Hello. It’s October 2020, in the time of Covid-19. Today there is snow in Albuquerque so I thought it was time to share a few watchables that have helped me stay sane and/or distracted. I’m mostly enjoying adventure, funny, nostalgic or documentary genres for this period. Nothing too cold or disturbing. It’s not the greatest list, so if you have any other shows to recommend, please do comment.
Sometime around March this year I noticed a whole block in a downtown neighbourhood had been blocked off for filming. Whilst watching episode six of Preacher, which has filmed predominately at Albuquerque Studios, I spotted the location. Always the internet sleuth, I mapped some frame grabs next to street view. It is indeed 11th and Fruit in the pretty, downtown residential area, one of my favourite places for a stroll.
I’ve been blind taste testing S01E01’s again, fresh from the new TV schedule.
I haven’t binge watched a show for a long time although I do have a few regulars. The updated version of Friends, New Girl makes me laugh out loud. Agents of Shield with its loveable characters and silly in-jokes gives me warm and fuzzies as if I am actually snuggling up to Joss Whedon on the sofa. Womens prison drama Orange is the New Black was sharp and entertaining, as was the dramatisation of the story of revolutionary sex researchers Masters and Johnson in Masters of Sex.
I didn’t know that a bold and brassy drama about country music would impact my life, but for over two weeks I’ve been averaging three episodes of ABC’s Nashville each day. My laundry continues to accumulate, as does the length of my todo list.
I love Girls, but sympathise with the show’s creator Lena Dunham who has been bombarded with criticism, for what I see as a well written, well acted and engaging series with strong voice. The below is from a good analysis of this with a feminist perspective from New Statesman’s Laurie Penny.
Nobody is saying that Lena Dunham doesn’t deserve critique. Debate and discussion is part of the life of a piece of art, particularly when it comes to episodic television, which has replaced film as the dominant medium of collective storytelling. What is curious is that no male showrunner has ever been subject to quite this sort of intense personal scrutiny, this who-are-you-and-how-dare-you. No male showrunner has ever been asked to speak to a universal male experience in the same way, because “man” is still a synonym for “human being” in a way that “woman” is not.