Lunchtable TV Talk: Deutschland83


Four-three-two-one… earth below us…

I have been blown away by the German eight-part spy drama, Deutschland83. I love Germany, and Berlin in particular, but I cannot say I have ever understood German tastes. And when it comes to TV, it’s not like the Germans churn out anything that anyone outside of the German-speaking world wants to watch or copy. As I wrote the other day, the US and UK seem to travel on a fast-track highway of exchanging each other’s entertainment. The Nordic countries have infiltrated, exporting both their “Nordic Noir” dramas and the ideas behind them (to be adapted and redone to varying degrees of success). And even France has joined the fray, offering up stuff like Les Revenants, already remade into The Returned, and Engrenages (Spiral), and Les témoins (Witnesses). And Israel is a rich source of inspiration. But Germany? Not so much. Don’t believe me? I’m not the only one to think so.

“For decades, German TV drama was seen as reflecting the kind of cultural tastes that made David Hasselhoff a nation’s rock god: trite, unadventurous, psychologically challenging only when the lead actor of one particularly long-running detective show was outed as a former SS member.”

Until now.

The premise: a young East German guy, Martin, is forced to become a Stasi operative in West Germany as a West German military officer named Moritz. His aunt is an upper-level Stasi operative herself, and she recruits him, against his will, and uses carrots (the promise of an apartment and car) and sticks (indirectly threatens her sister, his mother) to keep him in line. The story is taut and aligned with real events from the early 1980s. I am totally disappointed that it is only eight episodes long, but I was duly impressed with not just the pacing and storytelling at work but with the way the period is handled – so many of the events and fears of the moment (everything from nuclear annihilation to AIDS), so much of the music (“99 Luftballons” of course!), the “high-tech” developments of the time that young people today would be as clueless about as Martin is when he encounters them (he goes to steal a document and instead only finds a little plastic square with a hole in it – a floppy disk!).

I can’t recommend the show enough. I wrote about it the other day, highlighting the fact that it is the first program to be shown in the US with English subtitles for its almost exclusively German-language script. Even when an American military general appears in the story and starts to talk, you’d expect everything to switch to English (he is an American after all!), everything continues in German. International programming has more to offer than ever, and while one could say that the content was always there and we were not paying attention, I doubt it. It’s a lot like US programming… as distribution has changed and major networks are not the only channels through which content is available, creativity is being unleashed everywhere.

Even in Hasselhoff’s Germany.

In the outhouse: When you lose your native language


I know a native English speaker who seems to have lost touch with English. I am not sure how great her command of the language was to start with, but to use one of her favorite words, she appears now to be “dabbling” in it.

Choice selections of her misuse:

“We may not have made it aware”. She means, “We may not have made you aware of it.” Somehow she has lost all sense of direct and indirect object use.

With regard to hiring outside contractors:

“Did we do the study in-house or outhouse?”

Need I say more?

Lunchtable TV Talk: Borgia v The Borgias


A rich and varied tale and time period it may be, but the late 1400s and the rise to power of the Borgia family does not seem like material that would make for two (quite different) series.

The Borgias on Showtime went for a bigger name at the head – Jeremy Irons – and aimed for more salacious and sexual (although Borgia is not far behind). Not unlike the other period pieces Showtime has pushed. Like history won’t be interesting unless it’s presented with boobs.

Borgia is something different – it actually takes a bit more time to explain the context in which the story fits into the world. No huge names here – and it is hard to buy John Doman as Rodrigo Borgia. He’s really such a … cop or corrupt cop or bad guy, you know. He was central to The Wire, and in general is just so American that it is not easy to see past. He shows up everywhere and in a lot of different roles, but as a cardinal/pope in this particular time period? No. Jeremy Irons pulls this off, and while Doman’s a talented guy, he is a man out of place here. The rest of the acting is terrible – an international cast that speaks questionable English even though it’s an English-language production… heavens, please.

I cannot say, even though I sat through both series, that I would recommend either.