With TV being a visual medium and all, it’s not surprising that many shows utilize some sort of promotional poster for advertising purposes.
You’ve seen them before – as magazine ads, on billboards, or plastered on the side of a bus. I always notice them most often in the late summer, right before the kickoff of the traditional broadcast TV season.
And while most of these ‘posters’ are perfectly adequate in creating brand awareness or taking up ad space, many don’t strive for anything beyond mediocrity. The standard seems to be a heavily photo-shopped cast shot, a seemingly clever tag line, and the title of the show. (See the Chicago Fire poster to the right.)
Some series however have really embraced the art of the TV promotional poster, creating visually striking images or clever homages:
And then there’s a few marketing departments that go above and beyond.
Community has always been one to do things differently, so its no surprise that the series has inspired some amusing artwork over the years from its fans and marketing departments alike.
Remember the first time NBC tried to remove Community from their schedule? That led to these cool posters from graphic artist Jon Defreest.
More recently, Sony Pictures Television created a bunch of parody posters to nudge NBC to renew the series in order to help the Greendale gang fulfill their destiny of #sixseasonsandamovie.
And then there’s Marvel’s Agents of S.H.I.E.L.D., a show that had a stereotypical promotional poster and an equally lackluster start.
But boy have the tides changed.
Despite a disjointed airing schedule in the beginning of 2014, Agents of S.H.I.E.L.D. began to find itself, just in time for Captain America: The Winter Soldier to shake things up and let it’s Marvel Cinematic Universe #itsallconnected promise payoff.
And with its new found momentum came a consecutive airing schedule and “Marvel’s Agents of S.H.I.E.L.D.: The Art of Level Seven” – a new piece of art for each of the remaining six episodes, each by a different popular comic book artist.
Which is not only a cool way to tease what’s to come, but also an intelligent way to connect it back to it’s comic book roots.
Bottom line, I know that for all intents and purposes these works of art are advertising based, but that doesn’t mean I can’t appreciate the few that go above and beyond the bare minimum to create something clever.
It’s hard to talk about MTV without someone inevitably chiming in that the network was better when it was all about music. If that person happens to be you, then I really recommend reading this book:
A quick disclaimer of sorts before I continue: I enjoy music and try to get to a handful of concerts every year, but I’ll be the first to admit that the music industry is something I know very little about. I don’t know producers, labels, probably haven’t heard most of those ‘quintessential’ albums, and I really can’t even name the individual members of bands I do listen too. All of this is my not-so-short way of saying that while I picked up the book because it had to do with a television network, those who are seriously into music will probably get much more enjoyment out of it.
That’s not to say I didn’t like the book, because I did, but all of the stories about, and from, various artists and other major players (video directors, network brass, and early MTV VJs) probably mean a bit more when you’ve got some more background knowledge or context than what the book provides.
Regardless of your music ‘cred’, you’re going to want to have YouTube* handy while reading I Want My MTV. What would otherwise be a quick read thanks to its conversational recounting from a variety of sources is slowed down a bit by the overwhelming desire to watch every music video ever mentioned.[*Someone awesomely put together a playlist of music videos mentioned in the book – enjoy!]
Multiple contributors also make for an unreliable narrative. If you’re looking for facts or an accurate timeline of events, you aren’t going to find it in this book. The saying, “Sex, Drugs, and Rock & Roll” accurately describe MTVs early days (even in the offices) so you can’t really blame anyone for their fuzzy memories or contradictory accounts.
Overall, I was most surprised by how directly the book’s conclusion handled the whole ‘MTV doesn’t play music anymore’ elephant in the room. After all, we all know how the story ends. And while a good portion of the book is spent reminiscing about the ‘golden days’, the final four chapters actually address the network’s transition to scripted and reality series head on.
It goes without saying that many people miss the days when MTV was all about music, but it’s obvious, especially with the luxury of hindsight that the channel did what it needed to do in order to survive, even thrive. MTV was ahead of the curve when it came to music and again when it came to reality programming. The Internet would have killed MTV, and in the age of instant gratification no one in their right mind would watch several hours of TV just to see their favorite band’s newest music video.
Maybe at it’s inception MTV was really all about the music, but a lot happened in its first decade and by the early 90s there was no denying that MTV was a business. In the end, MTV went mainstream – they sold out, and that’s a pretty universal story in the music industry.
