amen pilot episode download torrent The Wire in HD (updated with video clips) This tale begins and ends with a fellow named Bob Colesberry, who taught me as much as he could about filmmaking in the three or four years I was privileged to work with him. To those who knew Bob, it will provoke warm memories to say that he was not a language guy; he understood image, and story, and the delicate way in which those elements should meet. Bob spent a too-short lifetime on film sets, working beside real filmmakers – Scorsese, Bertolucci, Pakula, Levinson, Ang Lee – helping to shepherd the ideas of many great directors and eschewing the limelight altogether for the chance. But, hey, if you don’t believe me about how substantial his resume was, go to imdb right now and trace the arc of his career. That he ended up tethered to some ex-police reporter in Baltimore was pure forbearance on his part; for my part, I can just say I got very lucky. It is no exaggeration that Bob had to explain “crossing the line” to me a dozen times, often twice in the same day, before my brain could grasp a concept that first-year film students everywhere take for granted. If you go to the fourth episode of the first season of The Wire, and watch the camerawork on that long scene with Freamon and McNulty in the bar, you’ll be a bystander to the moment when the linear word-brain that I drag to set every day was finally allowed a few rays of cinematic light, courtesy of a patient mentor. “See what happens when we cross over and everything flips?” he explained for the thirteenth time. “If you see the move happen, you aren’t disoriented, but if we were to cut that moment and then suddenly be on the other side…” He paused, looked at me. Nothing. Dead crickets. “So…the dialogue that they’re saying when we cross the line and reverse on them – those words –we can’t cut those. You good with that?” Huh. The next day, I sauntered up to Bob at the video monitors and, in my best deadpan, asked him yet again to explain crossing the line. He looked on me sadly as a terminal case, until I started laughing. No, I had finally learned something about the camera and the credit was his. I just couldn’t resist pulling the man’s coat one more time. In telling that story on myself, I’m trying to make clear that while I might have learned to put film in the can in a basic way before the marriage to Mr. Colesberry, I had no claim to anything remotely resembling a film auteur. It was Bob who created the visual template for The Corner and The Wire both, and having died suddenly after the latter drama’s second season, it is Bob who is remembered wistfully every time we begin to construct the visuals for some fresh narrative world. He would have reveled in Generation Kill , and knowing what I do about the visual palate that New Orleans offers the world, I am unsure that Bob Colesberry could have ever been pried from that city had he gone down there for Treme . As devoted as he was to imagery and story, language was always a lesser currency in Bob’s life; he often made his arguments elliptically, curling in sentence-fragment circles until he got to where he needed to go. You had to lean in and listen a little harder, but it was always worthwhile and he was usually correct when he got to his point. Once, at a TCA panel on The Wire, Bob answered a reporter’s question in vague terms and at length. To lighten the moment, I tossed off a joke: “Now you can see why Bob’s in command of the visuals.” It was teasing and steeped in affection, but I regretted the remark as soon as I uttered it. Bob’s contributions to the storytelling were profound, and though he laughed it off, I had been heedless. His claim on The Wire and what it was trying to do was genuine and elemental; for years, before and after his death, I wanted that moment back to exalt my friend and colleague. So when HBO sent out some promo ads about a conversion of The Wire to HD and a 16:9 ratio a few months ago, I reacted not merely as David Simon, showrunner and ink-stained scribbler, but as David Simon, the medium for Robert Colesberry, professional filmmaker. WWBD. What would Bob do? Well, for one thing, he would make sure to be included in the process. Nina Noble and I were told a year ago that HBO wanted to experiment with taking The Wire , filmed in standard definition and a 4:3 ratio, to the new industry standards. We endorsed the effort, but after we last spoke to folks on the production side, we had expected to be shown some work recast in high definition and wider screen and to begin discussions at that point. Instead, we heard nothing until on-air promos for The Wire in HD began to be broadcast and packaging material for a fresh release of the drama was forwarded to us in Yonkers, where we are shooting our current HBO project. No offense was taken, particularly when the production people explained that the transfer to HD had been laborious and ornate, and it