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The Alienist Review: TNT's Dakota Fanning Drama Is Sinister |
Adapted from Caleb Carr’s 1994 best seller, The Alienist plops us down in 1896 Manhattan, a town as gloomy, foul and filthy as the Victorian London of Penny Dreadful. Here, though, the monsters aren’t supernatural. Which makes them potentially scarier.
A boy prostitute has been murdered. This, and the fact that he was dressed as a girl, would be of no interest to anyone outside the city’s grimy underworld, except for the killer’s unusually brutal desecration of the corpse. The case is taken up by Dr. Laszlo Kreizler (Daniel Brühl, who played Zemo in Captain America: Civil War). He’s a psychologist who goes by the professional tag of that time, “alienist.” Today, of course, this is our term for people who chase UFOs.
tv  1800s  thriller  police  nyc  crime_drama 
yesterday by rgl7194
'The Alienist' took too long to make it to TV. Now it just looks like more of the same. - The Washington Post
The story is set in New York in 1896, where the grit and grime contrast with the Gilded Age wealth. It’s a whole lot of mud, horses, smoke and whorehouses. The mutilated body of a boy has been deposited in a particularly grisly fashion on the unfinished Williamsburg Bridge. What’s a police commissioner like Teddy Roosevelt (yes, the future president) supposed to do when faced with the prospect of a serial killer who preys on child prostitutes — besides secretly hire an “alienist,” a doctor practicing the strange art of what would come to be known as psychological profi—
Wait, this sounds familiar, doesn’t it? It should. As a novel, Caleb Carr’s “The Alienist” ruled the bestseller lists in the mid-1990s. For very Hollywood sorts of reasons, the film rights languished in development hell for another quarter-century. In that time, all sorts of rainy, gloomy, lavishly rendered fin-de-siecle suspense movies and TV shows (not to mention the entire steampunk craze) came and went, with their vampires, Jack the Rippers, spiffy inspectors, extraordinary gentlemen and corseted heroines.
So it’s up to “The Alienist,” premiering Monday on TNT, to come up with a good excuse for being tardy to a party that it rightfully started.
tv  1800s  thriller  police  nyc  crime_drama 
yesterday by rgl7194
'The Alienist' review: TNT's adaptation is a creepy good time
The alienist will (finally) see you now. 
The long-gestating adaptation of Caleb Carr's 1994 novel The Alienist comes to life on TNT (Monday, 9 ET/PT, ★★★ out of four), and it was worth the wait. Starring Daniel Brühl, Luke Evans and Dakota Fanning as a team of sleuths seeking a serial killer in 1896 New York, the series is a melancholic mystery with just enough melodrama to make it addictive. 
The Alienist follows Dr. Laszlo Kreizler (Brühl), a quirky and curt early psychologist who forces himself into an investigation of the brutal murder of a young male prostitute, which may be related to other killings. He dragoons his friend and illustrator John Moore (Evans, trading his Beauty and the Beast smarm for more of a sweet and bumbling ineptitude) into his investigation, and eventually Sara Howard (an all-grown-up Fanning), the police chief's secretary and the NYPD's first female employee. The team is filled out by investigative brothers Lucious and Marcus Isaacson (Matthew Shear and Douglas Smith). The series weaves in some real-world figures from the era, including J.P. Morgan and Teddy Roosevelt.
tv  1800s  thriller  police  nyc  crime_drama 
yesterday by rgl7194
The Alienist review – a 19th-century psychological thriller that's short on thrills | Television & radio | The Guardian
Despite lush production values and a disturbing plotline, the television adaptation of a 1994 literary sensation fails to excite
Twenty-four years after its initial publication, Caleb Carr’s novel The Alienist has finally made it to the small screen. It did not get there easily. In June 1993, before the novel was published, Paramount Pictures and producer Scott Rudin purchased the film rights for $500,000. Various screenwriters toiled away at various scripts, locations were scouted, and production was slated to start by the summer of 1995. But the book and its grisly contents were hard to adapt to the screen – at nearly 500 pages, truncating the story to an acceptable Hollywood running time proved impossible – and the adaptation never surfaced.
Almost a quarter-century later, TNT’s 10-episode adaptation, adapted by Hossein Amini and directed by Jakob Verbruggen, has arrived. Set in 1896, during New York City’s gilded age, the title refers to Dr Laszlo Kreisler, a criminal psychologist who works with the mentally ill or, in the 19th-century parlance of Carr’s novel, “those alienated from themselves”, their true nature.
tv  1800s  thriller  police  nyc  crime_drama 
yesterday by rgl7194
'The Alienist' Is the Grisliest Period Drama Yet: Review - The Atlantic
TNT’s new prestige series focuses on a doctor using criminal psychology to pursue a serial killer in 1890s New York.
It says something about how fiercely The Alienist commits to discomfiting its audience that the most disturbing scene in the first two episodes isn’t when the camera disappears inside the darkness of a young boy’s mutilated eye socket, or even when it lingers on the syphilitic sores on the bloodied face of a shrieking asylum inmate. The new TNT series, based on the 1994 bestselling novel by Caleb Carr, is viscerally gruesome (literally visceral, in some cases), portraying a late 19th-century New York City that’s a fetid, teeming quagmire of disease, corruption, and iniquity. You want butchered bodies? Ten a penny. Pox-ridden psychopaths destined for the electric chair? The Alienist is a veritable grab bag of triggering visuals and nauseating images.
tv  1800s  thriller  police  nyc  crime_drama 
yesterday by rgl7194
Review: ‘The Alienist’ Is a Period Piece That Missed Its Moment - The New York Times
“The Alienist” is a period piece. You’ll gather that pretty quickly from the gas lamps, the cobblestone streets and the still-under-construction Williamsburg Bridge. But the period I’m referring to for the moment is 1994.
That’s when Caleb Carr published his novel, the film rights to it already sold, thus beginning the long journey to the screen of Dr. Laszlo Kreizler, a serial killer hunter in Gilded Age Manhattan. Scripts were attempted and discarded. This Monday, after a quarter-century, it arrives as a 10-episode mini-series on TNT.
tv  1800s  thriller  police  nyc  crime_drama  nytimes 
yesterday by rgl7194
Connect SDK Developers : : Discover
Connect SDK is an open source framework that connects your mobile apps with multiple TV platforms. Because most TV platforms support a variety of protocols, Connect SDK integrates and abstracts the discovery and connectivity between all supported protocols. To discover supported platforms and protocols, Connect SDK uses SSDP to discover services such as DIAL, DLNA, UDAP, and Roku's External Control Guide (ECG). Connect SDK also supports ZeroConf to discover devices such as Chromecast and Apple TV. Even while supporting multiple discovery protocols, Connect SDK is able to generate one unified list of discovered devices from the same network. To communicate with discovered devices, Connect SDK integrates support for protocols such as DLNA, DIAL, SSAP, ECG, AirPlay, Chromecast, UDAP, and webOS second screen protocol. Connect SDK intelligently picks which protocol to use depending on the feature being used.
chromecast  appletv  dlna  tv 
yesterday by dlkinney
The Wire and the World
A decade ago, The Wire series finale aired. The show was a Marxist's idea of what TV drama should be.

