The Quatermass Experiment
Streaming TV

Question of the week: what’s the modern etiquette for spoilers?

Tell everyone what you think about the latest burning media issue with TMINE’s Question of the Week

Once upon a time, there was no such thing as a spoiler. When TV first started, it was broadcast live and wasn’t recorded. If the BBC wanted to repeat a programme, they’d have to get all the actors and production team to turn up again and repeat their performance, just like at the theatre. If you missed a programme, that was it, you’d missed it, so if someone at work started telling you what had happened, the idea that he or she might be ‘spoiling’ you would never occur to you.

Small wonder that a show like The Quatermass Experiment could literally empty streets in the UK.

Video created the TV spoiler

Then film and video started to be used to record TV programmes in advance of the transmission. This enabled the development of the ‘repeat’ (or the ‘re-run’ in the US) – a nifty way of filling the schedules with shows people might have missed and couldn’t record themselves, since no one at home had the same recording technology that the TV networks did. It was practically a public service, the repeat.

All the same, it might be months, years or precisely ‘never’ before a show you missed might be transmitted again, so the idea of the spoiler had yet to be born.

It wasn’t until the 80s and the arrival of home VHS systems that anyone felt able to say, “Hang on! Don’t tell me. I recorded that last night and haven’t watched it yet! Don’t spoil it!”

Nevertheless, it was a few years before VHS was ubiquitous enough that any real spoiler etiquette came into effect. Ask before revealing any plot details. Maybe hold off for a couple of days before discussing a show loudly with anyone else. Certainly don’t reveal what’s happened in a foreign TV show you might have seen before the episode has actually arrived in the UK.

Now, of course, we live in a world where a TV show broadcast in one country can be instantly available in another country even before it’s broadcast there. There aren’t even fixed schedules, necessarily, with TV shows released on the Internet as ‘boxsets’ – even though the age of DVD boxsets is almost over – and available for anyone to watch in one go, if they have the inclination. Not everyone may have access to a service, either, and even if they do, there may be parts of the service that other people don’t have access to: how many people not only have Amazon Prime, but have also invested in the additional Amazon Prime channel Starzplay so they can watch Counterpart, a show never shown on any other service or TV channel in the UK? I can’t imagine it’s a huge number.

A free for all?

All of which makes me wonder if there is a ‘spoiler etiquette’ any more. Some people, including the actors and production staff who have made a show, may indulge in ‘Live Tweeting’, for example, broadcasting to all and sundry their thoughts about what’s happening in the episode as it happens. There is some etiquette there, with most conscientiously include a hashtag with their Tweets so that others can ‘mute’ those thoughts, if they’re technologically sophisticated enough.

Nevertheless, there is a general adage that you shouldn’t go on either Twitter or Facebook after a show has finished, because your chances of avoiding spoilers will be almost zero and will rapidly decrease over the next day.

Media services are even worse, it turns out. One of the hazards I run into when doing The Daily News is that they’ll often want to discuss the latest episode of a popular show, often with a clickbait headline along the lines of ‘you’ll never believe who just died in XXXX’. It’s an attempt to avoid spoiling people, sure, but one that only works if you don’t then include a picture of the person in question with the headline. RSS feeds offer similar spoiler cloaking, but invariably also include the identity of said person and a photo in the first paragraph.

That, however, is not the worst I’ve seen recently. On Friday, for example, by about 2pm, there were services posting spoilers about the latest season of Marvel’s Daredevil without even trying to avoid spoiling the reader (Digital Spy, I’m thinking of you in particular). Given that season was 13 episodes and it went live at 8am, there’s no way anyone at all – other than journalists with access to previews – could have seen the final episode, and yet the spoilers were out there just nine hours before anyone could have actually seen the final episode.

And that was just the UK services – the US services started spoiling at the same time as the UK services. They were at least five hours behind and yet because Twitter UK was off spoiling, the US services had to be there, too, to avoid losing clicks.

Is the age of spoiler etiquette dead?

Etiquette, smetiquette

There is a little bit of exciting anthropology science dedicated to ‘positive’ and ‘negative’ politeness societies. England, India and Japan are examples of ‘negative politeness’ societies. That is, people are expected to demonstrate politeness to other people by not disrupting their life. Try to be quiet, try not to do anything that places a burden on someone else, try not to inconvenience them in any way and you’re demonstrating utmost politeness.

Meanwhile, most of the rest of the world, including the US – except maybe not New York – is an example of a ‘positive politeness’ society. That is, to show politeness, you have to show interest, strike up conversation and generally try to show respect and kindness. No “French exits” for positive politeness societies – say goodbye to everyone you’ve met at a party when you leave and thank them, and you’ll be considered so polite, they’ll think you’re Texan. Do that in the UK and people will wonder what you’re trying to sell.

I mention this because this week’s question, dear reader, asks you not only if there is a spoiler etiquette but if there’s any point having one. Are we in fact assuming we’re in a negative politeness culture when globalisation has turned the entire TV-viewing world in a positive politeness culture?

We’re in an age when TV plots can and will be splurged widely on the Internet even before anyone’s actually seen them, and not just in a small post on Ain’t It Cool News that you have to seek out. So is it now incumbent on the TV reader to actively avoid spoilers, while everyone else should just assume they can talk about any TV show at any time they like, unless asked not to? Should we turn off, tune off and drop out from all real-world and virtual conversations until we’ve seen a show we want to see?

