Belligerent Savant » Tue Jul 26, 2016 3:52 pm wrote:.
The Night Of.Like Murder One, The Wire, and Making a Murderer, The Night Of mines our obsession with the minutiae behind the presentation and discernment of data, which is always inherently political, especially in the courtroom, particularly in an age in which information travels faster than light. Only a few comparatively innocent characters, such as Naz and his parents, Salim and Safar (Peyman Moaadi and Poorna Jagannathan), initially fail to understand that “truth” has nothing to do with the outcome of his trial. The verdict is decided by how Naz looks, by who he knows, by the jury's predigested feelings on Muslims, by Andrea's reputation as a promiscuous trust-fund drug addict, and by a host of other head-spinning variables.
Adapting the British series Criminal Justice, [screenwriter Richard] Price displays a characteristically peerless understanding of cops-and-thugs quotidian, capturing the nuances that inform and embody how people on both sides of the criminal fence relate to one another. His dialogue has the tangy, lived-in snap that one associates with Price's novels and prior scripts, which deftly mix genre plotting with a deep-seated understanding of the realities of bureaucracies that exist to keep everyone in their place, operating by rules that no one entirely understands. The veteran actors deliver this dialogue with relish—the pleasure they take in their showmanship barely discernable from that of their characters, who are similar, if less publicized, show-people.
...it's the textural flourishes that distinguish The Night Of from more formulaic courtroom fare, such as the continuing emphasis that Zaillian and Price place on the notion of ritual as cultural currency. We frequently see intake officers in police stations and courts, witnessing the rapport they do or don't have with repeat offenders, or with foreigners they treat with contempt for displaying understandable ignorance to deliberately disorienting protocol. We often see Box or Stone exchanging embittered in-jokes with colleagues that convey a wealth of understanding of a world that gradually wears people down into indifferent, amoral cogs of figurative machines.
Bob Arum (a boxing promoter, it should be noted):
"I don't want to demean UFC, because they've done a marvelous job of marketing. But it's the same audience over and over. It's white males, and they have never been able to expand their demographic. The Hispanics don't care anything for it. Most African-Americans don't watch it. Hey, this country is becoming more and more Hispanic, and it's growing African-American (in the) audience. So the future success of UFC is limited. The success of boxing is not, because boxing reaches those groups. The only demographic that boxing has lost is the white, young males, period."
PufPuf93 » Sat Dec 17, 2016 6:34 pm wrote:Season 2 of The Man in the High Castle is now available at Amazon Prime.
While production values are high and story line probably more accessible than the Philip Dick source in Season 1, I was disappointed in that none of the characters made a particular impression.
PufPuf93 » Thu Nov 03, 2016 11:43 am wrote:I am on episode 8 (of 10) of the Good Girls Revolt recently released on Amazon Prime video.
The show is a period piece of an American news magazine in the late 60s. The "Good Girls" are a group of researchers and office staff that have joined together covertly in pursuit of a lawsuit for workplace equality. All the management and reporters at the news magazine are men. The show is full of cultural and music hooks of those times and is based upon a true story.
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