Annual Archives: 2009

Ep 192: Southland, Quotes, Crap TV, Letters

Southland is a new show from the US about police. We review it. The rest of the episode is good and full of information about television. Really. It’s wonderful. Also there’s an I Don’t Buy It to destroy a generation.

Contact us by sending us email or send us an SMS on 0458 288 837 (0458 CUTTER)
Continue reading “Ep 192: Southland, Quotes, Crap TV, Letters” »

Helicopter Ear-Piece Dramas


Warning: Undefined array key 0 in /home/cropley/public_html/boxcutters/wp-content/themes/boxcutters2011/functions.php on line 571

Channel 9 premiered their new Australian series a couple of weeks ago. It prompted me to create this piece for The Outland Institute radio show. It went to air on 31 July, 2009 but you can still listen to it thanks to modern technophilia.

Channel 9’s new weekly drama is called Rescue Special Ops (with cops). It’s what I like to think of as a helicopter ear-piece (HEP) action series.

I haven’t seen it yet because*, ever since Underbelly, Channel 9’s publicity seems to be more about secrecy than anything else.

But I thought we’d look at other HEP series from other networks.

Of course, there’s the one that started it all. Police Rescue. This ABC drama featured a lot of falling off cliffs with rescuers shouting “Hang on. Mate, just hang on.” Also combined with this was some shouting of instructions: “attach the rope to the belt” etc. Police Rescue also pioneered the use of the winch in weekly television.

More recently, All Saints, already on the do not resuscitate list, tried to reimagine itself as an HEP, renaming itself to All Saint Medical Response Unit. The introduction of helicopters into a hospital drama was novel if not sustainable.

It’s important to note here that helicopters are the most expensive thing in the filmed entertainment world. It is cheaper to burn giant containers full of truffles laced with cocaine than to hire a helicopter for a film or tv shoot.

So that brings us to Rush on Channel 10. Not happy to spend the national debt on two helicopters, one to film and the other to be filmed, the Rush crew decided to use computer generated images for their action sequences. To compensate for that, though, they have more earpieces and made-up technology than any other HEP series before or after.

How will Rescue Special Ops add to this genre? I’m guessing it won’t. Really. It’s more action for action’s sake until they realise that action’s too expensive and they just fall back into boring intra-department romance and politics like everything else does.

* Remember that this review went to air before Rescue Special Ops aired.

Some Great Deals from the Boxcutters Store


Warning: Undefined array key 0 in /home/cropley/public_html/boxcutters/wp-content/themes/boxcutters2011/functions.php on line 571

There are some great specials available at the You Do Buy It US store at the moment.

A couple of weeks ago we mentioned Errol Morris’s The Fog of War documentary and it’s currently half price.

You can also get the complete Addams Family for cheap!

There are a bunch of other specials including indie-movies, sitcom box-sets, and a whole lot of British television.

Help support Boxcutters by getting yourself some wonderful entertainment.

Everybody wins.

James Talia talks to us about news anchoring. We look at Torchwood: Children of Earth. Woo, says Brett Cropley.

Contact us by sending us email or send us an SMS on 0458 288 837 (0458 CUTTER)

You can buy Torchwood – Children of Earth on DVD and make your own mind up.
Continue reading “Ep 191: James Talia, Torchwood, Hosts of things” »


Warning: Undefined array key 0 in /home/cropley/public_html/boxcutters/wp-content/themes/boxcutters2011/functions.php on line 571

The following appeared as a segment on The Outland Institute on 24 July, 2009. If you’d like to hear this sort of thing live then tune in to Joy 94.9 every Friday at midday AEST.

One of the things I love about doing television reviews on the Outland Institute is what I like to call the rule of one. One episode is enough to judge an entire series.

This week I’ve seen the first episode of two new shows from the US. Drop Dead Diva and Ruby and the Rockits.

