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Breaking Bad’s five-year run coincides with the emergence of a populist brio that sings the sanctity of American ambition: Everyone who works hard enough deserves to be his own boss, deserves to break ground on his dream home—a mansion with skylights bigger than his 2014 Cherokee Diesel. Only people who’ve rolled up their sleeves (or donned their Hazmat suits) and “built that” are considered extraordinary, and anything less than extraordinary isn’t worth anything at all.

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As a precocious pre-teen and teen, I was obsessed with adulthood; I couldn’t wait for the responsibility of rent checks and retirement plans. I watched serious drama as a way to prepare myself for this adult life I so wanted, and since we didn’t have cable I spent a lot of time watching PBS to figure out exactly how adults lived. I loved Masterpiece Theater, Mystery!, and particularly Prime Suspect, the dark and emotionally complex BBC crime series starring Helen Mirren as Jane Tennyson, a lone female detective in a boys’ club of often outright hostile fellow officers. I wanted to be like Jane Tennyson when I grew up. I dreamed of living a solitary but important existence, of having a job that was so central to me that I would forget meals and drink black coffee, a job that included meetings and orders and sleepless nights in which I would struggle to find the key to understanding a fragmented picture and solving the case. Jane Tennyson’s life always had an air of romance to it despite its gritty realism.

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Within thirty-six hours of the release of the long-awaited fourth season of Arrested Development, reviews—not just of the first episode, but of the entire season—started appearing online. Reviewers watched the full eight-hour season in one or two sleep-deprived binges, then spent the remaining twenty-eight hours spewing out essay-like things, some in excess of 3,000 words, purporting to offer an authoritative viewpoint on the show. One gets the sense that many of these writers would proudly refer to their essay-like things as thinkpieces, which is internet shorthand for unfocused, poorly edited conglomerations of words designed to project the appearance of depth without actually providing any.

Somewhere between showings of the indie films Trojan Eddie and Teeth today on IFC you’ll find the premiere of Bunk, a series IFC describes as “a new breed of comedy game show,” created by Ethan T. Berlin, comedy writer, performer, and one-time TNB 21 Questions interviewee.  If you’ve seen Da’ Ali G Show, Crank Yankers, or Lopez Tonight, you’re already familiar with Berlin’s work.  And now you can tune in to watch Berlin and other comedians (tonight’s episode also features Ben Garant and Kumail Nanjiani) compete in challenges like live puppy shaming and adding arms to the Venus de Milo.  Mark my words – puppy shaming will be the new Plinko.  Berlin was kind enough to answer a few questions about Bunk ahead of tonight’s debut:               

NBC announced this week that Mads Mikkelsen has been cast as Hannibal Lecter in a television series set prior to Thomas Harris’ Red Dragon, the first in Harris’ Lecter novels. And with that casting news I’m suddenly interested in something I would otherwise dismiss as yet another mediocre attempt to coax magic from the empty hat Jonathan Demme’s Silence of the Lambs left behind. Why might Mikkelsen make a difference? Because, for one thing, if you squint he looks just like Viggo Mortensen. For another, he recently won Best Actor at Cannes for his role in Thomas Vinterberg’s The Hunt. More importantly, he became Nicolas Winding Refn’s (Drive) original silent and stoic badass after the two got their start in movies together in Refn’s Pusher trilogy. Here’s Mikkelsen as a one-eyed Viking in Refn’s Valhalla Rising (gore warning):

This week, Girls’ writer/director/actress Lena Dunham went on NPR’s Fresh Air to address criticisms that the show is a particularly whitewashed view of entitled twenty-something women emotionally adrift in New York City.  Even before the show aired on HBO, Girls had garnered a tremendous amount of buzz as a series helmed, for a change, by a woman.  Just a few episodes in, the buzz erupted in debate on Girls’ representations of gender, class, and race as well as its worthiness of being the focus of so much debate to begin with.

