Tag Archives: BBC

The First Quarter-Century

The First Quarter-Century Wednesday Blog by Seán Thomas Kane

This week, to begin Season 5, I discuss some hopes of mine for the first quarter of the twenty-first century through reflections on three things that I imagined might be possible twenty-five years ago. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane


This week, to begin Season 5, I discuss some hopes of mine for the first quarter of the twenty-first century through reflections on three things that I imagined might be possible twenty-five years ago.


25 years ago, I was a young boy of 7 when I witnessed the ringing in of the New Year 2000 in my Aunt Jennie’s living room. I was a new arrival here in Kansas City, having only lived here for close to six months, and surrounded by people and places that were fairly new to me. The end of the twentieth century was a significant turning point in my life. It meant that I would be a part of the first generation to grow to adulthood in the third millennium of the current era. Despite this I’ve always felt drawn to the 1990s as the decade when I planted my roots and began to seek out an understanding of my world and what might lie beyond.

I remember throughout the day sitting in front of the television set watching several things, including my first viewing of Star Trek: The Next Generation, whichever channel it was showed “The Best of Both Worlds” Parts 1 and 2. Yet they also cut to the new year’s celebrations in cities around our planet. I remember seeing the fireworks go off atop the Sydney Harbour Bridge and later along the Thames. At 11 pm our time we watched the ball drop in Times Square, and then again, an hour later the networks rebroadcast that ball drop for us living in the Central Time Zone. We stayed the night with my Aunt Jennie and cousins Chelsea and Isabella and then drove north to Smithville, Missouri on the morning of New Year’s Day to buy a new sofa before returning to the farm my parents bought the previous summer where we were still building our house. That winter we lived in a 10-foot long trailer that had to be moved into the farm’s barn in the winter to keep it from blowing over in the high winter winds. This way at least we could be on the build site so my parents could be around to oversee the entire process of our house being built. The only other thing of note from New Year’s 2000 was that it was the last time I visited the town of Smithville until February 2019 when I gave a public lecture at the Smithville branch of the Midcontinent Public Library system. I’ve since made the trip to that northern Kansas City suburb once more in April 2024 in a vain effort at seeing the Northern Lights when I could’ve stayed home and seen them perfectly well in the city.

As New Year’s 2025 approached this year then I began to reflect on my memories of New Year’s 2000. In all honesty it was the first New Year’s that I can remember staying up for, let alone my first New Year’s in Kansas City. It’s one holiday that I’ve continuously celebrated in this city ever since. Yet what I’ve been thinking about more is what I was reading at the time about future technologies that were just around the corner. On a recent episode of the Startalk podcast hosted by Dr. Neil DeGrasse Tyson of the Hayden Planetarium in New York and Comedian Chuck Nice they interviewed Dr. Charles Liu, a professor of astrophysics at the City University of New York, Dr. Tyson talked about how the most futuristic thing that he looked forward to from the original 1960s Star Trek series were the videophones that they used. I too remember an entry in one of my childhood factbooks that I loved reading around the millennium which included one of these as one of the great up and coming technologies. While we may not have landline telephones with video capabilities like that entry suggested our portable smart phones all largely have this very function. The funny thing about it is that I rarely use FaceTime on my iPhone. Looking at my call logs the last FaceTime videocall I made was in March 2024 when I was excited to show off the room upgrade that I got in a hotel in the Chicago Loop to my parents. We’d stayed at that same hotel together several years before in the week between Christmas and New Year’s and had half the space for the three of us that I had in this room on my own.

I tend to make more videocalls on my computer over Zoom, FaceTime, WhatsApp, or Facebook Messenger and very rarely over Skype which Zoom largely replaced in 2020. Zoom has become the de facto videocall platform for many of us, especially in professional contexts. I even use Zoom to record lectures thanks to its screen sharing features. I do wish the technology could improve further though. It would be great to have an easier way to have the camera be set up higher so that it’s not looking up at me but instead straight-on or slightly downward. While an aesthetic preference it also speaks again to the old Star Trek ship-to-ship on screen communications seen in all of the series. Star Wars’s holographic communications would be an even neater step forward, and while I remember seeing a story about how the French left-wing leader Jean-Luc Mélenchon used holography in his bid in the 2022 French presidential election and another that ABBA is touring again in holographic form the technology still seems to be far from ubiquitous enough to be a regular form of communication.