was simply assumed that we were too busy with current production to dive into the process in detail. And, too, there was a further assumption at HBO that as a transfer to HD could provide a fresh audience for the drama, there was no real disincentive to an HD transfer of The Wire on any terms; if it could be done, they reasoned, it should be done. And yet, I still had Bob Colesberry in my ear. Moreover, Bob’s history with HD and a 16:9 ratio in regard to The Wire was a tortured one. His intentions, the limitations imposed on our production, and his resulting template for the drama were known to me, if not to the folks presently struggling with a retroactive transfer to HD and widescreen. In fact, Bob had asked before filming The Wire pilot in late 2001 for a widescreen aspect ratio. He correctly saw television screens growing wider and 16:9 ratio becoming industry standard, and coming from the feature world, it was his inclination to be as filmic as possible. But, to be honest, The Wire was at its inception a bit of shoestring affair and expectations for the drama at HBO were certainly modest. Filming in letter-box was more expensive at the time, and we were told, despite Bob’s earnest appeals, that we should shoot the pilot and the ensuing season in 4:3. At which point, Bob set about to work with 4:3 as the given. And while we were filming in 35mm and could have ostensibly “protected” ourselves by adopting wider shot composition in the event of some future change of heart by HBO, the problem with doing so is obvious: If you compose a shot for a wider 16:9 screen, then you are, by definition, failing to optimize the composition of the 4:3 image. Choose to serve one construct and at times you must impair the other. Because we knew the show would be broadcast in 4:3, Bob chose to maximize the storytelling within that construct. As full wide shots in 4:3 rendered protagonists smaller, they couldn’t be sustained for quite as long as in a feature film, but neither did we go running too quickly to close- ups as a consequence. Instead, mid-shots became an essential weapon for Bob, and on those rare occasions when he was obliged to leave the set, he would remind me to ensure that the director covered scenes with mid-sized shots that allowed us to effectively keep the story in the wider world, and to resist playing too much of the story in close shots. Similarly, Bob further embraced the 4:3 limitation by favoring gentle camera movements and a combination of track shots and hand-held work, implying a documentarian construct. If we weren’t going to be panoramic and omniscient in 4:3, then we were going to approach scenes with a camera that was intelligent and observant, but intimate. Crane shots didn’t often help, and anticipating a movement or a line of dialogue often revealed the filmmaking artifice. Better to have the camera react and acquire, coming late on a line now and then. Better to have the camera in the flow of a housing-project courtyard or squad room, calling less attention to itself as it nonetheless acquired the tale. In the beginning, we tried to protect for letterbox, but by the end of the second season, our eyes were focused on the story that could be told using 4:3, and we composed our shots to maximize a film style that suggested not the vistas of feature cinematography, but the capture and delicacy of documentarian camerawork. We got fancy at points, and whatever rules we had, we broke them now and again; sometimes the results were a delight, sometimes less so. But by and large, Bob had shaped a template that worked for the dystopian universe of The Wire, a world in which the environment was formidable and constricting, and the field of vision for so many of our characters was limited and even contradictory. Bob Colesberry died during surgery while we were prepping season three of the drama. A short time later, HBO came to us with news that the world was going to HD and 16:9, as Bob had anticipated. We could, if we wanted, film the remaining seasons of The Wire in HD and widescreen. But at that point a collective decision then was made to complete the project using the template that we had honed, the construct that we felt we had used to good effect to make the story feel more stolen than shaped, and to imply a more journalistic rendering of Baltimore than a filmic one. Just as important, we had conceived of The Wire as a single story that could stand on its own across the five seasons. To deliver the first two seasons in one template and then to switch-up and provide the remaining seasons in another format would undercut our purpose tremendously, simply by calling attention to the manipulation of the form itself. The whole story would become less real, and more obviously, a film that was suddenly being delivered in an altered aesthetic state. And story, to us, is more important than aesthetics. We stayed put and honored what we had already created. As