Apocalyptic Scenario: In the future, as traditional media apparati continue to be undermined by the abundance of free cat videos, amateur pornography, and crackpot social philosophy, professional writers, performers, and thinkers will be need a new way to be seen and heard. Like late-Romans fleeing to the protection of large landowners as a last resort against the violence and chaos of imperial decline, so will our great men and women of culture lean on the stability of beer sponsors to provide what production companies and publishers cannot.
In this new feudal context, the six-pack will become the base unit of intellectual life. At Psychoeuphorology Today, we're not waiting around. To kick things off, here is a six-pack of thoughts on another new media bellwether, Netflix's original series Oragne is the New Black.
1. This show is a nice bounce back from Jenji Kohan.
Weeds was a strong show in its first few seasons, but declined after the burning of Agrestic. The erratic and ridiculous plot lines had a lot to do with this, but the creative vision of Jenji Kohan played it's part. The characters she created were too static to transcend the show's initial premise. Though initially compelling, the lack of character development and formulaic plot arcs gave the show a Scooby Doo like feel, but without the jangle-pop chase songs.
Orange is the New Black avoids this problem, in that it is limited by our heroine's prison term. The plot arc is preset by the true story on which it's based. I expect this show to run for a tidy, well-received two seasons that will leave its audience satisfied, and not wanting more.
2. The Netflix production model really works
Given the size and scope of their operations, TV networks are forced to manage the risks of original progamming in the traditional ways, namely, overpaying stars, rehashing successful show formats, and casting a wide audience net. These production techniques make for an expensive and unreliable insurance policy, as shows meant to appeal to everyone often end up pleasing no one.
Netflix's is a subscription service which allows users to pick their content. Because of this, it can defer risk using the opposite approach of lowering costs and green-lighting projects with more defined appeal. The biggest stars in ONB are that chick from That 70's Show (not Mila Kunis, the other one), and Jason Biggs. Good writing is cheap, good acting is expensive. Netflix may have shelled out for Kevin Spacey in House of Cards, but expect them to make low-budget projects the backbone of their production efforts.
3. Speaking of J-Biggs...
Biggs bring his mastery of the mindset and mannerisms of the Upper-Middle class Jewish male to a dramatic context, as the protagonist's faithful but conflicted finacee.
Though leaning on his usual bag of character acting tricks, Biggs brings maturity and perspective to his role. Like a fine wine, the kid from American Pie becomes more nuanced with age, while retaining his basic nature. On the whole this is his best work since Saving Silverman.
4. For a Based-on-a-True-Story Prison Show, This One Was Kinda Fun
The most compelling aspect of the show is the mix of prison grit with lighthearted elements. The prison is based on the Federal Correctional Institution in Danbury, CT; which is the low-security Federal prison where the real Piper Kerman served her time.
The violence in ONB is a far cry from the naked brutality of a show like Oz. The diversity of the inmate population at times gives the show an odd-couple flavor as the hardcore lesbians, softer-core lesbians, Hispanic moms, kitchen workers, Christian fundamentalists, etc. work through there uneasy coexistence.
Though there is violence, there are also charming moments, such as when a guard attempts to portray our sweet-hearted, lotion-making heroine as a stone-cold rapist to a group of Scared Straight teens. Prison shows are typically grim. This one is more of a black-comedy.
5. You've Got Tiiiiiiiiimmmmeeeee!
Each episode is kicked off by, "You've Got Time," which was written and recorded by Regina Spektor to serve as the show's title theme. Title scenes are an under-appreciated part of TV Magic, but when done right, they add context and counterpoint to the show. The best recent example is the pulsing, animated devolution which opens up Mad Men.
"You've Got Time" emphasizes the primal frustration that underpins the monotony of minimum-security prison life. It takes on new meaning as each episode bleeds into the next over a marathon viewing.
Going back to point #2, I think we'll see more theme songs from high-profile musicians. Commissioning a few quality verses is cheap compared to hiring Charlie Sheen, and it improves the show's quality while bringing in that artist's fan base.
6. I Think It's Obvious What Comes Next...
You may remember that in the 1970's, it was common practice to produce one-off specials in which different shows (usually animated) 'meet' each other. The most famous was The Flintstones Meet the Jetsons.
In ONB, the kitchen is a center of inmate life. It performs a vital function as it's staff work with substandard tools and ingredients to feed a crowd. In the process, pride is wounded, power is brokered, and the peace hangs on a thread. In other words, it's perfect for...
Season 2 Episode 1: Orange is the New Black Meets Top Chef
The Top Chefs are faced with their toughest challenge yet, as they are taken to a real prison cafeteria where they must use the equipment and ingredients provided to create a gourmet meal for hundreds of inmates. Things get bloody when some of the mouthier contestants mix it up with some of the mouthier inmates. The episode takes a delicious turn when Padma and Piper are caught naked in the shower enjoying a whole different kind of lunch.
I'll pick up my Emmy whenever it's convenient.
