The BarrometerA Barrometer rating of 3

Third-episode verdict: Timeless (US: NBC; UK: E4)

In the US: Mondays, 10/9c, NBC
In the UK: Acquired by E4

The biggest problem with the first episode of NBC’s new sci-fi show Timeless was that it just wasn’t fun. A time travel adventure in which a historian, an engineer and a soldier gamely head off each week into the past to stop Goran Višnjić from changing history for the better (he claims) should have been a laugh, particularly with our very own Paterson Joseph being the owner of said time machine. 

But it wasn’t. It was dreary. It had a dreary choice of destination – the Hindenburg disaster. Thanks to the presence of her dying mum, its heroine (Abigail Spencer) was more a tragic figure than a fangirl let loose in a comic shop when all the boys have been sent packing. Ex-Delta soldier (Matt Lanter) was more male model than special forces operative, and he was just as tragic as Spencer thanks to his pining for his dead wife.

The one potential comic piece of comic relief, engineer/time travel pilot Malcolm Barrett, basically had to endure being black in the American past, something he quite rightly pointed out before they went was never going to be fun whenever they ended up, but in actuality meant he wasn’t just the token black guy – he was the token black guy representing all black people ever. That’s gotta suck.

Worst of all was the fact that Team Spencer were busily trying to preserve history as recorded, right down to making sure everyone who died stays dead, even if that means burning to death horribly in a fiery balloon accident. Bit of a downer, no?

As always, though, there’s a reason why TMINE always waits for at least three episodes before passing final verdict: shows can evolve and get better as producers work out what’s wrong and fix it. And while Timeless still isn’t the new Doctor Who or even the new Quantum Leap, it’s certainly becoming a lot more entertaining. Episode two took us to see the assassination of Abraham Lincoln, episode three took us to Las Vegas in the 60s to watch atomic bomb tests and I can see from the schedule that episode four is going to involve the plucky Americans teaming up with Ian Fleming to fight the Nazis during World War Two. Now that’s a bit more fun than the Hindenburg Disaster, now isn’t it?

The producers – Eric Kripke (Supernatural) and Shawn Ryan (The Unit, The Shield), in case you were wondering – are also making the central team themselves a bit more fun, although they’ve haven’t bothered giving Barrett and Lanter any real character traits or background other than “comic black history spokesperson” and “inept soldier widower”. Time changes, Spencer’s life changes, but theirs seem to stay resolutely the same and butterfly effect-proof.

Barrett may continually get the short end of the stick for being black wherever he ends up, albeit in different ways each time, but he now sometimes manages to use his second class status for the better. Lanter seems to have trouble even holding a gun, but he’s now getting some occasionally amusing lines.

Perhaps the show’s main selling point is that just like Doctor Who when that started, Timeless is trying its level best to make history come alive – through history’s own supporting cast. You already know Lincoln, you’ve seen Daniel Day Lewis do a good performance as Lincoln, so yet another Lincoln wouldn’t have much impact. But what must it have been like to have been Lincoln’s son? Or JFK’s mistress? Or a black soldier from the North during the Civil War? While the fact Timeless actually allows its time travellers to change history, even quite significantly, means that the narrative can never be trusted to tell historical fact, it’s still fun to have Spencer sit down and essentially interview this supporting cast like a GCSE History empathy essay come to life.

After three episodes Timeless has crafted a formula for itself that’s popcorn-tastic but enjoyable nonsense. Its action scenes are weak, its historical detail weak, its story arc weak and its humour – you guessed it – weak. But it’s now getting a certain confidence up that makes it a reasonably entertaining view. It might even make the kiddies who watch it start to enjoy history. 

If you need to waste an hour a week on amiable, people-centred, historical sci-fi nonsense, Timeless is worth a try. 

Barrometer rating: 3
Would it be better with a female lead? N/A
TMINE’s prediction: Will probably last about as long as Revolution

News: Cold Feet, Bosch renewed; Timeless, Channel Zero acquired; BrainDead, American Gothic cancelled; + more

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New US TV show casting

What have you been watching? Including Supergirl, Halt and Catch Fire and DC’s Legends of Tomorrow

It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them.

The usual “TMINE recommends” page features links to reviews of all the shows I’ve ever recommended, and there’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever. 

We’re now nearing mid-Fall season/mid-Spring season (delete according to the hemisphere of your choice), which means there’s few new shows heading our way, except in the topsy space-time continuum that is the Internet, where blink and you’ll miss another new show arriving of a Friday. That means I’ve nearly caught up with the backlog.

This week, I should have reviews of Graves (US: Epix), Eyewitness (US: USA), Divorce (US: HBO; UK: Sky Atlantic), Shoot The Messenger (Canada: CBC), and maybe Deep Water (Australia: SBS; UK: BBC Four), too.

I’ll also be passing third-episode verdicts on Westworld (US: HBO; UK: Sky Atlantic), Frequency (US: The CW; UK: Netflix), No Tomorrow (US: The CW), Timeless (US: NBC) and maybe Hyde & Seek (Australia: Nine).

