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  1. I do not think there is a single cable/internet option out there that is more inept than TCM. Problems with the updated (read 'NO LONGER FUNCTIONING') Watch TCM component; TCM Monthlies that arrive 2 weeks late or not at all; TCM online courses that are filled with misinformation (TCM Mad About Musicals); TCM site components that don't open when the link is hit. Most unacceptably, emails sent directly to the TCM email address provided that never receive replies. My guess is that these TCM internet components are staffed by youngsters who couldn't care less about TCM's movies or its target audience. It's a job for someone on their way to somewhere else so if the functions stink, who cares because I'm on to bigger and better things. Customer service means nothing to these vacuous subservients.
  2. I cannot get my watchlist to save til I come back and continue watching. It is rather tedious for this to keep happening. Please anyone have any thoughts or ideas on this? I am about to use a time machine and go back to when TCM was easy to use. Thanks for any assistance.

  3. Yes, Kate Mz. You not only got what I meant, you spelled it out more succinctly than I did. While every genre of film was being rethought in the light of the cultural zeitgeist, I think that musicals were the squarest peg in that round hole. Keep in mind, the Production Code of 1934 ended in 1967, and the lack of such censorship brought a new realism to films. Musicals had almost exclusively been 'family' entertainment, certainly more wholesome than any other genres besides children's films and animation. The new realism in film meant that musicals were instantly passe unless they changed significantly, but the audience that liked musicals didn't want that change, and the audience that wanted that change didn't seem to like musicals. And the auteurs coming from the first generation of film school graduates (Coppola, Scorcese, Friedkin, Bogdonavich) were not inclined toward the fantasy of musicals. When Scorcese and Bogdonavich tried musicals later in the '70's, their post-modern sensibilities caused a disconnect and their films failed abysmally. I think musicals got it the worst in this period because the cultural shift was so abrupt, extreme and all encompassing. If you think of it, four of the Oscar-winning Best Pictures in the 1960's were musicals. By 1975, musicals had almost disappeared from the landscape. I must add that I do not like the word 'disruptive' to describe the film musical ... any film musical. The disruption was coming from society, changing social norms and changing values. Movies, including musicals, were mostly just trying to keep up. They weren't trying to change or disrupt anything because the film industry is first and foremost a business that has to accurately gauge what an audience wants for their films to succeed. Some films, particularly dramas, were absolutely pushing the envelope but musicals were not. Attempts in musicals to keep up after the mid-to-late '60's mostly failed. The ones that didn't ('Fiddler' and 'Cabaret' come to mind) had unusual or non-traditional source material to begin with and were able to keep up, but they didn't disrupt anything. 'Disruptive' is a superimposed concept that's been applied to musicals in this course, but I completely disagree with that conceit. Disruption didn't come from the film musical, it hit it like a tidal wave and almost killed it.
  4. Suggesting that disruption in movie musicals COINCIDED with the social and cultural zeitgeist of the 1960s is laughable and gives musicals far too important a role. Movies were REACTING to the social upheavals of the era and, since the film industry always focuses on current trends and rock had replaced Broadway as the cultural soundtrack, we got The Beatles. My Fair Lady, The Sound of Music, Funny Girl and Oliver all received criticism for being old-fashioned and musicals were considered passe by then, despite those films being huge successes. Sorry, but this whole idea about musicals being 'disruptive' is rewriting film history to the fanciful flights of Vanessa Ament. The disruption HAPPENED to movie musicals which, by the middle of the '70s, were dead in the water. The movie musical was not part of the disruption, it was the victim of it. That is a fact.
  5. I'm not a fan of stories about how female stars who assert themselves are divas. This isn't said about male stars. I'm sure everyone gets fed up with everyone when making a multi-million dollar film, but Streisand has always spoken respectfully of Wyler, who also had nice things to say about her later in life.
  6. More problems with the new Watch TCM page. I can't get movies to load and when I leave the site it doesn't keep the movies I've saved to my watchlist.
  7. I think Dave Karger is the best addition to TCM in a long time. He's thoroughly professional, charming, intelligent and informed. In addition, his classy demeanor hearkens back to Robert Osborne's prime and, in my opinion, helps fill the gap of Osborne's loss with an understated sincerity that is just right.
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