Ciara Moloney Television

Cancelled Too Soon: Mindhunter

This article is part of the Cancelled Too Soon series. Previously, Lodge 49.

Television has changed so drastically in the last decade that it’s hard to comprehend in hindsight. The history of television is full of drastic change, from the move to colour to the rise of cable and satellite channels, but the emergence of streaming has exploded the very concept of what television is. Something literally no longer has to appear on TV to be a TV show. We watch TV shows on computers and telephones, instantly available and on our own schedule. So much of what we call TV now would not be recognised as TV by time travellers from twenty years ago. Cable television was small fry by comparison: it was still recognisably television, there was just a lot more of it. A dozen new places to watch Murder She Wrote reruns. 

Streaming is different. It’s not just the rise of major new companies in the TV landscape, it’s the transformation of both how we watch TV and how TV gets made. In 2013, Netflix started pivoting in earnest to original programming with Orange Is The New Black and House of Cards, and in the years since, basically every tech or media company has decided to launch its own subscription streaming service, each offering original, exclusive programming. Most of it is released a full season at a time, although Disney+ and Apple TV have tried (with varying degrees of success) to release episodes weekly. The season lengths are generally short: if the typical seasons of American television were twenty-two episodes or so on a network and around thirteen on cable, recent streaming shows tap out at about ten. While short seasons are typical of how TV is produced in a lot of countries – six episodes has been the consistent norm in the UK for decades – those old-fashioned long seasons are now at death’s door in the US, too. 

This is important because it’s transformed what TV is actually like. In the early days, the rise of streaming services was often discursively bundled in with the Golden Age of TV that was set off by The Sopranos: complex, serialised storytelling, the story goes, was now possible on television, usually in the form of dark antihero dramas. If the rhetoric about the Golden Age of TV was sometimes overblown – a strange form of backhanded snobbery that put television as a medium down in order to praise its programmes – it was describing something real and tangible and exciting. Watching Breaking Bad for the first time was one of the greatest thrills I’ve had with any piece of art. Although to this day Wikipedia frames this golden age as ongoing, there was a clear shift at a certain point. Bundling modern streaming television in with The Sopranos totally misses what streaming shows are actually like to watch. 

Television as a medium has traditionally been both short and long: you watch it for half an hour or so, but over months and years. Streaming television has effectively reversed this: episodes bloat and bleed into one another, which combined with the shorter seasons, gives the feeling of a stretched-out movie. And then it gets cancelled prematurely. So much of great old television is tight, short episodes churned out for the better part of a decade – an epic mosaic made from tiny, carefully crafted individual artworks – and so much of modern television is two bloated and sluggish seasons and then cancellation. The second season of Jessica Jones was such a bloated mess that didn’t even really feel like it had episodes, it just rolled credits at around the hour mark. Most people around me seem to have adjusted to the new television landscape fairly well, even if I am convinced they have forgotten exactly what they’re missing. When people talk about binging shows, too often it sounds to my ear less like they are enjoying the show so much they want to stay with it that bit longer and more like they’re racing to get it over with. 

If you love television – and I do, dearly, since I was a tiny tot sat in front of the box to watch cartoons – it’s easy to despair and retreat into old detective shows and classic sitcoms. Emily VanDerWerff captured my feelings perfectly: 

The things I love about older TV are precisely the things that are missing from TV right now. In the olden times, TV sprawled and took its time and unfolded over many episodes over many years. Even a show like Breaking Bad took several years to unspool its story, and when you look at something like Cheers, it’s impossible to imagine something with that level of depth and complexity getting that long to tell its story today. We are built not for the long haul, but for an endless assault of the new… That makes me sad, or maybe it just makes me old. But it does seem like whatever this medium I love is becoming, it’s not quite the thing that made me fall in love with it.