Outside gambles: reviews of Crisis in Six Scenes (Amazon), Goliath (Amazon), Easy (Netflix), Haters Back Off (Netflix), Offseason (Amazon) and El Marginal (Marginal) (Netflix).

Elsewhere, I’ve already reviewed a whole bunch of Australian shows – Hyde & Seek (Nine), Rosehaven (ABC), The Wrong Girl (Ten) and The Secret Daughter (Seven) – as well as Kim’s Convenience (Canada: CBC) and American Housewife (US: ABC); I’ve also passed a third-episode verdict on This Is Us (US: NBC; UK: Channel 4). 

That means that after the jump, I’ll be looking at the latest episodes of Ash vs Evil Dead, Designated Survivor, Doctor Doctor, The Exorcist, The Flash, Frequency, High Maintenance, Impastor, Insecure, Lethal Weapon, Lucifer, No Tomorrow, Son of Zorn, Speechless, Timeless and You’re The Worst. I’ll also be looking at the season finale of Halt and Catch Fire, as well as the return of DC’s Legends of Tomorrow and Supergirl.

One of those shows will be getting promoted to recommended. Cool, hey?

Continue reading “What have you been watching? Including Supergirl, Halt and Catch Fire and DC’s Legends of Tomorrow”

Streaming TV

Globally, who invests the most in TV production?

Turns out Netflix and Amazon Outspend CBS, HBO and Turner, according to analysts IHS Markit. Equally, the US is the top investor in TV, but China’s coming up fast.

Online platforms Netflix and Amazon have ramped up their investment in programming, spending $7.5 billion last year—more than CBS, HBO, Turner and most countries, including South Korea and Australia.

Between 2013 and 2015, Netflix and Amazon more than doubled their annual expenditure on programming. In 2013, Amazon spent $1.22 billion; that jumped to $2.67 billion in 2015. In the same timeframe, Netflix spending rose from $2.38 billion to $4.91 billion.

“The levels of investment we are seeing from Netflix and Amazon are only topped by Disney ($11.84 billion) and NBC ($10.27 billion),” said Tim Westcott, senior principal analyst at IHS Technology.

Other online platforms like Hulu in the US and China’s Youku Toudu, iQifyi and Tencent have also increased their investment in original programming and acquisitions.

“In what Netflix calls the era of internet TV, more and more consumers are watching content online, shaking the foundations of the traditional TV industry,” Westcott said. “However, it’s premature to declare that the era of linear TV is already over, and Netflix and Amazon have come hard on the heels of a boom in production of original drama and comedy by the likes of AMC and FX in the US.”

There were 148 new scripted shows aired by basic cable networks in the US, up from 138 the year before and 96 in 2013, according to the IHS Technology report. In 2016 so far, there have been 113 scripted basic cable shows, compared to 78 on the networks, 31 on premium cable, and 57 online. To set these numbers in context: in 2012, there were three online scripted US TV shows, that number rose to 20 in 2014, 41 in 2015.

Regional breakdown: US is clear leader, but China rises to number two in APAC

“The primacy of the US in the worldwide programming market is clear,” Westcott said. “We estimate that in 2015, the US represented 33 percent of worldwide expenditure on TV programming, with $43 billion invested across free-to-air, pay TV and online.”

“Amazon and Netflix, though they are US companies, are now commissioning for multiple territories, so we have treated them as global platforms.”

After the US, the mature Western European region is the next most important, investing $38.6 billion, or just under one third of the total. The biggest markets in Western Europe were the UK with $10.7 billion, Germany ($7.3 billion), France ($6.6 billion) and Italy ($4.6 billion).

“Notably, China is now the second largest market in the Asia Pacific region, with $8.4 billion invested last year,” Westcott said.

Japan is the largest in the region with $9.8 billion, followed by South Korea ($2.6 billion), Australia and India—both on $2.4 billion. Leading Latin American markets are Mexico ($1.5 billion) and Brazil ($1.4 million). Canada invested $3.4 billion last year. Russia and Turkey were both around the $900 million mark.

Worldwide TV programming

Sorry Australia: Hyde & Seek, Rosehaven, The Secret Daughter and The Wrong Girl

Sorry, Australia. And indeed fans of Australian TV. For ages, I’ve been promising to review all manner of new and exciting – and, it turns out, not so exciting – Australian TV shows. However, thanks to a deluge of US and Internet TV, I’ve being failing hopelessly.

This weekend, however, I made a massive effort to play catch up with all of them. I’ve not been 100% successful, since I’ve not yet started SBS’s Deep Water, but since that’s a four-part mini-series that’s already finished, I might as well watch all the episodes before letting you know what I think of it prior to its eventual BBC Four airing.

After the jump and to save myself a whole lot of time, mini-reviews of the first few episodes of all the other shows. Just to give you a tantalising preview of what I’m going to say, though:

  • Definitely watch: Hyde & Seek (Nine)
  • Probably watch: The Secret Daughter (Seven)
  • Maybe watch: The Wrong Girl (Ten)
  • Don’t watch: Rosehaven (ABC)

Continue reading “Sorry Australia: Hyde & Seek, Rosehaven, The Secret Daughter and The Wrong Girl”