I believe Bob would have, at that late point, stayed put. And now comes HBO with the opportunity to deliver the story to a new audience. To their great credit, once we alerted HBO production executives to our absolute interest in the matter, they halted the fall HD release and allowed us to engage in detail. And over the past several months, looking at some of what the widescreen format offered, three things became entirely clear: First, there were many scenes in which the shot composition is not impaired by the transfer to 16:9, and there are a notable number of scenes that acquire real benefit from playing wide. An example of a scene that benefits would be this one, from the final episode of season two, when an apostolic semicircle of longshoremen forms around the body of Frank Sobotka: Fine as far as it goes, but the dockworkers are all that much more vulnerable, and that much more isolated by the death of their leader when we have the ability to go wider in that rare crane shot: But there are other scenes, composed for 4:3, that lose some of their purpose and power, to be sure. An early example that caught my eye is a scene from the pilot episode, carefully composed by Bob, in which Wee Bey delivers to D’Angelo a homily on established Barksdale crew tactics. “Don’t talk in the car,” D’Angelo reluctantly offers to Wee Bey, who stands below a neon sign that declares, “burgers” while D’Angelo, less certain in his standing and performance within the gang, stands beneath a neon label of “chicken.” That shot composition was purposed, and clever, and it works better in the 4:3 version than when the screen is suddenly widened to pick up additional neon to the left of Bey: In such a case, the new aspect ratio’s ability to acquire more of the world actually detracts from the intention of the scene and the composition of the shot. For that reason, we elected in the new version to go tighter on the key two-shot of Bey and D’Angelo in order to maintain some of the previous composition, albeit while coming closer to our backlit characters than the scene requires: It is, indeed, an arguable trade-off, but one that reveals the cost of taking something made in one construct and recasting it for another format. And this scene isn’t unique; there are a good number of similar losses in the transfer, as could be expected. More fundamentally, there were still, upon our review, a good hundred or so scenes in which the widening revealed sync problems with actors who would otherwise have remained offscreen, or even the presence of crew or film equipment. These scenes, still evident in the version that HBO originally intended to broadcast several months ago, required redress. The high-definition transfer also made things such as Bubbles’ dental work, or certain computer-generated images vulnerable; other stuff held up pretty well in the transfer. This is no poor reflection on HBO’s initial efforts. In traversing 60 hours of film, the HBO production team had done a metric ton of work painting out C-stands and production assistants, as well as solving a good many sync problems. They felt they had protected sufficiently to air the drama in HD and widescreen several months ago. However, for myself and Nina – examining even a small portion of the whole and finding light flares and sync issues that could be better corrected – we were confirmed in our need to slow the process and take a last, careful look. Unfortunately, as we have spent the fall in production for HBO, there was no chance we could find time enough to attend to a complete review of the entire series. That fell to a film editor in whom we place great trust and who knows the The Wire well from his service to it over the years. Matthew Booras took the notes and concerns of the surviving filmmakers into an editing suite and began making hard decisions about what we might live with, what we might improve, and which choice did the least violence to the story when a scene became vulnerable. Narrowing the workload for Nina and myself, he made it possible for us to focus on the handful of essential problems in every episode. The hard work here on our part should actually be credited to him. At HBO, Rosalie Camarda managed the synthesis of our late notes with the film edit, and long before Matthew weighed in on the remaining problems, Laurel Warbrick capably performed the lion’s share of the transfer, going scene by scene through the cuts and resizing and painting away problems throughout. The two then worked with Matthew, Nina and myself on the remaining issues, and we are grateful for their patience and commitment to the process. At the last, I’m satisfied what while this new version of The Wire is not, in some specific ways, the film we first made, it has sufficient merit to exist as an alternate version. There are scenes that clearly improve in HD and in the widescreen format. But there are things that are not improved. And