Posts tagged ‘TV’


Remakes: Widows joins other Euston Films series

04.11.2018

I see British filmmaker Steve McQueen has remade Lynda La Plante’s Widows.
   I was younger than he was when it aired, and didn’t appreciate the storylines to the same extent, though I have recollections of it.
   What I did recall was a Smith and Jones sketch, which had a voiceover along these lines: ‘From the makers of The Sweeney and Minder, Eusless Films presents Widows: exactly the same, but with women in it.’
   The reality was that La Plante wrote Widows because she was unimpressed with how men wrote female parts in scripts (she was the actress Lynda Marchal, and I still remember a small role she had in The Professionals). It was actually ground-breaking. Verity Lambert produced.
   I hope McQueen does well with his remake, with Viola Davis, and the setting shifted to Chicago.
   I worry a bit given that Hollywood also remade Edge of Darkness or State of Play: pretty decent miniseries that weren’t as good when transplanted and turned into feature films, according to period reviews.
   I saw the former and while it was a pacy actioner, even as far as employing the same New Zealand director, Martin Campbell, it lacked the depth and suspense of the original; I daren’t even see the latter as the original remains one of my favourite miniseries and I don’t want to see it butchered, even if Scottish director Kevin Macdonald helmed it. It was a wave of American efforts to remake anything with John Simm and Philip Glenister.
   But tonight I did think about the other famous Euston Films series that were remade or reimagined.
   The Sweeney was remade but with the action still in South London. The 2012 version by Nick Love had a tight budget but plenty of violence, perhaps recapturing the grittiness that audiences would have felt when they first saw the Armchair Cinema special of Regan. Ray Winstone, who guested on the original, took the lead, and channelled Jack Regan well; Ben Drew (Plan B) had even more of a coldness and wild tension on screen as George Carter than Dennis Waterman did. It’s perhaps best known for a car chase involving the crew from Top Gear, who took the opportunity to build a sketch around it during production. It wasn’t as special as the original, and I didn’t rush to repeat the DVD. Reviewers didn’t like it, but in my opinion it ranks above Sweeney!, the first attempt to turn the TV series into a silver screen film but using the original cast. There, we saw countless acts of violence explained away at the end in one meeting with Thaw and Michael Latimer’s characters after a plot that seemed to build up a complex conspiracy. Sweeney 2, by Troy Kennedy Martin (the brother of the creator), was far tenser and the better effort, and it was fun to spot the Ford press fleet vehicles with the VHK prefix on the number plates.

   Minder never went to the big screen, but a remake, or sequel, appeared in 2009, with Shane Richie and Lex Shrapnel. I sat through the first, found it tolerable, and at least in the spirit of the original, but it always felt like an imitation trying to live up to its forebear, not something that carved its own direction. Many don’t seem to remember that Minder was created as a vehicle for Dennis Waterman, not George Cole, even if more and more scripts wound up focusing on the latter’s Arthur Daley, leading to Waterman quitting the series. The 2009 series’ première followed on from that later formula, whereas to me it always required the two stars being on par with each other.

   So, will the Americanized Widows follow suit? Will it be ‘exactly the same, but with women in it,’ or, with McQueen as talented as he is, will it be a solid retelling with the same sense of ambiguity at the conclusion as the original? I might have to see it because of McQueen and screenwriter Gillian Flynn, and McQueen says he has been a fan of the series since he saw it as a teenager. Even the original Dolly Rawlins (Ann Mitchell) has a cameo.
   Now, who’ll star in a new Van der Valk?

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Autocade hits 14,000,000 page views, and we start a YouTube channel

13.10.2018


Above: Behind the scenes of the Škoda Karoq road test for Autocade.

I hadn’t kept track of Autocade’s statistics for a while, and was pleasantly surprised to see it had crossed 14,000,000 page views (in fact, it’s on 14,140,072 at the time of writing). Using some basic mathematics, and assuming it hit 13,000,000 on May 20, it’s likely that the site reached the new million in late September.
   The site hadn’t been updated much over the last few months, with the last update of any note happening in early September. A few more models were added today.
   Since I’ve kept track of the traffic, here’s how that’s progressed:

March 2008: launch
April 2011: 1,000,000 (three years for first million)
March 2012: 2,000,000 (11 months for second million)
May 2013: 3,000,000 (14 months for third million)
January 2014: 4,000,000 (eight months for fourth million)
September 2014: 5,000,000 (eight months for fifth million)
May 2015: 6,000,000 (eight months for sixth million)
October 2015: 7,000,000 (five months for seventh million)
March 2016: 8,000,000 (five months for eighth million)
August 2016: 9,000,000 (five months for ninth million)
February 2017: 10,000,000 (six months for tenth million)
June 2017: 11,000,000 (four months for eleventh million)
January 2018: 12,000,000 (seven months for twelfth million)
May 2018: 13,000,000 (four months for thirteenth million)
September 2018: 14,000,000 (four months for fourteenth million)

   In May, the site was on 3,665 models; now it’s on 3,755.
   As the increase in models has been pretty small, there’s been a real growth in traffic, and it’s the third four-month million-view growth period since the site’s inception.
   We’re definitely putting in more crossovers and SUVs lately, and that’s almost a shame given how similar each one is.
   With my good friend Stuart Cowley, we’re extending Autocade into video segments, and here’s our first attempt. It’s not perfect, and we have spotted a few faults, but we hope to improve on things with the second one.

   If you’re interested, you can subscribe to the Autocade YouTube channel here. Of course, given my concerns about Google, the video also appears at Lucire’s Dailymotion channel. Once we get a few more under our belt and refine the formula, we’ll do a proper release.
   And, as I close this post, just over 10 minutes since the start, we’re on 14,140,271.

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Forced to take prime-time nostalgia trips

20.07.2018


‘There’s an old Polish proverb …’ I believe it’s ‘Reality television can’t stop the motorways in Warsaw from getting icy.’

I’ve always known what sort of telly I liked, and often that was at odds with what broadcasters put on. In the 1970s, my tastes weren’t too dissimilar from the general public’s, but as the years went on, they diverged from what New Zealand programmers believed we should watch.
   Shows I liked would prematurely disappear (Dempsey & Makepeace), only to return very late at night a decade later. Some only ever appeared late at night (Hustle), then vanish (in New Zealand, seasons 5 to 8 have never appeared on a terrestrial channel, and they have also never been released on DVD).
   We had a British expat visitor on Wednesday. He arrived here in 2008, and had no idea that TV1 had once been the home of British programming, and TV2 was where the Hollywood stuff went.
   By the late 2000s and early 2010s, I was watching either DVDs or finding a way to get to BBC Iplayer et al, because less and less of what was on offer had any appeal. We had boxed sets of Mission: Impossible, The Persuaders, and others.
   When the country switched to Freeview, I couldn’t be bothered getting a decoder. We were fine with online. Eventually, I did buy a TV set with Freeview, but only because the previous one conked out.
   On Thursday night, it became very apparent just how bad television had become here.
   Every English-language and Te Reo Māori terrestrial channel had unscripted drama, i.e. “reality” shows, or the occasional panel show or real-life event, other than Prime, showing the MacGyver remake.
   Who in the 1980s would have predicted that MacGyver would be the only scripted series on air during prime-time here between 7.30 and 8.30 p.m.?
   I realize the economics of television have changed, and there’s no such thing as a TVNZ drama department any more.
   Shows which might have had the whole country watching would be lucky to pull in a quarter of the audience today.
   But it is a sad reflection that the televised equivalent of the weekly gossip rag is what rates. The effort needed to produce quality drama is expensive, and not enough of us support it.
   I also imagine scripted Hollywood shows are cheaper than British ones, hence what we see on our screens is American—and why some kids these days now speak with American accents. Yet to some New Zealanders, Chinese-language signs on Auckland high streets are a bigger threat to the local culture. Really?
   In this household, we vote with our attention spans—and over the last month that has meant DVDs of Banacek and, in true 50 shades of Grade fashion, The Protectors. Sometimes, you feel it’s 1972 in this house—but at least the telly was better then.

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A letter from composer Terry Gray, 1991

18.07.2018

What a coincidence to come across a letter from composer, arranger, conductor and former TVNZ bandleader Terry Gray, dated May 25, 1991, after I blogged about him on (nearly) the seventh anniversary of his passing. Here it is for others who may be interested in a little slice of Kiwi life. It looks like ITC Garamond Book Narrow here, though the resolution doesn’t make it very clear.

