When’s that show you mentioned starting again, TMINE? Including Atypical and Star Trek: Discovery

Every Friday, I let you know the latest announcements about when new, imported TV shows will finally be arriving on UK screens

Acquisitions this week haven’t been huge, but we have:

Otherwise, all the new premiere dates are for new shows that haven’t aired anywhere yet, so I can’t tell you if they’re any good or not. Soz.

Wet Hot American Summer: Ten Years Later (Netflix)
Friday, August 4

Atypical (Netflix)
Friday, August 11

Star Trek: Discovery (US: CBS All Access; UK: Netflix)
Monday, September 25

Apparently, TMINE is a top 50 TV blog

And I get a medal for that.

My name is Anuj Agarwal. I’m Founder of Feedspot.

I would like to personally congratulate you as your blog The Medium is Not Enough TV blog has been selected by our panelist as one of the Top 50 TV Blogs on the web.

I personally give you a high-five and want to thank you for your contribution to this world. This is the most comprehensive list of Top 50 TV Blogs on the internet and I’m honored to have you as part of this!

It’s a good list, to be fair. Well done me.

News: Greek reunion cancelled; YouTube’s eSports comedy, sci-fi insurers drama; + more

Internet TV

International TV

  • Wunmi Mosaku joins E4 (UK)/Netflix’s The End of the F***ing World


US TV show casting

New US TV show casting

The Bold Type
US TV reviews

Preview: The Bold Type 1×1 (US: Freeform)

In the US: Tuesdays, 9/8c, Freeform. Starts July 11

No two publications are ever the same, inside or behind the scenes. I’ve worked on trade magazines, consumer magazines, newspapers and web sites, in the US and the UK, and while certain elements have been the same, management, culture, processes and budgets have differed almost completely.

So despite the fact The Bold Type is based on the life of former Cosmopolitan editor-in-chief Joanna Coles, it would be tempting to say that pretty much everything that happens in the show is absolute nonsense. But maybe, in the land of insane ad spend, magazines do pay their writers enough that they can live in spiffy Manhattan apartments. Maybe once bright young interns are promoted to the stellar job title of ‘writer’, Cosmo immediately invites them to participate in board meetings where rich old white male board members listen to their feature pitches about vibrators and decide whether to allow them to ’empower women’ like that – in ‘Cosmo‘? ‘Surely not!’ they say, like they’ve just wandered in from Shangri-La and picked up a copy of the magazine for the first time.

Maybe it really is like that. So I’ll stop trying to pick holes in the inaccuracies. Although, seriously? How big was the computer presentation screen in the boardroom? How much did that cost? Can’t they just huddle round a laptop like the rest of us?

Sorry. I’ll stop that right now. Let’s focus on the plot.

The old adage of ‘show don’t tell’ is still a vital tool in writers’ armouries. It lets them know when they should stop sledgehammering everything into the readers’ minds, assume they have a modicum of intelligence and find subtler ways involving plotting, dialogue, direction and acting to tell the story.

The Bold Type. Yep, already ‘show don’t tell’ has been chucked out the window, because it’s a double meaning – as well as being about magazines, it’s about strong, clever young women being bold and daring. And they’re going to tell you that all the way through.

Unfortunately, the writers are either sending up the audience or they’re too inept to actually show you how bold and daring the women are without telling you that the whole time. Indeed, just as 90% of The Playboy Club was contractually obliged to explain just how liberating and feminist working for corporate sponsor Playboy really was, so The Bold Type spends roughly half its run-time explaining how working for Cosmopolitan – sorry, ‘Scarlet’ magazine – really is a top feminist move that all the bright young, talented lead characters have been aspiring to all their lives. It’s not just sex and shopping, but it’s really willing to tackle the brave and daring issues, too. As you learn every other line of dialogue.

The trouble is the other half of The Bold Type is really just about sex and shopping, as well as just how groovy New York City is, which slightly undermines the message. It would also help if when it did try to do anything feminist or political, it wasn’t so utterly, laugh out loud inept at it.

The main storyline of the first episode sees the new promoted social media director at Scarlet Aisha Dee (Sweet/Vicious) – a social media director who actually Tweets the corporate account from her phone, rather than using TweetDeck, HootSuite or something a pro might be use… sorry, I’ll stop that now – trying to prove her worth (variants of “You go, girl” are the inevitable response) by convincing an artist to agree to an interview with the magazine.

