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Sunday, January 23, 2021

I can’t tell you how surprised I am to find out that ripple, that supposedly generic ghetto libation often referenced in “Sanford and Son” and other 1970s sitcoms, was actually real:

Quite the marketing angle, placing this wine (product) “in the same crowd” as beer, while simultaneously showing upscale consumers imbibing the recreational rotgut. All white people, I might add.

I assume this was the last-gasp attempt to push Ripple-with-a-capital-R, before putting it out of its snub-nose-bottle misery. I’m guessing the modern-day E.&J. Gallo Winery is denying and disowning any association with this bygone beverage.

by Costa Tsiokos, Sun 01/23/2011 07:19pm
Category: Advert./Mktg., Comedy, Food, TV
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Thursday, January 13, 2021

cooked
I miss having regularly-scheduled reruns of “The Odd Couple” on TV. For no other reason than the chance to re-experience this culinary exchange:

As Oscar serves up the mess, Felix asks in horror, “What do you call this mélange?”

Oscar says, “Well, I was going to call it Goop, but I like your name better. Goop Mélange.”

The recipe for Goop Melange died with the show, but I recall it contained some combination of sardines, pickles, sauce, and a potato-chip topping. And people kept asking Oscar if it was supposed to look the way it did. Bon appetit!

by Costa Tsiokos, Thu 01/13/2011 10:38pm
Category: Comedy, Food, TV, Wordsmithing
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Sunday, January 02, 2021

priming the time
It could have been a disaster, but it turned out to be something of a ratings boon: The rain-threat rescheduling of the 2011 NHL Winter Classic from its original 1pm start time to 8pm later that same New Year’s Day resulted in a success, to the point where the league and the network are considering a permanent shift to primetime.

While that’s great for the National Hockey League, I have to ask: What does this last-minute shuffling say about the state of network television?

What was lost when the time change was announced is how little disruption it caused to NBC’s schedule. Essentially, the network admitted that its entire Saturday was wide open, with nothing else on its air that couldn’t be pushed out of the way in favor of this hockey showcase. That’s on a broadcast channel that’s available in pretty much every U.S. household — the most massive of mass media.

Such a situation would have been unimaginable even ten years ago. Primetime on network TV used to be rarefied territory, every day of the week. Some sort of original programming used to occupy those Saturday slots between 8pm and 11pm, and ad rates would reflect that. With that kind of investment in place, there’d be no way that any sporting event would easily be re-slotted that same day.

But the Winter Classic’s easy transition from afternoon to nighttime illustrates just how much things have changed. What did the hockey game supplant? Back-to-back-to-back reruns of “Law and Order”. In other words, no original programming at all. And NBC is far from alone in this Saturday dead zone: ABC and CBS also air junk fillers. Acknowledging that audiences don’t tune in on weekends — or, at best, just catch up on the week’s DVRed queue — the networks have abandoned any attempts at “must-see TV” on Fridays and Saturdays.

Like I said, this is great for hockey, which continues to gain ground in televised exposure. But it also calls into question the actual value of that televised coverage. If the airtime is so empty on a regular basis, is it really worth occupying? Maybe live events like sports or other entertainment options are ideal for network schedules during these times, but overall, it’s not a healthy indicator for the boob-tube business.

by Costa Tsiokos, Sun 01/02/2021 03:22pm
Category: Hockey, TV
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Saturday, January 01, 2021

indies
If nothing else, the year is off to a good start television-wise: IFC Channel is kicking off 2011 with a marathon of “The Larry Sanders Show” episodes!

Easily one of my favorite shows of all time, despite its definite datedness after nearly 20 years. Yeah, I’m sure I could gather up the video from various online sources, or even spring for the finally-available complete series on DVD. But I’ll take the option of having the random ep available on basic cable, whenever I click the television on at night.

It is too nice a New Year’s Day to remain cooped up watching TV. But for a little while at least, it’ll be no flipping and hey-now-ing…

by Costa Tsiokos, Sat 01/01/2021 11:37am
Category: Comedy, TV
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Friday, December 24, 2020

It’s gone from a flickery 7-minute film loop in 1966 to high-defintion upgrade in 2004. So the next logical step for WPIX Channel 11′s traditional Yule Log is an on-demand 3-D TV rendition.