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In memoriam, Terry Gray, British-born New Zealand composer, 1940–2011

09.07.2018

I sincerely hope I’m wrong when I say that the passing of Kiwi composer, arranger and conductor Terry Gray went unnoticed in our news media.
   I only found out last month that Terry died in 2011. As a kid of the 1970s and a teenager of the 1980s, Terry’s music was a big part of my life. Before we got to New Zealand, he had already composed the Chesdale cheese jingle, which Kiwis above a certain age know. He was the bandleader on Top Dance, what New Zealanders used to watch before the localized version of Strictly. Terry’s music appeared on variety shows and live events (e.g. Telequest, Miss New Zealand) through the decade. Country GP, The Fire-Raiser, Peppermint Twist, and Daphne and Chloë were also among Terry’s works. In the late 1980s, Terry released an album, Solitaire, which was one of the first LPs I bought with my own money as a teen. By the turn of the decade, Terry hosted live big band evenings at the Plaza Hotel in Wellington, sponsored by the AM Network—until the AM Network could no longer fund the fun, regular events and the radio network itself, eventually, vanished. Terry’s Mum used to attend in those days, and I must have gone to at least half a dozen. I also picked up a Top Dance cassette at one of the evenings.
   I still have a nice letter from Terry somewhere, thanking me for my support, in the days when he lived in the Hutt. I learned that he eventually moved down south, to Dunedin, and died of leukemia on July 8, 2011.
   On (nearly) the seventh anniversary of his passing, I want to pay tribute to Terry. Here he is in action in Top Dance, hosted by Lindsay Yeo, in 1982.

   RIP Terry Gray, 1940–2011.

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The maternity ward of the early 1980s was a very different place

24.06.2018


Virginia McMillan/Creative Commons

Now the PM and her partner, Clarke Gayford, have shown off their daughter to the world (video at the end of this post), it reminded me of my own experiences in the maternity ward many years ago.
   I’m not a parent at the time of writing: I’m talking about the 1980s when I visited Wellington Women’s Hospital (as it then was), to wait for my Mum, a postnatal midwife, to finish work.
   The 1980s don’t seem that long ago to me, and all these memories are still very clear, but when you relay the story, you realize decades have passed.
   Mum shifted to WWH in 1980, when it first opened, and I still recall having a preview tour of the building before it opened. New carpets, new fixtures. Hand-held buzzers hooked up to the wall where you could call for a nurse—how modern! The 1980s had well and truly arrived, and how lucky of those patients, because this place was like a hotel. We really did think it was that flash in 1980.
   And it was a nice place to visit. I finished school at St Mark’s at 2.45 p.m. and the bus would usually get to the hospital by around 3 p.m. There was a long walk to the building at the back, taking an internal route, and walking through a basement tunnel with painted stripes—it felt like a science-fiction movie. I’d get to Ward 15 and I was expected to wait in the TV room.
   The TV room was next to the ‘day room’, which really meant the smoking room, where new Mums could pop in and have a fag. Every now and then, you’d get a naughty new mother who’d take an ashtray into the TV room, where I’d be waiting, but we are talking the early 1980s, and the term secondhand smoke had not entered the vernacular.
   Of course, we youngsters weren’t allowed to change the channel if adults were watching. Unfortunately, in the days of two state-run channels, most new mothers would watch Prisoner, and I don’t mean The Prisoner, with Patrick McGoohan. I meant the Australian soap opera Prisoner, set in a women’s prison, and known to British readers as Prisoner: Cell Block H. I could never comprehend why anyone would watch the sheer misery of the storylines about a women’s prison, but I suppose in the early 1980s, these ladies were thinking: ‘No matter how tough things are for me, at least I’m not in Wentworth.’ I would wait patiently for 3.30 p.m. to tick by, and Lynne Hamilton singing ‘On the Inside’ (itself a depressing, haunting theme tune) and the Grundy logo were signs that relief was coming. However, to this day, I still know this blasted song, and can play it by ear on a piano. Without checking online:

On the inside the roses grow,
They don’t mind the stony ground.
But the roses there are prisoners, too,
When morning comes around.

   Only once do I remember a Mum offering me control of the TV during the Prisoner hour to watch whatever channel I wanted, and of course, that meant the children’s programming, eventually an after-school show imaginatively titled After School, hosted by a cheerful Te Reo-speaking man called Olly Ohlson.
   Mum would be another 15 to 30 minutes, so my time in front of the telly was fairly limited. We’d walk home to Newtown in those days, and my memory of that journey home was that it was often sunny. Of course, that couldn’t have been the case, as I have equally strong memories of below-zero temperatures on the radio in the morning in 1981, and very grey weather watching Springbok tour marches (including fights between protesters and police officers) outside my window growing up. Those may or may not be the subject of another blog entry, as I’m not traditionally one to post childhood reminiscences on this blog.

