SYNOPSIS: From Martin Scorsese, Mick Jagger and Terence Winter, this new 10-episode drama series is set in 1970s New York. A ride through the sex- and drug-addled music business at the dawn of punk, disco, and hip-hop, the show is seen through the eyes of a record label president, Richie Finestra, played by Bobby Cannavale, who is trying to save his company and his soul without destroying everyone in his path.
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It tends to be the norm that, when recreating the life of a legend in biopic form, the rendering comes out all wrong. This is not exactly the case with 1994’s Madonna: Innocence Lost, a TV movie that aired on Fox and emphasized the early beginnings of the singer’s (portrayed by Terumi Matthews) career. Its largely accurate, if not highly stylized, interpretation of Madonna’s hand-to-mouth existence as a ragamuffin of the downtown New York scene from 1980 to 1983 possesses the sort of terribleness you would expect of a TV movie—but it’s the kind of trash diet that leaves you feeling fulfilled, somehow.
The new trailer for The X-Files revival premiered last night during Gotham and it ticked off plenty of boxes for X-philes. Mulder, Scully, and Skinner reunited? Check. The iconic “I Want to Believe” poster? Check. A huge government conspiracy looming over everything? Check. The return of the Cigarette Smoking Man? Check. The X-Files is back in a big way and “the truth is still out there”.
Change is inevitable. It is everywhere and in everything. But some change is more foreboding, more catastrophic: the loss of a loved one, a divorce, and major injury.
To the characters in Marvel’s Agents of S.H.I.E.L.D, those very human changes mean perhaps just as much as they do to any fictional character, but as Marvel’s Inhumans expose their powers and their capabilities, change will be much more challenging, at the personal level, for those evolving into some other form of human; it will also mean enormous change for those still constrained by their traditional humanity.
NBC has a habit of trying the same idea over and over again. Two years ago, the television network used their popular singing competition, The Voice as the lead into a high-concept crime espionage drama The Blacklist. This concept worked well enough for the network to try a similar series: Blindspot. As in The Blacklist, a person with a great deal of information surrenders to or is found out by the government. That person make reference to an agent (out of the blue) to work with, thus beginning a series of adventures in which the agent and the person with info solve crimes and capture bad guys.
In both cases, neither drama stands up to critical examination: plot holes, insane coincidences, and conveniences saturate the scripts. The big question is: will Blindspot be able to have the same draw as The Blacklist? At this point, it is too early to tell. There are a few differences between the shows that merit notation.