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Everyone is sleeping on this show. Just sayin'Michael wrote: ↑October 27 21, 10:21 amHow To with John Wilson on HBO is fantastic. Do not miss it. Trust me.
This was amazing. So good and culturally potent in its way. I hope this gets her lots of play.MrCrowesGarden wrote: ↑November 14 21, 4:49 pmI saw two SNL clips in my Twitter feed today: the Ted Cruz/Big Bird thing which looks like the same old crap they've been [expletive] out for years...
and then this, which gives me hope SNL might actually be funny again.
Her timing is just about perfect. It’s been a while since I’ve felt that. Between this and James Austin Johnson doing a much better Trump than Baldwin, I’m hopeful.BottenFieldofDreams wrote: ↑November 16 21, 11:59 amMrCrowesGarden wrote: ↑November 14 21, 4:49 pmI saw two SNL clips in my Twitter feed today: the Ted Cruz/Big Bird thing which looks like the same old crap they've been [expletive] out for years...
and then this, which gives me hope SNL might actually be funny again.
This was amazing. So good and culturally potent in its way. I hope this gets her lots of play.
Okay, okay, I’ll watch it.Michael wrote: ↑November 15 21, 10:02 amEveryone is sleeping on this show. Just sayin'Michael wrote: ↑October 27 21, 10:21 amHow To with John Wilson on HBO is fantastic. Do not miss it. Trust me.
I enjoyed the buildup of the first few thinking SOMETHING was going to happen
What's happened to TV's very bad men?
In BBC Culture's recent poll of the 100 greatest series of the 21st Century, there's an empty seat at the table reserved for one Tony Soprano. The ground rule that shows premiering prior to the millennium would be ineligible for inclusion precluded HBO's landmark mob drama from making the cut, but its absence is every bit as perceptible as its presence would've been. The top hundred is littered with Tony's relatives and descendants, from chemistry-teacher-turned-meth-dealer Walter White (protagonist of Breaking Bad, number 3 on the list) to serial killer Dexter Morgan (of Dexter, number 89) and crooked politician Frank Underwood (from House of Cards, number 60) – malign male characters joined in a lineage of morally complex anti-heroism.
Matthew Weiner, who was a writer and producer on later seasons of The Sopranos, would go on to create Mad Men (number 2 in the poll), which centred on mesmerising ad man Don Draper; like Tony, he was another chronic compartmentaliser who used sex in the same evasive, isolating way that his predecessor used violence. Terence Winter, another key architect of The Sopranos' later seasons, created Boardwalk Empire and the crooked politico Nucky Thompson, cut from this same cloth. (The odd anti-heroine also popped up here and there, like Edie Falco's miscreant Nurse Jackie and Mary-Louise Parker's suburban drug dealer on Weeds, though both of those shows somewhat lightened themselves with comedy.)
The cruel white men concealing dark secrets beneath a composed façade first defined and then dominated the concept of "prestige TV", certainly in reference to US output, throughout the 2000s. Though each season would plumb fresh depths of contemptible behaviour, we couldn't stop watching, chasing that elusive glint of redemption. For the best of these antihero series, the adoring reviews helped television finally earn that most coveted seal of highbrow approval by making comparisons to literature. Like any other media trend, this one crested and eventually died down, though it hasn't vanished completely. While critics and tastemakers have largely begun to gravitate toward kinder, more hopeful fare in the vein of the can-do optimist Ted Lasso, the antihero drama as we knew it lives on outside the zeitgeist. Watched by a silent viewing majority, US network shows in hidebound genres like the police procedural and Western have sustained this narrative tradition's popularity even as its relevance wanes.
https://www.bbc.com/culture/article/202 ... ry-bad-men