But it is possible for great shows to still get made. Great shows get made all the time, in fact. I Think You Should Leave is quite possibly the greatest sketch show of all time, and it probably wouldn’t have gotten made in any previous era of American television. But too many great shows feel like they were born too late, trapped in a time that can’t appreciate them the way they deserve. Shows like Mindhunter. 

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Dean Buckley Film

Eternal Subscriptions of the Spotless Mind

We’re living through a time that future media historians will call a major turning point in the digital era. The younger, techier companies that created the modern streaming market, like Netflix and Amazon, have used up their first mover advantage and the regrouped old guard are gearing up to crush them. (Apple are on the tech side, but did not use their first mover advantage, because they’re idiots, presumably.) The biggest conglomerates in the film industry – Disney, AT&T, Comcast, ViacomCBS – will stop licensing their films to streaming services owned by other companies in favour of exclusively streaming them on services they own: Disney+, HBO Max, Peacock and Paramount+ (formerly CBS All Access) respectively. It’s gonna take a few years to make the shift, as deals that were signed before launching these services cannot be rescinded. But they’ll pretty much all be expired by the end of this decade and very few will be renewed, especially once HBO Max, Peacock and Paramount+ go international. That’ll leave any streaming service without a major studio archive increasingly reliant on their original releases as enticement to stay subscribed, which will always be a worse value proposition for a consumer than original releases plus loads of existing films. Amazon seem to be futureproofing Prime against this threat by buying MGM and securing a back catalogue of their own. Netflix and Apple seem to be doing sweet fuck all, but that could change any minute. It’s Silicon Valley vs Hollywood in a fight to the death over which shower of assholes in California get to shape the future of global media, and it terrifies me.

Streaming has only been around for the bones of a decade and it’s already transformed the industry so much, mostly for the worse. Suffocating overproduction, cinemas decimated, expanding power of corporations to censor art. The casualties of the first streaming war (June 2011 – March 2020) have already been severe, and that was before Disney, one of the most awful, nihilistic media companies in human history, got involved. What fresh horrors will come now the second streaming war (May 2020 – present) is afoot? I obviously can’t know what Bob Iger and his ilk are cooking up in their high rises, but I can try to think like them. I’ve looked at graphs of market trends and nodded slowly, I’ve brainstormed and wordclouded and powerpointed, I’ve put a photo of Martin Scorsese on a dart board and shot it with a revolver. I’ve danced with Minions in the pale moonlight, huffed the helium from Walt Disney’s cryopod and sought prophecy in the entrails of a still-living Boots the Monkey. I’ve read the fucking Economist. And lo, the Invisible Hand came forth from the great maelstrom of the market, laid a single finger on my forehead and answered my prayers. I have seen the future that Disney and all the other rogues will bring about in their ruthless, pointless pursuit of wealth. It has come to me as if in a vision, and, buddy, it is fucked up.

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Dean Buckley Television

Crisis on Infinite Shows

No matter how painful it can be, these shows make me grateful to love television and excited to be a superhero fan.

I can’t wait for the next five years.

When I last set out to survey the landscape of superhero television, figuring out where to start was easy. Arrow debuted in October 2012 and kicked off a boom in superhero shows that continues to this day. Where else could you possibly begin the story of the superhero TV boom? Just three years later, I have no idea where to start. The last piece ended with some thoughts on ten then-upcoming superhero shows. Just two of those ten are still airing. Seven were cancelled and one never made it to air in the first place.

