This show is about storytelling, and it’s particularly about pushing the limits when it comes to exploring how stories are told and how viewers or readers interact with them.
It’s safe to assume that business owners aren’t going to be terribly concerned about mixed fibers, people who eat shellfish, or those who work on the Sabbath. The real issue, of course, is same-gender couples with the audacity to expect access to public accommodations.
This is a slimy, filthy, dirty, writhing version of US politics, one that does not paint a pretty picture for viewers in the slightest.
It would appear that this season of Downton Abbey is all about the punishing of the women.
With friends like these, who needs enemies?
Even in a more permissive era for advertising, ads that don’t fit within a very specific set of right-wing conservative Christian morals generally don’t make the Super Bowl cut.
The very fact that we’re depicting gay men on television in the first place is astounding, and it’s even more astonishing to see them depicted in a way that isn’t sensationalised.
Clearly, the writers aren’t mature enough to handle writing a relationship between two grown men, which makes one wonder if they’re mature enough to be, er, writing television at all.
As is common with SyFy, the science and the politics on Helix aren’t entirely accurate, which is sometimes frustrating, but the show is focused on being a good old fashioned epidemiological thriller.
I like looking at pretty costumes and historical inaccuracies as much as the rest of them, but Downton in 1920 has entered a period of stasis.
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