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UK picks on independent Tweeters, falsely calls them Russian bots and trolls

23.04.2018

If you were one of the people caught up with ‘The Russians are coming! The Russians are coming!’ and a selection of Cold War paranoia resurrected by politicians and the media, then surely recent news would make you start to think that this was a fake-news narrative?
   Ian56 on Twitter was recently named by the UK Government as a Russian bot, and Twitter temporarily suspended his account.
   He recently fronted up to the Murdoch Press’s Sky News, which a bot actually couldn’t.
   To be a Russian bot, you need to be (a) Russian and (b) a bot. The clue’s in the title.

   If the British Government would like to understand what a bot looks like, I can log in to my Facebook and send them a dozen to investigate. They are remarkably easy to find.
   It would be easy to identify bots on Twitter, but Twitter doesn’t like getting shown up. But Ian56 has never been caught up in that, because he’s human.
   His only “crime”, as far as I can see, is thinking for himself. Then he used his right to free speech to share those thoughts.
   He’s also British, and proud of his country—which is why he calls out what he sees are lies by his own government.
   And if there is hyperbole on his Twitter account, the ones which the Sky News talking heads tried to zing him with, it’s no worse than what you see on there every day by private citizens. If that’s all they could find out of Ian56’s 157,000 Tweets, then he’s actually doing better than the rest of us.
   We seem to be reaching an era where the establishment is upset that people have the right to free speech, but that is what all this technology has offered: democratization of communication. Something that certain media talking heads seem to get very offended by, too.
   Ian’s not alone, because Murdoch’s The Times is also peddling the Russian narrative and named a Finnish grandmother as a ‘Russian troll’ and part of a Russian disinformation machine.

   I’ve followed Citizen Halo for a long time, and she’s been perfectly open about her history. Her account was set up nine years ago, long before some of the Internet Research Agency’s social media activity was reported to have begun. She’s been anti-war since Vietnam, and her Tweets reflect that.
   While she sees no insult in being labelled Russian (she openly admits to some Russian ancestry) she takes exception at being called a troll, which she, again, isn’t. She also wasn’t ‘mobilised’ as The Times claims to spread news about the air strikes in Syria. She and Ian questioned the veracity of mainstream media views, and they certainly weren’t the only ones. They just happen to be very good at social media. That doesn’t make you part of a Russian disinformation machine.
   As a result of The Times’s article, Citizen Halo has gained a couple of thousand followers.
   Meanwhile, Craig Murray, who ‘went from being Britain’s youngest ambassador to being sacked for opposing the use of intelligence from torture’ also sees similar attacks in the UK, again through The Times.
   It headlined, ‘Apologists for Assad working in universities’. Murray adds:

Inside there was a further two page attack on named academics who have the temerity to ask for evidence of government claims over Syria, including distinguished Professors Tim Hayward, Paul McKeigue and Piers Robinson. The Times also attacked named journalists and bloggers and, to top it off, finished with a column alleging collusion between Scottish nationalists and the Russian state.

   The net goes wider, says Murray, with the BBC and The Guardian joining in the narrative. On Ian, Murray noted:

The government then issued a ridiculous press release branding decent people as “Russian bots” just for opposing British policy in Syria. In a piece of McCarthyism so macabre I cannot believe this is really happening, an apparently pleasant and normal man called Ian was grilled live on Murdoch’s Sky News, having been named by his own government as a Russian bot.

The Guardian published the government line without question.
   It does appear that in 2018, all you need to do is think independently and exercise your right to free speech for the UK Government and the media to sell a conspiracy theory.
   That, if anything, begins weakening the official narrative.
   Like most people, I do take in some of the news that I get fed. Yet this activity is having the opposite effect of what the establishment wants, forcing tenuous links usually associated with gossip sites and tabloids. If you had trust in these institutions before, you may now rightly be questioning why.

