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by Melissa Crawley

20 Oct 2010


It might be dangerous for ratings to divide the first season of a serialized drama in half but if Caprica’s part-two season opener, Unvanquished, is anything to go by, it’s even more dangerous to combine virtual technology and religious fundamentalism. While part one established the series’ conflict between science and faith, part two complicates the fight by exploring the far more frightening idea of what happens when technology and faith start to work together.

We rejoin the action with Soldiers of the One (STO) member Sister Clarice (Polly Walker) who designs an explosive plan to bring the masses “apotheosis” through a virtual heaven filled with avatars of the One God martyrs. Her plan to bolster the faith through an artificial afterlife finds a counterpart in Daniel Graystone’s (Eric Stoltz) equally disturbing scheme to conquer grief by creating digital avatars of the deceased with whom the living can interact. Graystone however, cannot implement his plan alone and his Faustian deal with the Tauron criminal underworld suggests that his troubles are only beginning.

by Sean Murphy

19 Oct 2010


I don’t know about calling her “America’s mom”, as I’m sure many obituaries will claim, but she was inarguably the “sitcom mom”.

It’s funny. My peers and I (born around 1970) were, obviously, not alive in the ‘50s, but that earlier era loomed large for us. Let me explain: the people who raised us did live in that time, and they were invariably informed by the mores and cultural imperatives of that era. As such, many of our parents were either inculcating or reacting against the buttoned-down (repressed?), black-and-white (i.e., ‘white’) reality as shows like Leave It to Beaver portrayed. Hence, the hippie sensibility that at least had a fighting chance for a few years before the door slammed shut in the back-to-the-future adventure of the Reagan years.

by Jacob Adams

15 Oct 2010


““America this is the impression I get from looking at my television set.
America is this correct?”
—Allen Ginsberg, “America” (1956)

AMC’s critical darling Mad Men depicts, with obsessive attention to visual and verbal detail, the early-‘60s, a precarious time in American history. On one hand, echoes of the purported suburban paradise of the late-‘50s, found more in the monochromatic world of Leave it to Beaver than in real life, resounded well into the ‘60s. On the other hand, hints of future tensions and radical change found their way into the “innocent” early part of the decade. 

Mad Men depicts the darker underbelly of America’s supposed age of innocence. In the show’s early episodes, it seems that Don Draper represents the ideal urban man of the epoch. He has an exciting, creative job in Midtown and returns each evening via commuter train to his attractive Westchester family.

by Lynnette Porter

13 Oct 2010


By the time Modern Family’s episode, “The Kiss” (broadcast Wednesday, 29 September), made Facebook fans happy, more than 13,160 had “Like”d the idea of “Cam & Mitchell, the adorable gay couple” finally showing a little onscreen PDA (Public Displays of Affection). The producers long insisted that the Facebook site had nothing to do with the already-planned kiss. Whether a concession to ardent fans or a previously planned second-season agenda item, the Kiss hardly lived up to its build-up, but then, what first kiss does?

Other TV series have had more memorable same-gender liplocks, often fraught with the burden of being television “firsts”. Modern Family made the kiss real: low key, sweet, and completely in character with Mitchell and Cam’s relationship. The at-home cuddle was far more intimate, but in an episode of kisses and misses, it’s good to finally see Cam and Mitchell connect.

by Melissa Crawley

11 Oct 2010


Benedict Cumberbatch as Sherlock Holmes and Martin Freeman as Doctor John Watson

Forget the clothes and the present day London sets, the sign that BBC One’s new series Sherlock, is not your mother’s Holmes is the mobile. More precisely, it’s the texts that the famous detective sends in the opening scenes of the first episode.

Faced with a series of suicides that appear related, the police are holding a press conference. While Inspector Lestrade (Rupert Graves) discusses theories on the case, the journalists’ phones begin to buzz and the word “wrong” appears several times across the screen as a sort of floating subtitle. Sherlock doesn’t like what he’s hearing and he’s embarrassing the cops, sms style.

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