I can easily and quickly cover off on Drop Dead Diva. If David E. Kelly known for Ally McBeal, The Practice, Boston Legal and marrying Michelle Pfeiffer, took an overdose of oestrogen, the product pumped from his stomach would be Drop Dead Diva.

An aspiring Price is Right model (and no, I’m not making this up) dies in a car crash at the same time that a fat and clumsy but talented lawyer spills hot coffee on her blouse and subsequently gets shot (and I’m still not making this up). The model manipulates her way out of limbo but ends up in the lawyer’s body. Everybody learns a lesson and fried food tastes good.

Margaret Cho co-stars in this one but its almost like they cast her because Sandra Oh is too famous now. She is in no way used to her comic potential. The role just seems so generic. She plays the best-friend/assistant of the fat lawyer.

Then there’s Ruby and the Rockits, a traditional 3 camera sitcom or laffer. David Cassidy stars, as does Patrick Cassidy. It’s produced by Shaun Cassidy. If that’s not enough “where are they now” for you, then it’s also directed by Ted Wass, aka the Dad from Blossom.

David Cassidy plays David Gallagher, a has-been rocker doing a residency at an Indian casino. A girl comes into the venue and introduces herself as his daughter from his time on the road. He takes this at face value and takes the girl, whose mother has recently died, to his brother Patrick’s house. Yes, they are using their real first names. How original.

Patrick’s family also accepts this story of a long-lost orphaned daughter and agrees to let her live in their house. That’s the premise and no, I’m not making any of this up. No paternity test, no questioning; Ruby’s story is entirely accepted at face value.

Ruby and the Rockits dispenses with any of that unnecessary and tiresome suspension-of-disbelief rubbish that other TV shows require for plausibility. In fact, it throws any sense of plausibility out the window. It’s not important. Neither, apparently, is writing jokes.

RatR slso stars Alexa Vega, who was the sister in the Spy Kids series. I mean, really, what did I do in a past life that all of these people would return to haunt me in such a terrifying manner?

Too hot to mention, too cold to hold. Called the Boxcutters and in control.

This episode of Boxcutters has nothing to do with Ghost Busters 2 but we do talk about Parks and Recreation and other things already mentioned in the title of this episode.

Contact us by sending us email or send us an SMS on 0458 288 837 (0458 CUTTER)

If you want to get more of a taste, check out some show-note-action after the jump.
Continue reading “Ep 190: Parks and Recreation, Dance Your Ass Off, US 60 Minutes” »

Pitch Yourself a Crumpler Beanbag


Warning: Undefined array key 0 in /home/cropley/public_html/boxcutters/wp-content/themes/boxcutters2011/functions.php on line 571

It’s time to talk about the Boxcutters/Crumpler Beanbag Competition.

We’re asking you to come up with a pitch for a new TV show. That pitch must contain audio and or visual components because the greatest way to get someone interested in your idea is to show people.

You can enter from anywhere in the world. Boxcutters love knows no arbitrary borders.

Entries must be submitted by October 31st but we’ll have a couple of rounds of advice/criticism by real television producers FROM TELEVISION, so get your entries in as soon as possible to have your pitch featured in those episodes.

You can submit your pitch in any way you think best gets its ideas across and gets to us. You can always email us to ask us any questions or generally get our attention.

If you just want to snail-mail us your pitch, send it to:

ATT: BOXCUTTERS
c/- 3RRR
PO Box 2145
Brunswick East
VIC 3057
Australia

The winner will be chosen on inventiveness, creativity, entertainment value and viability of pitch, as selected by a panel consisting of the Boxcutters hosts and some celebrity judges, possibly of questionable celebrity status (just like on Dancing with the Stars).

All entries must include your name, phone number, email and postage address. We are not able to return physical entries unless accompanied by correct postage and self addressed envelopes (just like on the Early-Bird Show).

By sending us your pitch you give Boxcutters the right to use your entry to promote the podcast or the competition. Unless otherwise noted, work will be attributed by the name on your entry (just like your name or something).