Or should we still be acting like TV spoilers shouldn’t be discussed until everyone’s had a reasonable chance to watch a show? What do you think?

You can use <spoiler> tags in your answer, of course.

Stand Up Nigel Barton
Events

What TV’s on at Birkbeck in November? Including Stand Up, Nigel Barton and The Land of Green Ginger

Not exactly a regular TMINE feature, this one, but Birkbeck College is putting on a Classic TV event next month, so I think it’s worth letting y’all know about it. Plus it only costs a fiver.

British TV and the Working-Class Homecoming

Birkbeck Cinema, 2nd November 2018: 18:00-21:00

As university fees sit at record highs and the cost of accommodation and living in major university cities continues to spiral, the gap between working-class and lower-middle-class students and their more well-off peers grows wider and more self-evident. The idea of a ‘flattened’ culture is being exposed for the myth it is, and the ‘classless society’ truly has never arrived.

This programme represents a timely intervention in a phenomenon currently being underexplored; by returning to two classic British television presentations of the ‘working-class homecoming’ we can begin to find some representation of the experiences of current young working-class people attempting to bridge the gap between two worlds – the world of privilege and ‘opportunity’ and the oft-threatened and ‘common’ world of their background, and what happens when they return to the place of their birth.

The Wednesday Play: Stand Up, Nigel Barton (1965)

Stand Up, Nigel Barton is acclaimed television playwright Dennis Potter’s first great play; Potter draws on his own experiences of moving from the mining villages of the Forest of Dean to Oxford on a scholarship in showing a young man (Keith Barron) tortured by his inability to fit in with rich academia and student life, and his alienation from his old village way of living. Mocked by both his fellow students and his father’s friends, Nigel attempts to untangle a knot of guilt-ridden memories and find the room at the top without betraying his family background. Presaging Potter’s celebrated Blue Remembered Hills and The Singing Detective, Stand Up, Nigel Barton demonstrates the ways that those who attempt to traverse class boundaries can find themselves caught in a sort of no-man’s land.

Play For Today: The Land of Green Ginger (1973)

The Land of Green Ginger is rarely-screened but is a jewel in the crown of the career of Alan Plater (The Beiderbecke Affair, Trinity Tales). Plater’s alter-ego is Sally (Gwen Taylor), a young woman who has moved from university into a career in London. Offered an long-term job abroad she attempts to make up her mind about whether to leave or return to Hull, her family roots and her fisherman boyfriend. Almost impressionistic at times in its montages set to folk songs performed by The Watersons, the play serves as a celebration of Hull and maritime industry, a bitter lament for its decline and (again) a portrait of the siren call of the past, a working-class rootedness that is nonetheless under attack by the ruling powers, grappling with ideas of personal social and economic mobility.

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Elseworlds Flash
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Daredevil and Fisk
Streaming TV

Boxset Monday: Marvel’s Daredevil (season three) (Netflix)

Available on Netflix

Well, that was a disappointment. And a relief. But probably not for the reasons you were thinking.

So, Netflix’s various Marvel superhero shows have been in something of a funk of a late. When they were first announced, everyone was sceptical. With all the best Marvel superheroes in the cinema, what was Netflix going to do with a bunch of also-rans like Daredevil, Jessica Jones, Luke Cage and Iron Fist?

But under the auspices of Steven DeKnight and Drew Goddard, the first season of Marvel’s Daredevil blew everyone away. This was quality TV. Okay, the costume was a let-down but at least that was only five minutes at the end of the last episode and we could just about excuse the magic ninja, the extreme sadism and Daredevil’s ability to heal crippling injuries in a couple of days using only the power of meditation before that.

Then Marvel’s Jessica Jones came along and that was the end of that – it looked like Netflix was doing for superhero shows what it had done for Internet TV with House of Cards. Phew. We were in safe hands. Roll on the other two shows.

Since then, those of us following these shows have largely been in a state of perpetual disappointment. Maybe it would have been better if the first two shows hadn’t been quite so good, then we wouldn’t have been quite so disappointed. Marvel’s Luke Cage was okay, but not great. Marvel’s Iron Fist was awesome! Unfortunately, I’m probably the only person who thought that (screw you, haters). The much-anticipated second season of Daredevil was half-good, half-dreadful. The great big team-up of all four superheroes, Marvel’s The Defenders, was a bit blah thanks to a rushed conclusion and poor characterisation. Season two of Jessica Jones was season one of Jessica Jones again. Yawn. Season two of Luke Cage was a marked improvement over season one, but still not good enough to prevent it getting cancelled. Season two of Iron Fist was not only soporific, it was season two of Luke Cage as well, so it got cancelled, too.

The one bright star in the Marvel firmament was unexpected addition The Punisher.

So it was with low expectations but a certain degree of hope that I went into season three of Marvel’s Daredevil. Would it be as good as season one? Would it even be good?

I crossed my fingers, anyway.

Bullseye

Daredevil to hope

As I said, after 13 episodes, both relief and disappointment were the results. Disappointment, not because it was bad, but because it starts so well. The first six or so episodes are great. It then just turns into absolute rubbish. It’s stupid and almost unwatchable at times. Remember the Hand? Just as bad.

Oh the disappointment.

So why relief? Because thankfully, the final three or four episodes are great again. Woo hoo!

And it’s all by going back to the first season and what was good about the show. And by ditching that stupid costume. Spoilers after the jump.

Continue reading “Boxset Monday: Marvel’s Daredevil (season three) (Netflix)”

Miss Fisher
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