TV Shows

Already watched the first four GoT episodes? You’ve failed

Ruth Alexandra Liston, University of Melbourne

Game of Thrones returned to our screens on Monday, and faster than you could say Daenerys Targaryen, eager fans had either watched the first episode via their legitimate cable subscription, or taken to the illegal file-sharing sites to nab their copy. By 5pm, just under 150,000 downloads had been logged, making Australia the fourth biggest torrenting nation in the world for the show.

For the new season, however, the gods of Westeros had something a little extra in store for the nation’s pirating hordes. Illegal downloaders soon discovered that not one but four episodes were ready and waiting on torrent sites, the result of a leaked DVD “screener” which was sent to reviewers in advance.

No doubt this was a real kick in the wallet for legitimate cable subscribing fans, who must chose to either remain above the law and work hard to avoid spoilers for the next three weeks, or dabble in the dark arts of file sharing to keep up.

For many less scrupulous folks this release was no doubt akin to stumbling across a stash of unguarded Lannister gold. In an era of box sets and binge watching, the patience required to wait for a weekly instalment can often be overwhelming. The sweet relief of instant gratification – even if it means no new episodes for three weeks – may be too much to resist.

To others, though, the availability of these extra episodes presents a different kind of quandary. The serialised nature of the show means that for many Monday has become “Game of Thrones Night”, a ritual which brings families, flatmates, partners and friends together to experience the most thrilling, engaging and often shocking drama on television today.

Even more brilliantly, each new episode is preceded by days of mounting anticipation and followed up with analysis and in-jokes that engender a real sense of shared connection on social media and in offices, universities, cafes, shops and bars across the country.

Watching the first four episodes might be satisfying in the short-term, but the price is the temporary loss of that communal social experience.

The Marshmallow Test.

This dilemma – to consume immediately or to delay gratification for greater reward – brings to mind the famous oft-replicated marshmallow test. Beginning in the late 1960s, American psychologist Walter Mischel and his team gave pre-schoolers a fiendishly simple, yet enormously revealing, test of their self-control.

Children were seated at a table in a stimulus-free room and presented with marshmallows or other treats.

The deal was that the children could choose to eat one straight away, or wait until the researcher returned after up to 20 minutes and be rewarded with two marshmallows. The children would then be left alone with the marshmallows and a bell.

Ringing the bell would bring the researcher back and allow them to eat a single marshmallow, but waiting until the researcher returned of their own volition would mean double the reward.

While the tests had initially been designed to measure at what age the human ability for delayed gratification developed, years later the researchers discovered a much more important result: as adults, those children who could resist the temptation longer did better on their college admission SATs, had higher self-worth and lower drug use as adults, and were less likely to be overweight.

You’ve had your fun – there’s no point complaining now.
© Home Box Office, Inc.

Certainly a debate continued over what it was that led to greater willpower, with studies variously suggesting a relationship to parenting, beliefs about the reliability of the world around them, an ability to find ways to distract themselves in an empty room, or just pure grit. But the fact remains that however they managed to do it those skills or innate qualities led to more benefits in later life.

It would be a stretch to suggest that those who have already downloaded and watched the first four episodes of Game of Thrones would have failed the marshmallow test. And there are other factors at play here – the concern about spoilers being a not-inconsiderable one.

At the very least, the marshmallow test should remind us of the benefits of a developed ability to delay gratification, to postpone short-term satisfaction for richer reward.

In an era of Netflix, Spotify and their less legitimate counterparts, where we rarely have to wait too long to get our hands on the next big thing in entertainment, the pleasure of the increasingly rare shared social experience of the weekly instalment is worth the wait.

And there’s nothing to stop you from eating as many marshmallows as you like while you watch.

The Conversation

This article was originally published on The Conversation.
Read the original article.

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Celebriity Gossip, Celebrity Actresses, CELEBRITY GOSSIP, CELEBRITY NEWS, Television News, TV Shows

Male Lead In ‘Sex And The City’ Calls Carrie Bradshaw A Whore

 

Male Lead In ‘Sex And The City’ Calls Carrie Bradshaw A Whore“Christopher Noth of The Good Wife and Sex and the City fame just called Sarah Jessica Parker’s iconic character, Carrie Bradshaw, a whore. Even if Noth made a joke, which his rep says was the case, it wasn’t necessarily a good one.

Noth, who played Carrie’s on-and-off again boyfriend-turned-husband, Mr. Big, was beloved and hated by Sex and the City fans. His standoffish character was often cold and callous, and contributed to a very damaging relationship. But speaking to News.com.au in Australia, Noth blamed the unhealthy relationship on his counterpart.

