A Hooplehead Reunion

The first half-dozen years or so of the 21st century saw some of the strongest arguments that a Golden Age of Television had arrived. Many of those were produced by HBO, from the New Jersey mobscapades of The Sopranos to the sprawling social canvas of The Wire. While it was cancelled after three season, the Western series Deadwood stands tall among the standouts of that time. Even thirteen years after its cancellation, it’s difficult to find a series as accomplished, with an ensemble cast as strong, and with writing as distinct.

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Seeing, being seen

When They See Us, the Netflix limited series directed and co-written by Ava DuVernay, is about the Central Park Five, the five kids, African American and Latino, who in 1989 were accused of assault and rape and sentenced to maximum terms based on nothing more than coerced false confessions, when they hadn’t been anywhere near the scene of crime. The series is about racism and about a legal system designed not to find the guilty but to fabricate them. It is about how a deeply broken system failed the five accused. In telling a story about the late ’80s and early ’90s, it is also very much about present-day America and about how the system is still just as corrupt in many ways. The law may be many things, but if you’re black, don’t expect it to be just.

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A Damn Fine Cup of Culture Podcast #25: Psychopaths (2)

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Sometimes they come back: since our last episode, where we discussed black and white movie psychopaths, couldn’t contain all the cinematic psychoses, we’re dedicating a second episode to our favourite psycho killers. Starting from the question what we consider the archetypical pop culture psychopaths, our three intrepid pop culture baristas embark on a journey, beginning with the capo of New Jersey from HBO’s The Sopranos. Is Tony Soprano a narcissistic psychopath or does he really care about those ducks? We then move on to ’60s and ’70s San Francisco and gaze into the absence at the centre of David Fincher’s Zodiac, before the episode finally ends on American Psycho and the dark, cold, empty heart of Wall Street psychopathy.

If you haven’t already done so, make sure to check out episode 24, where we talked about movie psychopaths and psychopath movies, from Night of the Hunter via Fritz Lang’s M to the psycho granddaddy of them all: Norman Bates and Alfred Hitchcock’s Psycho.

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Don’t they know it’s the end of the world?

In an instant, they were gone. Family, friends, lovers. You turned around for one moment, and when you turned back they were gone. Where? Why? Who knows. How to go on? Who knows. And how can you ever hold on to anyone again if you don’t know whether it might happen again?

No, I’m not talking about the Snap. (We’ve done enough of that elsewhere.) I’m not talking about the Rapture either, not quite. What I am talking about is one of the strangest, saddest, most infuriating, most hopeless, most hopeful stories I’ve seen, on TV or elsewhere: The Leftovers.

The Leftovers

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… to miss Treme

I have never been to New Orleans, and while I would like to go there, it is unlikely I’ll be traveling to the United States in the next couple of years. As a result, I cannot even begin to say whether Treme, David Simon’s four-season HBO series, delivered an accurate depiction of the city. More than that, I’m definitely not entitled to claiming that I care about New Orleans based on having watched a TV series. But I can say that I have come to love the series’ version of New Orleans – and that’s due in no small part to Simon’s unique brand of storytelling.

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Exit, pursued by a spy

It is strange that while there are various great John Le Carré films – such as The Spy Who Came in from the Cold (1965), A Most Wanted Man (2014, one of Philip Seymour Hoffman’s final films) and of course Tinker Tailor Soldier Spy (2011) – the author’s novels may be better suited to the longer format of the TV miniseries. Their stories benefit from being given the space to breathe, and their characters, especially those in the spy trade, could usually not be more different from the more cinematic likes of James Bond or Ethan Hunt. They are more likely to sit over a set of letters, recordings, photos or other documents for hours than to kill the villain, foil their plans and bed the lady.

They are also more likely to end up betraying those they care about most.

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A Damn Fine Cup of Culture Podcast #20: Michael Clayton

d1ad56da-abce-4afe-9f45-79294aede9e3Join us for an early spring podcast where we go and look at the pretty horses with Michael Clayton, a 21st century take on ’70s thrillers, and talk about George Clooney without ever mentioning Return of the Killer Tomatoes! even once. Julie also takes us to Santa Barbara County for Finding Neverland, and we look in on Phoebe Waller-Bridge’s recent activities, as Mege talks about the second season of comedy-drama Fleabag and Matt hints at a bit of a fanboy crush on Sandra Oh in Killing Eve.

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Fear eats the soul: AMC’s The Terror (2018)

Inside the vessel, below deck, too many men, too close. Sweat and grime and noise – but even then, you’re too cold and have been for months and months. The food is bad and the days monotonous. Outside, blinding whiteness and the unreal beauty of the Northern Lights. Also, a creature with an uncanny knack of attacking when it is smartest and doing the most damage. Last time, it was your mate to the left that was killed; next time, it might be you. Will you ever make it back home, or is the best you can hope for a quick, clean death?

The Terror

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The Rear-View Mirror: The A-Team (1983)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

The A-Team

In 1984, when they visited The Netherlands, they were received like superstars. Dwight “Howling Mad Murdoch” Schultz, Dirk “Face” Benedict and Laurence “B.A. Baracus” Tureaud (a.k.a. Mr. T). The A-Team (Cue theme). They even met our Queen. George “Hannibal” Peppard was absent. According to Schultz and Benedict, because he considered himself too big of a star (he had, after all, been in the classic Breakfast at Tiffany’s, opposite Audrey Hepburn). Continue reading