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Business as usual at Facebook: Mark Zuckerberg comes forth, tells us nothing we didn’t already know

22.03.2018

Yesterday, Mark Zuckerberg came out and made a statement on Facebook that had no apology (though he gave a personal one later on CNN) and, at a time when people demanded transparency, he continued with opaqueness.
   First, he told us nothing we didn’t already know about the Cambridge Analytica scandal.
   Secondly, he avoided the most pressing points.
   No mention that Facebook had covered this up for two years. No explanation of why he failed to answer journalists about this for two years. No explanation on why Facebook tried to gag the story in The Observer by threatening legal action. No mention that it had failed, by law, to report a data breach that it knew about.
   From the clips I saw on CNN, Zuckerberg claims he wants to restrict access to developers, and he still doesn’t know if there are other Cambridge Analyticas out there. Nothing about Facebook gathering more and more data on you and using it improperly themselves, which has actually been an ongoing issue. From the clips online provided by CNN, it wasn’t a hard-hitting interview, with the journalist going very easy on the milliardaire in what amounted to a puff piece. I really hope there was more meat than what we were shown, given how much ammo there is.
   The site has countless more failings, including its bots and its bugs, but I’ve mentioned them before.
   I’m unimpressed and for once, the market agreed, with shares dipping 2·7 per cent after Zuckerberg’s first comments in the wake of the scandal.
   However, CNN Money thinks Cambridge Analytica is an anomaly, even when Facebook’s own boss says they are still to ‘make sure’ whether there are other firms out there in the same boat. ‘We’re going to go now and investigate every app that has access to a large amount of information.’ In other words, it hasn’t been done, and yet Facebook knew about this since 2015.
   In other words, the world is seeing what I and others have talked about for years: Facebook is irresponsible, it does nothing till it’s embarrassed into it, and it collects a lot of data on you even after you’ve opted out of certain features on their site.
   Not a lot has changed since 2009, when he gave this interview with the BBC. Say one thing, do another.

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The path of least resistance: we humans aren’t discerning enough sometimes