Considered by many to be the best television drama series ever, The Wire ran from June 2, 2002, to March 9, 2008. Made and set in Baltimore, it employed a large ensemble cast playing cops, junkies, dealers, lawyers, judges, dockers, prostitutes, prisoners, teachers, students, politicians, and journalists. The dramatis personae ranged widely, not only horizontally but vertically, from the foot soldiers of the drug trade, police department, school system, and newspapers through middle management to the higher executives, showing parallel problems and choices pervading the whole society.

But summing up its plot does not tell the full story. As the series progressed, The Wire’s individual stories opened out into an analysis of an overarching, and at times irresistible, system shaping each aspect of society. The series demonstrated the potential of television narrative to dramatize the nature of the social order, a potential that TV drama has long neglected or inadequately pursued.

Each season ended with a stirring montage that pulls together the various plots and projects them into the immediate future, leaving the viewer pondering the storylines’ outcomes and reflecting on their causes and consequences. And off-screen The Wire’s writers provided a rich context to its intentions and message, a meta-narrative that situates the series within twenty-first century American capitalism. In many ways, The Wire is a Marxist’s idea of what TV drama should be — stylish and intellectually serious, a series with compelling plotlines woven through a rigorous analysis of society.
the_wire  tv  drama  crime 
2 days ago by daniil

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