‘Masterpiece’ marks its 50th year on television
Challenges lie ahead for the popular show
LOS ANGELES (AP) — As PBS’ “Masterpiece” marks its 50th anniversary Sunday, the drama and mystery showcase could rest on its reputation built with acclaimed programs including “I, Claudius” and “Elizabeth R” and polished anew by surprising pop-culture hits “Sherlock” and “Downton Abbey.”
But “Masterpiece” executive producer Susanne Simpson says it’s positioned to thrive as it addresses the challenges posed by a changing media industry and increased calls for diversity.
“’Masterpiece’ is important to the PBS system. Our viewers expect us to keep finding the best” in TV, Simpson said, even as competition from commercial platforms increases.With
more streaming services and other outlets gobbling up programs, including the British-made dramas that are a “Masterpiece” staple, the public TV program is becoming more aggressive in the marketplace, Simpson said.
She joined the series nearly 14 years ago and became its executive producer in 2019, only the fourth
since “Masterpiece” debuted Jan. 10, 1971, with the miniseries “The First Churchills.”
“We are investing earlier and we’re co-producing earlier on projects, so we’re in a position to be able to put development money into scripts,” Simpson said. “I have probably 15 projects sitting in my inbox,
and I’m going to have to make a decision quickly on one of those because there is so much competition for those projects.”
When “Masterpiece” was under executive producer Rebecca Eaton in the mid-1980s, she “used to be able to sit back” and mull her choice of UK-produced shows,
Simpson said.
As unlikely as it seems in the age of Netflix’s celebrated “The Crown” and its new multi-ethnic sensation “Bridgerton,” US networks used to avoid British drama “because the general feeling was nobody could understand the accent,” Eaton re
Carlos Alomar, combining multiple generations of Pop sounds seamlessly during a ’70s Funk jam.
“The Hearts Filthy Lesson” and “The Voyeur of Utter Destruction” both from “1. Outside”(1995) and written for younger generations of fans at the time, are in their best form here.
Even though “1. Outside” was a conceptual, obscure record about a serial killer, both of the tracks performed on this night in Dallas buffed with Gabrel’s firecracker guitar and venue-shaking drums from Zach Alford, are worth a revisit.
Not to be forgotten amongst the wizardry on stage, Gail Ann Dorsey’s bass on “I Have Not Been to Oxford Town” (1995), “Andy Warhol” (1971), “Breaking Glass” (1977) and later “Under Pressure” (1981), should be noted for always doing exactly what is needed, be it holding Art-Funk grooves or effortlessly changing tempos and styles.
Bowie remixed an Electronic version of “The Man Who Sold The World” (1970) in the ’90s — it’s inclusion here, with Peter Schwartz’s synth contributions, combining with the earlier-mentioned bass and guitars, makes for a uniquely surreal, alien experience.
The last six songs of the set list however, lose momentum, favoring more of his ’90s material.
Two performances of “Under Pressure” (Queen and David Bowie, 1981) and Ziggy Stardust memories rekindled on “Moonage Daydream,” (1972) inject a little more momentum.
If “Ouvrez le Chien (Live Dallas 95)” released digitally in 2020 and physically available later this year isn’t enough of a Bowie fix, check out his estate’s first release of packaged online singles in 2021: “Tryin’ To Get To Heaven,” is a powerful, somber cover of a Bob Dylan song dealing with mortality where the Starman’s vocals are in top form. The second is a cover of his good friend John Lennon’s “Mother” (1970).
It’s an opportune time to remember that Bowie’s voice and style are an acquired taste, it’s a tad odd when he croons reminiscent of The Thin White Duke (another persona of his), where Lennon in comparison, is smooth, yet raw with emotion. Regardless, Bowie again aims for the stars.