 

Flipping around network television on a weekend is the mental equivalent of rummaging around at a flea market. My husband and I have found wonderfully trashy gems, like the short-lived Antiques Roadshow spinoff Buried Treasure, starring adorable pixie twins Leigh and Leslie Keno, and Shark Tank, a program that airs on Friday nights at 8 p.m., and probably our greatest find.

On Monday, my friend Polly informed me, via Facebook wall post, that Sarah Palin would be co-hosting the Today Show the following morning.

I am looking through lists of links on the Internet. It is Sunday night, but it is almost Monday morning. It is 11:30 p.m. The new Boardwalk Empire episode ended at 10 p.m., which means it should now be available to watch for free on a video streaming website.

As the election results came in last November, I found myself empathizing with the hero of The Walking Dead; small town sheriff Rick Grimes had newly awakened into a world where large swathes of the populace have been zombified, all mindless hunger and gnashing teeth. At the end of the pilot episode, which aired just two days before election day, Grimes found himself cowering in an abandoned tank that was about to be swarmed by the invading undead. Watching the television maps of the House of Representatives become as red as a tenderloin on the butcher’s table, I couldn’t help but think of the expression on Grimes’ face before the closing credits came on: helpless indignation. I mourned the sense of hope I (and many of my fellow voters) had experienced only two years before.

In the 1970’s, the television show, All in the Family, was one of the most popular shows in the nation and a real cultural mainstay. One of the reasons for its enduring popularity (aside from great acting and interesting plot lines) was the fact that regardless of where you fell on the political spectrum, All in the Family offered a humorous portrayal of the generational divide. The show’s creators (and many viewers) felt that the show clearly illustrated Archie Bunker’s bigotry and was therefore critical, rather than condoning, of his prejudices. In reality, studies actually showed otherwise. In, True Enough, Farhad Manjoo points out a study that showed that bigots and non-bigots each found the show equally humorous but that they also, “harbored very different ideas about what was happening in the show.” The psychologists Neil Vidmar and Milton Rokeach, who conducted this study, found that people of low prejudice saw Archie Bunker as closed minded and a bigot, whereas people of high prejudice saw Archie Bunker as, “down-to-earth, honest, hardworking, predictable and kind enough to let his daughter and son in law live with him.”

Like most women whose hopes and passions reside in this business of the written word, my friend and fellow Nervous Breakdown contributor Arielle Bernstein and I have been following Franzen-gate with interest. In chat after chat, we wondered if this was merely sour grapes on the part of Jodi Picoult and Jennifer Weiner, if their criticism of gender-bias within the “literary establishment” (as represented by The New York Times) would’ve had greater heft had it come from a woman whose talents might be considered more on par with Mr. Franzen’s (like, say, Mary Gaitskill, Marilynne Robinson, or Jhumpa Lahiri). We had no real answers, but our questions lead us down the rabbit hole of gender parity in popular media.

When I was little, my parents and I would watch television together. Usually, our TV diet consisted of evening news, Jeopardy! at 7:30, and  if I was lucky  an 8pm show like MacGuyver or Full House. But for a few nights in September of 1990, my parents let me stay up a little bit later than usual to watch something entirely different: a PBS documentary about the Civil War.

“You don’t know the history of psychiatry,” Tom Cruise famously told Matt Lauer.“I do.”

“I want to be the face of depression,” Delta Burke once said.

“This is the new AIDS anthem,” Liza Minnelli proclaimed before singing a song no one ever heard again.

Last week was a momentous one for television. There were the Oscars (most of which I missed). There was the birth of The Office baby (the birth of a baby being the second in the three stages of impending sitcom apocalypse).  And we can’t forget the premiere of Jerry Seinfeld’s Marriage Ref, in which real-life married couples receive advice from such marriage stalwarts as Alec “Thoughtless Little Pig” Baldwin and Madonna “Crazy Arms” Ciccone.

But the real momentous event for me was the 100th episode of Ghost Hunters.