even with our best resizing, touchups and maneuver, there are some things that are simply not as good. That’s the inevitability: This new version, after all, exists in an aspect ratio that simply wasn’t intended or serviced by the filmmakers when the camera was rolling and the shot was framed. Still, being equally honest here, there can be no denying that an ever-greater portion of the television audience has HD widescreen televisions staring at them from across the living room, and that they feel notably oppressed if all of their entertainments do not advantage themselves of the new hardware. It vexes them in the same way that many with color television sets were long ago bothered by the anachronism of black-and-white films, even carefully conceived black-and-white films. For them, The Wire seems frustrating or inaccessible – even more so than we intended it. And, hey, we are always in it to tell people a story, first and foremost. If a new format brings a few more thirsty critters to the water’s edge, then so be it. Personally, I’m going to choose to believe that Bob Colesberry would forgive this trespass on what he built, and that he, too, would be more delighted at the notion of more folks seeing his film than distressed at the imprecisions and compromises required. If there is an afterlife, though, I may hear a good deal about this later. And in consideration of that possibility, I’m going to ask anyone who enjoys this new version of The Wire to join me in sending five or ten or twenty dollars to the following address: The Robert F. Colesberry Scholarship. Tisch School For The Arts. New York University. 721 Broadway, 12th Floor. New York, N.Y. 10003. As I’ve made clear, I’ve messed with a Bob Colesberry template here, and the man, when passionate, spoke in long coils, building slowly and inexorably to a summation. And yes, eternity is a long fucking time. So if you’ve long wanted The Wire in HD, unass a bit of coin for a scholarship that honors Bob and supports future filmmakers in his name. You’ll be doing me a small, karmic solid. Amen pilot episode download torrent. Network: NBC Episodes: 116 (half-hour) Seasons: Five. TV show dates: September 14, 1985 — May 6, 1990 Series status: Cancelled/ended. Performers include: Marla Gibbs, Hal Williams, Alaina Reed Hall, Helen Martin, Regina King, Curtis Baldwin, Jackée Harry, Barry Sobel, Paul Winfield, Toukie Smith, Stoney Jackson, Reynaldo Rey, Countess Vaughn, Kia Goodwin, and Kevin Peter Hall. TV show description: Marla Gibbs plays Mary Jenkins, a housewife living in Washington, D.C. She is known as a big gossip with a sardonic wit and lives in an apartment building with the address number of 227. Mary is married to Lester (Hal Williams), a construction worker with a college degree. Their teenage daughter is Brenda (Regina King), a very studious and hard-working young lady. She develops a crush on schoolmate and neighbor Calvin Dobbs (Curtis Baldwin) and they later begin dating. Alexandra DeWitt (Countess Vaughn) is an 11-year-old child prodigy and college student and moves in with the Jenkins as their houseguest for one year. The Jenkins’ neighbors and Mary’s closest friends are Pearl Shay and Rose Lee Holloway. Pearl (Helen Martin) is an older woman that lives in the 227 building with her grandson, Calvin. She’s often heard to be the voice of reason and yet has the tendency to be somewhat of a snoop. Rose Lee (Alaina Reed) is a kind-hearted neighbor who later becomes the building landlord. She’s widowed with a daughter, Tiffany (Kia Goodwin), and later marries a police officer, Warren Merriwether (Kevin Peter Hall, Reed’s real-life husband). One of the frequent targets of Mary and her friends’ gossiping is Sandra Clark (Jackee Harry). Sandra is often called a vamp because of her provocative clothing, her high-pitched voice, and the way she wiggles her “assets” as she walks. She works as a secretary for Lester’s construction business. Although Mary isn’t fond of her, she visits anyway, telling her as she knocks, “Mary, open up! It’s me, Sandra!” Eva Rawley (Toukie Smith), Dylan McMillan (Barry Sobel), Travis Filmore (Stoney Jackson), Warren Meriwether (Kevin Peter Hall), and Julian C. Barlow (Paul Winfield) join the cast in the show’s last season. Series Finale: Episode 116 — No Place Like Home Mary undergoes a Scrooge-like transformation in her attitude toward the homeless after a dream sequence shows her what it’s like to be on the street. She winds up meeting with Los Angeles homeless advocate Ted Hayes (playing himself) and encouraging Lester to hire several homeless men to work at his construction company. First aired: May 6, 1990. What happened next? There’s been no news of any planned reunions, revivals, or remakes. W*A*L*T*E*R. In this M*A*S*H spin-off, Gary Burghoff stars as rookie cop Walter O’Reilly, working in St. Louis alongside is cousin, dealing with pickpockets and strippers. CBS aired the