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     Home »  Other Science Fiction/Fantasy »  Ashes to Ashes
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    Ashes to Ashes Views: 1997
     Sunday, February 17 2008 @ 11:50 PM EST
    So has a topic been started for A2A ep. 2? The topic for ep. 1 was started in the General Discussion area, but I didn't know if someone was going to create a general Brit TV area or if the ep. 1 thread was going to be moved to this Other SciFi/Fantasy area or something else.

    I'm going "Full Circle" and putting my avatar back to what it was when I first joined. :)
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     Monday, February 18 2008 @ 12:24 AM EST
    while I haven't seen the 2nd episode yet I must admit I think that I would enjoy this series a lot better if they just left the end of Life on Mars alone, completly.
    I still have a bad taste in my mouth after watching the 1st episode of this 12 hours ago, and that's after having slept on it as well.

    bye bye david :(
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     Monday, February 18 2008 @ 03:47 AM EST
    I watched Ep 2 lastnight and was lying in bed looking at the sealing after it and wondered why it had depressed me.

    I came to the conclusion that I actually remember the 80's clearly and the show didnt feel real I KNOW that LOM got a LOT of its 70's facts wrong but I let that go. (The televisions.. the Bykes.. etc etc)

    Not I now know how a hearbeat fan feels... Like my childhood has been pillaged (again)

    This isnt Miani vice...

    its Dempsey and Makpeace all over again and i didnt like that last time either. (Not even Juliet Bravo)

    if I wanted to watch those we have ITV3 and UK Gold

    AND the woman kind of anoys me too... she isnt dealing with life as a woman in the 80's.

    and what was with the Bottoms?

    Ill keep watching but I wont be suprised if I dont make it to the end...

    like the Doctor Tells Benny in "No Future" the 80's is no time to be in growing old in"

    maybe he was right

    This is a caracature of the 90s


    Guest Host on the WHOCAST
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     Monday, February 18 2008 @ 06:39 PM EST
    [Quote  by:  Tin Dog Podcast]

    This isnt Miani vice...

    its Dempsey and Makpeace all over again and i didnt like that last time either. (Not even Juliet Bravo)



    I got the feeling that the director of this episode was told to come up with 3 or 4 minutes of the visual equvalent to 'sound-bites' - to use in the series openning credits.

    Also I think the fact that the policewoman 'knowns' more about what has happenned than Sam ever did takes away from the show.

    It only really got going when she met her Mum.

    Cheers, daveac

    daveac on blip.tv, TalkShoe, iTunes, LiveVideo, uStream, GE, Sci-Fi, DWO, DS & WTA, Dave C on WLP, cooperda on AVF, dac100 on YouTube & PB, dac on Tiscali
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     Wednesday, February 27 2008 @ 05:50 PM EST


    I still haven't caught any episodes of this series, does it come close to Life on Mars?


    Cheers,
    Louis

    ☛ Follow me on Twitter at http://twitter.com/LouisTrapani ♥ ♥
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     Wednesday, February 27 2008 @ 08:51 PM EST
    [Quote  by:  Louis]

    I still haven't caught any episodes of this series, does it come close to Life on Mars?


    I've been enjoying the show, but I don't think it's as good as Life on Mars was. I'm surprised there isn't more discussion about the show, but even Primeval series 2 didn't seem to generate as much discussion lately.

    I'm going "Full Circle" and putting my avatar back to what it was when I first joined. :)
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     Thursday, February 28 2008 @ 01:14 PM EST
    To me, there are two things working against this show.

    A big problem is that the central "mystery" present in Life On Mars is absent from Ashes to Ashes. Maybe some surprise is coming later, I dunno, but for the moment since the central character seems to know what's happening to her, so does the audience.

    But the even bigger problem for me is that it's set in 1981. That's a year of fairly significant differences between the UK and the US, especially musically. One of the stars of LOM was the soundtrack; it helped "sell" the era instantly. But the music of 1980-81 was very different in the US than it was in the UK. To take a few examples, Michael Jackson had a huge multi-week #1 hit in 1980 in the US ("Rock With You") that never topped the UK charts. Blondie's "Call Me" was the best-selling song of 1980 in the US, but only topped the British charts for 1 week. "Funkytown" by Lipps, Inc. was massive in 1980 but never got the same acclaim in the UK. ABBA had two British #1s in 1980, and yet "Super Trouper" rose only to 45th position in the US, while "The Winner Takes It All" faired a bit better at #8. "Bette Davis Eyes" by Kim Carnes was the US champ of 1979 (and, incidentally, one of the best-selling singles of all time in the US), but its best position on the British charts was only #10. Hall & Oates, Air Supply, Sheena Easton, REO Speedwagon, Dolly Parton, Lionel Ritchie and Diana Ross, Stars on 45, Kool and the Gang, Olivia Newton-John, Christopher Cross, and Eddie Rabbit all reached the summit of the US charts in 1981 but never did so in the UK that year.