It’s ultimately underwhelming, actually:

When viewed properly, the 3-D yule log is quite good, the flames vivid but not quite as alarmingly feverish as those in the WPIX yule log in HD. It’s a cozy fire, not a conflagration. The background music, which can be muted, is an inoffensive offering of standards, from a jazz trio rendition of “O Tannenbaum” to a full orchestral version of “It Came Upon the Midnight Clear.”

After a while the yule log in 3-D is quite hypnotic. Until, of course, you turn to say as much to the person next to you and discover that you are both wearing dark glasses indoors, and then the spell is broken.

Some things are so inherently kitschy that they resist technological amplification. Leave the Yule Log to burn in its old flat-display glory…

by Costa Tsiokos, Fri 12/24/2010 01:47pm
Category: New Yorkin', TV
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Tuesday, December 07, 2021

I’m sure it’s been noted by others, but I find it interesting that, in the DVR era, a semantic shift has taken place when referring to “live television”. Here’s a handy example:

[Online advertising provider Say Media] found that almost 56 million Americans belong to a group that the study categorized as “Off the Grid” — they spend more time watching non-live videos (say a YouTube video, or a TV show recorded on DVR) than they spend watching live TV.

Essentially, “live TV” now refers to the broadcasted (or cable-casted) stream of programming. It doesn’t factor in whether that consists of a pre-recorded show or a true live-time telecast. Basically, if it’s coming at you in synchronous state, and you can’t control the playback — saving, pausing, rewinding, or otherwise time-shifting the experience — then it’s “live”.

Traditionally, only certain events like awards shows, sports, or news are considered truly “live” television. The spread of digital video recorders, DVDs, and Web video has redefined that designator. This has more to do with the level of viewer customization, than the actual state of the medium. Obviously, most of what’s on the air is pre-recorded fare; but in the context of active viewer experience, it’s all untamed content. That’s the mass perception that’s taking hold.

It might be more accurate to refer to the programming pumping out of the networks as “raw television” — raw-material media before it’s corralled via digital storage and manipulation. But DVR marketing has touted the ability to “pause live TV” and such, which undoubtedly is a relatable way to convey the functionality. So for better or worse, “live TV” has been redefined.

by Costa Tsiokos, Tue 12/07/2021 02:18pm
Category: Society, TV, Tech
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Monday, November 08, 2021

hello coco
Tonight was the debut of Conan O’Brien‘s new TBS gig. In fact, the inaugural episode is wrapping up as I write.

Not a bad opener. The same goofy/manic energy from “Late Night” and “The Tonight Show”, somewhat condensed. I’m looking forward to more.

by Costa Tsiokos, Mon 11/08/2021 11:59pm
Category: Celebrity, Comedy, TV
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Thursday, October 28, 2021

Thanks to DVRs, the Web, and mobile media — along with the overarching shrinking of attention spans — the length of the optimal TV commercial is now down to a mere quarter-minute.

That’s a downward progression from the formerly-standard 30-second spot. Of course, that half-minute supplanted the original full minute of airtime that advertisers wanted/had to buy. So a new standard of 15 seconds was inevitable, regardless of the specific delivery technologies that fostered it.

And talk about hitting the viewer on the neuron level:

Shorter ads can be just as effective as longer ones. Viewers can form new associations — say, knowing about a discount — in a few seconds and then recall that information in just one second, [branding specialist Deborah] Mitchell says. People can’t help soaking up the message.

“When things are working that fast, you can’t tell yourself, ‘No, I’m not going to think about that,’” she says. “Your brain lights up so you don’t have a choice.”

When you’re dealing with such a brief rapid-fire window of opportunity, you’re targeting reaction more than comprehension. That’ll do for now, until our brains catch up and 5-second spots become necessary…

by Costa Tsiokos, Thu 10/28/2010 10:34am
Category: Advert./Mktg., Society, TV
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Thursday, October 21, 2021

magical
With a little over two weeks before the premiere of Conan O’Brien‘s new TBS show, the marketing as ramped up, as huge billboards sporting O’Brien’s mug have cropped up all over Manhattan.

He’s permanently wearing a beard these days. It’s a good look for him. Still, I can’t shake my initial impression, from two years ago, of those ginger whiskers:

He looks like a guest-starring warlock character from the old 1960s sitcom “Bewitched”.

Seriously, he should get ahold of the show’s old theme music, wave his arms around at the audience “casting spells”, ham it up with a mock Edwardian English accent, the whole thing. I don’t know if he can actually use these suggestions under WGA rules, but here’s hoping.