The landscape of superhero television no longer has an epicentre. It’s not really a boom anymore, it’s a bubble: a big wobbly one that keeps growing and growing and growing and never bursts no matter the ludicrous shapes it takes. Last time I wrote about it, the superhero television market had at least three large competitors in Disney, Warner and Fox. But Disney ate Fox and AT&T bought out Warner so now it’s just two colossal conglomerates producing virtually all superhero TV shows. Both conglomerates have also launched their own bespoke streaming services, Disney+ and HBO Max, full of all the content they pulled from the original streaming giants who’d previously licensed it like Netflix and Amazon. Disney+ and HBO Max need to produce exclusive content on top of their deep libraries if they want to come out on top in the next phase of the streaming wars. Why not pump out a bunch of superhero shows? It doesn’t even matter that DC’s superhero shows are supposed to go on their dedicated streaming service, DC Universe: let’s release them simultaneously on both. Meanwhile, Disney is doubling down on the Marvel Cinematic Universe yet again by throwing mountains of cash at TV spin-offs for Disney+. The Falcon and the Winter Soldier. WandaVision. Loki. Naturally, the bigwigs over at Netflix and Amazon see they’re in an arms race and have ordered their own shows like The Umbrella Academy and The Boys. And on and on and on it goes.

It’s hard to look at something that used to give you such joy and just feel tired. There’s nothing left of what used to excite you, just the same bland homogeneity repeated again and again into forever and beyond. I’ve loved superheroes all my life and I guess I still do deep down, but most superhero stories barely make an impression nowadays. Just an endless sea of pure content washing over me like a rock and slowly grinding me down to sand.

Three shows of the superhero boom that I watched to the end – Arrow, Gotham and Legion – each deserve their own retrospective. But, in lieu of anywhere else to start, I’ll still have to begin my eulogy to the genre with its last gasp.

The sixth annual Arrowverse crossover event – bringing together characters from The CW’s Arrow, The Flash, Legends of Tomorrow, Supergirl and Batwoman – was called “Crisis on Infinite Earths” and I did not enjoy it.

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Dean Buckley Film, Television

DVDs Don’t Buffer

Debates about the relative merits and pitfalls of the rise of streaming services are among the most frustrating cyclical discourses in the world of film and TV critics, entertainment journalists and other people who just like to argue about pop culture. It’s right up there with the annual “pick one film in the Oscar race and arbitrarily designate it the evil one” discourse, the quarterly attempts to cancel Martin Scorsese, and the monthly skirmishes over “letting people enjoy things”. Yet, as with those tangles of bullshit, I am drawn inexorably toward streaming debates like a shrimp to an anglerfish’s luminescent head frond. I just don’t see how you can care deeply about film or television and not care about the material conditions under which they’re produced, distributed and exhibited.

There are lots of interesting ways to think about streaming: whether it offers more creative freedom to artists (kinda), whether it’s more democratic than theatrical distribution (no), whether it’s all just gonna implode one day and thousands of original movies, television series and stand-up specials will just kind of vanish from any legal distribution channels (probably). I’m glad to see more of a sceptical eye turned to immoral business practices in the industry lately, from Disney’s attempts to destroy independent cinemas to talent agencies selling out their clients for their own benefit to the obvious moves towards monopoly by the major media conglomerates. (Not how exploitative record deals are, though. I guess I’ll have to dust that one off sometime.) It’s important these issues are not just highlighted but explored thoroughly, so we don’t end up with situations like the California law ostensibly designed to stop Uber and similar companies misclassifying employees as independent contracts, which has (1) not stopped Uber et al. doing anything and (2) ruined the lives of basically every freelance journalist in the state.

But I also think a robust engagement with streaming requires looking at narrower issues with user experience. I kind of hate talking about topics like this, because you end up using terms like “user experience”. Materialist analysis is a useful and important way to look at art as a function of the economy, but it still makes my skin crawl to hear works of art described as “products” or, worse still, “properties”. I would rather never have to think about the minutiae of how movies and TV shows are presented to me, but since they are both literally and figuratively embedded in the mediums they’re distributed in, it must be done. Especially because there’s an issue in the debate over streaming vs physical home media that I’ve never seen anyone else really articulate.

DVDs don’t buffer.

