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.
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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.
Gok Wan knows good body shapers and isn’t afraid to share. As the host of the UK version of How to Look Good Naked, Wan uses both fashion consultations and mini therapy sessions to teach women how to love what nature gave them. The series, which recently finished its sixth season on Channel 4, is a makeover show but wants to be a life-changing therapy session. This identity crisis reflects reality television’s love affair with therapeutic discourse, but does a disservice to why this show really works. It’s not Wan’s body image counseling that makes his guest feel great at the end of the hour. Rather, it’s his role as best friend.
Over the years, America has “borrowed” many television ideas from the Brits. The UK has have given the US hits like The Office and Dancing With the Stars and some that got lost in translation, like Coupling. Unfortunately, I believe the latest import will fall into the latter category.
For a show that centers around youths coming of age in South England, Skins has developed a cult following stateside, a cult following that is none too happy about the news MTV is reworking the show to create an American version of Skins.
Since roughly the midpoint of its first season, Glee has been a train wreck. Which means that despite the show’s endless onslaught of WTF moments—like when Rachel and her estranged mother bond, love glue gunning all over the place, during a bizarre take on Lady Gaga’s “Poker Face”—I have not been able to tear my eyes from it.
For a while, I’ve been trying to pinpoint exactly why the derailment happened. Mostly, my concerns have been about Glee’s slow transformation from a smart send-up of the High School Musical films (and teen dramas more generally) into a heavy-handed, humorless public service announcement. I held off on passing judgment on that transformation because the show did, once upon a time, seem innovative in its attempts to explore topics like physical disability, queerness, and interracial teen relationships. Excepting the wheelchair stunt double kerfuffle, Glee’s writers exposed those issues with equal amounts of satire and sincerity.
// Sound Affects
"On the elusive yet clearly existential sadness that adds layers and textures to music.READ the article