Tag Archives: TV By The Numbers

Don Cheadle’s reading list

Yesterday, Showtime announced a new show called House of Lies.  Don Cheadle will serve as star and executive producer.

This great news for cable.  To have an actor of Cheadle’s ability and stature, well, who could ask for anything more?

But is it good news for Don Cheadle?

Here’s how the the press release describes the show.

HOUSE OF LIES is a subversive, scathing look at a self-loathing management consultant from a top-tier firm. Cheadle will star as Marty, a highly successful, cutthroat consultant who is never above using any means (or anyone) necessary to get his clients the information they want.

I think this is Showtime’s way of signaling that they intend to use every cliche in the book.

And by book, I mean the work of Martin Kihn from which they drew their title and apparently, their approach.

Here’s a wee glimpse of House of Lies according to Kihn.

Here is the story of a nasty little man and how he rips the soul from his department, pulls its lungs out at the roots, and leaves behind a legacy of victims so vast it is as though a minijunta storms the halls and opens its grab bag of tricks—people with lives to lead . . . people with children, for God’s sake, with babies . . . are tossed into the street—your mentor is tossed into the street—your mentor’s mentor is hurled onto a rotting pile of ex-consultants . .

Golly and who would have thought if possible to take cliche one better.  Capitalism red of tooth and claw, anyone?  This takes Wall Street and ups the ante.

But of course cliches are not always a bad thing when it comes entertainment.  They do grease the rails of comprehension.  And, let’s be honest, a stereotyped, simplified and thoroughly dumbed-down notion of advertising appears not to have hurt Mad Men at all.

Mind you, the advertising cliche has quite a lot of ore in it.  There’s the sex, the drinking, the politics, the glamor, and the deal making.  It’s not clear to me that the consulting cliche leaves Showcase much to work with.  Deal making?

We know what happens to TV projects that stick to empty cliches. Audiences lose interest almost immediately.  It’s horrifying to think of an actor of Cheadle’s gifts taken hostage by a show that is itself taken hostage by simple minded ideas of its theme.

Let me make a suggestion: that Cheadle consult literature that can introduce him to the subtleties, nuances and richness of the consulting biz.  I like the book by Micklewait and Wooldridge as background reading.  See also Walter Kiechel’s wonderful The Lords of Strategy.  But the real opportunity here, I think, is to talk to consultants and to see how very smart and sighted they are.  Some of this will help correct the cliches with which House of Lies is freighted. 

References

Kiechel, Walter. 2010. The Lords of Strategy: The Secret Intellectual History of the New Corporate World. Harvard Business School Press.

Kihn, Martin. 2009. House of Lies: How Management Consultants Steal Your Watch and Then Tell You the Time. Business Plus.

Micklethwait, John, and Adrian Wooldridge. 1998. The Witch Doctors: Making Sense of the Management Gurus. Three Rivers Press.  

For the Showtime press release, see Robert Seidman’s site TV By The Numbers at http://tvbythenumbers.zap2it.com/2010/12/13/don-cheadle-enters-showtimes-house-of-lies/75293

Fringe aka Managing Multiplicity

If you’re fan of the show, you know Fringe (Fox, Thursdays, 9:00) can be fiendishly interesting.  

One of the pleasures of the show is the performance of Anna Torv (pictured).

Torv’s character Olivia exists in two, parallel worlds.  So Torv must play Olivia twice.  She must be the same person in both worlds, but the viewer also needs to see small, and telling, differences.

Managing two identities in this way makes the actress a little like the audience.  Many of us are called upon to manage several identities at once.  The differences can be small, but they must also be telling. 

Torv was recently asked about playing the same person twice.  You can hear in her answer some of the difficulty of the task.  But you also hear her voice some of the advantages of the postmodern self, the ability to slide across perspectives, to see oneself with new clarity.

Anna: I was so excited when it first came up, and then we’ve kicked in. I haven’t really had the chance to play the Ultimate Olivia properly for herself. It’s been our Olivia, thinking that she’s the Ultimate Olivia. Then, the Ultimate Olivia pretending to be our Olivia. It’s been a little bit tough to work that line. What has been interesting is how clearly I am now seeing Olivia, which I don’t think you get to do. You don’t get those opportunities where you actually get to step back and look at a character from a different perspective while playing her. Each of them has their own impression of the other that they haven’t met really properly.

So, it’s been tough, but fun. The differences are subtle there. They both ended up in the same job. They both ended up to the point where they even had the same partners. It’s just gentle little shifts. It’s been fun. I think all the guys that have had that chance would say the same. It’s been so fun to play on the other side, which does feel like, “Wow, this is a completely different energy.” Then, I get to pop back. I’ve loved it.

Those who have not seen Fringe might want to have a look.  Bill Gorman, at TV By The Numbers, said today the show’s in peril.   

References

Gorman, Bill. 2010. “Will Fringe Or Lie To Me Be Cancelled Or Renewed?.” TV By The Numbers. http://tvbythenumbers.com/2010/10/12/fox-fringe-new-season-same-bad-choice/67591 (Accessed October 13, 2010).

McCracken, Grant. 2008. Transformations: Identity Construction in Contemporary Culture. Indiana University Press http://www.amazon.com/Transformations-Identity-Construction-Contemporary-Culture/dp/0253219574/.  

Radish, Christina. 2010. “Anna Torv Interview FRINGE Season Three.” Collider, October 13 http://www.collider.com/2010/10/13/anna-torv-interview-fringe-season-three/#more-54255 (Accessed October 13, 2010).