Talking Movies

July 20, 2018

Any Other Business: Part XVII

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a seventeenth portmanteau post on television of course!

 

Sorry seems to be the hardest word for Facebook

I had been thinking about commenting on Facebook’s current TV spots on British television, and then Channel 4’s Dispatches came along and disquietingly lifted the lid on the people who work for Facebook but don’t work for Facebook in Dublin. Ah, the joy of outsourcing. It’s always someone else’s fault that the high standards Facebook expects are not being upheld. Not that we’re ever told what those high standards are precisely. And nothing bad that happens is ever wrong, certainly never criminal, it’s always, well, let’s listen to the TV spot Facebook is using in Britain to try and reassure people that Brexit may have been the result of Facebook but not to worry, soon your newsfeed will be full of only cute kittens again – take it away maestro, “We didn’t come here for click-bait, spam, fake news, and data misuse. That’s not okay.” Well, that is profound. I guess if Mark Zuckerberg, whose non-apology apology to Congress came in for some stick hereabouts previously, can go so far as to admit that enabling Brexit and Trump was ‘not okay’ then we can all meet him half-way and forgive him for letting it happen, and evading responsibility. The best way to protect your privacy is not to change settings on Facebook it’s to not use social media at all. And if Facebook is really intended just to ‘connect people’ rather than say data-mine the f*** out of the world’s population for psychometrics in the service of personalised advertising then there’s one really simple way to prove it. Change it to Facebook.org

xkcd by Randall Munroe, where would our collective sanity be without it?

 

I can’t believe it’s not The Unit

I can’t remember the last time I had such a double-take reaction to a TV show as watching SEAL Team. The adventures of a band of brothers in the American military who fly about the world causing mayhem, when not dealing with domestic dramas at home. This simply was a remake of David Mamet’s The Unit, they even hired Mr Grey (Michael Irby) from The Unit to play their ‘been there done that’ character putting the hopefuls thru their paces before they can ascend to the godlike status of a Tier 1 Operator. There were touches that distinguished it from Mamet’s creation to be sure, but mostly that was a layer of SJW-babble; centred around the character of Alona Tal’s English PhD student and would-be girlfriend of would-be Tier 1 Operator Max Thieriot; and it was never entirely clear whether this was being satirical of SJW-babble or just thinking it needed to be there to represent America as it is right now. But mostly this was The Unit, with different actors, led by David Boreanaz taking over the Dennis Haysbert role. And then creator Benjamin Cavell, late of Justified, threw the mother of all structural spit-balls at the viewer. The characters just upped and left to Afghanistan for deployment, a regular occurrence, but one brought forward on this occasion because of the complete destruction of their predecessors Seal Team Echo. All the domestic dramas at home gone, apart from two Skype scenes in six episodes so far of this investigative arc into who ordered the hit on Echo which has replaced the mission by mission of the earlier standalone American episodes whose only arc was Thieriot’s training to join the team. I’m not sure I was prepared for such formalist experimentation on CBS.

“That’s some editing”

Editing the punch-lines out of jokes first annoyed me a few years ago when Willem Dafoe was voicing the Birdseye Bear. A peerless advert saw him set the scene for a romantic dinner for his hapless owner, only to be told to hop it as the no longer frozen food arrived at the impeccably mood-music’d and mood-light’d table. The bear turned straight to camera to register his astonishment, and was then found sitting outside the house muttering “There’s gratitude for ya!” But then the advert started to get edited more and more severely, and the punch-line was thrown out. Who does that? What buffoon makes these decisions? Let’s edit for time, and throw away the jokes that are the point of the seconds we’ve kept that are now pointless. James Corden’s current advert has been cut to the point of sheer gibberish. The three encounters with three fly-by-night mechanic brothers, who bore a passing resemblance to Donald Trump, and left Corden sad and depressed entering Vegas with bugger all money after their antics and then elated when he left with loadsamoney have been reduced to a decontextualised idiotic mishmash. What exactly was the purpose of this editing?

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