January 21, 2012

If Jane Weinstock’s 2003 romantic comedy Easy had been made for a Hollywood studio, with attendant bigger budget and presumably bigger stars, I probably would have praised it as a noble failure.  Sure, it is not a good film, but in those circumstances, it would certainly be trying to do something interesting in that blandest and most uninspired of genres.  Unfortunately, Easy is a low-budget indie that should understand the trade-off between having no budget is having no market expectations, freeing the filmmaker to break the mold of the everyday genre fare and explore the possibilities it offers in elucidating the travails of romance in modern society.  The fact that it was written and directed by a woman, something that still happens all-to-rarely, only makes it worse.  Read the rest of this entry »

With the rebirth of scripted television and the rise of original cable programming came the need for networks to establish an identity to rope in new viewers.  Gone were the days of four broadcast networks wheeling out their new shows over the course of a month and people picking and choosing; original programming is now year-round and there are a lot more outlets to choose from.  As such, cable networks have developed brand identities in the hopes of building a core audience of faithful viewers who are always willing to check out their new shows because they have certain expectations.  FX is largely male-oriented and ‘edgy’, HBO is high-quality content for the discerning viewer, USA is light entertainments, and TNT hews closer to broadcast drama procedurals.  AMC has been in the original series game for five years now, and off the back of Mad Men and Breaking Bad, they’ve gained enough critical acclaim (and the awards that go with it) to see themselves as the only true rival for HBO’s high-quality crown.  The idea, I think, is to not have any particular genre niche to cater to, but rather to create and maintain a stock of exceptionally good shows that anybody who likes good TV can tune into and enjoy.  Their biggest hit to date, The Walking Dead, complicates this, of course, as it is a fairly mediocre show that doesn’t transcend its zombie trappings at all, but like HBO and True Blood, AMC won’t complain about a hugely successful money maker.  The Killing, based on the acclaimed Danish series Forbrydelsen, on the other hand, is clearly attempting to rise above its crime genre roots and become The Next Great Thing.  At that it fails miserably, but for reasons that go beyond simple execution.  Read the rest of this entry »