By: Sarah O'Connor
This heart-wrenching novel follows David, a young boy in WWII England who is struggling with his mother’s death and his father’s remarriage. David turns to books to deal with the extreme changes in his life when suddenly the books begin whispering to him in his mother’s voice. As David follows the voice he ends up in the land of fairy-tales, only it is warped and much darker than anything Grimm could have written. As a television show the audience would get a chance to explore the macabre fairy-tale world that seems to “take” children as David searches to save his mother and restore his life to its original state. It would also be nice to see a show that’s set in the fairy-tale world that actually has some darkness to it (here’s looking at you Once Upon a Time).
This popular book series has been made into a film twice, in Sweden the entire series was made into three movies but in North America only the first book made it to the big screen. This popular thriller mystery series featuring the fierce investigator Lisbeth Salander and once-famous journalist Mikael Blomkvist as they solve (and later become accused of) murders and disappearances actually did very well in the box-office, though much better in Sweden where the book series is set than it did in North America. Once again, a television series would have been a fantastic choice for the book series as it would have allowed a more detailed look at the cases Salander and Blomkvist were trying to solve as well as a deeper look into the protagonists (particularly Salander’s) dark pasts. The Millenium series could have been a grittier crime show that slowly got audiences into the darkness of the crimes instead of throwing it in their face as movies do.
A must-read novel for any lovers of magic, The Night Circus focuses on the performers at the mysterious Le Cirque des Rêves which comes without warning and is only open at night. While the novel focuses on many aspects of the circus, including the group of people who made it and how it began, it also includes the story of Celia and Marco. A daughter and son of two rival magicians the two (who are children at the beginning of the novel) are prepared for a duel against one another when they reach adulthood, when they expectantly fall in love. The Night Circus is much more than just a romance and it would be the perfect book to adapt into a television show in order to see the different back stories that led Celia and Marco to the circus and how the circus has affected those who created it.
This popular books series about the three Baudelaire orphans who deal with one tragedy after another had a majority of fans disappointed with the movie adaption in 2004 that combined the first three books into one movie. The main complaints towards the movie stemmed from the fact that the movie was more comic and light- hearted than the dark themes of the book which held more of a dark edge (the books are definitely an acquired taste). Had the books been adapted as a television series, audiences could have had the chance to understand the Baudelaire orphans as individuals rather than as a group. As well there would have been more time to explore the mysterious past of the Baudelaire’s family and their numerous relatives (whom the orphans had never met before the deaths of their parents) which was only briefly hinted at in the movies (what was with that spyglass anyways?).
“Who killed Laura Palmer?”
It was the unanswerable question that fuelled the world of Twin Peaks—the dark and dreamy 1990s drama about the death of a high school homecoming queen, and a television series that faced a premature ending of its own.
After being axed by ABC one and a half seasons in, the tension-filled mystery left the airwaves with viewers wondering how the critically acclaimed drama could disappear so quickly and unexpectedly.
But just as the show constantly surprised with unexpected mysteries and details, it continues to live up to its mindfucking legacy as it will be returning for a third season more than two decades later.
Twin Peaks will be returning as a nine-episode series on Showtime with show creators David Lynch and Mark Frost writing and producing. The revived series will make its official comeback in 2016, coinciding with the show’s 25th anniversary.
Thanks to the internet and its charming offspring Netflix, Twin Peaks has become an accessible and binge-able series. Its newfound availability has evolved its status from ABC’s rejected wild card to a certified cult classic with a renewed following and interest.
At the time of the show’s first airing, network television served the purpose of funneling the norm into households with three-camera sitcoms and artistically diluted programming. But when Twin Peaks ripped its way through TV guides, it brought artsy and weird to the front lines and set a new standard for primetime television.
Frost and Lynch were accredited with bringing “weirdness” to television with their groundbreaking dark humour and artistic and cinematic filming. Unlike anything else that was offered on network TV, Twin Peaks’ acceptance of the bizarre and questionable served the purpose of slowly euthanizing network television until normalcy would be no more.
Twin Peaks now has the chance to air alongside some of the series it has influenced and essentially made possible. Shows like American Horror Story, True Blood, and The Sopranos have brought oddities and unique visions to TV, but it’s hard to say if any of those styles would have ever been picked up had it not been for Twin Peaks’ initial introductions and scene setting. With complex characters, bold directorial choices, and non-linear plotlines, Twin Peaks changed the game for primetime TV.