Using a thesaurus, the writers of the episode decide that to show just how daring Scarlet and Dee are, the artist will be an Arab woman (Nikohl Boosheri). A lesbian Arab woman. A lesbian feminist Arab woman. A lesbian feminist Muslim Arab woman.

A lesbian feminist Muslim Arab woman who’s going to smuggle sex toys back to her home land! That was Dee’s idea! You go, girl! What could go wrong?

Can you guess what happens next?

Yes, the artist ends up arrested at the airport. Oh dear.

But rarely has there been a funnier moment on TV than when Dee and her Scarlet friends – that’s newly promoted writer Katie Stevens (American Idol) and top assistant Meghann Fahy (One Life To Live) – learn what’s transpired and reach for their phones… only to realise that Tweeting about it won’t save the artist. Not even the best-conceived hashtag campaign in the world will save her.

“If only there was something we could do,” they say, putting down their phones.

Indeed, amusingly, whenever Scarlet magazine boss Melora Hardin comes along to alternate between being a mentor and being a Devil wearing Prada, it’s usually to suggest that the budding writers get off their backsides and do something, rather than trying to social media everything to death.

“It must be terrible not knowing what your ex is up to, now he’s quite Instagram,” she says sympathetically.

“It is,” says Stevens. How will she ever find out what he’s doing? She can think of literally no way of finding out.

So Hardin forces her to… go to his house and talk to him. Gasp.

The Bold Type isn’t so much a show about smart, talented, bold young women working in the world of media as it is a stupid old person’s idea of what smart, talented bold young women working in the world of media must be like. And again, although I’ve never worked at Cosmopolitan and all magazines are different, my experience tells me that there are far smarter, far bolder young women working in journalism right now than The Bold Type would have you think.

Bin it, cancel your subscription and try another title instead is my advice.

Jason Isaacs in Star Trek: Discovery

News: US Cucumber/Banana adaptation; Taken, Quantico, Designated Survivor purges; + more

Internet TV

  • Kathy Baker and Kyle Bornheimer to recur on Netflix’s Love
  • Rae Gray and Jack Quaid join Amazon’s Sea Oak

New UK TV show casting


US TV show casting

New US TV shows

New US TV show casting

Happy 12th birthday to TMINE!

A birthday cake

Crikey, as I always say. How did that happen?

Time has flown again, since The Medium Is Not Enough emerged blinking into the world a stupifying 12 years ago, primed to make sarcastic comments about foreign TV, mainly from the US, mainly in languages I can speak, with reviews of Prison Break, Supernatural, and Global Frequency

Normally, I recall at this point what I’ve learnt in the past year. However, I’ve reached the age where I’ve both achieved true wisdom, so have apparently learnt nothing new, and have started to lose my memory, so I probably did learn something but have now forgotten it.

Oh yes. That was it. My learning is that French TV has more than one good TV programme, now that Canal+ has added Baron Noir and Le bureau des Légendes to its portfolio of Engrenages (Spiral). 

One thing I would say, though, is that I think Peak TV has peaked. There are more and more networks on more and more media, it’s true. But judging by the number of networks who dipped their toes in the water of scripted content a few years ago, shivered a bit, and have now retreated back in the warm, embracing confines of unscripted in the past few months, I’m thinking we’re starting to see some obvious winners emerging from the melée and that there’ll be fewer new dramas as a result. 

As always, a great big thank you to all the regular commenters: Mark Carroll, JustStark, bob and GYAD (who might have been picked off at the back by hyenas in the past few months). Another big thank you and welcome to new arrivals Eagled and Ian Miller for giving me hope in the darkness. But a thanks to absolutely everyone who even left a single comment in passing, particularly Craig Grannell, Toby, idleworm, Robin Parker and Adam Bowie. 

Same time next year everyone? I say that every year, don’t I?

Weekly Wonder Woman: Wonder Woman #24, Wonder Woman (Steve Trevor) #1, Justice League (Rebirth) #22, Dark Knight III #9

Back on Wonder Woman Wednesday after a two week absence, it’s Weekly Wonder Woman – reading Wonder Woman comics now, so you can decide whether to fork out for the trade paperbacks once the series have been cancelled due to low readership.

The past fortnight, you’ve probably been off watching Wonder Woman, judging by the half-billion dollar box office it’s now done worldwide, although not if you live in Algeria, Libya, Tunisia or one of various other countries that don’t like Israel that much. Warner Bros were a bit surprised by how well the movie did, in fact, expecting something much more modest, but it’s now all action stations to capitalise on the movie’s success. Geoff Johns is now working with director Patty Jenkins to write a sequel and rumour has it that Joss Whedon is currently doing lots of reshoots to add more Wonder Woman to Justice League.

