That influence is easy to spot in today’s TV landscape, where the limited series has become the preferred method of storytelling for plenty of networks, streaming services, creators, and top-tier actors.įor the most part, HBO miniseries have changed in step with its multi-season shows. The network also started breaking stories out of traditional boxes, so instead of the typical two-night miniseries event or a full series that might wear out its welcome, a series could simply last as long as it needed to. There was no other place, for example, that a miniseries like Band of Brothers could exist, given how closely it resembles the sweep and ground-level explicitness of a war film like Saving Private Ryan. Yet there were occasional signs that HBO was ready to get some separation from other networks, both in terms of production values and complexity of storytelling. Even some of the more lauded, award-winning benchmarks from the mid-2000s, like the star-packed Richard Russo adaptation Empire Falls or the lavishly appointed historical drama Elizabeth I, hadn’t evolved past a more traditional model. With a notable exception of Robert Altman and Garry Trudeau’s Tanner ’88, early efforts like The Far Pavilions and All the Rivers Run - the latter unavailable for us to include - had the scope of a typical two-night network event, with little of the ambition and artistry (and premium-cable pruriency) that would come to define the network. It’s HBO” tagline would not have applied. Īs HBO miniseries started developing in the mid-’80s and early ’90s, the “It’s Not TV. This article was last published in 2020 it has been updated to include new series.
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