Although it appeared to have met its end almost 25 years ago, Twin Peaks continues to surprise and thrive today. The revival will be set in the present, acknowledging the amount of time that has passed and the previous goings on of the fictional Washington town. The cast has yet to be revealed, but the show’s protagonist, Special Agent Dale Cooper (played by Kyle Maclachlan), is rumoured to be coming back.
We may never know who killed Laura Palmer, but we do know for sure that Twin Peaks lives on.
By: Nimra Khan
When you think of Scotland, what usually comes to mind? I know, I know: kilts and bagpipes. I used to be on the same page. Thankfully, the recently released Outlander TV show, has begun to shine some new light on our highland cousins. When I first heard of Outlander, it was for its amazing openness to the independence of a woman in a world of men, and how the show was promised not to shy away from a woman enjoying sex--without repercussions. But mostly I thought: "Scottish history and time travel? What more could I ask for!"
Outlander follows the story of Claire Beauchamp - a woman who was a nurse during the Second World War - as she travels through Scotland with her husband Frank Randall. During their visit to a Scottish town, Claire is transported back in time to 1743 Scotland opening up a world of possibilities. The show is based on the book series by Diana Gabaldon, originally published in 1991; because of this, it already had a huge fan following. I recently finished the book myself, and the show really does well to mould itself to the original. In particular, Claire is a refreshingly independent, realistic, and strong female character, helping to make Outlander so appealing. Whether it's nearly getting raped, or almost killed for being a spy, Claire is a fighter. Or, as they would call her in the show, a Sassenach (an English person, an outsider, someone who doesn't belong).
I thought it was a weird coincidence that, at the same time that the Scottish independence vote was happening, Outlander had reached a climax of the Scottish versus the British. While most Scots have voted "no thanks" to independence now, it really makes me wonder how Scotland and England came to stand at such different sides.
Despite the educational aspect of this story, Outlander definitely has sex appeal. Shocking, I know. Other than Claire's first husband Frank, there comes Claire’s love with Jaime Fraser (a Scottish Highlander). Ladies, this one hunk is really enough to get you watching. But to all the guys, I promise there is something for everyone. With the mid-season finale having just finished at eight episodes, now is the time to catch up. Now if you'll excuse me, I'm off to learn some Scottish Gaelic.
Kacper Niburski
Opinions Editor
I’ve never been one for zombie series but when I heard that Community was coming back for a fifth season, I prepared a rise-of-the-undead-kit.
On paper, the show should have wilted into television death ages ago. Season three saw the loss of Dan Harmon and a series of public catfights between Chevy Chase (Pierce on the show) and the director, Harmon. The fourth season was born from this tumult. In the chaos and unrest, the show soon devolved into a slaughterhouse of comedy: each episode was caught on an automatic conveyor belt that was hurtling towards a blunt, gear-squealing meat-grinder. No matter the screams and furious backtracking, the cash cow of a series was a bloody mess.
Though the characters were still the same and though Greendale was still Greendale with its cartoon-like reality and improbable plots, the fourth season’s episodes could never mesh. Any movement seemed like a botched homage to the show’s past; any attempt at a hijinks felt rushed and premature. Everything was steeped in the show’s darkest timeline, including Community itself. Something always appeared to be amiss, despite the efforts of everyone on the cast, the talent behind the scenes, and the recycling of previous plot devices.
So as I sat down on Jan. 2 for the episodes, I prepared for the worst: my zombie-kit was beside me. In it, I had ready-made popcorn, a battalion of tissues, and a little bit of alcohol just in case I needed help getting through the horror show.
And yet there were laughs instead of grumbles, smiles instead of tears. The impossible had happened. Community was back, and this time it really, really was.
Under the aegis of Harmon’s renewed creativity, the two episodes scaled back to their origins. “Repilot” and “An Introduction to Teaching” flashed a brilliance that gave the show its name in the first place. In fact, “Repilot” kicks off the dirt of season four by mirroring the first pilot episode ever aired – the crestfallen Jeff Winger (played Joel McHale) gets help by an old acquaintance, unassumingly brings together a beloved but fickle study group, tears them apart through wild lies, and then by stressing little, worn domestic truths, helps himself and the group reassemble their shambled together lives.
