As a child of the 1970s, I was exposed to this English word: new. Now, before you say that that isnât anything special, for some reason, in the â70s, there was an obsession with newness. It wasnât like the news (by this I mean the plural of new) of Amsterdam or Zealand, but an adjective that was adapted to really emphasize that you should pay attention and consume, consume, consume.
Perhaps the earliest exposure was a Tomica model I had: the Blue Whale Crown. The base plate and box read âToyota New Crownâ. Even as a child, I wondered: what happens to the old Crown models? And what happens to this Crown model when a new new Crown comes out? It didnât matter: Toyota wanted us to live in the present and bask in the newness, and back in the early 1970s, this Crown certainly looked like nothing that had come from Toyota prior, or since. It was almost saying, âYes, we know it looks weird, but hey, itâs ânewâ, so that means itâs good!â
The real car flopped (relatively speaking; they still shifted plenty given top Japanese managers still needed transportation), and it was the last generation of Crown to be sold in the US, but to me it remains iconic, even if it is garish. After a mere three years on sale, very short even by Japanese standards, its âNewâ successor emerged in 1974 with all the idiosyncrasies gone. Conservatism ruled in this segment, at least till fairly recently. The old toys hung round, still ânewâ, so even if your parents bought you one in 1975 or 1976, you could still relish the adjective.
It wasnât a case of Japlish. It was all over television as well. When we emigrated here, the Anglophone television introduced me to The New Dick Van Dyke Show. Never mind that I had never seen the old Dick van Dyke show at this point. This was the white-haired man doing the New Zealand Fire Service PSAs. Everyone knew him. And why was it The New? Because we needed to be told that despite the same network in its home country (CBS), Dick van Dyke wasnât playing Rob Petrie, but a new character altogether. Please donât take this as a continuation of the previous one.
Here are the News:The New Dick Van Dyke Show; The New Perry Mason; and The New Avengers.
Van Dyke, in his autobiography, recounts a fan coming up to him berating him for leaving Laura (Mary Tyler Mooreâs character from the earlier The Dick Van Dyke Show), so itâs not as though the qualifier worked; goodness knows how the same fan would have computed The Mary Tyler Moore Show, on the same night as The New Dick Van Dyke Show. Maybe that was proof that Rob had left Laura or vice versa and they were forging ahead with their separate lives. The New Dick Van Dyke Show wasnât alone. A couple of years later, there was The New Perry Mason (1973), starring Monte Markham in the title role (though no one ever called him âNewâ). The Fred Steiner theme was nowhere to be heard. Iâve seen a few of these, and they are pretty good in a 1970s sort of wayâwhich is to say more exterior filming and more flash cars (product placement was growing) on the back lot and on location. To make it more confusing, when Perry Mason returned in a bunch of TV movies in the 1980s, starting with Perry Mason Returns, it wasnât Markham, but original actor Raymond Burr once more. You see, it wasnât The New Perry Mason Returns. The New Perry Mason starred a different actor, so I can comprehend its Newness, and at least the presence of another actor underscored this. It didnât do that well, which is probably why hardly anyone remembers it. Probably more people remember Markham as the Seven Million Dollar Man. Iâm not kidding.
One that I do remember extremely well was The New Avengers, in 1976. Again, given when I was born, I had no exposure to The Avengers, but The New Avengers was a favourite of mine then, and I bought the DVDs when I saw them decades later. Unlike the other two series, this was a direct continuation, though it wasnât explained just how John Steed returned to Earth after Tara King blasted them both into space when they had their Endgame in 1969; but we do know they enjoyed Laurent Perrier champagne when they got back. Itâs a third definition of new as far as the TV shows were concerned, with the same motive: if you want to be seen as in, hip and groovy, come watch the new.
Perhaps more obscure were one-off TV movies: Halloween with the New Addams Family (1977), which had the same cast (grandmother aside, as actress Blossom Rock was ill), and where the new serves no useful purpose other than attempting to sell us on newness where there is none; and The New Maverick (1978), which sees the return of James Garner as Bret and Jack Kelly as Bart, though thereâs no sign of Roger Moore as Beau (presumably too busy being James Bond) and Robert Colbert as Brent, but it did introduce a first cousin once removed called Ben Maverick (Charles Frank). I imagine Ben is the new Maverick, and a short-lived TV series, Young Maverick, did appear afterwards.
No one really did much more New shows after thisâit seemed to be a 1970s phenomenon. With one exception: CI5: the New Professionals in the 1990s, an attempt to recapture the glory days of The Professionals but winding up more like episodes of Bugs. There, new sort of meant old, reminding us that some of the writing and directing was out of step with late 1990s’ audience expectations; and, with the greatest of respect, showed that certain parties were past their prime. By then, we had had seven episodes of Bodyguards, which perhaps showed how a modern-day Professionals might be. All that needed was to be âladdifiedâ for the FHM audience, at least in theory, and certainly, after 9-11, there may have been some scope for an élite, globally coordinated, anti-terrorist squad (which is what The New Professionals suggests the fictional CI5 unit morphed into, probably to accommodate its backers and the South African location filming in some episodes). But in 1998, there was less of an appetite for revival shows, especially when the top-rated series were ER and Friends, and the Americans were a year away from The Sopranos. Britain, meanwhile, was gripped with the tension of Who Wants to Be a Millionaire? and the FHM lads were more that catered for by Babes in the Wood.