An Air France Concorde at the Stephen F. Udvar-Hazy Center of the Smithsonian National Air and Space Museum near Dulles Airport in Virginia.

Another technology that I remember dreaming about in 2000 that was in active commercial use then yet has lain dormant for most of the quarter-century since is supersonic flight. The Concorde last flew in 2003 thanks to its extreme cost and the fatal crash at Paris-Charles de Gaulle Airport in 2000. Yet I remember my Mom often saying that she wanted to cross the Atlantic at least once on a supersonic jet. While there are many aspects of the in-flight experience on your average transatlantic flight that I enjoy, I do actually enjoy the food and movies in economy for the most part, I certainly wouldn’t mind a quicker jump across the water to Europe. The average supersonic flight between New York and London or Paris was 3.5 hours compared to the 7 hours it tends to take on subsonic aircraft. That’s closer to the travel time for a flight from the Midwest to Southern California today. Looking at supersonic aviation now and the promises of companies like Boom at restoring supersonic flight to commercial service, I’m hopeful that I’ll be able to someday fly on one of these planes. In the short term I’m more hopeful that Kansas City might finally get a nonstop service to one of the European capitals in time for our hosting duties in the 2026 FIFA World Cup. On my last return trip from Paris to Kansas City via Washington-Dulles while I enjoyed a great many aspects of the flight I do remember a growing sense of annoyance at how long it takes to get to Kansas City from Europe when compared to most other American cities our size and larger.

Finally, at the turn of the millennium one of my favorite TV shows was the natural history program Eyewitness co-produced by the publisher Doring Kindersley, Oregon Public Broadcasting, and the BBC. Surprisingly for how influential it’s been, I haven’t written about Eyewitness on the Wednesday Blog yet. This program brought the factual book series of the same to life for its viewers and set the stories of life, the universe, and everything it told in a computer-generated space it called the “Eyewitness Museum” which acted in some ways like a physical museum yet in many others with unusual camera angles and hallways it was entirely an edifice of the mind. I remember loving this series because it gave me the space to imagine and wonder at nature, the world, and human history in a manner which few other programs have done. I remember hoping that I could visit such a museum sometime in my life, and in some ways I’ve done that time and again. Many of the cultural artifacts in the program are on display at the Victoria & Albert Museum in London, and when it comes to the animals & plants on camera it’s well and truly on display in natural history museums around the globe that I’ve gotten to visit.

I rediscovered Eyewitness again in my early twenties when DK began uploading the episodes onto YouTube. By that point I’d already been making videos of my own for nearly a decade, and rewatching this old show from the ‘90s I was inspired to try to frame the material I wanted to describe in videos and in my teaching in a similar minimalist fashion on a blank white background with the object of my videos and lectures taking front and center. As it turns out, white is a much harder color on the eyes so in 2019 I switched to a light blue which I continue to use. My former students will certainly be quite familiar with my blue slideshows that form the core of my teaching materials. Those old Eyewitness episodes disappeared from YouTube in Fall 2023, in fact the last time I watched any of them was when I showed one to my seventh graders as part of their World Geography class.