It is almost like a dream. In season five, we are caught in a beginning of a beginning, an end of an end. And unlike season four, it is not a nightmare. The repetition is purposeful. The blemishes of season four are adroitly dealt with. It is a five-season cycle. We are spun backwards and forwards and backwards again.
There is no telling when we’ll have to wake up from this dream and when the show will soil this newly found honeymoon period. Who knows – maybe in the next few episodes the luster of the old will fail, they’ll Britta the whole thing, and all the hype around the fifth season will be blamed on a gas spill.
Or maybe none of that’ll happen and the truncated fifth season will keep the “pop, pop” until there are six seasons and a movie.
Tobi Abdul
The Silhouette
I am the kind of person who can't hang out because I have a date with Netflix. I am also the kind of person who will stare at you in confusion if you answer, "I don't know, I don't really watch TV much, I don't like it" when I ask you what your favourite TV show is. If you've ever answered anything similar, I only have one thing to say to you: your life is a lie. For the rest of you normal people who appreciate the complexities of modern TV, we can all rejoice because fall is finally here. Sure, leaves are pretty and football is awesome, but let's face it, the real reason we're so excited is because we can finally find out what's happening to Callie and Arizona. Here is a day-by-day look at my Monday to Friday recommendations. There are tons more shows out there, but this is what I'll be watching when I should be doing homework.
Monday
Apparently even TV hates Mondays. Maybe it's better that way since there's something unsettling about looking forward to a Monday anyway.
How I Met Your Mother (CBS, 8:00 p.m.)
Yes, I know, we've had enough. And yet we tune in, either of out of loyalty or out of some irresistible curiosity. The last season where we can finally find out who decided to put poor Ted Moseby out of his misery by marrying him.
Almost Human (November 4th, FOX, 8:00 p.m.)
Cop show meets sci-fi with eye candy Michael Ealy as an android. It could probably go either way, but to me it seems promising. J.J. Abrams brings us a new drama featuring human cops who are partnered with highly intelligent androids.
Tuesday
Brooklyn Nine-Nine (FOX, 8:30 p.m.)
My first thought was "Really? Another cop drama starring...Andy Samberg? And Andre Braugher? Ew." But once I had heard that it came from two Parks and Rec writers, I decided to give it a shot. It's actually really funny, and Samberg is loveable as Det. Peralta, although it’s not especially different from his other roles.
New Girl (FOX, 9:00 p.m.)
If you're not watching New Girl, you're doing something wrong. Schmidt, Winston, Nick, and Jess are unlike any characters we have on TV, especially now that Happy Endings has been cancelled (still not over that one). New Girl definitely needs some new storylines, but I think its best days are ahead of us. If not, whatever, Schmidt happens.
Luther (BBC, 9:00 p.m.)
If there's one thing the British are great at, it's amazing TV. Detective John Luther is one of the most three-dimensional characters on TV and he stands by the idea that sometimes you have to blur the lines of right and wrong in order to do something good.
The Mindy Project (FOX, 9:30 p.m.)
Mindy Kaling's trying to revive the sexy, single, 30-something that seems to have been overshadowed by all the sexy, single, 20-somethings who are on TV right now. The one liners are superb and Dr. Mindy Lahiri, like most of us out there, is trying to find the balance between finding love and eating a tub of ice cream on the couch in your PJs at 4 p.m on Saturday.
Wednesday
Whoever did the Wednesday night programming sucks. Its conflicting times for shows that have basically the same viewer base (housewives and morbid people) is frustrating and makes no sense.
Criminal Minds (CBS, 9:00 p.m.)
The BAU shows no signs of slowing down and I really want to see where they're going to go with character develop.m.ent after the tragic ending of the last season. Definitely looking forward to seeing Matthew Gray-Gubler on my screen again.
L&O: SVU (NBC, 9:00 p.m.)
I'm probably one of two loyal followers of Law & Order: Special Victims Unit after 14 seasons but I just can't get enough. I mean did you SEE last season's finale?! Try not to binge-watch this show though, unless you want to lose all faith in humanity.
Thursday
There is too much mind-blowing happening on Thursdays for me to fully comprehend.
Grey's Anatomy (Sept 26, ABC 9:00 p.m.)