So, if one of the first skits on the new talkshow involves Conan doing sitcom-grade magic, you’ll know where he got the idea from. I fully expect to see it on opening night.

by Costa Tsiokos, Thu 10/21/2010 11:55pm
Category: Advert./Mktg., Celebrity, Comedy, TV
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Tuesday, October 19, 2021

going longer
It should come as absolutely no surprise to anyone that National Football League coaches are routinely pressured to burn timeouts late in games, just so more TV commercials can be squeezed in:

“At the two-minute warning in every game in the fourth quarter, there are conversations that go by. There’s conversations that take place at the two-minute warning before the first half. But there’s conversations that take place, and it’s the official’s responsibility to give the head coach a status of commercials and TV timeouts,” [Tennessee Titan head coach Jeff] Fisher said. “Yesterday, I was told that they were two short. And they looked at me and smiled, and I said, ‘Sorry, I can’t help you.’ [Referee] Mike Carey came across and said, ‘Here’s the deal. We’re two short.’ And I said, ‘Mike, I can’t help you. I’m trying to get a first down and I’m gonna kneel on it.’”

It’s clearly obtrusive, and it makes for an unsettling in-game situation:

Perhaps the most disconcerting thing about this story — the part that made it so hard to believe at first — is the idea of a television network, and the need for ad revenue, deciding the pace of a game (no matter how awful it may be). That Carey would break away from his responsibility as a supposedly objective arbiter of the on-field action to try and wrangle timeouts from coaches in the name of commercial breaks — well, this is where we truly have gone down the rabbit hole. And judging from Fisher’s comments, this happens all the time.

It’s always pointed out how well-suited football, particularly NFL football, is to television. Clearly-delineated windows of action provide an ideal vehicle for injecting commercial breaks. So it’s disheartening to think that, even with this perfect set-up, the league and its partners (in this case, ESPN) feel the need to tamper with gameplay integrity to jam in even more advertising.

by Costa Tsiokos, Tue 10/19/2010 11:21pm
Category: Advert./Mktg., Football, TV
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Monday, October 11, 2021


Last night’s “MoneyBart” episode of “The Simpsons” likely won’t be remembered as anything more than yet another latter-day edition of a series well past its prime. On the other hand, its opening-credits “couch gag” sequence might overshadow it, thanks to the participation of British graffiti artist Banksy:

The minute-long opening sequence begins almost as usual, but with Banksy’s tag being sprayed across Springfield monuments, and a masked Bart writing “I must not write all over the walls” over the walls of his schoolroom.

It then pans to a dark, dilapidated factory where dozens of workers animate sketches of the family. Cats are shown being thrown into a wood chipper to create stuffing for merchandise such as Bart Simpson dolls. A unicorn, chained to the factory wall, is used to punch holes in DVDs.

The titles end with a grim image of the logo of the show’s owner, 20th Century Fox, guarded by searchlights, a watchtower and a barbed wire fence.

And let’s not forget the beast-of-burden panda being whipped, or the decapitated dolphin-head whose tongue was used to seal merchandise boxes. And this did actually air on network air.

It’s important to remember that such over-the-top imagery is traditionally par for the course for the series. All the online debate over a “message” being sent by Banksy is ill-founded — the absurdity of the politically-incorrect symbols exposes the inherent parody. And, as has been noted, if the FOX higher-ups signed off on this expression, just how “subversive” can it truly be?

Still, something memorable from the old animated warhorse. Almost makes up for the fumes the show has been running on for the past decade-plus.

by Costa Tsiokos, Mon 10/11/2021 11:23pm
Category: Creative, Pop Culture, TV
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Thursday, October 07, 2021

static
I was pretty pumped up for today’s commencement of the 2010-11 National Hockey League season. I still am, despite not being able to tear away to watch the noontime season opener from Helsinki, between Carolina and Minnesota.

But that fervor is being tempered tonight, as I try to watch the evening’s back-to-back games on Versus. “Try”, because my local Time Warner Cable provider is seriously flaking out on the transmission. The signal has been pixelating, breaking up, and de-audible-izing all night, through two NHL contests. Only now, toward midnight, am I seeing it stabilize to a watchable state. And no, this near-outage is not limited to just my domicile.