I would have loved to have seen this go to trial, but Facebook and the plaintiffsâa group of advertising agencies alleging they had been swindled by the social networkâsettled.
Excerpted from The Hollywood Reporter, âThe suit accused Facebook of acknowledging miscalculations in metrics upon press reports, but still not taking responsibility for the breadth of the problem. âThe average viewership metrics were not inflated by only 60%-80%; they were inflated by some 150 to 900%,â stated an amended complaint.â
Facebook denies this and settled for US$40 million, which is really pocket change for the multi-milliard-dollar company. Just the price of doing business.
Remember, Facebook has been shown to have lied about the number of people it can reach (it now admits that its population estimates have no basis in, well, the population), so Iâm not surprised it lies about the number of people who watch their videos. And remember their platform has a lot of botsâI still have several thousand reported on Instagram that have yet to be touchedâand Facebook itself isnât exactly clean.
Every time they get called out, there are a few noises, but nothing ever really happens.
This exchange between Rep. Alexandria Ocasio-Cortez and Mark Zuckerberg is a further indication that nothing will ever happen at Facebook to make things rightâthere’s no will from top management for that to happen. Thereâs too much to be lost with monetization opportunities for questionable services to be shut down, while Facebook is all too happy to close ones that donât make money (e.g. the old âView asâ feature). The divisions and “fake news” will continue, the tools used by all the wrong people.
It’s your choice whether you want to be part of this.
"So, you won't take down lies or you will take down lies? I think that's just a pretty simple yes or no."
Complete exchange between @RepAOC@AOC and Mark Zuckerberg at today's House Financial Services Cmte hearing.
There are a few TV shows I get anorak about. Alarm fĂŒr Cobra 11 is probably the one most people have seen me post about. I probably have some claim over The Persuaders, The Professionals, The Mary Tyler Moore Show and Pointman. But there was one that was a staple for us as a family, that I don’t have any anorak status over, yet I seem to know more than a lot of people who write about such things professionally.
It’s The Love Boat, where there are a few claims that go round the ânet.
There are many pages and videos about the ‘original cast’ of The Love Boat, and the names are familiar enough: Gavin MacLeod, Bernie Kopell, Fred Grandy, Ted Lange and Lauren Tewes. Even documentaries on the history of the programme make this claim. But, as many know, this particular combination was the third cast, although Kopell, Grandy and Lange showed up in the second pilot in 1977, with Quinn Redeker as Capt Tom Madison and Diane Stilwell as Sandy, the cruise director.
The original cast actually saw Division 4âs Ted Hamilton as Capt Thomas Ford, Dick van Patten as Dr O’Neill, Sandy Helberg as Gopher, Theodore Wilson as Isaac, Terri O’Mara as Gerry, the cruise director. Joseph Sicari, as a steward, also appears in the opening title.
There’s also an internet fiction on a lot of websites that The Love Boat II, the second pilot, had Bernie Kopell play Dr O’Neill, and not Adam Bricker. I’ve no idea where this surfaced, and it also appears on IMDB. Sorry, internet, Bernie Kopell is introduced as ‘Lt Dr Adam Bricker’, the military title with its origins in the back story that Capt Madison, Dr Bricker, Gopher (YN1 Burl Smith) and CPO Isaac Washington all served together on the USS Chadway in the US Navy in Vietnam. In peacetime, they wanted to sail together. Here’s the scene in a Dutch video cassette release, though Bricker is misspelled:
Hopefully, one of these days, these errors get corrected online. Though based on what I see on Wikipedia, I’m not holding my breath.
The second cast wasn’t too bad, but most of the stories left something to be desired. The producers (and, for that matter, MacLeod and Tewes) were lucky that ABC commissioned a third pilot, The New Love Boat, and the rest is history.
This is how big an Alarm fĂŒr Cobra 11: die Autobahnpolizei nerd I am.
Three years ago (April 7, 2016), we were introduced to Daniel Roesner as Paul Renner in âCobra, ĂŒbernehmen Sieâ. There is a flashback scene dated April 7, 1996 when Paul and Semir meet for the first time, with Paul as a child.
There are a few problems with the scene.
If it was April 1996, then it would have been around the events of âTod bei Tempo 100â, and Semir looked quite different:
His goatee only begins appearing in episode 33 (production order), âEin Leopard lĂ€uft Amokâ (October 1, 1998), and the BMW 3er with the registration NE-DR 8231 made its first appearance the episode before, âDie letzte Chanceâ (which was actually shown later, on October 8, 1998).
Also in âCobra, ĂŒbernehmen Sieâ, Semir is on the radio to Andrea, when Andrea was not working for PASt in 1996. She made her first appearance in âRache ist sĂŒĂâ (November 18, 1997).
I can understand star ErdoÄan Atalay being reluctant to shave his goatee for the flashback, but it would have thrilled fans if he called to base for Regina and not Andrea.