Boxcutters reserves the right to add to the conditions of entry as holes start to appear and things we hadn’t yet thought of become apparent (just like you have come to expect from our lack of preparedness).

Happy pitching!

We return with a killer episode. The new UK series, Psychoville get a right reviewing, we look at why MasterChef was so bloody popular, and there’s a brief chat about TV series made from novels.

Contact us by sending us email or send us an SMS on 0458 288 837 (0458 CUTTER)

If you want to get more of a taste, check out some show-note-action after the jump.

Also, you can preorder your copy of Psychoville from the Boxcutters Store and be one of the first on your block to get it into you.

Continue reading “Ep 189: Psychoville, Leafbusters, MasterChef Postmortem” »

MasterChef Cooks Its Results


Warning: Undefined array key 0 in /home/cropley/public_html/boxcutters/wp-content/themes/boxcutters2011/functions.php on line 571

The following, in a different form, was used as a rant on John Richard’s excellent The Outland Institute radio show. In case you missed it, which you shouldn’t have because it’s an excellent show, as I previously stated.

This week’s television controversy surrounds MasterChef. We’ve been sold a bill of goods. We’ve invited into our homes a Poh-faced liar.

From the very beginning Poh has been shown favouritism by the judges. How many other people had the opportunity to go home after failing the audition and return to cook another dish?*

Poh not only failed once, but twice. Poh was eliminated from the competition and then, with no reason given, allowed to return along with some other, seemingly randomly selected contestants. No one else in the MasterChef competition has been given as easy a ride as Poh and that is outrageously unfair.

It’s true that Julie also received some leeway with the rules of individual challenges. Out of the last three challenges in this week’s finalist series, Julie failed to finish her dish all three times: twice serving raw food and once just failing to plate up all the elements of her dish in the allotted time.

Many times in the last 18 hours people have told me via twitter and sometimes even to my face that Julie only ended in the final two because they want to publish her cookbook.

The night before, after Justine lost, Matt Moran went to her house and offered her a job. We all felt wonderful because it worked out well for Justine.

Couldn’t the same thing have happened to Julie? If Julie had lost the competition last night but her pitch for a cookbook so overwhelmed Donna Hay that she offered her a publishing deal on the spot, we would feel joy and heart-warming tingles because Julie was well on her way to success.

There was no sensational coda for Chris last night.

And so it comes down to the internal logic of the show. Like any good story the characters need to live by the rules of the story’s universe. Despite the real-person/contest nature of the show, it’s still telling a story. In last night’s episode the rules were laid out in the beginning: make a dish that would look good on the cover of a cookbook.

When it came down to judging, though, the aesthetics of the dish were largely irrelevant. Suddenly it came down to the flavour. The judges said that Chris’s dish didn’t taste good.

Somewhere along the lines they changed the rules without telling the contestants or, more importantly, the audience.

A good TV show has turned into a farce.

* In a moment of subtextual racism the judges sent Poh home to gather the ingredients to create a Malaysian dish. The implication that she was unable to create modern Australian cuisine because of her ethnicity should have been seen as a slap in the face with regard to her skill as a cook. Instead the judges somehow made it seem like they were encouraging her. Would they expect a Cajun to only make craw-fish gumbo? Would a Jew only be rewarded by making gefilte fish and matzo ball soup?

It’s unfair to everybody that she was given a second chance AND told what to make. It’s unfair to her that they did not judge her ability on the merits of her first dish. It’s unfair to an entire race of people that we should expect them to only be good at cooking one type of cuisine.

We take a journey into the past and listen to the wonderful Pete Smith. What else do you need to know? Nothing. He is wonderful.

Another trip down memory lane:

Contact us by sending us email or send us an SMS on 0458 288 837 (0458 CUTTER)
Continue reading “Winter Nostalgia 2: Peter Smith (aka Mr Television)” »