minutes or so with tighter editing, but this seems to be a common problem with contemporary cinema. However, running time notwithstanding, The Equalizer remains an above average thriller which has additional appeal to wider audiences due to the popularity of its star and the slightly more cerebral subtext to the proceedings. At present, a second instalment is in production featuring many of the original cast and crew. The Equalizer 2 is scheduled for a release on July 20th 2018.
