US TV

Question of the week: do you prefer your series open-ended or closed?

Awake

Last week, NBC’s Awake had its season and series finale. If you want to have it all explained to you, you can find out here.

But there have been varied reactions to the finale. Depending on how you look at it, there was either a definite answer to the central question of the series – which of the two realities is real and which isn’t? – or there wasn’t?

Equally, the ending of the season was always intended to be the ending to the first season, whether there was a second season or not. In other words, it was deliberately intended to be both open-ended and closed.

Now some people have been frustrated by the fact there’s no definite answer to the question, while others have been frustrated that there are no more episodes. The creator of the show, Kyle Killen, has argued that by leaving some areas open, it allows people to imagine more episodes if they want.

A similar attitude was taken by the creators of House, who had House and Wilson ride off together at the end of the final episode so that the show could live on in people’s imaginations if they so wanted. To have killed off House would have upset too many people, they argued.

Even in cases where there is an apparent finality to everything – for example, Blakes 7, in which everyone was shot dead – fans have continued to write stories about what happened next (and indeed there was an official book by Tony Attwood continuing the story) and others have petitioned for more TV episodes.

So today’s question is:

How do you like your series finales? Do you prefer them to tie everything off with neat bows, giving you a definite end to the story being told? Or do you prefer them to be open-ended? And does it depend on whether a central puzzle has been answered or not?

Answers below or on your own blog, please

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Review: Hit and Miss (Sky Atlantic) 1×1

Hit and Miss

In the UK: Tuesdays, 10pm, Sky Atlantic
In the US: Acquired by DirecTV. Starts July 11

For many years, BSkyB has been seen by many in the UK as something of a scubby parasite. It earns a fortune from sports subscriptions and then what does it do with them? Uses them to price every other broadcaster out the sports market to make even more money, which is uses to acquire all the good US TV shows to make even more money (£6.6 billion in 2011). But does it make any programming itself? No, just tacky reality shows.

But the times, they are a changing. Sky may have poached all the good US TV shows, even signing an exclusive deal to acquire everything HBO makes and air it on a new channel Sky Atlantic, but now it’s started to get into the business of making halfway decent, scripted TV shows. It’s putting a real effort into comedy on Sky 1, it’s got two more-than-halfway decent arts channels in the form of Sky Arts 1 and 2, and despite the confusing name on the tin, Sky Atlantic now has its first home-grown UK drama.

Created by Paul Abbott of Shameless fame and written by writer-film director Sean Conway (brilliantlove, Alex and Her Arse Truck (no really), Rabbit Stories and Kings of London), it’s about a trans hitwoman who suddenly discovers she has a son by a former girlfriend. Chloë Sevigny – a Golden Globe-winning US actress who’s best known for Showtime’s Big Love but also for movies such as American Psycho, Lars von Trier’s Dogville and Boys Don’t Cry, in which she played a woman who falls in love with a trans man – is Mia, the hitwoman in question, who has to trundle off to meet her new family and to become both father and mother to them.

And unlike a lot of previous attempts by Sky at original programming, it’s not half bad. Even though it also stars Jonas Armstrong from Robin Hood, it’s about a trans hitwoman trying to raise a family in the Yorkshire Dales and it’s called Hit and Miss. Clever, huh?

Here’s a trailer.

Continue reading “Review: Hit and Miss (Sky Atlantic) 1×1”

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