Any dramatic series that starts with the hero wielding a gun in his underwear in the middle of the desert already has a lot going for it. When you add an outstanding cast, top-quality writing and a dark strain of humor, it's hard to think of any other television series that comes close to the magnificent achievement of Breaking Bad. That the series sustained this exceptional level of quality for five seasons is little short of a miracle.
The Deuce is an eight-episode look at the sex industry and the corruption of the NYPD, before it became a billion-dollar business, and much like The Wire before it, all of the players involved from Tariq “Black Thought” Trotter and his bushy mutton chops side burns, to Maggie Gyllenhaal’s gentle touch as prostitute Eileen “Candy” Merrell are genuinely taking us into the once real and now imagined gritty piss-stench of New York Time’s Square.
The TV show, titled “It’s OK, That’s Love,” stars Gong Hyo-jin, who plays Ji Hae-soo, a psychiatrist working in a hospital in Seoul. She meets a successful novelist struggling with Obsessive Compulsive Disorder and schizophrenia. What begins as a series of comedic encounters soon transforms into a budding romantic relationship between two individuals coming to grips with their own inner turmoil.
With the second season of OISTB set to be released on June 6th, many fans are practically panting with anticipation for the new episodes (which are all released at once, making it prime binge-watching material). Of course, speculation about where the second season will go has run rampant since last summer, and Netflix has been good at keeping a lid on all the show’s secrets. However, there are a few major theories out there that seem to have lots of logic and support behind them.
There wouldn’t be an advertising industry if people weren’t susceptible to messages. POM Wonderful wouldn’t rent billboards promising (falsely) to prevent prostate cancer, the fossil fuel industry wouldn’t spend millions on spots claiming (falsely) to produce clean energy, candidates wouldn’t fork over billions of dollars to local TV stations for (pants-on-fire) political ads if all their money could buy were some wispy correlation.
Media platforms like Netflix, Hulu, and even Amazon have all released successful series this past season. They have lured big-time writers and directors like Weed's Jenji Kohan and “Fight Club’s” David Fincher. TV is now drawing big-time players like Matthew McCaughey (True Detective), Martin Scorsese (Boardwalk Empire), and John Goodman (Alpha House) to the small screen, which was unthinkable 10 years ago.Yet this “Golden Age” in TV also means fierce competition. With the rise in popularity of digital platforms like Netflix, Amazon, and Hulu, the television landscape has been severely altered.
If Wagner does prove to be too controversial or if we finally admit that the Ring Cycle is too long and stuffier than a Lord of the Ring marathon, Strauss, Weber, and Beethoven can give us that German opera fix (as well as many other Austria-Germanic composers, such as Mozart, Schoenberg, and Berg, if we choose not to care too much about political borders and the like). If film witticism and quirk ala Woody Allen is what you’re craving, Noah Baumbach, Sofia Coppola, and Wes Anderson will save the day. And there is definitely no shortage of white male actors and poets.
Citing Gordon Parks and Ralph Ellison’s 1948 collaboration Harlem is Nowhere as an influence, Frazier utilized mass media as an outlet to reach a broad audience, publishing her images of Flint in conjunction with a special feature on the water crisis in Elle magazine in September 2016. Like Parks, Frazier uses the cameras as a weapon and agent of social change. The exhibition is part of the Martin Luther King, Jr. Exhibition Series, which addresses issues of race, diversity, social justice, and civil rights.
