If you haven't seen The Prisoner yet, you may want to skip the first fifteen or so minutes of this podcast, because we talk about the whole damn thing this week. Jason Hughes and Allison Waldman join me to talk about the AMC remake of the British cult classic, as well as these topics:
Another dip into our Ask TV Squad mailbag, where we discuss the use of laugh tracks and why multi-camera shows are written differently than single-camera shows,
As usual, the music at the beginning and end of the podcast is "Life" by Justin Trawick. Though I decided to add a small surprise at the beginning, a call-back to an interview I did a few years ago. Hope you enjoy it.
I'm a little behind on my viewing of The Prisoner, but I'm up to episode three, "Anvil," and really digging it so far. It's like The Twilight Zone, Road Warrior, and The Truman Show all rolled into one. And I don't have the slightest idea where it's headed.
I haven't seen the original 1960s series, but will definitely have to check it out. If it's anything like this one -- and many say it's better -- I'm sure I'll love it. Not only is the series an intriguing mystery, but it also seems to be a social commentary on fear, guilt, conformity, and control.
Are we all prisoners of something, one way or another? Are we all striving to break free of the social norms that shackle us? Am I off my rocker and reading a whole lot more into this show than is necessary?
Are you liking The Prisoner so far? I'm sort of hoping they turn it into a regular TV series.
(E06) Well, that's that. All wrapped up nice and neat with a bow. Glad it's all cleared up and everything makes perfect sense... Did you read the sarcasm in that statement?
At this point, I can't tell if fans of the original The Prisoner will embrace this new iteration of the concept, or feel betrayed by it. Don't get me wrong, once all the secrets lie revealed, they've developed a pretty neat concept, and on that could quite possibly have sustained more than six episodes even. But was it The Prisoner?
I will give credit to all of the actors for their conviction in these roles. Ruth Wilson and Jamie Campbell Bower were particularly impressive as 313 and 1112. The layers of emotion that 313 displayed in her closing scenes with Two, and later with Six were just tragically beautiful. And 1112... well, tragedy appears to be the name of the game in the new Prisoner.
(E05) So I'm feeling a little more confident as the fifth installment wraps that The Village isn't as real a construct as perhaps the original was. At the same time, I have a hard time in a show like this just taking something that I'm told to be the truth and accepting it. Maybe I'm like Six in that way.
In this episode, both Two and Six experience time outside themselves, while 1112 learns more about himself than any of us realized. And if what he learns is anything close to the truth, it can do a lot to explain much of what has happened, and how the Village can be as comprehensive as it appears to be.
(E04) If you cannot break a man with family, or mistrust, then you must try love. For love is the greatest of things after all, is it not?
it seems we've fallen into a familiar pattern with The Prisoner. Two tries various schemes and techniques to break Six and Six resists them all, either through his own ingenuity or through the help of other Villagers who are sympathetic to his situation. But we still don't know why Two is trying to break Six. This week's tactic was love, but love was explored in many ways throughout the episode.
Six's love of the woman from New York is so strong that it cross boundaries from that world into the Village world. But in neither case is it clear if the love is real, or something manufactured.
(E03) I'm no closer to figuring out everything that's going on, but I am more appreciative of the fact that the entire story will be done by tomorrow night. Things are so confusing at times, I'm not sure I can keep it all in my brain if I had to wait a full week between each of these episodes.
Tonight's installment focused on espionage and spying. The target of all this spying appears to be everyone, but the primary focus is on the "Dreamers," those people who have dreams and vision of a life outside the Village. You see, they're a dangerous element, particularly if they were to organize.
The leading suspicion is that they have already done so, but where and to what end? Two wants to find them so he can send them all down for "Treatment," while Six wants to find them so he can rally them to his own cause of finding a way out of the Village.
(E02) The whole strategy behind the Village has been turned on its head and it's certainly interesting to watch. Two is bound and determined to have everyone who lives there believe that the Village is all there is, there is no world outside of the Village and the Village is all they've ever known. He's even got tangible proof to back that up.
It's an interesting change from the original, and again makes you wonder just who would be willing to invest this kind of money into a bizarre prison like this. Is the citizenry drugged, or just brainwashed? Why is Six so adamant that he is not a number, he is a free man, if no one else in the village is so sure? Or are they just being more quiet about it?
We've even reached the point in the series where as a viewer I'm not sure if what I'm seeing is real, much less what Six is seeing and experiencing. But it was nice to meet his brother and see that he has a family in the Village. "Uncle Six" indeed.
(E01) I can't help but feel tempted to compare this to the Patrick McGoohan classic from the '60s, but that wouldn't be fair. Attitudes, technologies and even our expectations of TV programming have changed so much in the intervening time. And yet, as an homage to the original, there are many elements to this new AMC mini-series that nod back to the classic paranoia suspense saga.