“[Big] was what he was. One of the things I tell people is that he never tried to pretend he was anything other than what he was. It was (Carrie) who tried to pretend he was something he wasn’t. He was always honest about himself; he never cheated on her. The relationship just didn’t work, and he went on to get married while she went on to … how many boyfriends did she have? She was such a whore! There’s a misconception that Carrie was a victim of him, and that’s not the case. She was a strong, smart woman.”

This material [article] was published by the Center for American Progress Action” (online)Source: http://www.thinkprogress,org

To read the entire article go here http://thinkprogress.org/culture/2014/10/17/3581440/sex-and-the-city-whore/

Image Credit http://commons.wikimedia.org/wiki/File:Sarah_Jessica_Parker_4_Shankbone_2009_Tribeca.jpg

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Celebrity Sports News, Celebrity Sports Stars, SPORTS NEWS, Television News, TV Shows

ESPN’s 30 For 30 Documentary Series Is Back, And Women’s Sports Are Absent

 

ESPN’s 30 For 30 Documentary Series Is Back, And Women’s Sports Are Absent

by Travis Waldron Posted on October 8, 2014 at 3:59 pm
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“ESPN’s 30 For 30 Documentary Series Is Back, And Women’s Sports Are Absent”

ESPN’s much-acclaimed documentary series, 30 for 30, returned Tuesday night, when the network went up against playoff baseball with the debut of “Playing for the Mob,” a look into the point-shaving scandal that rocked Boston College and the college basketball world during the 1978-79 season.

“Playing for the Mob” is the first of seven new titles that will air throughout the fall as part of the 30 for 30 series, and several of the others sound fascinating too: there’s “The Day the Series Stopped,” about the earthquake that disrupted the 1989 World Series; “Brothers in Exile,” about Livan and Orlando Hernandez, two ballplayers who fled communist Cuba and earned Major League glory; “Rand University,” about wide receiver Randy Moss’ childhood in smalltown West Virginia; and “The U Part 2,” which revisits one of the series’ most popular films from its first season.

Something else is fascinating too: women’s sports are nowhere to be found.

According to the list of films and their directors on ESPN’s web site, none of the seven documentaries that will fill the season of 30 for 30 films broaches a topic that involves women’s sports. Just one, last night’s “Playing for the Mob,” features a woman co-director (Cayman Grant).

This is fairly typical for the series. The original 30 for 30 series aired in 2009 and 2010. Two of its 30 films — “Unmatched” and “Marion Jones: Press Pause” — were about women athletes or women’s sports. In 2011 and 2012, ESPN produced 13 more 30 for 30-style films under the ESPN Films Presents banner. Just one of them — “Renee” — was about women in sports. ESPN launched Volume II of the 30 for 30 series in October 2012, and by the time the last of the seven new films airs in 2014, Volume II will include 26 titles and will have covered women’s sports or a woman athlete in just one — “The Price of Gold.” Of those 69 films, six had women directors or co-directors.

To read the rest of the article visit the original  link

http://thinkprogress.org/sports/2014/10/08/3577490/espn-30-for-30-women/

 

This material [article] was published by the Center for American Progress Action” (online)Source: http://www.thinkprogress,org

Photo Credit File:Marion Jones 12.jpg – Wikimedia Commonscommons.wikimedia.org

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Celebrity Actresses, CELEBRITY GOSSIP, CELEBRITY NEWS, Television News, TV Shows

Celebrity marathoners: the pressure, the pitfalls, the payoff

 
October 9, 2014
Shannon Ryan
Chicago Tribune
Displayed with permission from MCT Information Services
Soon after actor Anthony Edwards put out his last cigarette, he decided to run the Chicago marathon. Like most marathoners, Edwards questioned his ability. But unlike most other runners, he knew that if he could not finish, everybody would know it. “It was right at the height of ‘ER,’ so I went under a different name,”… Continue reading
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CELEBRITY GOSSIP, CELEBRITY NEWS, Television News, TV Shows

Twin Peaks was a hit because it was so of its time – but the return is welcome

Image http://en.wikipedia.org/wiki/Sherilyn_Fenn

By Ross Garner, Cardiff University

So the cryptic teasers posted on Twitter by Mark Frost and David Lynch have substance: Twin Peaks will be returning to television screens 25 years after its cancellation. The new series will be a nine-episode run on US premium cable network Showtime. Again Lynch and Frost are to be united as key creative personnel.

For those unaware of Twin Peaks, it became a cultural phenomenon in the US (and beyond) in the early 90s. The series narrative initially revolved around the investigation of the murder of the seemingly idyllic prom queen, Laura Palmer (Sheryl Lee), by FBI special agent Dale Cooper (Kyle Maclachlan). It was set in the equally idyllic Pacific North West town that gave the series its name. But as the narrative progressed and surfaces were scratched, the town and its surrounding areas revealed many dark secrets. Even the owls were not what they seemed.

