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by Lynnette Porter

3 Dec 2010

In the past year, several Sherlocks have arrived on the scene, most notably Robert Downey Jr.’s action hero and the BBC’s sociopathic sleuth, played by Benedict Cumberbatch, who recently made his way to the US via PBS.  If the current flavor isn’t to one’s taste, other varieties are readily available. Sherlocks have trod the boards in London, entertained crowds at fringe festivals, and taken on a dinosaur on “mockbuster” Asylum’s DVD.

Although fascination with Sir Arthur Conan Doyle’s brilliant creation seems to be more fashionable than ever, the way Sherlock is portrayed says as much about today’s audiences as about this timeless character. In an age when opinion, rather than objective analysis of fact, seems to permeate everything online or onscreen, from supposedly hardcore journalism to reality-based entertainment, a character who dispassionately analyzes evidence and deduces logical conclusions is a welcome change. The latest incarnation, called Sherlock, certainly provides a way of looking at the world far differently than through the emotional filters and ratings-grabbing sensationalism bombarding viewers 24/7. This Sherlock is more single-mindedly focused than the most dedicated member of CSI, and deftly solves the requisite mystery, but Sherlock, more than the typical whodunit, gives viewers more to figure out.

by Nathan Pensky

24 Nov 2010

The 1990-93 British television production of Jeeves and Wooster has a special kind of historical and formal unity. The show starred Hugh Laurie and Stephen Fry, was compiled and adapted from P.G. Wodehouse’s stories about the 1930s London socialite, Bertie Wooster, and his all-knowing valet, Jeeves. Wodehouse’s “Jeeves stories”, much like the serialized novels of Charles Dickens and Sir Arthur Conan Doyle, have a narrative zing seemingly tailor-made for the television format. While they may not have actually inspired how radio and television took shape, they certainly seem like they did, with their episodic form, their light-hearted comedy, their circumstantial conflicts that right themselves with only minimal effort.

by Victor P. Corona

19 Nov 2010

Last week, Dr. Phil welcomed Kelly Cutrone, the habitually black-clad leader of People’s Revolution, the Manhattan-based public relations firm. Cutrone first entered the pop culture universe through appearances on MTV’s The Hills and as a mentor to Whitney Port on The City. Her own show on Bravo, Kell on Earth, featured Cutrone working with her People’s Revolution partners and clients and dealing with favor-seekers and clumsy interns. Through the brutally frank demeanor she displayed on these shows, Cutrone built a fiercely loyal following of young fans hoping to break into the fashion and public relations industries.

On his show, Dr. Phil invited Cutrone to confront two severely mollycoddled young women whose lavish lifestyles were bankrolled by their doting parents. The women’s delusions of impending stardom (one wears a golden tiara as an everyday accessory) were the most extreme examples of young people hoping to be lifted into the next wave of reality TV fame. After the showed aired, Cutrone notified her 92,000 Twitter followers that she had signed on to become a correspondent for Dr. Phil’s show, thereby infusing daytime television with her own brand of “truth-telling”, as an admiring Dr. Phil described her candor.

by Melissa Crawley

18 Nov 2010

The fourth season of The Millionaire Matchmaker, takes Patti Stanger and her matchmaking assistants from Los Angeles to New York City. While the location has changed, not much else has. There are still millionaires looking for love and awkward on-camera attempts at romance. Patti continues her firing squad approach to the line-up of potential dates for her millionaires, verbally shooting down men and women who don’t meet her grooming standards. They’re too tall, too short, too hairy, too bald, too fat, too frumpy. Patti is the dating dictator which makes the show less about unraveling the mysteries of finding your perfect match and more about Patti herself. In every episode Patti yells, scolds, grumbles or whines. For a woman who is supposed to be all about love, Patti is one stressed cupid.

by Maysa Hattab

16 Nov 2010

Gird your loins once more, ladies and gents – after a glut of vampires and werewolves, for something to really get the blood pumping as the winter nights draw in. Or not.

Instead, we’ve a soapy drama with an empty, meaningless title using a well-known idiom - the BBC drama department convention which refuses to die. Lately, Lip Service, which follows a group of gay Glaswegians, the city depicted as a stylish neon metropolis, rather than the usual grimy urban hell. Despite the vaguely sexy word-association, Lip Service is that surprisingly ubiquitous creature; a series obsessed with sex that is hopelessly devoid of the erotic.

//Mixed media

Indie Horror Month 2016: 'Downfall' Explores Depression, Bulimia, and Suicide through Horror

// Moving Pixels

"Downfall finds horror in helpfulness.

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