The rage of gamers is a force powerful enough to plummet sales, topple studio executives and make some game publishers file for bankruptcy. So, when “Anthem,” an experience hyped up to be so good it would pacify the screams of every dissatisfied gamer, actually turned out to be trash, anger ignited like never before. The failure of “Anthem” is the most recent instance in a long history of studios promising an experience that their game doesn’t deliver on.
If you take “Turn Up Charlie” for what it is — a casual show about a DJ nanny — then there’s enough charm to salvage it. It’s meant to be an outrageous, feel-good show, and it honestly achieved that feat.
“All things keep getting better,” goes the “Queer Eye” theme song, a pulsing, techno-dance anthem that always manages to get the dopamine factories churning. This is a show about striving toward self-improvement and recognizing betterment not as a stopping point, but as a way forward. And against the backdrop of a world decidedly not getting better, there’s something about that conceit that makes it the most uplifting thing on television.
The renaissance of television has experienced a renaissance within itself — one of representation. Though media representation is nowhere near matched to the population of the United States, it is on the rise, from primetime comedies to Disney Channel originals.
Neither spends much time on the question of separating the art from the artist — that’s the sort of thorny dilemma that doesn’t make for a compact primetime special. But what Winfrey and King both do well is to give their viewers the tools to make those decisions for themselves.
The two begin the show in armchairs on a grunge-cool set, talking about the week’s news — a healthy mix of politics, sports and bizarre internet curiosities — with a few lively pre-taped bits sprinkled in between.