While The Village has been updated to be a much larger and more vibrant desert oasis (think kitschy Las Vegas) than the original's sleepy seaside villas, it's still as much an enigma, even in this first hour. And while Jim Caviezel doesn't command the role of Number 6 as powerfully as McGoohan, really who could? So I give him a pass, and enjoy him for what he brings, and try not to hear McGoohan's booming defiance when Caviezel shouts: "I am not a number! I am a free man!"
The first thing I noticed about AMC's reboot of the classic Patrick McGoohan series The Prisoner was its style. The original is a very stylized piece of work, but as someone who didn't see it back in 1967-1968 when it first aired -- I'm not that old! -- I'm not sure if its visual presentation was wholly unique in itself, or more a reflection of the '60s style in general. Certainly the '60s have become infamous for some weird fashion and design choices.
Some of that '60s nostalgia creeped into the architecture and dress of the Villagers this time around without overwhelming the tone, and I think it's a wonderful homage to the original. But I'm more impressed that this re-imagining manages to capture the same sense of paranoia and confusion that the first did, without simply retelling the same story in the same way. And it's those differences that are truly modernizing the story in a great way.
AMC is certainly pulling out all the stops to promote their re-imagining of The Prisoner. The new mini-series airs for three nights straight, starting Sunday November 15 at 8/7 Central. The network was kind enough to send out a press kit in anticipation of the new series, and right off I have to give them credit for sticking to their theme.
Some press kits seem to have random objects thrown in that have little or nothing to do with the show they're promoting. Everything that I found within this little box worked toward establishing the feeling of paranoia that pervades the world of The Prisoner. Even better, aside from the DVDs themselves, I could imagine this being the propaganda kit I would receive were I to ever wake up in the village.
The "Ask TV Squad" column, published every Wednesday, answers your questions about current and past TV shows, as well as about the celebrities appearing on TV. Every week, I will pick a question (or more) sent to us and provide answers in the column. If your question is not picked for a column, it may be answered in a subsequent column or in TV Squad's APB Podcast.
To submit questions to the "Ask TV Squad" column, you can post them below in comments or email them to asktvsquad@gmail.com.
This week, I answer questions about Eureka, The Prisoner and how to leave comments on TVSquad.com.
Cartoon Network is getting deeper into the live action series game.
Yes, I know that's like Fox Sports getting into the daytime soap opera business, but you can't get too upset about the network inappropriate name game. Remember when Bravo was the fine arts network? I rest my case.
As for Cartoon Network's new non-animated shows, a release from the network says Tower Prep and Unnatural History are headed our way in January, 2010.
According to the network, Tower Prep is "an action thriller telling the story of rebellious teen, Ian (Drew Van Acker), who wakes up one morning to find himself trapped at a mysterious prep school." In other words, it's a teenage remake of The Prisoner -- the original 1960s version -- or "Jim Henson's The Prisoner Babies."
Back in the Old Days, before cable ruled the air, Americans only got to see Brit television (most notably, Doctor Who, but also The Prisoner and Monty Python's Flying Circus) via their local PBS station.
Now, thanks to the magic of YouTube, we can revisit those days when the only on-air Comic Cons or Cosplays were the folks at PBS (or whatever public access station was available) dressing up and embarrassing themselves in front of a camera in an effort to get donations. The most interesting aspect is that the low-cost special effects they used to get donations were the same as those used on Doctor Who at the time.
I sincerely hope the folks behind these videos are watching them right now and cringing, praying for the ground to swallow them up. More likely, the people behind them are the ones who put them on YouTube in the first place.
It's always daunting to remake a classic. In TV circles, it doesn't get much more "classic" than The Prisoner.
In a press conference at Comic-Con International Friday, the cast and creative team from AMC's six-episode remake discussed the rigors of re-envisioning Patrick McGoohan's landmark show.
Series stars Jim Caviezel and Jamie Campbell-Bower joined writer Bill Gallagher to greet the press after presenting a nine-minute trailer for the show to a packed Comic-Con panel.
If you haven't seen The Prisoner yet, you may want to skip the first fifteen or so minutes of this podcast, because we talk about the whole damn thing this week. Jason Hughes and Allison Waldman join me to talk about the AMC remake of the British cult classic, as well as these topics:
I'm a little behind on my viewing of The Prisoner, but I'm up to episode three, "Anvil," and really digging it so far. It's like The Twilight Zone, Road Warrior, and The Truman Show all rolled into one. And I don't have the slightest idea where it's headed. 
The first thing I noticed about AMC's reboot of the classic Patrick McGoohan series The Prisoner was its style. The original is a very stylized piece of work, but as someone who didn't see it back in 1967-1968 when it first aired -- I'm not that old! -- I'm not sure if its visual presentation was wholly unique in itself, or more a reflection of the '60s style in general. Certainly the '60s have become infamous for some weird fashion and design choices.
The "
Cartoon Network is getting deeper into the live action series game.
Back in the Old Days, before cable ruled the air, Americans only got to see Brit television (most notably, 
It's always daunting to remake a classic. In TV circles, it doesn't get much more "classic" than 
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