NRK

It’s a small world on TV after all: More subtitled TV

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More than ever, creators of TV are trusting audiences (particularly English-language markets) to delve into storylines that mix in non-English-language characters (integral characters and stories, beyond the stereotypical and often offensive Spanish-only illegal immigrant or household worker). I have written about the increasing instances of more foreign language subtitles on TV – and the number of shows weaving “globalization” into the story is increasing and lending depth and credibility to stories that are often removed from authenticity by giving English-speaking actors awkward, false, non-descript “foreign” accents while still speaking English.

Finally, we see more reality coming to the screen. This is the case because non-network TV has greater leeway. It is also happening because a more international group of people is creating TV entertainment. It is also happening because people are connecting more with reality – not in the sense of reality TV (ugh!) but in the sense of wanting to see reality reflected in the characters and stories depicted on screen.

In some cases, a show is created and not primarily intended for an English-language audience but is eventually exported and subtitled, such as the recent NRK production, The Saboteurs (Kampen om tungtvannet). The story and language is Norwegian with a heavy peppering of English and German. It’s been shown on UK TV recently.

Similarly the recent Deutschland 83, an eight-part, German-led drama (supported by German RTL and US-based Sundance), is the first German-language production to air in the US.

Yet, even in almost entirely English-language shows, we’re hearing a lot more diversity. While we tend to hear more (again stereotypical) Chinese-language in contemporary crime shows (always associated with Chinese gangs, such as in the recent Murder in the First and Sons of Anarchy), the latest (and final) season of Hell on Wheels has introduced a new story about Chinese railroad workers, and in telling these stories, we do get a “Chinese villain/gangster” but he is not a caricature so much as he is depicted as a profiteer not unlike the rest of the profiteers of the time, regardless of race or background. The Chinese workers, too, get a bit more depth to their story than standing around in the background. While I cannot say that Hell on Wheels has always been a superb show, it has sometimes taken interesting perspectives on intercultural interaction, conflict and integration in both a post-Civil War and westward-moving, “manifest destiny” environment. The Chinese language and culture addition is just another layer to a show that rolled out several layers already.

The already unusual Orphan Black, in which Tatiana Maslany plays multiple, very different characters (she has finally been recognized with an Emmy nomination), shows one character who is Ukrainian (and who uses Ukrainian). This affixes yet another piece of complexity to Maslany’s expertise at differentiating each character from the others

Ultimately what prompted my writing about this topic again, though, was the Swedish-speaking couple in the new show Mr Robot. Somehow their Swedishness makes them feel like a complete “otherness” in an already strange milieu. In Mr Robot, everyone is a bit of a weirdo, and while the Swedish guy seems to have it all together on the surface, he is perhaps the biggest weirdo of all, and his very private Swedish-speaking home life feels like it adds to that division.

Language can serve that purpose, too, which is of course something common in language and linguistic fields – different languages and how you use them in your life can contribute to very different aspects to your personality. In this sense, it is deeply interesting to watch how different characters’ behavior changes based on the language they use, choose to use in specific situations and with which other characters they interact in which language.

Too-late telly: Kampen om Tungtvannet, or The Saboteurs

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Norway does not understand angst well enough to make good films or television. At least this has always been my contention. If they have ever produced a decent film, it is usually because it hits on the one area many Norwegians seem to understand and some struggle with: mental illness (see Elling or Buddy).

I have, however, been surprised by The Saboteurs. I only got around to watching it now (it’s being shown on British tv now as The Saboteurs. It was shown originally in January on NRK under an original title, Kampen om Tungtvannet, or “The Heavy-Water War”).

Only funny part is that someone seriously asked me if Werner Heisenberg was a real guy. I explained that not only was he real, another tv show (Breaking Bad) had a character who adopted “Heisenberg” as his alias/alter ego because of Werner Heisenberg.

God help Norwegian radio: the anti-soundtrack

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On a short drive I discovered the horrors of Norwegian radio. Here on the Swedish side of the border, we still get “treated” to the bad taste of Norwegian music choice.

The first aural delight was the last bit of Eric Clapton’s take on Bob Marley’s “I Shot the Sheriff”. Remind me – what decade are we living in again?

Changed station and heard Nicki Minaj’s “Anaconda” – something I only found out afterwards what it was. Much like my previous blog post about big blind spots in my knowledge, I don’t like or care about stuff like this revisionary “remix” of what is basically “Baby Got Back” with some annoying rapping from Minaj strung throughout. I had seen Minaj’s name all over the internet, but I had no clue about her, erm, work.

After that I heard the nonsensical shit also known as “I’m Gonna Show You Crazy” by Bebe Rexha. (Another one I had to look up after the fact.) The song sounded like a carbon copy of everything else I was hearing and the lyrics about showing you how psycho she is – or whatever – Jesus. It was not the worst thing but upon initial hearing, it was repellent in its relentless sameness. “Girl, you can’t be fixed.”

Then on another station I got the horror of “The Bad Touch” from the Bloodhound Gang (“let’s do it like they do on the Discovery Channel”) followed immediately by Madonna’s “La Isla Bonita”. Once again – what decade is it? Who is programming these stations?

As I pulled into the driveway it was Bonnie Raitt’s “Nick of Time” – check out that hair in the video! – what the hell? And the line “Life gets mighty precious when there’s less of it to waste” seemed apt – if only we could apply it to what plays on the radio.