What are the odds that the one night I make appointment television for myself, the cable sputters out? Here’s hoping I don’t have to put up with this sub-standard TV service throughout the NHL season…

by Costa Tsiokos, Thu 10/07/2021 11:31pm
Category: Hockey, TV
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Tuesday, October 05, 2021

For someone who’s trying to dispel (or is that dis-spell?) rumors of a witchcraft-dabbling past, Delaware Republican candidate for Senate Christine O’Donnell sure comes off as a hypnotism-inducing witch in her first campaign ad:

Leading off with “I’m not a witch”? There is a political precedent, and it’s not one that portends success:

Pundits and political reporters likened the O’Donnell ad’s opening statement to President Richard Nixon’s Watergate-era pronouncement, “I am not a crook.” Commentators are still divided over whether the spot is a rhetorical misfire — or a canny means of defusing the negative image of O’Donnell as a crank candidate with a history of loose-cannon declarations on a wide range of cultural and political issues.

Having to fend off such a ridiculous characterization already puts O’Donnell behind the electoral 8-ball. Although if she somehow pulls out a win in the general election, I’m looking forward to real-life Senate hearings into “Bewitched”-type witchcrafting activities.

by Costa Tsiokos, Tue 10/05/2021 11:11pm
Category: Advert./Mktg., Politics, TV
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It’s a well-known practice for Hollywood’s movie and TV productions to stretch their budgets by shooting in Toronto and Vancouver. Science fiction vehicles, in particular, seem to gravitate north of the border, and the location seems to have permeated the entire final product:

[Producer] Brad Wright suggests that the success of the franchise might actually have something to do with its Canadian content. “Maybe this is blowing our own horn a little bit,” he says, “but one of the reasons our show does so well overseas is because it’s not written from a completely American sensibility. Granted, it is American funded and the characters on “SG-1″ were American military people, and I’m not denying that for a second. But the voices writing the show somehow made Stargate more attractive to British, French, Italian and German viewers. For some reason, we do very well over there, and maybe that’s because it’s from a Canadian voice.”

Is our televised sci-fi consumption being informed by Canuck sensibilities? I suppose the seeds for this Great White Northification were sown back in the ’60s, when the role of James Tiberius Kirk was filled by a Montreal native

by Costa Tsiokos, Tue 10/05/2021 10:44pm
Category: Pop Culture, TV
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Wednesday, September 29, 2021

twit-tube
It took more than half a century for the television industry to figure out that the ideal programming-development environment takes place in 140 characters or less. That’s the conclusion I’m drawing from CBS, the network that’s already turned one Twitter feed into a sitcom, and is now ready to repeat that improbable Web-to-tube formula:

Last week’s premiere of “$#*! My Dad Says” garnered a respectable 12.5 million viewers, which could be an indication to CBS that Twitter accounts really do make for good TV shows. CBS and [Ashton Kutcher's production company] Katalyst still have to make a successful pilot before “Don’t Tell Steve” becomes part of the CBS comedy line-up; but clearly, if you have a crazy friend, roommate or family member, tweeting about what he or she says is a winner.

The more I think about it, the more it makes sense, actually. Hollywood powerbrokers have notoriously short attention spans, so what better vehicle to pitch a concept to these mercurial decision-makers? I don’t think the follower numbers even matter, other than the critical mass they represent to get in front of the right eyeballs. The idea can come from anywhere; the bite-sized channel that is the tweet is just becoming amongst the most convenient. (That’s if this whole developmental scenario isn’t just an elaborate set-up, which I still half-suspect it is.)

So congratulations to @shhdontellsteve, for getting a TV shot off of goofing on a roommate. Hopefully, they’ll cast some recognizable star, ala William Shatner for @shitmydadsays, which probably has more to do with the audience draw than anything else. If not, I can see this twit-trend coming to a halt quickly.

by Costa Tsiokos, Wed 09/29/2010 09:22am
Category: Comedy, Social Media Online, TV
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Friday, September 24, 2021

I’m detecting a pattern in DirecTV‘s latest television commercials:

Mangled grammar + heavy accents = satellite subscription sales!

Exhibit A is this aptly-nicknamed “Opulence — I Has It” spot:

It seems this silly Russian millionaire with the broken English was the prototype. After that spot debuted, DirecTV applied the same formula to its late-summer-to-fall NFL Sunday Ticket push:

The TV spots, from Deutsch, New York, center on the fact sports fans can enjoy watching their favorite teams no matter where they reside. One ad, “Cheeseheads,” shows a Green Bay Packers fan talking in a Fargo-like accent to a priest on her couch at home… In another ad, a trophy wife from Dallas vents her anger at a local Redskins fan by letting her dog chew up his welcome mat, knock over the flowers and pee on the rug. In still another, a pair of “Masshole” Patriots fans sneer at a local follower of the Dolphins and toss some snow at his door.