RTL Above: From the first episode after the half-season break, ‘Endstation’. All three men have, at some point, played the sidekick on Alarm fĂŒr Cobra 11: die Autobahnpolizei: ErdoÄan Atalay, who was hired to play second banana in the third episode but has since become the star of the show; Rainer Strecker, the man whom Atalay replaced, here guesting and playing another role altogether; and Daniel Roesner, who is currently Atalay’s co-star in the series, and who also had played another role prior to this one.
One for the Alarm fĂŒr Cobra 11: die Autobahnpolizei fans. Our groupâthe largest on Facebook and, ironically, the one run mostly by non-Germansâsaw this question from Tim Gottschall:
Kann mir mal bitte jemand erklÀren warum es bei Cobra 11 schon 42 DVD Staffeln gibt aber jetzt im TV die 33 Staffel lÀuft? Also damit auch die neuen Folgen
This has always annoyed me. At Action Concept, this is still season 23.
This has been compounded by certain episodes from new seasons being mixed in as the existing season was airing (e.g. production seasons 6 to 12) and episodes being shown out of order.
According to production blocks (with overlaps explained above):
Season 1: episodes aired between March 12 and April 30, 1996 (episodes 1â9)
Season 2: March 11, 1997 to June 4, 1998 (episodes 10â31)
Season 3: October 1, 1998 to May 6, 1999 (episodes 32â47)
Season 4: December 16, 1999 to December 14, 2000 (episodes 48â63)
Season 5: April 5, 2001 to April 11, 2002 (episodes 64â80)
Season 6: April 18, 2002 to April 10, 2003 (episodes 81â97)
Season 7: September 11, 2003 to April 29, 2004 (episodes 98â110)
Season 8: March 25 to November 18, 2004 (episodes 111â25)
Season 9: February 10, 2005 to April 20, 2006 (episodes 126â41)
Season 10: April 27 to November 16, 2006 (episodes 142â57)
Season 11: March 22 to November 1, 2007 (episodes 158â68)
Season 12: September 20, 2007 to April 24, 2008 (episodes 169â79)
Season 13: September 4, 2008 to April 9, 2009 (episodes 180â94)
Season 14: September 3, 2009 to April 22, 2010 (episodes 195â209)
Season 15: September 2, 2010 to April 14, 2011 (episodes 210â22)
Season 16: September 15, 2011 to April 19, 2012 (episodes 223â38)
Season 17: September 6, 2012 to April 18, 2013 (episodes 239â53)
Season 18: October 24, 2013 to May 15, 2014 (episodes 254â67)
Season 19: October 9, 2014 to April 30, 2015 (episodes 268â82)
Season 20: September 10, 2015 to May 26, 2016 (episodes 283â98)
Season 21: September 1, 2016 to May 18, 2017 (episodes 299â317)
Season 22: September 14, 2017 to May 3, 2018 (episodes 318â36)
Season 23: September 13, 2018 to date (episode 337 to date)
However, according to how Cobra 11 aired, all but the (short) first block were shown with a break in betweenâpresumably due to labour laws there that required casts to have a break otherwise they would be overworked. So if you divide each of the seasons above into two, except for the first, then we are up to âseason 43â. This is the numbering the DVDs use. As to âseason 33â, I understand RTL used to follow the production numbering, but eventually diverged from it, so itâs a mixture of the âstudioâ numbering and the âbroken seasonâ numbering.
I realize no one outside the fan community for this show will really care, but as this is my personal and business blog, a wide variety of subjects is covered. And for those fans who may stumble across this, I hope the above helps settle some questions.
I see British filmmaker Steve McQueen has remade Lynda La Planteâs Widows.
I was younger than he was when it aired, and didnât 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: âFrom the makers of The Sweeney and Minder, Eusless Films presents Widows: exactly the same, but with women in it.â
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 werenât 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 darenât even see the latter as the original remains one of my favourite miniseries and I donât 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. Itâs 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 wasnât as special as the original, and I didnât rush to repeat the DVD. Reviewers didnât 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 Latimerâs 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 donât 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 latterâs Arthur Daley, leading to Waterman quitting the series. The 2009 seriesâ premiĂšre 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 âexactly the same, but with women in it,â 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?
Above: Behind the scenes of the Ć koda Karoq road test for Autocade.
I hadnât kept track of Autocadeâs statistics for a while, and was pleasantly surprised to see it had crossed 14,000,000 page views (in fact, itâs on 14,140,072 at the time of writing). Using some basic mathematics, and assuming it hit 13,000,000 on May 20, itâs likely that the site reached the new million in late September.
The site hadnât 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 Iâve kept track of the traffic, hereâs how thatâs 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 itâs on 3,755.
As the increase in models has been pretty small, thereâs been a real growth in traffic, and itâs the third four-month million-view growth period since the siteâs inception.
Weâre definitely putting in more crossovers and SUVs lately, and thatâs almost a shame given how similar each one is.
With my good friend Stuart Cowley, weâre extending Autocade into video segments, and hereâs our first attempt. Itâs 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 Lucireâs 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.
âThere’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 Americanâand 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 spansâand 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 houseâbut at least the telly was better then.
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.