    In fact, the remarkable thing about 1981 is that there is only one artist, John Lennon, who achieved a #1 on both sides of the Atlantic but even he did it with different songs. One of the things I most vividly remember about the period was that only a select number of friends even knew whom The Police and Pink Floyd were.

    Point is, the music chosen for this series doesn't connect with me as an American viewer in the same way that it did for LOM. Unlike LOM, this series is purporting to be about a time I actually remember. Problem is, I remember it quite differently.

    "I think of myself as ambitious in casting terms, and I know that Bonnie [Langford] has the potential to make the part totally unirritating . . ." JNT, 1986
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     Thursday, February 28 2008 @ 01:35 PM EST

    In response to that from Darth I must say this. In North Texas at least there was a fair resurgance of follwing the import market over the "Bubble Gum" American market. Now I did not follow Punk but I have fond memories of the UK artists of that time. And I think that you are forgetting Elton John, his take on the market on both sides of the pond was considerable during that time.

    I'm a Time Traveler, I point and laugh at archaeologist.
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     Thursday, February 28 2008 @ 04:02 PM EST
    So far I'm enjoying the Bowie references, but one problem I have that some people won't have is that I saw Flight of the Conchords, the comic series about two hapless Aussie rock stars living in New York.

    There's a whole episode where Gemaine appears in Brett's dreams as various incarnations of Bowie, including the costumed clown. Kind of gives me a different take on it, like I can't take it seriously now.

    But there were some cute references so far... Gene calls himself the Gene Genie. When they found the drugs in the garden gnomes Chris says "Haven't you got a gnome to go to?" (which is from Bowie's very early work "The Laughing Gnome",) and I'm sure there's plenty more.

    So far I'm liking the show because I like the main character, and DCI Hunt is same as he ever was.

    Sean.

    One solid hope is worth a cartload of uncertainties.
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     Thursday, February 28 2008 @ 11:01 PM EST
    [Quote  by:  merlin_mccarley]
    In response to that from Darth I must say this. In North Texas at least there was a fair resurgance of follwing the import market over the "Bubble Gum" American market. Now I did not follow Punk but I have fond memories of the UK artists of that time. And I think that you are forgetting Elton John, his take on the market on both sides of the pond was considerable during that time.
    Ahhhh, but the thing about Elton John and the 1980s is that he was just getting back into recording in the very late 1970s. During 1980-81, he really only had two hits: "Little Jeannie" and "Nobody Wins". 1983 is the highwater mark of the 1980s, when he issued "I Guess That's Why They Call It the Blues", "I'm Still Standing" off of Too Low for Zero. After that began the long period of personal readjustment, and his evolution away from, well, "theatricality", drugs, and closeted homosexuality. He continued to release albums after 1983, of course, but never got back to the top of the charts in the 1980s on either side of the Atlantic, save for one trip there with the charity single "That's What Friends Are For" (and, I suppose, "Do They Know It's Christmas?") In other words, ATA is set in the wrong year to really capitalize on the major John success of the 1980s.

    Now while I agree there was a strong import market in the 80s, the nature of it was such that it took a little while for the two markets to synch up a bit better. By 1982-83 there wasn't near the disconnect between the UK and US markets. In 1982 itself, four of the top five singles of the year worldwide all achieved top positions on the UK and US charts, something that hadn't happened with any of the top 5 hits of 1981 (In fairness, "In the Air Tonight" by Phil Collins and Stars on 45's self-titled single had nearly done so, by getting a #1 on one chart and #2 on the other. The other three, though, were ranked considerably lower in the US than in the UK.) Nevertheless, there was still a phenomenon as late as 1987 of songs (like, say, Culture Club's "Karma Chamelion", Band-Aid's "Do They Know It's Christmas?", and Europe's "The Final Countdown") charting in one year on the British charts, but the following year in America.