pilot in July 1984 but only in the Eastern and Central time zones. Burghoff Returns To “Radar” Role. M*A*S*H is one of TV’s most beloved sitcoms and one of its longest-running. On the air from September 1972 to February 1983, the series ran for 11 seasons and 251 episodes. Like the 1970 film MASH , the series was based on a 1968 novel written by Richard Hooker. Perhaps the most popular character to appear on the series was Walter “Radar” O’Reilly, played by Gary Burghoff. Burghoff originated the role of Radar in the film MASH and was the only main cast member to return for the TV series. After seven seasons on the show, from 1972 to 1979, Burghoff decide to leave the show. He made cameo appearances in two early episodes of the eighth season when it premiered in September 1979 followed by a two-part farewell episode broadcast the following month. But Burghoff’s association with M*A*S*H had not ended. When M*A*S*H came to an end in February 1983, a spin-off called AfterMASH was developed for the 1983-1984 season. It premiered in September 1983. In December of that year TV Guide reported that Burghoff would be appearing as Radar in an upcoming episode of AfterMASH , suggesting it would “serve as the vehicle for yet another M*A*S*H spin-off, this one to star Burghoff” [1]. Burghoff made a cameo appearance at the tail end of the January 16th, 1984 episode of AfterMASH , seen rehearsing for his wedding. That was followed by a full-fledged guest appearance in the January 23rd episode in which he shows up at the doorstep of his former commanding officer, Sherman Potter, having run out on his bride-to-be shortly before the wedding. They later reconciled and were married. In a January 20th interview with Vernon Scott for United Press International , Burghoff explained why he left M*A*S*H : “I couldn’t function anymore. I’d given all I had to give to the part and to the show. I cared too much to give less than my best. I’d lost my vitality” [2]. Only days after departing M*A*S*H , Warner Bros. approached him about starring in a new series, offering him a $4 million contract. But it would require him to play a character very similar to Radar so he turned them down [3]. 20th Century Fox, the production company behind M*A*S*H , would later ask Burghoff to star in a series in which he would portray Radar as a civilian. Again he turned down the offer [4]. So why did he agree to return for AfterMASH ? By the time producers Larry Gelbart and Bert Metcalfe called him in February 1983 and asked if he was interested in a guest appearance, Burghoff had spent a number of years out of the public eye, appearing on stage in a number of plays, and was able to return to the role of Radar without letting it consume him [5]. In early March 1984, Broadcasting reported that one of the 19 CBS pilots for the 1984-1985 season was a half-hour sitcom titled “Radar” that would star Gary Burghoff as Radar O’Reilly, working as a police officer in Kansas City [6]. 20th Century-Fox Television would produce with Bob Schiller and Bob Weiskopf writing the script [7]. The setting for the pilot was soon moved to St. Louis. Filming began on March 26th [8]. On April 9th, The Washington Post reported that “Radar” was under consideration for the 1984-1985 season [9]. However, when CBS announced its schedule at the beginning of May, “Radar” was not on it [10]. The network ultimately decided to broadcast the pilot, now called “W*A*L*T*E*R,” as a CBS Special Presentation on Tuesday, July 17th, 1984 from 8-8:30PM. Where Did The Pilot Air? The 1984 Democratic National Convention convened in San Francisco on Monday, July 16th. “W*A*L*T*E*R” was scheduled to air the following day. That night, the networks all planned live coverage of the convention from 9-11PM (Eastern Time). On CBS, “W*A*L*T*E*R” would air from 8-8:30PM, followed by another unsold pilot starring Hal Linden called “Second Edition” from 8:30-9PM. Then live convention coverage would begin. In the Eastern and Pacific time zones, prime time runs from 8-11PM local time. In the Central and Mountain time zones, prime-time runs from 7- 10PM. So, when CBS affiliates in the Eastern time zone were showing “W*A*L*T*E*R” at 8PM, affiliates in the Central time zone were showing it at 7PM (and affiliates in the Mountain and Pacific time zones were showing local programming). At 9PM in the Eastern time zone, live coverage of the convention began–at 8PM Central, 7PM Mountain and 6PM Pacific. According to national Nielsen ratings, CBS’s coverage of the convention ran from 9-11:28PM (Eastern Time) [11]. In the Mountain time zone, coverage of the convention pre-empted the bulk of prime-time (from 7-9:28PM, local time) and “W*A*L*T*E*R” was never aired. In the Pacific time zone, the convention pre-empted the 8-8:28PM half-hour, local time, when “W*A*L*T*E*R” would have been shown. Thus, it appears that “W*A*LT*E*R” was only shown in the Eastern and Central time zones. It