Odds & Ends:
Still nostalgic for the early days of MTV? Here’s an hour of MTV from 1981:
I was super pumped for the premier of the fifth season of Community. After all, “Repilot” (5×1) marked the return of Dan Harmon and after a ‘weird’ fourth season, I was eager for the series to go back to normal. Or at least back to what I knew and loved, even with knowledge of Donald Glover’s impending departure looming above the otherwise gleeful occasion.
Perhaps that was a silly thought though – normal or status-quo only equate to average TV. And Community has always been one to aim higher. Or aim for a different target although. Yet I distinctly remember thinking around episode three of this season (“Basic Intergluteal Numismatics” (5×3), you know the one with the ‘Ass-Crack Bandit’), that it seemed a bit too soon for a concept episode. The gang had just gotten back together.
I had a similar thought just before watching “G.I. Jeff” (5×11) the other night. I kind of just wanted to see the group hangout at Greendale, of course that’s before I saw the excellent G.I Joe themed and stylized episode. It was then that it finally occurred to me that there probably is no such thing as a ‘normal’ episode of Community.
Five seasons in and it would seem that nothing in pop culture is off-limits. Below are just some of the more creative places Community has gone. And while that list is certainly not comprehensive of all of Community’s homages, parodies, and escapes from reality, they do account for approximately 30% of all aired episodes. So, is it misguided to assume that there is a normal?
What do you consider to be a standard episode of Community? Or is that the beauty of the show, that there is no predictable and formulaic entry in the series?
A Film Within A Show
“Introduction to Film” (1×3)
“Messianic Myths and Ancient Peoples” (2×5)
“Intermediate Documentary Filmmaking” (2×16)
“Documentary Filmmaking Redux” (3×8)
“Advanced Documentary Filmmaking” (4×6)
Mafia Movie Homage
“Contemporary American Poultry” (1×21)
“Modern Warfare” (1×23)
“A Fistful of Paintballs” (2×23)
“For A Few Paintballs More” (2×24)
Apollo 13 / Space Travel Movie Homage
“Basic Rocket Science” (2×4)
“Cooperative Calligraphy” (2×8)
A Conspiracy Theory
“Conspiracy Theories and Interior Design” (2×9)
“Advanced Dungeons & Dragons” (2×14)
“Advanced Advanced Dungeons & Dragons” (5×10)
“Remedial Chaos Theory” (3×4)
“Advanced Introduction to Finality” (4×13)
“Digital Exploration of Interior Design” (3×13)
“Pillows and Blankets” (3×14)
“Regional Holiday Music” (3×10)
“Digital Estate Planning” (3×20)
“Abed’s Uncontrollable Christmas” (2×11)
“Paradigms of Human Memory” (2×21)
“Intro to Felt Surrogacy” (4×9)
Law & Order / Detective Procedural Homage
“Basic Lupine Urology” (3×17)
“Basic Intergluteal Numismatics” (5×3)
The Floor Is Lava
“Geothermal Escapism” (5×5)
Parody of Internet & Mobile App Games
“App Development and Condiments” (5×8)
G.I. Joe / 80s Cartoon Homage
“G.I. Jeff” (5×11)
Wonderfalls premiered on March 12th 2004, on FOX, at a time when the network was quick to cancel anything with less than stellar ratings (this Family Guy scene sums it up best). Admittedly Wonderfalls was hard to promote, as it dabbled in a variety of genres, but no worries, the show’s been off the air for 10 years and if you’ve been waiting for an invitation to check it out, well here it is.
Through the last two months I’ve been working on checking items off my TV New Year’s Resolution list. In addition to watching a variety of Olympic events, I also just finished the reboot of Battlestar Galactica!
Mostly I just can’t believe it took me this long to watch the series, and if you are reading this thinking about doing the same, then I certainly encourage you to check it out. Especially if you’re a Firefly fan, there are a lot of similarities between the two series like a dystopian future, engaging underdog characters, and of course spaceships.
Here’s a few more practical reasons why you might enjoy marathoning Battlestar Galactica:
One more thing before you press play – with so many episodes and offshoots like the mini-series, made-for-tv movie, and webisodes you may want to consult this handy Battlestar Galactica viewing order guide to maximize the storytelling experience.
[Spoilers Below: You’ve Been Warned.]