Yet when thinking about the Eyewitness Museum itself the technology exists today that the viewer could tour that structure through virtual reality headsets. I still haven’t tried one of those on yet, at first from what I understood they didn’t fit over glasses, yet I’m curious about what potential they may hold for both education and entertainment. It would be fascinating to use such a headset to wander through that labyrinth of galleries famous for their all-white surfaces and see everything they hold.The last twenty-five years did not meet our expectations in many respects. Paul Krugman’s final editorial for the New York Times published on 9 December 2024 speaks to the loss of our millennial optimism in the face of 9/11, the Wars in Afghanistan & Iraq, the Great Recession, and all the other crises that have crashed on the rocky shores of our world. Where for a while we thought we might have fine sandy beaches that heralded a prosperous, safe, and happy future now we have fearsome cliffs which act as much as walls defending our “scepter’d isles” as limits to the possibilities of things in our world. I feel a dissonance in my own life with the world we live in because I am still an optimist, and still dream of things that we could do, new monuments to that optimism we could build, and like the Irish quarrymen brought to a young Kansas City in the nineteenth century by Fr. Bernard Donnelly, the founder of the Kansas City Irish community, ways in which we can break down those cliffs and build a city of fountains and gardens in its place. I’ll write more about all of this next week in a reflection on what I hope we will see realized in the next quarter of the twenty-first century. By the time we reach New Year’s 2050, I will be 57 years old, far from the young boy who watched humanity ring in the third millennium in what was for him a new city in a new time full of hope.


TopGear and Revolution

In 1783, the Thirteen American Colonies were officially recognised as free and independent states by their former mother country, the United Kingdom. Initially, each of the thirteen states were autonomous to the extent that they were effectively separate countries, united only in a weak document called the Articles of Confederation. The power vacuum left with the departure of the British colonial authorities led to a worryingly unstable situation across all Thirteen American States. Stability in government was only restored with the Constitution of 1787, the binding document which created the Federal Government of the United States, effectively creating the system of government that has kept the United States relatively stable, despite one civil war, ever since.

A similar revolution has occurred in the BBC’s hit motoring show TopGear, with the departure of the old order, led by the trio of Jeremy Clarkson, Richard Hammond, and James May, who have gone to Amazon Prime Video. In their wake, the BBC has chosen a wide array of new hosts, led by Chris Evans, to take over one of their greatest hits. Having seen the first episode, Evans, American presenter Matt LeBlanc, and their fellow presenters, who frankly are more like corespondents than full time hosts, have truly put TopGear through a revolution.

The same old skeleton exists within, but the show itself is well removed from its predecessor. This new TopGear is like the Thirteen American States in the period of the Articles of Confederation; it is in a period of transition and still trying to figure out how to exist without its former presenters. Evans, LeBlanc, and the others have the same light hearted attitude to their work on TopGear that Clarkson, Hammond, and May had before, but at the moment it just does not seem to be as funny. With the former trio, I knew to expect that odd, somewhat nonsensical, at times pointless humour. As a result, I reviled in it, often with a big smile on my face for the entire hour long programme. With Evans, LeBlanc, et cetera, I laughed on occasion. Simply put, I am not familiar with these new hosts, and do not know what to expect.

Perhaps in a few weeks, once more of the current season of TopGear is broadcast, I will  be able to appreciate the new presenters, and new format better. At the moment, I am looking forward  to the first episode of The Grand Tour, Clarkson, Hammond, and May’s new programme, which will be released on Amazon Prime Video this coming Autumn. As to the next episode of TopGear: yeah sure, I’ll watch it. This new TopGear has undergone a revolution, but it still has a long way to go until it leaves the shadow of its predecessor and enter into its own spotlight.

“The Story of the Jews”, Simon Schama’s Masterwork

Kansas City – When I first read that PBS would be broadcasting a new Simon Schama documentary, happy memories came to mind of his only pervious work that I have had the pleasure of seeing, The Power of Art. His latest documentary, which Andrew Anthony of The Observer also called “his greatest” was simply sublime storytelling. The series, which runs in 5 parts, covers Jewish history from the earliest instances in the archaeological record of there being a Jewish people in the Near East to the modern struggle of identity for those residing in Israel and Palestine, though where Israel ends and Palestine begins has been a matter of some confusion for a few generations now.

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Courtesy of the BBC.

As a historian-in-training I found Schama’s style of telling the story of his own people to be inspiring for my own goal of eventually telling the story of my own people, the Irish diaspora. Schama’s reasons for studying history as a profession, because “We are our story,” we are the source of the history that we, as historians, study. This is almost word for word my own chief reason for studying history. That is something that Schama seems to connect to with his latest documentary that many other historians fail to see, that history is nothing without being an inheritance from the past to the present. Schama’s way of telling the story of his faith made me, an Irish Catholic American, feel as though not only could I understand some elements of the Jews troubled history, with both of our peoples often being at the receiving end of some bigger power’s brutality, and with his frequent remarks on the Jewish sense of humour developed through centuries of oppression and exile. Yet, despite these, and many other, commonalities, the story that Schama tells is very much a Jewish one. The very fact that the Jews have made it through all they have is testament not only to the existence of God but also to the tenacity of the human will to survive.

