Remember when the end of television ratings meant the end of first-run television? Someone must have forgotten to tell the current crop of television programmers that when summer starts, local television stops, because these days the longer the day the greater the chance there’s going to be some new release Australian comedy showing.
Charlie Brooker’s TV series Black Mirror has been an internet fave since it first launched in 2011, so it’s hardly surprising that with a third season just launched on Netflix, there’s been a lot of online chatter about his trademark grimly funny take on the future of social media.
Last week the BBC released a survey of 117 film critics worldwide to find out the top one hundred films of the 21st century.
There are a lot of reasons why superhero movies go wrong. It’s easy to forget just how long it took Hollywood to even get them this close to right; go watch The Shadow, or Meteor Man, or Batman and Robin if you want to know what a real superhero trainwreck looks like.
If you ask around it seems like nobody likes sequels. “Where are the new ideas?”, movie-goers cry. And fair enough too, as pretty much every blockbuster this year (and every other year) is a remake or a reboot. And yet audiences keep on turning out for sequels and remakes. Everyone says the Ghostbusters remake looks iffy; yet everyone’s still planning to check it out at some stage.
Election time is generally seen as a boom period for Australian comedy, and who can blame them? Politics is one of the few areas of Australian life where comedy still has a toehold – the days of anyone making jokes about sport more sophisticated than the ones of The Footy Show seem long gone – and an election means that for once the general public is supposedly as interested in politics as people in the media are.
The ABC’s latest drama series Cleverman was heavily-hyped in the lead-up to its launch last week (new episodes air Thursday nights at 8.30 on ABC1, or you can catch up on iView), and going by the first two episodes the hype was pretty much justified. But it’s been interesting to read the difference between local reviews (where everyone loves it!) and ones out of the US (where it’s seen as ok, but not something that stands out from a pack dominated by various low-key UK supernatural and SF series).
As the year in superhero movies drags on, it’s becoming increasingly clear that for a fairly hefty slice of people out there – both reviewers and fans – the definition of a good superhero movie is “one Disney made” – which is perfectly understandable.
So The Weekly’s wrapped for another year and it’s hard not to feel a little disappointed. Wait, no – not disappointed that it’s over, disappointed that this year felt like nothing more than a retread of last year, and last year wasn’t all that impressive either.