Australia’s Logie Awards are a strange beast. Sponsored by TV Week magazine, the Australian television industry’s awards combine People’s Choice awards in the “Best” categories, and industry voted awards in the “Most Outstanding” categories. The first awards, which were then known as the TV Week awards were held in 1959, after the magazine attached voting coupons to its editions in late 1958. Australians can nominate their favourite shows and television personalities by snail mail, as well as via text message and online. The eligibility of a show is fairly simple: it must be produced in Australia and have a predominantly Australian cast. It’s fairly straightforward, at least until you get into categories.
The Australian Academy of Film and Television Arts (formerly the Australian Film Industry) hosted their annual awards last night in Sydney. Despite many Australians loving The Dressmaker (which I haven’t seen), Mad Max: Fury Road took out the top award for Best Film, as well as technical awards for director George Miller (this award was sponsored by Hyundai), cinematographer John Seale and editor Margaret Sixel. Having finally been able to watch Fury Road last weekend (mini review: I didn’t think I was that invested in it, but then I cried at the end), this is a great result, even though I haven’t seen any of the other nominated films. The Dressmaker didn’t go home empty handed, as Kate Winslet and Hugo Weaving both won acting awards for their performances. After last year’s (well early this year) controversial tie, it’s good to see the AACTAs are awarding good films and good performances. My knowledge of Australian film is very slim, but I have some observations about the television categories. A full list of the winners can be found here.
When I reviewed Zoo last week, I wrote that my viewing experience was somewhat hampered by the terrible quality of TenPlay. Today I had some issues with iview, which definitely impacted my enjoyment of the Glitch finale. The picture kept freezing, and luckily enough I managed to watch the key moments in the finale, but it was an incredibly frustrating 90 minutes. The highlight of Glitch for me was the third and fourth episodes, which focused much more on the characters than the plot. The who is always more important than the why, and the why only matters if you care about the who. Love triangles aside, this show had some great character work, and I hope it gets picked up for a second series. I love the world of Yoorana.
I only look through the stats for this blog once or twice a day, but I’ve noticed that my reviews of Glitch so far have been getting consistent numbers over the past two weeks. This review is a day late, but I’ll post the review of the finale either on Monday or Tuesdsay next week just to make sure that it’s ready on Thursday night, and that way people who have already watched the whole thing can catch up on it as well. If you’re a fan of The Wire or Game of Thrones, you know that those shows are constructed so that the penultimate episode of the season is the climax of events, with the finale focusing on the fallout. This isn’t what Glitch is doing. There’s a sense of something when Vic confronts Alicia whose name is spelled differently, but there are still no answers. I’m not particularly hung up on finding answers (my Noregard theory is still plausible), but the character work this week was consumed by a love triangle. At least Charlie started to remember bits about his past.
I have a new working theory on everything that is going on in Glitch, and we’ll get to that soon. Glitch is a much better show than I had expected, and I’m grateful for that, even though there are some storylines I’m not too thrilled with. This week we learn more about Kirsty’s death, as she remembers it herself. Maria briefly reconciles with Leon; aside from that, getting a ride from Vic didn’t help very much. We still know very little about Charlie or Rodger Corser, and Bo and Patrick could be related! This isn’t quite the clockwork universe we see in some shows (namely Breaking Bad), but I’ll have to reserve judgement on that until we reach the end of the series. At this point I think that Glitch has been cleverly constructed as a whole, and I’m fairly sure we’re going somewhere, I’m just not sure where yet.
After the first two episodes, I wasn’t sure about Glitch. The third episode is definitely the best of the series so far. We start to delve more into character; it’s true that we don’t know much about Charlie, Kirsty or Rodger Corser yet, but Maria’s story is heartbreaking. Vic survived the crash – that or he briefly died and came back – and is now acting super weird. Like me, he’s onto Noregard Pharmaceuticals. This show is foreshadowing that so hard that it would only be a twist if Noregard was completely irrelevant. Meanwhile, Alicia takes Kirsty, Kate and Charlie to all the town’s exits to see whether they can leave, and Bo and Patrick Fitzgerald break into the Fitzgerald estate. There’s enough character stuff going on that the plot of the show no longer seems forced, and I really enjoyed it.
Last night Benjamin Law had this to say about Glitch:
— Benjamin Law (@mrbenjaminlaw) July 19, 2015
That’s high praise, and after two episodes, I’m definitely not at that stage with this show. There are good elements, but as it goes on, I’m going to find it harder to not compare this show to Les Revenants. We also need to define “HBO terrain”. Are we talking The Sopranos/Deadwood/The Wire, or The Newsroom/True Detective season 2? HBO has a reputation for making quality television, but that doesn’t mean that everything on HBO is good. All art is subjective, and Benjamin Law has seen all of Glitch, while I’ve only seen two episodes, and when you binge-watch something you’re less aware of its flaws. My opinion could very well change, I’ll just have to see where it goes. Onto the spoilery part of the review!