Schama is at times whimsical bringing the viewer into his personal life at the synagogue and at the annual Seder, whilst at other points he brings the viewer into the darker, dolorous parts of what it means to be a European Jew in a community that is now a mere shadow of its former self. His visit to Lithuania, his family’s homeland, is one such moment. A particularly poignant point came when Schama proceeded to explain just how the Lithuanian Jews in a particular shtetl were rounded up, tortured, and killed en masse by the Nazis during the Holocaust. Likewise in its poignancy for me was the intense description that Schama used to conclude his telling of the story of the expulsion of the Jews from Spain by Queen Isabella, more famous today for sending Columbus to the Americas. He recounts how the Spanish king ordered his Christian subjects, “Not to harass or disturb the Jews in the process of packing up and selling off synagogues, and lands, and possessions. Get them out of here in peace and as quickly as possible, to which you want to say ‘How very considerate.'”

What sets Schama’s documentaries and books apart from many other historians is how dedicated to his work he has become. Especially in the case of The Story of the Jews, where Simon Schama invites us, the viewer, to join him on a journey into his own family history. It’s an invitation that I would highly recommend be accepted.

To watch Simon Schama’s The Story of the Jews online in the United States, please click on the following link.

Netflix’s “House of Cards” comes into its own

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Don’t worry, there are no spoilers below.

 

Kansas City – A few weeks ago I published my first review of a “television” show. I find it amusing that my first TV review should be of the first big-budget show to be produced and broadcast by an online-only broadcaster. In January, I wrote about how the first season of Netflix’s House of Cards, starring Kevin Spacey and Robin Wright as Congressman Frank Underwood (D-SC) and his wife Claire, related to its British parent.

Like the country in which it is set, this new American House of Cards needed a while to set itself up as an independent show. However, with the start of Season 2, Netflix’s masterpiece of drama truly set itself apart from its roots in Westminster. I found the second season to be far more thrilling than the first. The speed by which the action moved, balancing the need for both quick and slow plot lines, was exhilarating. There were quite a few moments over the past fortnight that I found myself sitting forward in my seat, gasping “Did they just do that?” My first season mulligan of “Well, I know how the BBC version went” quickly became defunct and resoundingly out of place in this truly American drama.

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Kevin Spacey as Frank Underwood. Courtesy of “The Guardian”.

Spacey continues to refine and evolve in his role as Underwood, the epitome of the modern anti-hero, perhaps villain. He was able to balance out the ruthlessness and chessmanship of the political realm with the more mellow personal moments here and there throughout the season. I found myself amazed that even he as an actor going off of a script could keep up with the many twists and turns, the double and triple bluffs that lace the plot in such a fashion that they began to seem almost too fantastic for the politics of the reality (or at least I should hope, though perhaps naïvely, so).

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Robin Wright as Claire Underwood. Courtesy of “The Huffington Post”.

Complimenting her Golden Globe award from last month, Robin Wright’s performance as Claire Underwood continued to evolve just as much, if not even more than Spacey’s role as her husband. I found Claire much more likeable after a while in this season than I certainly did in Season 1, though the same characteristics that made me wary of her in the first season are certainly still present in her character. After seeing the second season, I find myself hoping, again perhaps naïvely, that Claire Underwood won’t turn out as Elizabeth Urquhart (the wife in the BBC series) did, as a sort of Lady Macbeth to counter Frank Underwood/Francis Urquhart’s Richard of Gloucester (Richard III).

Beyond the acting, the runaway golden winner here has to be the writers. Their work is truly a masterpiece of drama that certainly does a good job at expressing the emotions and desires of our time, especially in the political realm. Netflix’s House of Cards is a drama for our time, set in our time, featuring us, and calling upon us to ask ourselves how we feel about what we see in the mirror that the series offers the United States in 2014.