Despite all of the time I spend watching TV and reading about various television shows, somehow I knew very little about this series before starting it, which I think was refreshing to be able to watch something with rather vague expectations. Unlike my Breaking Bad marathon, I was able to just kind of let events unfold and enjoy or gasp or shake my head in bewilderment as they came.
I thought the series got off to an especially strong start when the then newly sworn-in President Roslin made the tough call for the fleet to jump away from the oncoming Cylon attack, leaving the FTL-less civilian ships behind and defenseless in Part II of the initial Mini-Series. That one moment set the tone for the rest of the series – that this wasn’t going to be a show about ‘big damn heroes’, but about survivors.
Sure they’d occasionally get some small victories and I suppose the last one, but for the most part everything was about minimizing loss and reacting to the circumstances around them. The theme of survival didn’t just apply to the crew of Galactica and its fleet either, the Cylons were fighting for the same thing, the survival of their race, hence all the big hullabaloo about about resurrection ships, reproduction rights, and Hera Agathon. Hell, even the opening title sequence displayed the number of ‘survivors’ left from the initial attacks on the twelve colonies.
And as much as Joss Whedon and George R.R. Martin have the reputation for killing off characters, I’m surprised that Ronald D. Moore’s name is mentioned more often. After the initial attacks, Roslin’s whiteboard estimated 50,298 survivors, by the end of the series that number dwindled to 39,406 according to the title card of the final opening sequence. You better believe that some of those people were characters we came to know and care about.
Obviously there are many more themes present in Battlestar Galactica, but for me the act of survival was always the most consistent and most interesting one. Maybe its the most basic, but I really enjoyed the episodes that didn’t get too bogged down in religious mythology or Cylon politics. What made the series so engaging was the characters, many of which were normal people trying to keep on keeping on under extraordinary circumstances. And as long as I’m invested in the characters I’m willing to go on whatever ride the showrunners want to take us, even if that ride ends with the Galactica flying into the sun while the rest of mankind turns it back on technology.
This past week Pretty Little Liars aired a black and white episode (“Shadow Play” 4×19), a homage to film noir, that I thought was equal parts amusing and frustrating. While the episode looked beautiful and thematically worked, I was slightly annoyed by the break in the season’s new found momentum. And I think that highlights a common issue with gimmick episodes, moving the story along needs to be of equal importance as the creation of the new world or new story structure that is being presented.
Gimmick episodes can be a fun break or departure from a television show’s existing world or structure. Hell, television may be one of the only storytelling formats that allows for such a diversion, but the fact remains that television series are meant to tell a story and its a bit of a disservice to fans to not follow through – even if there happens to be singing and dancing.
I mean that’s probably why these kind of episodes got shouldered with the term ‘gimmick’ in the first place. But not all of them are all pizazz and no substance. Just look at Dan Harmon’s Community or the works of Joss Whedon for further proof. From claymation to puppets to musicals to silence, these episodes were effectively used to shed new light on characters or to push a narrative along by eliminating obstacles or inhibitions.
And that’s not to say that Pretty Little Liars failed in those aspects, I just wish this episode aired at a different point in the season, because the last two episodes were finally hitting its rapid-fire WTF pacing that makes the show so much fun, and this one slowed things down considerably, albeit understandably since we were supposed to be inside of Spencer’s sleep deprived and Adderall fueled brain.
Interestingly enough it was the ABC Family who approached the showrunners with the idea to have Pretty Little Liars embrace it’s noir roots and go full on black-and-white. Typically that kind of request would be a hallmark sign for a gimmick episode – something shiny and new for the network to promote during sweeps months, similar to stunt casting. But I’ve got to give the showrunners credit for taking the opportunity to make like the classiest drug haze dream episode ever.
Although there was an ‘ah-ha’ mystery solving moment at the end of the episode, along with a present day reveal to the rest of the Liars that Aria and Ezra were back together, I thought the episode was actually most effective when it was focusing on the Emily and Paige relationship in the 1940s.
Despite the fact that the episode was initially told from Spencer’s point of view, “Shadow Play” really excelled when it switched perspectives to demonstrate that the fears and trepidations expressed by Emily and Paige are still common today. They might be out to their family and friends and live in a pretty protective and supportive circle, but they still have to, unfairly might I add, worry about how society as a whole views them and their relationship and for the show’s writers to make that one of the takeaways, well that’s a pretty good way for a gimmick episode to mean more.