George Edergly Harris III in Heaven have we ignored the legacy of the 1960s? If global catastrophes like the wars in Iraq and Afghanistan, the recent BP Oil Spill, and the depletion of the Arctic ice pack have not demonstrated how deeply we have misunderstood the ideology of flower power, then a quick peek at your weekly Travel Channel and Food Network programming guides should accomplish that in an instant.
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The BBC’s three part series Sherlock embeds Sherlock Holmes and Dr. John Watson firmly within the London of 2010. This Holmes and Watson are not relics of the British Empire but thoroughly modern men thriving in our fast-paced, modern world. They have the contemporary tools of texting, GPS, email, the Internet, PDAs and, of course, forensic science at their fingertips, but it is how Sherlock uses these tools that continues to set him apart as the world’s only “consulting detective”.
I was inspired to write this article by fellow PopMatters blogger, Andy Johnson, who mentioned in his article the large number of negative complaints that BBC crime drama Luther has pulled from national publications such as the Radio Times. It has been accused of misogyny of the first level—the consistent brutalization of women onscreen. Admittedly, Luther has done something to deserve this title; the third episode of its six-episode run featured a woman held captive in a freezer by a sadistic Satanist, and her sustained physical and psychological torture was graphically shown.
I’m responding to the consistent “How could you do this to women?” air of such complaints. Yes, Luther showed horrific violence perpetuated by men upon women, as have shows like Wire in Blood before it. Yet there has been very little mention of the almost feminist bias shown by both Luther and other television shows.
Ever since NYPD Blue went off the air in 2005, ABC has been trying to replicate its success. Ranging from the 13-episode flop Blind Justice to the recently canceled The Unusuals, the network has been trying one cop show after another in its search for a hit. Now NBC may have unexpectedly found it.
Canadian police drama Rookie Blue had only aired four episodes before ABC announced that its picking it up for a second season. While 6.4 million viewers is usually nothing to cheer about, it’s special for a show with relatively little promotion, nowadays. ABC’s heavily hyped original dramas The Gates and Scoundrels have been languishing in its Sunday night summer spots, while Rookie Blue is the highest rated non-reality, non-repeat show on network TV that isn’t a news program or a sporting event. Again, this doesn’t sound like a big deal, but it is.
I’m going to part ways with the general consensus that the judges on FOX’s So You Think You Can Dance offer the contestants inane feedback on their performances. Of course, the judges on FOX’s So You Think You Can Dance do offer the contestants inane feedback on their performances—shrieks about Hot Tamale Trains, endorsements of “buck”ness, general confusion about each dancer’s identity. However, if the show’s seventh season has proven nothing else, it’s that the judges can offer commentary that is straightforward—and potentially racist, sexist, and homophobic.
I began writing this entry on the afternoon of 28 July, hours before the next installment of So You Think You Can Dance’s seventh season was set to air, and when I was still reeling from the 21 July episode, during which the judges, once again, sliced into Jose Ruiz for being untrained and, according to Mia Michaels, too human. Lauren Froderman, on the other hand, received credit from Nigel Lythgoe, after Adam Shankman remembered who she was, for giving a “sick” performance; later, she “shot her partner with her butt”.
// Notes from the Road
"Cage the Elephant rocked two sold-out nights at Summerstage and return to NYC for a free show May 29th. Info on that and a preview of the full Summerstage schedule is here.READ the article