Washington and Westminster – Comparing both “House of Cards”

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Ian Richardson as Francis Urquhart.
Courtesy of the Wikimedia Commons.

Kansas City – It was funny to me that last night as I finished watching Season 1 of Netflix political drama House of Cards, one of its leading stars, Robin Wright, won the Golden Globe for Best Actress for her part in the hit series. I was first introduced to the Netflix series through its inspiration, it’s daddy so to speak: the BBC’s 1990 miniseries of the same name. The BBC’s version was based upon the novel by Michael Dobbs in a script adapted by Andrew Davies. It starred acclaimed Scottish Shakespearean Ian Richardson as Francis Urquhart, MP a Machiavellian Tory chief whip and is set in the years following the fall of Thatcher’s government in the 1990s.

I was first attracted to Richardson’s House in large part by the leading actor’s grandfatherly charm, which prevailed over his on-screen persona for the majority of the original BBC miniseries (it had two sequels, To Play the King, and The Final Cut). Also I am a bit preferential to the parliamentary system over its presidential counterpart, which added into my interest in the British series. Richardson’s Urquhart is a charming aristocratic MP, who feels cheated by the Conservative Party when he was not chosen as her successor for the leadership. What follows is a reign of vengeance that easily rivals that of Shakespeare’s portrayal of Richard III. In fact, another area in which I was drawn to the series was in the subtle, though sometimes verbal, references to Shakespeare, with Urquhart being based upon Richard III whilst his wife rings more true of Lady Macbeth.

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Kevin Spacey as Frank Underwood.
Courtesy of Salon Magazine.

In comparison Kevin Spacey’s Congressman Frank Underwood (D-SC) lacks the charm that Richardson so gracefully portrays. What the two characters do share is a dramatic penchant for ruthlessness and determination to do whatever it may be that is on their minds at any given moment. Thus far, considering that only half of the American version has been broadcast, I would say the character closest to their British original would have to be Doug Stamper (Michael Kelly), Underwood’s Chief of Staff. He shares many traits with Urquhart’s Junior Whip, Tim Stamper, MP (Colin Jeavons). Both are loyal at first to their superiors, but as time goes on Stamper, MP begins to see how truly evil Urquhart’s intentions are, a plot development which I will be sorry to see missing from the second season of Netflix’s rendition.

Likewise in the Netflix adaptation, I will say that thus far my favourite characters in the Netflix series are Congressman Peter Russo (D-PN), played by Corey Stoll, and his Chief of Staff and girlfriend, Christina Gallagher (Kristen Connolly). They seemed the most personable of the entire cast to me, and after all it’s nice after a while to find a love story that is very honest and quite beautiful in how human it really is. To counter this I was left rather confused by the relationship between Frank and Claire Underwood, the leading couple, who frankly (pun intended) seemed, perhaps more so than Francis and Elizabeth Urquhart (Diane Fletcher), like having Gen. Patton and Field Marshal Rommel living happily married together. Both characters are outwardly kind and considerate, but inwardly ruthless and willing to go to any lengths, yes any lengths, to see their goals achieved.

At the same time as Robin Wright was accepting her award in LA, I found myself mostly thankful that the first series of this all-too interesting show was at last over. One major complaint that I have about American television is that there can at times be too much of it. Consider that the average British season will run for about 6 to 8 episodes, whilst the average American one runs for about 10 to 20. After a while, especially in the context that I was watching it in, to review it in comparison to the BBC’s original, I found myself emotionally exhausted by the many bumps in the road that Netflix’s House of Cards has to offer. For a programme like this, 13 episodes per season is just too long to watch in as short a span of time as I did (in about half a week).

And yet, I am looking forward to seeing how Season 2 carries on the threads from Season 1, hopefully bringing them together for a good conclusion. In short, Netflix’s House of Cards is good in its own right, but I would still prefer to listen to Francis Urquhart’s asides mixed with a sense of laughter at the world than here Frank Underwood’s complaints and Machiavellian strategies on how he’ll make his next move.