Posts Tagged ‘Life on Mars’

TV on DVD: “Life on Mars: The Complete Series”

lomuscoverLife on Mars: The Complete Series (2009, ABC Studios/Buena Vista)
purchase from Amazon: DVD

Being a fan of the original BBC version of Life on Mars, I was leery of the ABC version when it premiered last fall. I loved the original show, an intriguing amalgam of science fiction and ’70s era cop shows. With great stories and a fantastic cast, I was worried — very, very worried — that once ABC got their hands on it they would fuck it up.

However, show producers Josh Appelbaum, Andre Nemec and Scott Rosenberg were big fans of the BBC show, as well, and set out to maintain the mystery, tragedy and fun of the original. Looking back on the entire series contained in this box set, I’m happy to say that they met the challenge.

Jason O’Mara stars as Sam Tyler, a New York detective in 2008 who gets hit by a car and knocked unconscious. When he comes to, Tyler is blown away to discover that he’s awoken in the year 1973. Has he been shot back in time? Is he in a coma? The only way he can get to the bottom of his predicament is to explore his surroundings and look for clues on how he can get back to 2008, where he belongs. Tyler finds his way to the 125 precinct and is immediately met by Lt. Gene Hunt (Harvey Keitel), a ball-busting, whiskey-drinking commander who plays by his own rules. Tyler is amazed that he’s been expected as the new detective arriving to work in the 125. His presence causes a stir in the squad room. Detective Ray Carling (a long-haired, mustached Michael Imperioli) hates him; junior detective Chris Skelton (Jonathan Murphy) looks up to him, and uniformed policewoman Annie Norris (Gretchen Moll) is attracted to him. Tyler could give a shit about any of their feelings because he just wants to get home. Yet as the series progresses and he gets to know these people, figments of his mind or not, he begins to care for them. (more…)

21st Century Digital Boy: Adapt, Migrate, or Die — “ER,” “Guiding Light,” and “Life on Mars”

450guidinglightprint20051After 15 big red-letter seasons, NBC’s ER came to an end on Thursday night, earning its largest audience in nearly three years—some 16.2 million viewers, according to Nielsen estimates. This audience represents the largest showing for a dramatic series finale since CBS’s Murder, She Wrote ended back in 1996.

The two-hour finale of the long-running, ensemble medical drama was informed by the real-life tragedy of Shelby Lyn Allen, a 17-year-old Redding, California, native who died of alcohol poisoning in December.

I won’t spoil the details (mainly because NBC continues to repeat the finale for those who missed it), but suffice it to say it capped the end of an era in more ways than one. Dr. Carter (Noah Wyle) opening his brand-new medical facility in Chicago for the less fortunate was the new beginning at the end of ER; the question is, where might a Wyle-anchored spin-off end up in this day and age, if at all?

ER’s finale wasn’t just the end of an era for the Peacock’s 10 PM drama slot, which surrenders to Jay Leno’s new weeknight prime-time show in the fall. It also appears to be the front end of a trend to come: where more high-impact network dramas adapt to new delivery methods, migrate to cable, or die on the vine for affordability reasons.

That “adapt, migrate, or die” thought was an interesting one to ponder in the context of television. That’s how ecologists describe options for a species when a “forcing function” like climate change is looming . It’s a perfect parallel for TV in the 21st century: programming decisions are increasingly met by forcing function(s) like the down economy, rising production costs, varying delivery technologies, wider battles for smaller audiences and so on.

How else can one explain the end of Guiding Light—the longest running show in broadcasting history— which will cancel on CBS after a monumental run? The archetypical “soap opera” was a staple for Procter & Gamble to “peddle” household cleaning products and sundries to women. P&G’s people are changing with the times; they’re thinking about web portal content with original digital material to connect with increasingly wired homes (and moms). They’re certainly not the only ones.

And lastly, speaking of digital, the brain robots in the second-to-last Life on Mars (ABC) really had me thrown—especially when yours truly had it figured as the last episode. Serves me right for paying more attention to my NCAA brackets than the TV guide lately. Or perhaps I was having my own weird, asteroid-interrupted dream involving Mackenzie Phillips and Valerie Bertinelli. I know, TMI.

Ahem. Anyway, I never had Mars pegged for a sci-fi, 2001:A Space Odyssey-meets-Mission to Mars that it revealed itself to be. It all made me wish this freshman show had carried on. I didn’t figure Gene was Sam’s dad or that they had all been asleep during a two-year Mars mission. I couldn’t have imagined that what we were following were “neurological simulations” that were warped by faulty tech after an asteroid shower.

The only thing missing? The HAL-9000.

One thing is certain after this week: none of us are going to wake up to television like in 1973 (or 1975, to honor my One Day at a Time daydream) anytime soon.

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The Three Strike Rule: And Now, a Word from Our Sponsor

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Last week I read an article in the L.A. Times’ business section that detailed how Americans are watching television at an all-time high these days. To quote Alana Semuels’ piece, “The Nielsen Co.’s ‘Three Screen Report’ — referring to televisions, computers and cell phones — for the fourth quarter said the average American now watches more than 151 hours of TV a month. That’s about five hours a day…up 3.6% from the 145 or so hours Americans reportedly watched in the same period last year.” The article also goes on to state the obvious that in these harsh economic times, adults and their families are more likely to stay at home than go out to dinner and to the movies, both expensive endeavors. I mean, when you could easily drop $60 on a family of four at the cineplex vs. watching a movie or program on TV and cooking dinner, which would you choose? This all makes sense, but I think it goes a little deeper than just spending as to why people are watching so much television.