is possible that CBS affiliates in the Mountain and Pacific time zones were allowed to air the pilot at a later time or even reschedule it for a later date. Unconfirmed reports suggest that it may have aired in some parts of those time zones. Plot And Characters. When viewers last saw Walter O’Reilly at the end of the the January 23rd, 1984 episode AfterMASH , it was early 1954 and he had just married his sweetheart Sandy after forgiving her for fooling around with Claude Greevy. At the start of “W*A*L*T*E*R” it was October 1954 and Walter was a rookie cop living with his cousin Wendell Micklejohn (played by Ray Buktenica) in St. Louis. The two were late for work but wanted to see the start of Walter’s interview with reporter Clete Roberts on television. Roberts (who had guest starred in two episodes of M*A*S*H as himself) explained that he was catching up with members of M*A*S*H 4077th to see how they were dealing with civilian life. As the interview unfolded over the course of the pilot, Walter revealed that he had refused government subsidies and shortly thereafter lost his family farm. He sent his mother to live with his aunt and moved to St. Louis to become a police officer. Walter also explains that while on their honeymoon, Sandy had left him for Claude Greevy. Contemplating suicide, he wandered into a drugstore where he met the clerk, Victoria (played by Victoria Jackson), who took pity on him and cheered him up. The two became good friends. While out on patrol, Walter and Wendell were victimized by a pickpocket, leaving Walter distraught because he kept his M*A*S*H picture in his wallet. Before they could investigate, they were sent to deal with a disturbance at a local theater involving a pair of strippers. The two were fighting about a missing bird, which Walter soon located. Back on patrol, Walter spotted the pickpocket and gave chase with Wendell right behind him. They caught up with the boy but after learning he didn’t have a record, Wendell took off, leaving Walter to take the boy to get a root beer float at the drugstore where Victoria worked. They were able to guilt him into returning the wallet. Walter also made him promise to stay out of trouble and to show up at the drugstore every Saturday afternoon to talk. The main cast of the pilot consisted of Burghoff, Buktenica and Jackson along with Noble Willingham as Sergeant Sowell, Walter and Wendell’s boss. Guest stars included Sam Scarber, Lyman Ward, Sarah Abrell and Larry Cedar as other police officers; Victoria Carroll and June Berry as Bubbles Sincere and Dixie Devoe, the strippers; and Meeno Peluce as Elston Krannick, the pickpocket. Had the pilot been picked up, the resulting series would no doubt have followed Walter as his police career unfolded, his budding romance with Victoria and perhaps his friendship with Elston. Why W*A*L*T*E*R Failed. “W*A*L*T*E*R” ranked 33rd for the week in the Nielsen ratings, ahead of “Second Edition” which ranked 44th [12]. Tied for 28th were the Tuesday Democratic National Convention coverage on CBS and the Wednesday coverage on ABC [13]. As late as mid-August, Gary Burghoff was still waiting to hear if CBS planned on picking up “W*A*L*T*E*R”. Speaking of the pilot, he said “I feel like I’ve proved that I’m still able to play Walter, even after playing other roles” [14]. However, by burning the pilot off during the summer months CBS had made it very clear it not interested in turning “W*A*L*T*E*R” as a full- fledged series. AfterMASH ended its regular run in December 1984, although one last episode was burned off in May 1985. Although M*A*S*H continues to be shown on television and has been released on DVD, neither AfterMASH nor “W*A*L*T*E*R” have ever been repeated or made available commercially. “W*A*L*T*E*R” remains a curiosity for M*A*S*H fans as well as something of a cautionary tale. It was an attempt to sell a series solely on the popularity of a character. Not Gary Burghoff the actor but Radar O’Reilly, the character he played. A character that hadn’t been seen regularly on TV for five years. And yet, the pilot took Radar out of the picture entirely, focusing instead on Walter O’Reilly. And without Radar, there was nothing to distinguish Walter O’Reilly from any other police officer new to the job. The handful of nods to Radar’s precognition in the pilot seemed out of place and his relationships were undeveloped at best. As for Burghoff, in October 1984 he told the Hartford Courant ‘s Cynthia Wolfson that CBS had passed on “W*A*L*T*E*R” because “they’ve taken all the situation comedies off — replacing them with those nighttime soap opera dramas, continuing sagas. I personally feel that that kind of fare has its place. What bothers me is when it takes over” [15]. Works Cited: Originally Published February 15th, 2005 Last Updated April 25th, 2018. Amen pilot episode download torrent. Thx Charles. I'm gonna grab the 1st 2 episodes off torrents this