I'm trying not to think about the fact that this will be the end for Christina Yang. Like with every new Grey's season, there are a lot of loose ends to be tied up and I really hope Shonda Rhimes is less cruel to us this season. Let's also hope that Arizona is less painful to be around.
Michael J. Fox Show (Sept 26, NBC 9:30 p.m.)
I'm pretty picky with my sitcoms but I'm really excited to see how Michael J Fox plays this one. The show is loosely based on his life, and I think can go either way. If the trailer tells us anything, there are enough Parkinson's jokes to last us the entire season.
Parenthood (Sept 26, NBC 10:00 p.m.)
I actually did a happy dance when this show finally was out of TV purgatory and given a renewal. Despite basically being Brothers & Sisters 2.0, Parenthood is the show that reminds us how important family is, no matter how utterly crazy they all are.
Scandal (October 3, ABC 10:00 p.m.)
It's about lying, and politics, and cover-ups but it's also about trust, and love, and loyalty. Shonda Rhimes is a TV genius that has made it possible to care for a stubborn, tenacious character like Olivia Pope and her band of misfits.
White Collar (October 17, USA 9:00 p.m.)
To me, White Collar is that high school sweetheart whose name I doodle in my notebook while all too aware that it’s never actually going to work out. But enjoy it while you can right? White Collar is only getting stronger as a TV show and this Suits-esque show makes me gush like a schoolgirl.
Friday
Is it sad if I predrink to The Carrie Diaries?
The Carrie Diaries (October 25, CW 8:00 p.m.)
The show is based on a series that was a prequel to another series that inspired a highly successful show and two movies. What's not surprising though is that The Carrie Diaries and Sex and the City have little to nothing in common. It may be about high school kids but it is one of the most relatable shows out there.
I think the TV stations actually want us to be social on the weekend so they programmed virtually nothing interesting to watch. Just remember, if it's 3 a.m. and you find yourself asking "another episode or sleep?", always choose sleep (even though I know you won't).
If you grew up in the 1980s and were gay, there weren’t really any TV shows you could relate to. All in the Family featured the first gay character on a sitcom in 1971, but it took awhile before gay characters had major roles or storylines. Liss Platt wanted to do something about that.
“When I was in school, you didn’t have Will and Grace, you didn’t have the L Word,” said Platt, an artist and a professor in the multimedia program here at Mac. “Not that these representations do us any favours, but there was just so little - especially representations of lesbians. I really wanted to make work that provided something else to identify with.”
One of Platt’s films, You Can’t Get There From Here, was recently featured in an exhibit at Brock University and describes what it was like for her to be 16, gay, and trying to figure out what that meant. “We see a lot of coming-of-age stories and I love them, but they’re tidy, and I don’t think coming of age is very tidy,” said Platt. Her story is anything but tidy – her sister was dying, the girl she loved liked guys, and everything just felt so intense. What describes being 16 better than the feeling of not knowing what’s important but still thinking everything is.
“A lot of my work is about trying to engage with the everyday and assumptions that we make that we don’t think about,” said Platt. Consider the purse, for example, which is the focus of a surreal film by Platt. At one point in the piece a tuft of hair appears in a purse that a lady is carrying, only to be franticly shoved into the bag’s depths. Purses appear totally harmless, but it’s kind of weird how much we associate them with being feminine without thinking about it. “Purses can emasculate butches; they’re like a threat to female masculinity,” said Platt, half joking and half serious.
Another one of her films, Long Time Coming, subverts the everyday (although, given the strike, it’s not really anymore) pillar of masculinity that hockey appears to be. One of the scenes replays a guy wiping down the Stanley cup, over and over. “That’s just rude, on purpose,” laughed Platt. “I love hockey, but it is so physical, and the men are on top of each other, writhing around. It was ripe for the picking, as they say.”
Sure, mocking hockey is funny, but there is a point – to ask why we think it’s okay for straight guys to be all over each other on ice, but in real life, not so much. “We have gendered notions of appropriate behaviour, and they’re limiting for everyone,” said Platt. “Queer culture has always been about not trying to just bring queer people into what’s normal, but to loosen up what normal means.”
In honour of Mac’s pride week, we present an ANDY that’s (mostly) full of articles about gender and sexuality. Hopefully we’ve managed to loosen up normal at least a little.
By: Nolan Matthews