Twin Peaks was axed after just 30 episodes, ending on an unresolved cliff-hanger where agent Cooper had become possessed by the evil spirit BOB after escaping from the Black Lodge (a sequence that remains one of the most abstract, inventive and disturbing sequences ever seen on television). Similar denials of closure are characteristic of programmes that attract enduring fan communities (The Prisoner and Blake’s 7 immediately spring to mind) and Twin Peaks is no exception. Deferring resolution allows fans the space to speculate about what happened after and to draw their own conclusions.

Such activities assist in maintaining a series’ visibility and, in the years since its untimely cancellation, Twin Peaks remains extraordinarily well known. The programme still has a healthy fan community through yearly conventions and events and, although news of the programme’s return has generated some mildly-dissenting voices, the announcement has generally received high levels of enthusiasm. Twin Peaks’ reputation has also endured as a reference point for multiple television series as diverse as The Simpsons and AMC’s remake of The Killing, though, demonstrating its wider legacy within popular culture.

Industry shifts

Twin Peaks caught the attention of future directors and fans because of its originality; because it was such a product of its time. It was commissioned by ABC in response to declining audiences that were the result of multiple shifts that were affecting the TV industry throughout the 1980s when there was suddenly much greater choice. It was the slick visual style and Hollywood associations of the show that helped distinguish it from its peers. Twin Peaks was addressed primarily towards affluent, “quality” viewers who wouldn’t regularly watch television.

Such appeals were even encoded into the series itself in the form of a spoof soap opera called Invitation to Love that enthrals (primarily female) characters. Such features required the show’s audience to get the joke, and reflect on the excesses of equivalent prime-time soaps such as Dallas and Dynasty. This makes Twin Peaks not only of its time but also something of a historical artefact.

But it hasn’t lost its relevance, and it can still be considered timeless. Such jokes and tropes continue to echo if you watch the series now, 20 years after those specific cultural references resonated. And this is particularly down to that same idea that originated with Twin Peaks: TV that “isn’t TV”. This idea mirrors contemporary discourses of “quality” television. Retrospective reflections from former cast and crew members regularly imply that the series remains unique in comparison to its peers in the same way that HBO series such as The Sopranos, Sex and the City and, more recently, Game of Thrones are marketed as “not TV”. A recent article for Salon stressed such parallels by arguing that without Twin Peaks there would have been no Breaking Bad or Mad Men. Twin Peaks appears timeless because it erodes distinctions between TV production trends then – and now.

 

Perfect timing

Twin Peaks’ return is also perfectly timed. This is because similar shifts in audience behaviour are happening again. Rather than VCRs, satellite and cable, streaming and on-demand services such as Netflix are reconfiguring how people watch TV. While it remains to be seen whether Twin Peaks’ return will spoof these trends (Invitation to Stream, perhaps?), TV drama is responding to these changes by providing more edgy content that targets specific niche audiences. Just look at Hannibal, True Detective or the aforementioned Game of Thrones. Twin Peaks certainly fits the bill here. The current climate may be well suited to the series’ at times complex and abstract exploration of philosophical issues such as the concepts of good and evil, or the individual psyche.

And anniversaries are more popular than ever, a by-product of the difficulty in holding down audiences among an avalanche of content. This spring saw publicity events take place in LA to mark the tenth anniversary of Lost’s debut on US television while the UK (and beyond) also recently saw year-long celebrations to commemorate the 50th anniversary of Doctor Who. Commemorating Twin Peaks’ 25th anniversary with a new series in 2016 (which coincides with its cancellation) is part of this trend.

Those composing lists and dreaming about which original characters will or must return may be disappointed – the new series will have to attract and sustain a new audience alongside entertaining its established fans. Let’s wait and see if the furore of the early 90s will happen again. Time, as always, will tell.

The Conversation

Ross Garner does not work for, consult to, own shares in or receive funding from any company or organisation that would benefit from this article, and has no relevant affiliations.

This article was originally published on The Conversation.
Read the original article.

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Celebrity Chefs, TV Shows

Cutthroat Kitchen: Superstar Sabotage Premiers Tonight

cut-throat-kitchen1
Cutthroat Kitchen goes all-star this fall, with sixteen celebrity chefs competing in the five-episode series that premiers tonight. The Cutthroat Kitchen: Superstar Sabotage tournament takes pace under the watchful eye of host Alton Brown. The show combines two favorite staples of the reality show business – cooking, and sabotage. Only the craftiest and most cunning chefs… Continue reading
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