Archives for June 2018

The Handmaid’s Tale: the future of television.

The Handmaid’s Tale.

In the first decade of the new millennium the music industry was destroyed, felled in a single strike by Napster. Suddenly, indeed overnight, every song that had ever been recorded was freely available over the internet.

Traditional media was a thing of the past, and any day now, television, newspapers, magazines and all of those other relics of the twentieth century would likewise be consigned to the dustbin of history.

The Napster himself, Sean Parker.

But as we move into the third decade of the new century, newspapers and magazines are still around, TV is thriving and even the music industry is actually doing rather nicely, albeit in a diminished form.

There are two perspectives on the digital revolution. One says that the future is digital, and everything else is doomed to go the way of vinyl. The other slightly more nuanced view goes as follows; we all have a certain amount of money that we enjoy spending on stuff. All the digital revolution does is to change the way that we distribute whatever that sum is, by adding a new outlet to channel those funds into.

So if you had a certain amount of money that you looked forward to spending on cds in any given year, the fact that any album you might be interested in is now freely available on the internet will very probably mean that you now spend little or none of that cash on actual cds.

The handmaids.

You’ll still spend that money on the music industry though. It’ll just be on going to gigs, on downloads or on merchandise, say on a rare, deluxe cd boxset, or on a vinyl edition of an original recording.

Indeed, what all the research shows is that you’ll very probably spend more than you used to now, whether that be on music, film, television or publishing. As the internet creates further synergies for all of the other mediums, in much the same way that television, and then video and cable did for cinema, in the 50s, 70s and 80s. Having access, in other words, to all that free music just makes you want to spend even more of your money on music than you used to, before everything was available for free.

Amazon’s Seattle bookstore.

The same thing has happened in publishing. When ebooks began to take off about ten years ago, the death of the printed book was confidently predicted and was, more over, a matter of days and weeks.

But ten years on, ebooks have plateaued and been superseded by audio books. Neither of which, we now realise, are going to replace the printed word. Rather, ebooks and audio books are an added source of revenue for a rejuvenated publishing industry. And it’s not just the industry that’s bouncing back. Independent book stores are experiencing a mini renaissance as well. Indeed, the big bad wolf itself, Amazon, has started opening up its own bricks and mortar, actual physical books stores.

Most obviously of all, television is alive and well and booming. Which isn’t to say that the digital effect has been negligible. Far from it, digital has completely disrupted every conceivable corner of the media landscape. So that the way that we now watch, read and listen to films, television, music, the radio, books, newspapers and magazines has been completely transformed. It’s just that none of them are about to disappear any time soon.

Apple’s view of the future.

If you want to see what the future of television is, all you have to do is look at screen size. Mobiles want to be smart phones, smart phones want to be laptops, laptops want to be desktops, desktops want to be TVs and TVs want to be cinemascope. Everything is getting bigger, not smaller. And all content is following suit, and is trying perpetually to move in the same direction. How many TV stars do you know that dream of one day being on the internet?

Try watching the Handmaid’s Tale and see how you feel. Of course you could watch it on your laptop, or even on your mobile. But as you do so, you’ll have this increasing itch to see it on a proper screen and with a grown-up sound system. So you can really luxuriate in the tactile sound of an old fashioned fountain pen, as it scrawls and scrapes its italic script clumsily across the fibres of an actual piece of old fashioned paper. And you can pick

out with pleasing clarity the dusky book covers as the Commander runs his finger lovingly over their corners, as he appears from the depths of the shadows to gaze greedily on his mahogany bookcase.

Elizabeth Moss and Joseph Fiennes square off.

And the people who make the best television, and the television being made at the moment is some of the best that’s ever been made, the Handmaid’s Tale being a case in point, feel exactly the same way about making their programmes as we do about watching them.

Nobody’s going to choose to watch something on a laptop if given the choice of seeing it on a 32 inch television. And no-one’s going to be satisfied with watching it on that 32 inch screen if offered the chance to see it on a 55 inch one. Television’s not dead. On the contrary, it’s getting bigger and bigger.