weekend. I've only seen the 3rd episode myself. I wanted to like it, and while it had some good moments. I didn't think it was a great show. Of course, tough to judge based on one episode! The character that hired the Doyles in episode three was hard to understand at times. Too thick a Newfie accent. This coming from a guy who has spent a bit of time working the Southern Shore. There were other moments of dialog too muffled to catch without reviewing on the pvr. While the dialect and accent may capture the flavour of our province, it's going to turn off the rest of Canada. I have my doubts about another season. Interesting. One of my criticisms of the pilot was that it was not Newfoundland enough! The obvious mainland accents of some of the lead characters was a disappointment. The oversaturation of the scenery is also done to the point of distraction and while I see a stylistic purpose, it is way overdone IMHO. Other than that my main criticism of the pilot was the unoriginality of the storyline; nothing unique there at all. in fact, pretty generic TV fodder if you ask me. :( All that being said, a pilot episode is not much on which to base a criticism of the entire series. I will be watching a couple more at least before deciding if it makes it into my precious viewing rotation; I'm pretty selective. ;) -- ______Find out what's cooking in my St. John's, Newfoundland kitchen at www.rockrecipes.blogspot.com Don`t miss a single recipe. Sign up for email alerts. Thx Charles. I'm gonna grab the 1st 2 episodes off torrents this weekend. I've only seen the 3rd episode myself. I wanted to like it, and while it had some good moments. I didn't think it was a great show. Of course, tough to judge based on one episode! The character that hired the Doyles in episode three was hard to understand at times. Too thick a Newfie accent. This coming from a guy who has spent a bit of time working the Southern Shore. There were other moments of dialog too muffled to catch without reviewing on the pvr. While the dialect and accent may capture the flavour of our province, it's going to turn off the rest of Canada. I have my doubts about another season. haha! I guess it has helped leafs! :-) Nah, it was a fella they hired. He wanted his name cleared for having been falsely convicted of killing his wife. You know, it seems if there is not enough local scenery, people bitch that it is not authentic, if there is "too much" scenery, people bitch that there is too much. (It is not possible to showcase the beauty of NFLD enough for people who live away, as well as for people who have never visited). If the accents are not thick enough, people bitch that the accents are not right. If the accents are authentic, people bitch that the accents are too thick. Take if from me, those of you who think you do not sound like that, guess what, you do!! The guy trying to clear his name. yes, him. many of you sound just like that. How can you possibly believe that this would give people a negative impression of Newfoundlanders?? One of the unique things about Newfoundland aside from the beauty is the accents and language of the people. It is not something that should be seen as an embarassment-- it is something that you should be proud of. They did not make the guy to be some inbred idiot, he just had an accent that is quite common. HM and D, now THAT was an embarassment I thought, but this show is something that NFLDers should be very proud and supportive of. If you only watched the first episode and did not give it a chance, you are missing out on an entertaining show,. No, it is not academy award winning acting, but neither was Corner Gas. I enjoy the show and hope that everyone supports it. And people wonder why Newfoundland can not seem to progress. this is a prime example. You have a show, filmed there, showcasing the beauty of the town, and the uniqueness of the people, and people are bitching that it shows too much scenery and the accents are too thick. come onnnnnn, really. Geeeez B'ye. ______Information from ESET NOD32 Antivirus, version of virus signature database 4822 (20100131) ______. The message was checked by ESET NOD32 Antivirus. One scene looked like the old Grace hospital. Is it still standing? The Grace is long gone I can't see it being the old Grace because the front entrance of the one on the show didn't have a roof over it IIRC and the old Grace did. A friend said it was a school which makes sense. Seems like it was shot during the summer while school is out. The show isn't awesome when compared to the big budget American shows but it's definitely one of the best locally made shows I've ever seen. ______Information from ESET NOD32 Antivirus, version of virus signature database 4822 (20100131) ______. The message was checked by ESET NOD32 Antivirus. I just wanna see a little less of the women crawling over Jake every three minutes in one episode. That's getting old really