The BarrometerA Barrometer rating of 2

Third-episode verdict: This Is Us (US: NBC; UK: Channel 4)

In the US: Tuesdays, 10/9c, NBC
In the UK: Acquired by Channel 4

People aren’t perfect. But deep down, we’re all the same. We try our best. We love. We laugh. We make mistakes. But ultimately we’re all good and want the best for each other and ourselves.

If that statement sets your teeth on edge, or seems annoyingly liberal and/or rose-tinted then This Is Us is not for you. A show that’s not as smart as it clearly thinks it is, it sees four people – Chrissy Metz, Justin Hartley, Sterling K Brown and Milo Ventimiglia – all sharing the same birthday, all with their own different story to tell, but ultimately linked in the way that we all are, aren’t we?

Episode one was especially smug, with a twist at the end you could see coming from pretty far off, while episode two dialed the smug down a little yet still tried to pull off an end twist that was barely a twist at all it was so obvious.

For a little variety, episode three put its twist right at the beginning so you had almost no time to suspect there was even going to be a twist, which was novel. It was also almost tolerable in its smugness, despite all manner of quite cynical heart-jerking moves and no less a character than a poetry-reading, bus-hopping heroin addict who just means well, don’t you know? And, to be fair, it did pick up on aspects of the pilot that were perhaps glossed over in the rush to that first twist to make sure they weren’t ignored.

It also had a big reach out to uber-nerds like me, with Hartley name-dropping Jason Momoa – most would thrill simply to the mention of Game of Thrones, but it was the fact it was TV Aquaman shouting out to film Aquaman that made it for me.

Overall, This Is Us is consistent in being pretty good – not great, not bad, not average – but also pretty annoying TV. It’s smart but not as smart as it thinks it is (is there genuinely an American family who would name their triplets Kate, Kyle and Kevin? Really? KKK?). The people-centred plots are improbable and entirely geared up to trying to get the audience to cry with the loveliness of everyone in the face of life’s challenges. Brown is funny, Metz is talented and Hartley amusingly self-centred, so overall there are no real weak links, although oddly, of all the cast, it’s former singer and voice of Tangled‘s Rapunzel Mandy Moore – Ventimiglia’s wife in the show – who’s the real standout, able to do happy and sad, (spoiler alert)young and old, with aplomb.

If you can watch an episode without wanting to punch everyone, you’re doing well; if you like having tears milked out of you with the efficiency of the average large dair, you should find This Is Us rewarding and perhaps even a must-see. Everyone with a dark mind or an ice chip for a heart should steer clear like a vampire away from the love of our Lord Jesus Christ.

Barrometer rating: 2
Would it be better with a female lead? N/A
TMINE’s prediction: Will probably run for as long as Parenthood

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Review: American Housewife 1×1 (US: ABC; UK: W)


In the US: Tuesdays, 8.30/7.30c, ABC

I don’t know if it’s something to do with Leslie Bibb or not, but ABC has a habit of taking promising sitcom titles and then squeezing all the fun out of them. Bibb, whom you may remember from Popular or Crossing Jordan or more likely as intrepid Brown-educated reporter Christine Everhart in the Iron Man movies, did of course star in ABC’s GCB. GCB was previously unhelpfully named Good Christian Belles, which in itself was a fudge since the show was originally based on a book called Good Christian Bitches. As you can tell, someone started to fret about the title and did some hasty renaming that never really went anywhere good.

Bibb doesn’t star in American Housewife but she does guest star in the first episode, bringing  this cold-footed curse with her to the show, which originally bore the more intriguing and potentially more divisive title The Second Fattest Housewife in Westport. You can tell that’s what it had been called until the pilot had been filmed because that’s virtually every second line out of the mouth or voiceover of star Katy Mixon (Eastbound & Down but probably best known, thanks to TV’s inability to register the existence of fat women, for playing Melissa McCarthy’s sister on the fat-abusing haven for overweight actors and actresses, Mike and Molly). Now, with its title making a pointless and almost irrelevant claim to universality (cf This is Us), all those repeated references to not wanting to be “the second fattest housewife in Westport” are entirely stupid.

Continuing this season’s theme of “there are fat women, TV, get over it – but they’re not happy about being fat, oh no!” (cf This Is Us again), the show sees Mixon renting a house with her family in the otherwise rich and exclusive neighbourhood of Westport. All the other women are so rich that all they have to do all day is eat healthily and work out, resulting in Mixon being perpetually looked down upon for being ‘so real’ (ie fat). And most of the first episode is about Mixon’s worries that opposite neighbour ‘fat Pam’ is moving away, which will result in her becoming the second… you can work out the rest.

American Housewife is extremely short on laughs and extremely long on stereotypes. Despite ostensibly being pro “the 50% of American women who are a size 14 or over”, pretty much everything is about how miserable Mixon is, despite not being that overweight. Well, maybe not miserable. Irritated and angry, and not in a virtuous way – she really hates those ‘skinnies’ and most of the time, you’re not routing for her as a result, since she’s always being pre-emptively snide to a group of people who are at most oblivious, it would seem, rather than actively nasty.

What humour there is stems from ABC’s more traditional reservoir of family laughs. In contrast with Speechless, here it’s hubby Diedrich Bader (Office Space, Veep, Outsourced) who actually raises some chuckles, helped by the younger kids in the family – the son being the new, younger, Rand-reading Alex from Family Ties, the youngest daughter being an OCD nightmare. There’s also a black lesbian divorcee (Carly Hughes), who adds a bit more fun to the proceedings, if only through contrast.

There’s some insight, to be sure, and there’s probably a group of women who can empathise with Mixon’s anti-heroine, but this isn’t black-ish for the plus-sized by any stretch of the imagination. One not to add to your regular TV diet.

What TV’s on at the BFI in October/November 2016? Including NW and A Black History of Britain

Stonkingly late as usual, it’s TMINE’s usual coverage of all the BFI events coming your way in the unusual BFI-created month of October/November (not to be confused with September/October). This month, most of the TV output comes as part of the BFI’s BlackStar season, looking at the contributions by black talent to movies and television around the world as well as in the UK. It includes a preview of the forthcoming NW, Black is the New Black and A Black History of Britain, a tribute afternoon to Cy Grant, a 10th anniversary screening of Shoot The Messenger, as well as numerous plays.

But also lined up is a preview of Television’s Opening Night: How the Box was Born, a recreation of the first ever night of BBC TV, as well as another recreation – an animated version of missing Doctor Who story The Power of the Daleks.

Continue reading “What TV’s on at the BFI in October/November 2016? Including NW and A Black History of Britain”

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