04.02.2018

I came across a thread at Tedium where Christopher Marlow mentions Pandora Mail as an email client that took Eudora as a starting-point, and moved the game forward (e.g. building in Unicode support).
   As some of you know, I’ve been searching for an email client to use instead of Eudora (here’s something I wrote six years ago, almost to the day), but worked with the demands of the 2010s. I had feared that Eudora would be totally obsolete by now, in 2018, but for the most part it’s held up; I remember having to upgrade in 2008 from a 1999 version and wondering if I only had about nine years with the new one. Fortunately, it’s survived longer than that.
   Brana Bujenović’s Pandora Mail easily imported everything from Eudora, including the labels I had for the tables of contents, and the personalities I had, but it’s not 100 per cent perfect, e.g. I can’t resize type in my signature file. However, finally I’ve found an email client that does one thing that no other client does: I can resize the inbox and outbox to my liking, and have them next to each other. In the mid-1990s, this was one of Eudora’s default layouts, and it amazed me that this very efficient way of displaying emails never caught on. I was also heartened to learn from Tedium that Eudora was Apple co-founder Steve Wozniak’s email client of choice (‘The most important thing I use is Eudora, and that’s discontinued’). I’m in good company.
   However, this got me thinking how most users tolerate things, without regard, in my opinion, to what’s best for them. It’s the path of least resistance, except going down this path makes life harder for them.
   The three-panel layout is de rigueur for email clients today—all the ones I’ve downloaded and even paid good money for have followed this. Thunderbird, Mailbird, the oddly capitalized eM. All have had wonderful reviews and praise, but none allow you to configure the in- and outbox sizes. Hiri’s CEO says that’s something they’re looking at but right now, they’re not there, either. Twenty-plus years since I began using Eudora and no one has thought of doing this, and putting the power of customization with the user.
   But when did this three-panel layout become the standard? I can trace this back to Outlook Express, bundled with Windows in the late 1990s, and, if I’m not mistaken, with Macs as well. I remember working with Macs and Outlook was standard. I found the layout limiting because you could only see a few emails in the table of contents at any given time, and I usually have hundreds of messages come in. I didn’t want to scroll, and in the pre-mouse-wheel environment of the 1990s, neither would you. Yet most people put up with this, and everyone seems to have followed Outlook Express’s layout since. It’s a standard, but only one foisted on people who couldn’t be bothered thinking about their real requirements. It wasn’t efficient, but it was free (or, I should say, the licence fee was included in the purchase of the OS or the computer).
   ‘It was free’ is also the reason Microsoft Word overtook WordPerfect as the standard word processor of the 1990s, and rivals that followed, such as Libre Office and Open Office, had to make sure that they included Word converters. I could never understand Word and again, my (basic) needs were simple. I wanted a word processor where the fonts and margins would stay as they were set till I told it otherwise. Word could never handle that, and, from what I can tell, still can’t. Yet people tolerated Word’s quirks, its random decisions to change font and margins on you. I shudder to think how many hours were wasted on people editing their documents—Word can’t even handle columns very easily (the trick was usually to type things in a single column, then reformat—so much for a WYSIWYG environment then). I remember using WordPerfect as a layout programme, using its Reveal Codes feature—it was that powerful, even in DOS. Footnoting remains a breeze with WordPerfect. But Word overtook WordPerfect, which went from number one to a tiny, niche player, supported by a few diehards like myself who care about ease of use and efficiency. Computers, to me, are tools that should be practical, and of course the UI should look good, because that aids practicality. Neither Outlook nor Word are efficient. On a similar note I always found Quattro Pro superior to Excel.
   With Mac OS X going to 64-bit programs and ending support for 32-bit there isn’t much choice out there; I’ve encountered Mac Eudora users who are running out of options; and WordPerfect hasn’t been updated for Mac users for years. To a large degree this answers why the Windows environment remains my choice for office work, with Mac and Linux supporting OSs. Someone who comes up with a Unicode-supporting word processor that has the ease of use of WordPerfect could be on to something.
   Then you begin thinking what else we put up with. I find people readily forget or forgive the bugs on Facebook, for example. I remember one Twitter conversation where a netizen claimed I encountered more Facebook bugs than anyone else. I highly doubt that, because her statement is down to short or unreliable memories. I seem to recall she claimed she had never experienced an outage—when in fact everyone on the planet did, and it was widely reported in the media at the time. My regular complaints about Facebook are to do with how the website fails to get the basics right after so many years. Few, I’m willing to bet, will remember that no one’s wall updated on January 1, 2012 if you lived east of the US Pacific time zone, because the staff at Facebook hadn’t figured out that different time zones existed. So we already know people put up with websites commonly that fail them; and we also know that privacy invasions don’t concern hundreds of millions, maybe even thousands of millions, of people, and the default settings are “good enough”.
   Keyboards wider than 40 cm are bad for you as you reach unnecessarily far for the mouse, yet most people tolerate 46 cm unless they’re using their laptops. Does this also explain the prevalence of Toyota Camrys, which one friend suggested was the car you bought if you wanted to ‘tell everyone you had given up on life’? It probably does explain the prevalence of automatic-transmission vehicles out there: when I polled my friends, the automatic–manual divide was 50–50, with many in the manual camp saying, ‘But I own an automatic, because I had no choice.’ If I didn’t have the luxury of a “spare car”, then I may well have wound up with something less than satisfactory—but I wasn’t going to part with tens of thousands of dollars and be pissed off each time I got behind the wheel. We don’t demand, or we don’t make our voices heard, so we get what vendors decide we want.
   Equally, you can ask why many media buyers always buy with the same magazines, not because it did their clients any good, but because they were safe bets that wouldn’t get them into trouble with conservative bosses. Maybe the path of least resistance might also explain why in many democracies, we wind up with two main parties that attract the most voters—spurred by convention which even some media buy into. (This also plays into mayoral elections!)
   Often we have ourselves to blame when we put up with inferior products, because we haven’t demanded anything better, or we don’t know anything better exists, or simply told people what we’d be happiest with. Or that the search for that product costs us in time and effort. Pandora has had, as far as I can fathom, no press coverage (partly, Brana tells me, by design, as they don’t want to deal with the traffic just yet; it’s understandable since there are hosting costs involved, and he’d have to pay for it should it get very popular).
   About the only place where we have been discerning seems to be television consumption. So many people subscribe to cable, satellite, Amazon Prime, or Netflix, and in so doing, support some excellent programming. Perhaps that is ultimately our priority as a species. We’re happy to be entertained—and that explains those of us who invest time in social networking, too. Anything for that hit of positivity, or that escapism as we let our minds drift.

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Happy 40th birthday to The Professionals

30.12.2017

‘Anarchy, acts of terror, crimes against the public. To combat it I’ve got special men: experts from the army, the police, from every service. These are the professionals.’

   Forty years ago, ITV began airing one of the UK’s most iconic TV series.
   There’s more at Dave Matthews’ The Authorised Guide to the Professionals, to which I contributed many years ago (yes, I am a fan).
   While there are many quality shows today, The Professionals still holds up reasonably well in terms of action, music, lighting and cinematography (especially if you see the series as restored on Network’s latest set of DVDs), though some of the plots are lacking and there are a lot of outdated 1970s’ attitudes to gender equality and race.
   If you keep that in mind—that it is a product of its era—it’s still an enjoyable show, in part because of my own sense of nostalgia (has it really been forty years?). And the second and third seasons are still, in my opinion, Brian Clemens’ finest hour.

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