Again, all those spots feature characters with exaggerated regional accents: East Texas twangs, Midwestern lilts, New England nasality, etc. It’s a common theme that’s hard to miss.

I can only assume that market research uncovered that distinct speech patterns resonate with prospective customers of higher-end television services. That, or the braintrust at DirecTV likes to make fun of a broad swath of the American population…

by Costa Tsiokos, Fri 09/24/2010 04:29pm
Category: Advert./Mktg., TV
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Thursday, September 23, 2021

While Katy Perry applied the requisite Kidz Bop re-lyricism to her song “Hot N Cold” for a duet with Elmo on “Sesame Street”, she neglected to clean up the rest of her act:

After the clip hit YouTube Monday, Gawker ran a story that called attention to the video and Katy’s look. Parents checking out the video began leaving critical comments like, “Couldn’t she wear something that was more. oh idk. APPROPRIATE” and “I DO NOT want my five year old lookin at [that]!” But, as TMZ notes, Perry wasn’t actually half-naked — her outfit featured a flesh-colored mesh top that went all the way up to her neck, like a figure-skating costume.

Sesame Workshop, the company that produces the show, responded to the controversy this morning by announcing that producers have decided to pull the song from the broadcast version of the program. The clip will remain online at KatyPerry.com, however, so the singer’s more mature fans can watch it.

And here’s that “mature” performance, boobies and all:

As usual, a lot of huffing-puffing outrage from parents who are projecting their own hang-ups onto their children. Although I admit that Perry should have thought twice before donning anything flesh-colored for a children’s television appearance. Or did she think she would be performing with the infamous rogue Elmo from Times Square?

by Costa Tsiokos, Thu 09/23/2010 11:25pm
Category: Celebrity, Pop Culture, TV, Women
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Wednesday, September 22, 2021

time-shitting
When CBS decided to turn Twitter feed @ShitMyDadSays into a TV show, it decided to go cutesy-ish by subbing “$#*!” for the offending scatological terminology in the original title.

A necessary move, but maybe not the most DVR-optimized one:

It seems DVR designers quite understandably never suspected that a network would launch a TV show that started with the word “$#*!.” There may be a way to find such symbols within the DVR interface, but a casual survey of customers subscribing to a few different video services found nobody who could manage to type the first word of the title.

Which isn’t to suggest DVR users cannot watch the show. Users can browse through the nightly grids until they get to Thursday evening, where the show is clearly listed in all its “$#*!” glory. Or, heck, you can even watch the show live.

It’s amusing that our technological interfaces still can’t accommodate commonplace (if unconventional) input like this. Just when will machine language catch up with freestyling human expression?

Will this scheduling impediment significantly impact the viewership for the William Shatner-helmed comedy? At the very least, it seems that hashtags are out of bounds when tweeting about the latest episode…

by Costa Tsiokos, Wed 09/22/2010 10:33pm
Category: Social Media Online, TV, Tech
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Tuesday, September 21, 2021

Here’s one woman’s vision of where the decade-long plotlines in “Mad Men” are headed:

@amychozick: Hope #MadMen runs ’till at least 1969 when Sally Draper will drop acid, burn her bra and join the Weather Underground. #poorsallydraper

Not bad. But, television being television, and based on the medium’s previous depiction of the advertising industry during the ’60s, I couldn’t help but retort with:

@popstat: nah, by ’69 she’ll learn witchcraft, have a daughter named Tabitha, & Don will be played by a different actor #Bewitched

I think January Jones would make a swell Samantha Stephens. And Jon Hamm can be replaced, Darrin-style, by Neil Patrick Harris. Meanwhile, Roger Sterling gets a pizza named after him

by Costa Tsiokos, Tue 09/21/2010 10:34pm
Category: Advert./Mktg., Social Media Online, TV
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Saturday, September 18, 2021

staging
To the surprise of absolutely no one, the Joaquin Phoenix/Casey Affleck “documentary” I’m Still Here has been confirmed as a fabricated performance, by Affleck himself:

…Most mockumentaries, in the way of “This Is Spinal Tap,” wear their foolishness on their sleeves, leaving no doubt about their character as fiction. But Mr. Affleck, who is married to Mr. Phoenix’s sister and has been his friend for almost 20 years, said he wanted audiences to experience the film’s narrative, about the disintegration of celebrity, without the clutter of preconceived notions.