You can see the trailer of the Handmaid’s Tale here.

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Habaneros, BBC doc on the Cuban revolution.

Havaneros – You Say You Want a Revolution.

Habaneros, the BBC’s brilliant new documentary charting the history of Cuba, completes an unlikely comeback for Julian Temple, one time enfant terrible of British cinema.

Temple shot to fame in 1980, when he documented the rapid rise and demise of the Sex Pistols in The Great Rock and Roll Swindle. In it, Malcolm McLaren cleverly presents himself as the evil Svengali pulling all the strings, and the brains, therefore, behind the band’s success.

On the back of which, Temple was handed the reigns on Absolute Beginners in 1985, which duly became the most expensive film ever made in Britain, and which was supposed to have established Goldcrest as a rival for the big Hollywood studios across the pond.

Absolute Beginners.

Instead of which, the film bombed, the quote studio unquote crashed – aided by the disaster that was the Al Pacino vehicle Revolution – and Temple departed with his tail between his legs in the general direction of the Hollywood hills.

One of the peculiarities of the film industry is that it is always better to have made something, anything, however vacuous, than to have more prudently done nothing at all. So once there, they gave him more money to make his second feature, the instantly forgettable Earth Girls Are Easy, from ‘88. He spent the next decade making equally forgettable if impressively expensive music videos for big name artists like the Rolling Stones, Neil Young, The Kinks and David Bowie.

The Great Rock and Roll Swindle.

But his unlikely comeback began in 2000 with The Filth and the Fury, his well-received Pistols doc which went someway to correcting the biases of his earlier venture. While in 2015, he made the Ecstasy of Wilko Johnson, one of the many, many impeccable Storyville docs that BBC4 has been producing over the last decade (reviewed earlier here). And now this, once again under the auspices of the BBC, this magisterial doc charting the history of Cuba over the past hundred years or so.

The first half of Habaneros charts the history of Cuba in the run up to the revolution in ’59. The repeated interference of the US throughout the first half of the century, which eventually produced the Batista revolution in 1933. But he quickly proved himself to be every bit as corrupt as the regime he’d revolted against, and he and his acolytes bled the island dry before retiring to Florida in ’44. But he returned once more in ’52 when he was re-installed as a US puppet – imagine that, a US backed military coup to overthrow a democratically elected foreign government. Well there’s a first.

Havaneros.

But in ‘56, the exiled Fidel Castro sailed back to the island with 81 troops, only to be immediately ambushed on landing. Just the 12 of them survived, fleeing in desperation for the hills of the Sierra Maestra, with the sum total of seven rifles between them. But in what must surely be the most unlikely successful revolution ever embarked upon, just three years later he and Che Guevara marched triumphantly into Havana on News Year’s Day of 1959, having taken control of the entire island.

This first half of the film is undoubtedly the more lively of the two, as Temple brilliantly mixes media, telling the breathless story of the lead up to the revolution through a montage of carefully chosen interviews, archive footage and animation, on to which he superimposes newspaper and magazine pages that comment on the visuals and voice over underneath.

The second half then follows the history of the island in the wake of that revolution, from the Bay of Pigs, to the Cuban missile crisis, the cold war and the eventual collapse of the Soviet bloc in the‘90s, which resulted in their sole source of funding disappearing into the ether.

Viva la revolucion!

As scrupulously fair as you’d expect from one of the many projects overseen by the peerless Alan Yentob, the second half is inevitably less exciting than the pre-revolutionary fervour that precedes it. As on the one hand, the revolution continues to be celebrated by some, who rightly point to the heroic resistance that the island has maintained against the avaricious interference and oafish grandstanding of its bullying neighbour to the West. And on the other, there are all those who lament how inevitably disappointing that revolution proved to be for the lives that so many of the islanders were forced to live.

It’s a brilliant film, intoxicatingly so in its first half, and everyone involved, especially Temple, should take a very deep bow.

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