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Dean Buckley Film, Television

The Problem with Your Netflix Recommendations

I despise The Big Bang Theory to an almost pathological degree. According to Netflix, The Big Bang Theory is an 88% match to my interests. By contrast, Blackadder is just a 71% match, even though it’s a show I’ve watched and loved my entire life. Breaking Bad, which I’ve watched from start to finish multiple times on Netflix, has a healthy 96% rating. But Brooklyn Nine-Nine, which I used to watch on Netflix until it got crap and I stopped three and a half years ago, has an even healthier 97%. Hannibal, another show I’ve watched from start to finish on Netflix, clocks in at 84%, narrowly ahead of Peppa Pig at 82%. Comedians in Cars Getting Coffee, a show I would only watch if paid a princely sum to review, is a 90% match to my interests. Only Fools and Horses, a show I watch all the time, is rated too low for Netflix to even bother giving me a number. My recommendations are full of anime, even though I haven’t watched any anime since I was a child. Netflix thinks I’d like every single Louis Theroux series it has, even though I have never, ever watched any documentary TV series in my life.

Netflix’s recommendation algorithm seems like it’s broken. But it’s not, it’s working just fine, at least for now. The problem is the algorithm’s job isn’t to help users find TV shows and movies they would enjoy. It’s to trick Netflix’s investors into thinking the company is worth more than it is.

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Dean Buckley Film, Television

Netflix and the Obama Legacy

When Netflix announced last year it had entered a production deal with Barack and Michelle Obama, trading as Higher Ground Productions, the response from the right was predictable. Tons of extremely online conservatives who’ve spent the better part of a decade criticising every single thing that Obama does just because he’s Obama tried to start a boycott. Extremely online liberals and leftists made fun of the extremely online conservatives, but rarely commented on the deal itself, save the occasional prediction the shows would probably suck. And most people didn’t hear about it or didn’t care.

It was all very predictable, yet also confusing. I’m an extremely online leftist and when I heard Netflix had signed a deal with the Obamas, I was disgusted, so I thought the extremely online left response would be to make fun of extremely online conservatives for coming up with an incorrect explanation for their correct conclusion this news was messed up. But no one else seemed disgusted, so I waited to see if maybe some disgust would develop, but everyone just forgot about it, and now it’s a year later and I’m finished waiting, so here’s why you should be disgusted by the Obama-Netflix deal.

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Ciara Moloney Film

On Cinema(s)

In 2018, Ireland had the highest per-capita cinema attendance of any country in Europe, averaging 3.3 visits per person and just edging out France’s average of 3.2. This really surprised me, because I go to the cinema a lot more than that. I go to the cinema most weeks, and it’s not unusual for me to see two or three films in a row on the same day. Last year, the Pálás cinema in Galway had a Jeff Goldblum day, and I went to see The Big Chill, The Fly and The Adventures of Buckaroo Banzai Across the 8th Dimension and really regretted not seeing Independence Day because I was at such a loose end, and I don’t even like Independence Day. I once saw Justice League, Murder on the Orient Express and Suburbicon on the same day for some reason. I pretty regularly miss out on seeing films in the cinema that I’m interested in, and yet I regularly beat the Irish annual average in a week without even thinking that I’ve been going to the cinema “a lot”.

This means that just by myself, I’m skewing that average up a bit. I can’t imagine going to the cinema three times a year, but there are obviously loads and loads of people that go far less than that. I think for some people, going to the cinema is something you mostly do as a child, the way lots of people think of libraries or bowling. It makes me sad.

Cinemas are special places, and they offer a special experience. And I’m terrified of them dying.

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Ciara Moloney Television

Radical Empathy and the Prison-Industrial Complex

Spoilers through to the end of season 5 of Orange Is the New Black.

Orange Is the New Black has become a cautionary tale of the streaming era of television. When it first debuted in 2013, it quickly became hugely popular, one of Netflix’s most watched and acclaimed original series. It was at the forefront of that brief moment when “Netflix original series” meant something: ground-breaking television, exploding our very conception of what television could be. With its sprawling, diverse ensemble cast, binge-friendly structure and mixture of comedy and drama, Orange Is the New Black was the kind of show that was regularly preceded by a “I can’t believe you haven’t seen” and followed by an exclamation mark.