More like the disintegration of a hoax, since nobody really bought the crazy-man act to begin with. The film is also tanking on the arthouse circuit, so in every sense, no one’s buying this rather lame attempt to engineer pop-cultural buzz.

But a further tidbit: It turns out that David Letterman was in on the whole thing. In fact, “Late Show” monologue writer Bill Scheft blew the lid on the secret in August 2009:

Nuvo: Tell me what it was like backstage after the Joaquin Phoenix appearance.

Scheft: First of all, that was all an act.

Nuvo: Even Dave’s part of it?

Scheft: Yeah. Think Andy Kaufman without shaving. That’s what he was doing. And Dave knew about it and Dave loved it because he could play along. He could do whatever he wanted with it. And he did, and it was great television. But I will take credit for the line, “I think I owe Farrah Fawcett an apology.” That line was mine. I gave that to him during the break.

Dave loves that. He had a ball. He likes anything that’s good television, and he knew that’s good television.

I’ve told people that (everyone was in on the joke), and not only don’t people believe me, they tell me that I’m wrong and that (Phoenix) is a schizophrenic and he needs help and he’s going to end up like his brother. I said no. I saw the segment notes. It’s an act. I saw Ben Affleck’s brother taping the whole thing from offstage.

And oh, by the way — I called this fakery even before that:

…I’ve got no solid proof, but just from watching the whole interview, I could tell there was no real tension between the two, and Letterman’s reactions to similar guest antics in the past always betrayed his extreme unease at any such “unplanned” situations. This time out, I got the strong feeling he was simply going through the motions, setting up Phoenix with rather softball jabs; if he were really ill at ease with what was happening, he would have cut loose on him far more severely. My guess is that Letterman and Phoenix coordinated the whole thing beforehand and simply played it out before the cameras.

So, what have we learned from this failed subterfuge? Nothing significant. Which, in the end, is probably the whole point.

by Costa Tsiokos, Sat 09/18/2010 07:50pm
Category: Celebrity, Comedy, Movies, TV
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Sunday, September 12, 2021

In the battle for video-delivered mindshare, A.O. Scott argues that the small screen is now out-performing the silver screen:

Look back over the past decade. How many films have approached the moral complexity and sociological density of “The Sopranos” or “The Wire”? Engaged recent American history with the verve and insight of “Mad Men”? Turned indeterminacy and ambiguity into high entertainment with the conviction of “Lost”? Addressed modern families with the sharp humor and sly warmth of “Modern Family”? Look at “Glee,” and then try to think of any big-screen teen comedy or musical — or, for that matter, movie set in Ohio — that manages to be so madly satirical with so little mean-spiritedness.

…But the traditional relationship between film and television has reversed, as American movies have become conservative and cautious, while scripted series, on both broadcast networks and cable, are often more daring, topical and willing to risk giving offense.

It’s a bit of an apples-to-oranges comparison. Obviously, television series have the luxury of weeks and months to build an audience and develop storylines, versus a movie’s one-and-done experience. And the accessibility factor is there: “Free” broadcast and cable viewing (discounting the cable/satellite bill) instead of the ever-inflating price of a movie ticket. Naturally, TV’s going to seem more dynamic by those measures.

But hasn’t this always been the case? What’s changed lately to account for this seeming role reversal between the mediums?

One factor not mentioned is the pressure that TV is feeling from below: Namely, the Web and DVR timeshifting. Going up against an even wider-open entertainment channel that’s asynchronous, television has to pump out more compelling content just to keep up.

You’d think that movies would feel the same heat. The wrinkle seems to be the barrier to entry for cinema — again, the direct cost, in the form of a ticket, demanded from the consumer. That leads to targeting the widest audiences possible, which leads to watered-down content that earns “safe” ratings of G or PG… Which, ultimately, constrains attempts at edgier or noteworthy fare.

It’s a strange outcome. Whether or not it’s a new state of affairs, or only a temporary aberration, remains to be seen. In my opinion, it’s the former.

by Costa Tsiokos, Sun 09/12/2021 09:07pm
Category: Movies, TV
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