Television

A war has taken over media coverage. No, not one of actual consequence. This war, however, is imminently affecting your national pastime and your wallet. This is a civil war within media. The combatants are the Walt Disney Company with it’s channels – including ABC and ESPN, plus the SEC and ACC networks – and Google, YouTube TV’s parent company. The two entities failed to meet a carrier agreement, and all Disney channels are blacked out on YouTube TV. That means that much of the nation will not have access to most of the weekend’s football content, as has been the case since the showdown a couple weeks ago.

After a few days in politically-induced time out that felt like a decade, Jimmy Kimmel made a triumphant return to late night TV on Tuesday. “I’m not sure who had a weirder 48 hours,” he said. “Me, or the CEO of Tylenol.” Given that Tylenol is a brand name and has no actual CEO, let’s say Kimmel, who Disney/ABC pulled off the air last week under political pressure from station ownership and the chairman of the FCC after he made a bad-taste joke about Charlie Kirk’s assassin.  Kimmel suddenly became the most famous man in America not named Donald Trump, and his audience met his return with a roaring standing ovation, chanting “Jimmy! Jimmy! Jimmy!

The defenestration of the supposed talk show host Jimmy Kimmel, for the inflammatory remarks that he made during the monologue in his show on Monday night about Charlie Kirk, is both an unexpected and deeply predictable development. It was unexpected because Kimmel clearly believed that he was, like Lehman Brothers, “too big to fail,” and was therefore within his rights to make such comments as how “We hit some new lows over the weekend with the MAGA gang trying to characterize this kid who killed Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.” And it was deeply predictable because Kimmel now becomes the latest scalp that the right have seized this year, and perhaps the most high-profile yet.

Another day, another bunch of rampaging, acid-blooded xenomorphs. Noah Hawley’s new series, Alien: Earth, comes hard on the heels of the profoundly forgettable but commercially successful latest installment in the film saga, Romulus. That film got into trouble with certain viewers for its artistic necrophilia in the artificial-intelligence-assisted resurrection of Ian Holm’s character Ash from the first Alien film, as well as some rather laborious fan service in the repetition of various hard-as-nails catchphrases. But still, its box-office revenue indicated that there is still, after four and a half decades, a hearty appetite for audiences who want to be scared witless by rampaging extra-terrestrials: the very opposite of kindly, friendly ET types.

Since 1997, South Park has satirized just about every group in modern life while hilariously positioning itself as the voice of moderation. Yet with the premier of Season 27 last week, the show seems to have lost sight of reality, instead circling the drain of MSNBC-style political delirium. Far from rejecting the extremes of American politics, the shows repositions leftist extremism as the new moderation.  The new season’s first episode shows the Principal, who was once politically correct, embrace devout Christianity in an America where wokeness is effectively illegal and Christian Nationalism reigns supreme. The town’s adults are annoyed to see public schools foist religion on the kids, so they organize their usual rabble-rousing resistance.

The online American right is positively obsessed with the nineties. It’s easy to establish the cause here: a surfeit of Gen X and early millennial users, many of whom are fresh converts from within the last decade. Social-media posts by conservative users depicting America’s cities, beaches, and nightclubs from this era regularly achieve staggering virality. The memorialization of these things is justified by presenting them, perhaps not wrongly, as evidence of the cultural homogeneity that America has lost in the past quarter century. There is one tendency among these that I find particularly troubling – lamenting the death of American network television.

Burned by the backlash to Lost, Damon Lindelof went in a new direction for his following show, The Leftovers. It also had a mystery at its center: why did a rapture happen where 2 percent of the world’s population instantly vanished on a random Friday? But whereas Lost set up an expectation of answers, only to disappoint, The Leftovers made it clear that there were no answers to this mystery. Over its unfortunately abrupt three seasons, neither the viewers nor the characters would ever find out why this event happened or what it meant; why some people were taken and why others were left behind. It wasn’t a puzzle to solve but a situation to cope with and live through. It’s the greatest TV show you haven’t seen.