But not anymore. The show’s fourth season was polarising, but its fifth was widely disliked, to the extent it made any impact at all. It’s become just another show in Netflix’s bloated catalogue, just another past-its-prime show that you’ve forgotten is still on the air.

“Orange is the New Black seems destined to remain in a sort of TV purgatory,” The Guardian writes, “It has more than enough fans to sustain itself on Netflix and the streaming site is keen to back it considering it’s still one of its most-loved originals. But does it feel as vital as it did when it was first released?”

The answer is supposed to be no, so obviously that it doesn’t need to be said. But here’s the thing: in its latter years, Orange Is the New Black has become something more important and much more radical. I tend to rag on Peak TV quite a bit – if I say something “could only exist in the streaming era” I usually mean that it’s bloated, incoherent and insufficiently concerned with making individual episodes high-quality or enjoyable. The second season of Jessica Jones could only exist in the streaming era, and it fucking sucks. But Orange Is the New Black, too, could only exist in the streaming era: a beacon of light guiding the way to all that streaming television has the possibilities to be.

At what other point in history could a TV series get made – and become hugely popular – that argues, full-throated, for the abolition of prisons?

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Dean Buckley Television

Cancelled Too Soon: Sense8

This article is the part of the Cancelled Too Soon series. Previously, The Booth at the End.

There was a time not that long ago when Netflix could have had an actual identity instead of trying to become all of television by churning out exponentially more content than anyone else. It was a brief moment, between the initial excitement of the binge-viewing boom and the current glut of infinite trash when there were signs that Netflix, whatever else it was, could be the place to find the most innovative and exciting television anywhere in the world. Freed from the content limitations of traditional television, disinterested in dominating the direction of their original series, for a second there, Netflix was making television that was unlike anything else you’d ever seen. Some of it was thematically groundbreaking – Orange is the New Black, BoJack Horseman, Jessica Jones – and some of it was blowing up what we thought television could be as a medium – Lady Dynamite, The Get Down and, more than any other, Sense8.

But now it’s the future and the ones that were redefining the medium are all cancelled and Jessica Jones is gone to shit and Netflix’s brand is just excess for its own sake. When someone tells you about a new HBO show, HBO’s reputation tells you what the pull is: high production values, name actors, writer-driven shows with dark and complex themes. When you hear about a new Netflix show, there’s no sense of what it might be, because you’re already thinking about how you’re not going to watch it because you still haven’t watched the fifty other shows Netflix released in the past twenty minutes.

I mean, you haven’t even watched Sense8 yet, and Sense8 is one of the greatest television shows ever made.

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Ciara Moloney Film, Television

The Problem with Netflix Originals

Netflix is a very successful business, and I don’t know the first thing about business, so far be it from me to tell them what they should do. (I know so little about business that I can’t understand why owning a company that has never made a profit has made Jeff Bezos, the Amazon guy, the richest person on the planet.) But I do co-run this blog about pop culture, and Netflix has been one of the most important and transformative forces in film and TV (mostly TV) in recent years. The effects of that have been a mixed bag, but it’s hard to deny their sheer scale.

This kind of scares me, because Netflix’s share price does not seem at all proportionate to its profits, and while I don’t know anything about business I have seen Enron: The Smartest Guys in the Room, so a part of me is convinced that Netflix will suddenly and unceremoniously collapse one day. Which, aside from anything else, means all the art made exclusively for Netflix might just… disappear? The archival implications of the streaming model are pretty terrifying if you think about it for more than a minute, which is why I’m one of the few people my age that spends her money buying second-hand DVDs.

But, like I said, I don’t know the first thing about business, so that might be nonsense, and my DVD collection might be no different from stockpiling tins of food in a bunker in case the Cold War turned nuclear. But I do think I know a small bit about film and TV, and film and TV is Netflix’s business. So, on that basis I would like to make this humble suggestion to Netflix HQ: stop making so much fucking original content.

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