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Watching Herzog's  Lo and Behold: Reveries of the Connected World, about a third way in...

It's absolutely a worthy subject, but I just don't feel Herzog the way I thought I might. He's surprisingly passive and observant rather than opinionated.  It's a subject where an aggressive exposition of informed opinion could be very interesting. Necessary and useful to us.

Or just abandon the documentary idea altogether and embed ideas in a dramatic narrative...?

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HBO's  "Watchmen"


From WIKI:
"While the series is technically a sequel, which takes place 34 years after the events of the comics within the same alternate reality, Lindelof wanted to introduce new characters and conflicts that create a new story within the Watchmen continuity, rather than creating a reboot. "


GREAT.  Love it.  Dark, dense, tense...

Needed to rewatch the feature film and read some articles about the comics in order to know the back story. ?


Edited by Igor Trajkovski
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Hey Igor,

I watched some Watchmen...I really like some of the science fiction ideas, but I don't like the comic book foundation to it all. 

I do like The Bureau, a French show that digs beneath the skin of what are the alternate identities of spies. In a very pragmatic French way. But French language is such a treat for the ear and the mind. So all sorts of interesting things are hidden in the cracks.   

I watched it here, just outside the legitimate fringes...


Edited by Gregg MacPherson
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Top Boy was quite intense and unrelenting. Not as much so (NAMS...? nah) as Gomorrah, the italian show about street gangs rising, selling hard stuff in the housing estates. But, if the depiction of the gangsters in Jamaica is even half true, that's depicting quite a genuinely scary disconnection from the sense of human life, what it means to take one.  And the english gangsters are just watered down versions of the Jamaican ones. ...


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  • 2 months later...

Taking a look at High Fidelity. I love some of the ideas/dialogue/sense of rhythm with some of the prominent support characters. But the yabber to camera by the otherwise remarkable female lead I find problematic. The fault lys with the shows creatives/concept developers. Why can't all those words be floating in their own layer, gently veering towards the montage. The sin of the wiggling lips strikes again.

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  • 2 years later...

Slow Horses

Contemporary English spy show with Kirsten Scott Thomas and Gary Oldman.  Love those two and I'm always looking out for an English spy show where the level of detail and tech is high and believable.  Remember Spooks, great with character but MI5 was a bizarely small little club.

I watched Slow Horses episode 3 first by mistake, and thought it might be too clever and immersive for me. Now starting episode 1 and the  first eight minutes, before the tittles were pretty amazing and convincing. Definitely worth a look. Now back to it...



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  • 4 weeks later...
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On 8/10/2015 at 2:20 PM, Miguel Angel said:

I worked on Penny Dreadful! ?


The first episodes of the first season were shot by Xavier Gimenez, one of the best Spanish cinematographers in the world and then they moved to, mainly, Irish cinematographers.


The second season was more interesting because Nigel Willoughby came to Ireland to shoot 3 or 4 episodes (I don't remember exactly now), and those are the best ones (from the point of view of the cinematography) from the whole season.


Very very low light levels on set (but for one exterior night where we had a couple of wendys!) ?


Have a good day!

Eva Green de cerca que ilusión….chapeau hermano

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  • 1 month later...

The Old Man...with Jeff Bridges as maverick old spook in hiding, his gradually unfolding history in Afghanistan. Bridges is amazing, the character qualities are very finely realized. Not super actiony or complex, but the old spook can still scrap and kill to save himself.....

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OP...I gave up cable about 15 years ago. Saved about $14,000 over the years. I put that money in cine' reels for the Archive, photography and other archival work. 

On a good day, in my local, we get 3 on-air channels. All political propaganda pretty much. I only watch the nightly propaganda news, 60 Minutes and Sunday Morning propaganda show. I copy the Olympics every couple years and speed through it. 

I generally just watch DVD and Blu-ray I get from the library. I can get 10 or 20 DVD's from the library a week if I want. They have access to all the collections in the state more or less. But, in general, I just watch an hour or two of DVD's a night. I'm mainly doing work. No time for TV...especially propaganda. 


WWII Propaganda Postcard DDTJRAC

Now, I collect propaganda extensively in the Archive, but don't like being force-fed propaganda on TV when I want some entertainment.

I watch all sort of films as long as they are interesting. I especially like old Noir and obscure films. A friend has Netflix. I can watch it anytime I like. Seldom if ever used it. 

Over the last year watched something about bodybuilders buying breast milk to build muscles and the Don't Look Up movie on friend's Netflix. My favorite part was then the shits got eaten in the end! I got Yellowstone season 1 a few months ago. I will order Season 2 from the library when I feel like it.

I like old films. Especially some of the Avant-Garde obscure film collections and silent films from the early 1900's. An old favorite film of mine was High Noon 1952. I like watching films, when films were films, and not a bunch of bullshit jump cuts and CGI.






Edited by Daniel D. Teoli Jr.
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On 10/11/2019 at 11:12 AM, Gregg MacPherson said:

Is anyone watching Too Old to Die Young by Nicolas Winding Refn?

Pondering briefly on the idea that the cultural status of the viewing medium might force constraints on our style of experience....then... exceptions that violate the supposed principle...

I started thinking about Too Old to Die Young again. They were attempting a 12 hour film, broken into manageable parts, most being about 1-1/2 hrs long. I think it goes without saying that we can't define a piece of experience populated by moving pictures simply by the particular medium of delivery.

En route...this nice, short interview with Dharius Khondji on the collaboration with Refn. 

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