quick. The relationship between Jake and his dad is gold. In one episode I saw them use the outside of the Miller Center as the hospital. Likely using the inside too. As for the RNC, I don't know what the real RNC looks like so it may be that. Sort of thought it was the courthouse steps from Duckworth in another. Have to go and look now that I have each episode. BTW Have watched all 4 and enjoy it so far. Yes the accents are a bit much sometimes either way but not a big deal. The scenery shots are awesome especially the aerials. Only thing that bugs me is the 'Oh yeah!' before each commercial break. You know, NewfMom, I really did go into it wanting to like the show. I really did. I do however, have to judge it on my own criteria as something that would be worth watching for me. I won't watch it just to be supportive of a local product, that just doesn't make sense to me. I've watched 2 episodes now and to be very honest, it is not grabbing my attention at all. I should be clear that I don't watch much, if any, formula driven network television so I'm not saying that it is any worse than a lot of network series in Canada and the US, just that it would have to be a lot better than that for me to watch it anyway, which is a real disappointment for me. I think it is a great achievement for the producers to get this show on the air but they have fallen short of my expectations. I expected humor and have seen very little. I would have liked to see a more local flavor to the show, which I don't believe is achievable with a mainly mainland cast. I do think that they are heavily digitally over saturating the color in the scenery which does not reflect the actual colors, and they are doing it to a point that looks weird; in reality the colors are not THAT vibrant. Finally, there is nothing, unique or particularly interesting about the storylines I've seen in the first two episodes. It is a generic PI series set in St. John's and I'm afraid, for me, the setting alone is not a compelling enough reason to watch. None of what is written above is bashing it because it is Newfoundland produced; it is applying the same standards to Republic of Doyle as I do to other shows I watch and it just doesn't meet those standards. -- "Newf_Mom" <***@gmail.com> wrote in message news:96307747-abf2-4695- 88cd-***@o16g2000vbf.googlegroups.com. You know, it seems if there is not enough local scenery, people bitch that it is not authentic, if there is "too much" scenery, people bitch that there is too much. (It is not possible to showcase the beauty of NFLD enough for people who live away, as well as for people who have never visited). If the accents are not thick enough, people bitch that the accents are not right. If the accents are authentic, people bitch that the accents are too thick. Take if from me, those of you who think you do not sound like that, guess what, you do!! The guy trying to clear his name. yes, him. many of you sound just like that. How can you possibly believe that this would give people a negative impression of Newfoundlanders?? One of the unique things about Newfoundland aside from the beauty is the accents and language of the people. It is not something that should be seen as an embarassment-- it is something that you should be proud of. They did not make the guy to be some inbred idiot, he just had an accent that is quite common. HM and D, now THAT was an embarassment I thought, but this show is something that NFLDers should be very proud and supportive of. If you only watched the first episode and did not give it a chance, you are missing out on an entertaining show,. No, it is not academy award winning acting, but neither was Corner Gas. I enjoy the show and hope that everyone supports it. And people wonder why Newfoundland can not seem to progress. this is a prime example. You have a show, filmed there, showcasing the beauty of the town, and the uniqueness of the people, and people are bitching that it shows too much scenery and the accents are too thick. come onnnnnn, really. Geeeez B'ye. Amen pilot episode download torrent. A fast-paced and fun-filled series relating the antics of a mobile army surgical hosp . more. A fast-paced and fun-filled series relating the antics of a mobil . More. Stream thousands of shows and movies, with plans starting at $5.99/month . New subscribers only. A fast-paced and fun-filled series relating the antics of a mobile army surgical hospital crew during the Korean war. They are basically dedicated surgeons who turn to humor as relief from the front-line operating room. 11 seasons available (256 episodes) Start Your Free Trial. About this Show. A fast-paced and fun-filled series relating the antics of a mobile army surgical hospital crew during the Korean war. They are basically dedicated surgeons who turn to humor as relief from the front-line operating room. Starring: Alan Alda McLean Stevenson Wayne Rogers Mike Farrell Gary Burghoff.