What’s The Topic?Korean TV, and the wonders thereof.
Even the most pop-culturally blind person in the world could not really have failed to notice just how dominant and mainstream K-Pop has become in the world. BTS are, of course, the big-ticket item there, and have secured an enduring legacy outwith their home country and around the world . Even just a few years would have seemed vastly unlikely except with a novelty hit like “Gangnam Style”. Yet music – and there’s a whole lot more to Korean music than just K-Pop – isn’t the only place Korean culture has been flourishing.
Exploring science-fiction on the small screen, from its inception right up to the 21st century.
Telefantasy (or television sci-fi, or sci-fi on television, or fantasy sci-fi, or any one of many monikers) is one of those terms that covers a wide range of programming and has been around from the mid-40’s in America. The first notable science fiction show was the marvelously-named children’s programme Captain Video And His Video Rangers, and in Britain sci-fi was launched in 1938 with an adaptation of Karel Capek’s almost indescribably influential R.U.R.
An episode-by-episode review of the 12th series of the venerable sci-fi classic
So I’m going to do something I haven’t done before and review Season 12 of Doctor Who episode-by-episode as the are released. As usual, I shall be dispensing with the twin straightjackets of objectivity and fan consensus, and will add each new episode as they come.
Can Netflix manage to do the whole nostalga-meets-new-technology thing?
[NB – This article was written after the first season had been released, but prior to the subsequent ones]
So here we go with another reboot. History (and by history I mean, “the last fifteen or so years” for the most part) is littered with the corpses of failed reboots. For every successful attempt to drag some forgotten franchise into the twenty-first century (Battlestar Galactica, say, or Doctor Who) there’s a dozen more that fell by the wayside, as forgotten as the shows they tried to resurrect. Hokey old 60’s and 70’s sci-fi shows come with a built-in fanbase – not always very large, but often very dedicated – so it’s not exactly difficult to work out why producers might think old franchises might be worth taking a gamble on. Why bet on something new and completely unknown when you can dredge something up from the past which, even if it won’t bring in huge numbers, will at least bring some?