This weekend, as I was preparing to write this week’s article on Lie to Me (Fox’s newest hit) or Ashes to Ashes (the BBC’s spin-off of Life on Mars) I walked through the bedroom and saw my wife watching a repeat of America’s Next Top Model on Oxygen. The expression on her face made me stop. She didn’t seem all that consumed by the show; instead, she seemed dazed, as if escaping for a couple of minutes before having to drive off to the laundromat. It was a hell of a weekend, primarily because we put one of our cats to sleep. It’s not just the cat, though; our lives since last year have been pretty stressful. We have home repairs that have been placed on the back burner (including plumbing work, hence the laundromat), bills piling up, and (obviously) we have our son’s health, which occupies much of our thoughts. When I came upon my wife and saw that expression on her face, I knew it well, because I’ve had it many times myself.

I don’t think it’s just about spending money or about having more options in our television viewing habits that is making so many people watch TV. I believe it’s the chance to escape, even if it’s just an hour a day, from the daily barrage of bad news you see in the newspapers, on the Internet, and yes, on television. I can’t tell you how many times I’ve found myself curled in a ball trying to forget those worries that seem to follow me around nearly all day. At 9:00 PM on a Monday night, when I want to forget, you better believe I’m going to watch something pointless and funny like Two and a Half Men or How I Met Your Mother. And when I want to really get away, what better place to escape to than an island trapped in a time loop, like in Lost?

For my wife, it’s drawing inspiration from the contestants on The Biggest Loser, or the doctors on Deliver Me, that offers her some quality time away from the daily stress. Television has become comfort food for the brain, especially in these trying times. Some television is thick and fills your belly like a good stew, some of it is completely bad for you, but oh it tastes so good going down, and occasionally there is some television that actually nourishes you in your time of need. Until the country comes out of this recession and people find the means and/or the enthusiasm to go to the mall or to the ballpark again, television viewing is going to continue to rise.

What do you think?

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The Three Strike Rule: Year-End Rants by Scott and Shaun

Well hey there. In case you didn’t know, this is the last week of The Three Strike Rule until the new year. Hey, don’t get mad at me, take it up with the Editor in Chief. Anyway, it’s been a pleasure writing about the boob tube over the coarse of the year; we’ve had some fun. To wrap things up, my compadre, Shaun Hamid, has joined me in giving you our two cents’ worth what 2007 brought us in television. Until next year, aloha.

BEST SHOW

Scott: Friday Night Lights (NBC/DirecTV) The small-town football series’ 2nd season ended on a high note last winter as we watched it regain its form after stumbling with a soap opera-ish murder plot. Still, NBC ran the final episodes with little fanfare, despite the fact that there was little original programming on the air due to the writers’ strike. The network redeemed itself by striking a deal with DirecTV to co-produce a third season. Since October, the satellite provider has been airing these new episodes and come January, those same episodes will air on the peacock network.

The third season has been everything fans of the show love, in particular the study of a working marriage between two of the finest actors on television, Kyle Chandler and Connie Britton as Coach and Mrs./Principal Taylor. They are the heart of the show. If you haven’t watched this show yet, what the hell is your problem? More than any other series on TV, FNL approaches each week with intelligence, humor and heart. At a time when the country is in turmoil, here is a quality show that taps into everything that is great about the America and reminds us of what we can be. Procedurals and medical dramas are a dime a dozen, and aren’t we all bored to shit with the woes of filthy rich people? I said it back in January, and now I’ll repeat myself: WATCH THIS SHOW!

Shaun: Mad Men (AMC) In spite of the remarkable amount of attention this show has gotten critically and awards-wise, it still feels unheralded to me. This show consistently elevates itself above much other dramatic fare. No network, NBC to HBO, has a show nearing its quality and innovation currently. While it can be irritating in its few failures, I think that is a testament to a show that a viewer expects so much from. If you have not seen this show yet, and judging by the ratings that may be a good bet, take the leap. It would be unfortunate for it to meet the fate of another similar luminary in another genre: Arrested Development.

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The Three Strike Rule: “Life on Mars”

Shaun Hamid is back tossing his voice into the TV arena with me.  We hope that in the coming weeks you, our readers, will help continue our conversations about television as art and entertainment.

Shaun: The U.S. version of the BBC cult show, Life on Mars, has arrived after much tooling on ABC (Thursdays, 10 PM).  For its premiere it received a rather strong response, but it has been losing its audience in the intervening weeks.  Considering the ambitious nature of the series, and its potential, one can only hope that ABC is patient enough to see if it can find its own identity.

The premise of Life on Mars is that present day NYPD Detective Sam Tyler, played by Jason O’Mara, is hit by a car while investigating a case.  When he wakes up, he is in 1973 New York.  He is not sure if this is some elaborate hallucination or the afterlife.

Occasionally, he hears the sounds of a hospital room in his head, leading the Sam (and the audience) to believe he is in a coma or similar state in 2008.  However, the 1973 world he inhabits is so vivid that it is hard to really know which world Sam knows is actually more real.  In 1973, Sam is still a cop, and he works out of a precinct which is ruled by Lieutenant Gene Hunt (played by Harvey Keitel), with his two main men Detective Ray Carling (Michael Imperioli) and Detective Chris Skelton (Jonathan Murphy).

Sam’s intrusion with his 30 years of advanced political correctness and procedural adherence is not met kindly by the gut-instinct approach of Hunt.  Sam would otherwise go crazy, if he is not already, were it not for the calming force of Officer Annie Norris (an understated Gretchen Mol).  Gene and Sam stand at odds, but in the end they both basically want to do the right thing.  How Sam finds his way to live in this archaic world or manages his way home is what invests you in the series.It’s difficult to not compare this version with the original. Indeed, it is obvious that the minds behind the U.S. version (producers Josh Appelbaum, Andre Nemec and Scott Rosenberg) are very aware of the shadow that it casts. (more…)