Half a billion dollars is apparently enough to impress the Library of Congress in the US to have a special laying down ceremony for the script involving nothing other than Lynda Carter.

In other movie news, the biopic of Wonder Woman creators William Moulton Marston, Elizabeth Holloway Marston and Olive Byrne, Professor Marston & The Wonder Women, now has a US release date (October 27).

In the comic book world, however, the big news is that former Wonder Woman writer Gail Simone is revisiting the character in a new six-issue series starting in September. Simone, who’s spent some time writing Red Sonja, marries that recent barbarian focus with the new run to give us… a Wonder Woman-Conan The Barbarian crossover!

“I love crossovers, I love Wonder Woman, and being able to bring the undisputed greatest warriors of the DCU and Robert E. Howard’s Hyborian Age together for the very first time is a dream come true,” says Simone. “A major draw is getting to reunite with the great Aaron Lopresti, whose very favorite things to draw are Wonder Woman and barbarians. Its blades and bracelets, wizards and wonder and I couldn’t be more delighted.”

Conan and Wonder Woman

Meanwhile, remember how I mused a month ago about whether DC’s Rebirth reboot had wiped out everything from nu52 continuity or at least rendered it nothing more than divine fiction, including Diana’s brother Jason? Turns out, that’s still canon because starting from issue #31 of Wonder Woman, James Robinson, Carlo Pagulayan, and Emanuela Lupacchino will be starting a six-month run entitled ‘Children of the Gods’ that will be focused on Jason (and that will also guest-star Giganta):

Spinning out of the pages of DC UNIVERSE: REBIRTH and JUSTICE LEAGUE: DARKSEID WAR, Robinson, Pagulayan and Lupacchino will answer one of the biggest questions of the year: Who is Wonder Woman’s brother? Taken away from Themyscira in the dead of night, the mysterious Jason (the only male ever born on the island) has been hidden somewhere far from the sight of gods and men… but his life and Wonder Woman’s are about to intersect in a terrifying way, bringing them face-to-face with a cosmic threat they never imagined!

Wonder Woman #31

But that’s all the news for now. After the jump, we’ll look at the past fortnight’s new releases: Wonder Woman #24, Wonder Woman (Steve Trevor) #1, Justice League (Rebirth) #22 and Dark Knight III #9.

Continue reading

What have you been watching? Including American Gods, The Handmaid’s Tale and Doctor Who

It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently and your chance to recommend anything you’ve been watching.

The thing about holidays, even short ones, is you end up with masses of work to do in order to catch up. So apologies for the lack of much blogging last week and indeed this week, but work called. Plus there hasn’t been that much new to review anyway.

Since the last WHYBW, I’ve looked at all the new shows I could find (there was probably something on Netflix, but they tend to hide) but that tally isn’t huge:

Come on TV networks! What am I going to focus my sarcasm on if you’re not going to wheel out some crappy new summer shows. (What’s that Freeform (US)? The Bold Type started last night? Fine, I’ll review it tomorrow.)

It doesn’t help, of course, that a lot of current shows are winding up, too. After the jump, all I’ll be able to talk about are the latest episodes of Downward Dog, Doctor Who, Silicon Valley, Twin Peaks and You Are Wanted, as well as the season finales of American Gods and The Handmaid’s Tale. Pfft. I’m going to have to take up crocheting or something, aren’t I?

Continue reading

News: Moffat/Gatiss’ Dracula; HBO’s Watchmen; a Supernatural spin-off; + more

Internet TV

  • Eddie Shin, Jolie Jenkins and Emery Kelly join Netflix’s Alexa & Katie
  • Amazon acquires: Keshet (Israel)’s The Baker and the Beauty

Australian TV

New UK TV shows

  • BBC developing: adaptation of Bram Stoker’s Dracula, by Steven Moffat and Mark Gatiss


US TV show casting

  • Daniel Henney moves from CBS’s Criminal Minds: Beyond Borders to CBS’s Criminal Minds
  • Colton Haynes FX’s American Horror Story

New US TV shows

New US TV show casting

News: Sean Bean takes The Oath; Tony Danza to star in The Good Cop; David Suchet on Capitaine Marleau; + more

Internet TV

  • Clip from Netflix’s Atypical
  • Netflix green lights: series of father-son family-friendly cop drama The Good Cop, with Tony Danza

French TV

New UK TV show casting


US TV show casting

New US TV shows

New US TV show casting