murder, she wrote: homicide as wallpaper

I’ve sometimes thought that it would be great to see a show devoted to an ingenious detective who only solves decidedly minor mysteries, but with all the gravity and dedication normally reserved for homicide investigations. In this show, a missing stapler might occasion a full forensic analysis of the surrounding desk, exhaustive analysis of fingerprints, and all-night interrogations.

In part, I just love absurdity, but I also conceived of the show as a kind of response to the incredible preponderance of foul play in the world of prime-time TV. Murder is so frequent on TV, so deeply baked in to multiple genres, that it seems almost preposterous to me that shows don’t regularly address the unlikelihood of it all.

Alan Cleaver

Photo by Alan Cleaver via cc


I had never seen Murder, She Wrote until this week, but from what I can tell, the show is the acme of the near-ubiquity of murder on television, as lots and lots of people have already noticed. The sheer number of murders in Cabot Cove, Maine — the tiny town that Jessica Fletcher calls home — is enormous, and to watch the show on anything but a completely incredulous level, you need to accept the fantastical statistical anomaly that is the town’s murder rate.
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this star trek time-travel episode makes you remember what they’re forgetting (which is memorable)

One the nice things about my minor obsession with time-travel movies is that there are so many of them to compare and so many manners of temporal discombobulation in fiction to consider. Almost any variant of time-travel can be found in some movie somewhere, so potential parallels abound, even among movies and shows whose only similarity is a questionable use of physics.

Which leads me to my comparison du jour, between last summer’s would-be blockbuster, Edge of Tomorrow, a Tom Cruise action vehicle, and the Star Trek: The Next Generation episode “Cause and Effect.”

The connections are obvious if you know both: Edge of Tomorrow is about Major William Cage (Tom Cruise), who experiences one day on repeat, ending each iteration with his death. Upon dying, he awakes at the beginning of that same day, except with the knowledge of every pass-through he’s done before. Similarly, “Cause and Effect” reiterates a single (roughly) 24-hour period, each time ending with the destruction of the Enterprise and everybody aboard.
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