    Market "lag" back in those days could be profound. The example of Culture Club is perhaps the most noteworthy. They basically had to sit on the recording of Waking Up With the House on Fire for a year while they waited for Colour By Numbers (containing "Karma Chamelion") to storm the States. "Karma" finally topped the American charts about six months after it had done so in Britain.

    I guess what I'm saying is that if Ashes to Ashes were set just slightly later, say 1984, a wider range of British songs could be used that would be "temporally correct" for North American ears. As it is, much of the soundtrack isn't really evocative of 1981 to me.

    "I think of myself as ambitious in casting terms, and I know that Bonnie [Langford] has the potential to make the part totally unirritating . . ." JNT, 1986
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     Friday, February 29 2008 @ 06:19 AM EST
    I think that's the main point. This is 1981. The '80s as we know them really didn't begin until 1982, musically, with Billy Idol and the new British Invasion beginning here in the US.

    In Britain it had already begun of course.

    I got my Human League album in the spring of 1982. All the other archetypal "80s" music didn't get started until later. 1983-84 was huge, and it just took off from there.

    Musically, 1981 is not even in the time that I consider "the 80s".

    Sean.

    One solid hope is worth a cartload of uncertainties.
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     Sunday, March 02 2008 @ 12:27 AM EST
    Back in 1993, there was a little film called The Fugitive. Based on the '60 tv series, this Andrew Davis directed flick became the runaway hit of late-summer. And although the film was bolstered by great stars like Harrison Ford, Sela Ward, and Julianne Moore...it was Tommy Lee Jones as Marshal Samuel Gerard that captured audience's imagination. Not only did Tommy Lee Jones steal the film, but he was given an Oscar for his performance.

    ...fast forward to 1996. Warner Bros. execs saw "sequel" potential in a minor character like Sam Gerard. Jones had since become a high profile (A-list) actor, so the time seemed ripe to fashion a film centered around Jones as Marshal Gerard.

    At least, that's what I thought.

    Next thing I know, I'm watching something called U.S. Marshals (1998). Instead of crafting an original story for Tommy Lee Jones to sink his teeth into, the producers of U.S. Marshalls, in their infinite wisdom, decided to completely rehash most of the important plot points of the first film. Why? Because shortsighted studio folk always think the success of any minor character is chained solely to the original plotline from which they appeared. Why take a chance on developing a new story when there's a "formula" they could extract. U.S. Marshalls was a disappointment from nearly every standpoint.

    Anybody catching my drift yet?

    Marshal Samuel Gerard deserved better! And DCI Gene Hunt absolutely deserves better!

    Mathew Graham and Ashley Pharoah had an incredible character in the palm of their hands and the perfect opportunity to take the series in a new direction. Instead we've been handed "Ashes to Ashes".

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     Friday, March 28 2008 @ 07:54 AM EDT

    The series finished last night and hopefully we will be taking about it as a whole on CIA on Sunday - but I've just read on Digital Spy that there will be a second Series:-

    'BBC One drama Ashes to Ashes will return for a second series, it has been confirmed.'

    Read more:-

    here

    EDIT - Perhaps I should add - that after watching the last episode - which I thought was very good -
    I think it (just) deserves a second series.

    Cheers, daveac

    daveac on blip.tv, TalkShoe, iTunes, LiveVideo, uStream, GE, Sci-Fi, DWO, DS & WTA, Dave C on WLP, cooperda on AVF, dac100 on YouTube & PB, dac on Tiscali
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     Friday, March 28 2008 @ 12:44 PM EDT

    Nice twist. I won't give it away beacuse I think this ep made watching the entire series worthwile. Yet one more reason that I take my hats off to the Britts, Brill me m8s.

    Cheers,
    Mike

    I'm a Time Traveler, I point and laugh at archaeologist.
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     Friday, March 28 2008 @ 01:16 PM EDT
    I posted my thoughts on the first episode in another thread but have been pretty quiet about it during the series. Overall I really enjoyed it although I did feel that it suffered from some sameness week to week and the story probably could have been told in six episodes rather than eight. The finale was enjoyable although there are some plot holes/inconsistencies that bothered me a bit. Nice to see them leave at least one plot strand open for the next series.

    Mike

    "There are some corners of the universe which have bred the most terrible things. Things which act against everything we believe in. They must be fought."
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