Skip to main content

Watch the Opening Credits of an Imaginary 70s Cop Show That Stars Samuel Beckett

Samuel Beckett: avant-garde dramatist, brooding Nobel Prize winner, poet, and…gritty television detective?

Sadly, no, but he had the makings of a great one, at least as cut together by playwright Danny Thompson, cofounder of Chicago’s Theater Oobleck.

Some twenty five years after Beckett’s death, Thompson---whose credits include the Complete Lost Works of Samuel Beckett as Found in a Dustbin in Paris in an Envelope (Partially Burned) Labeled: Never to Be Performed. Never. Ever. Ever! Or I'll Sue! I'll Sue From the Grave!!!---repurposed Rosa Veim and Daniel Schmid’s footage of the moody genius wandering around 1969 Berlin into the opening credits of a nonexistent, 70s era Quinn Martin police procedural.

The title sequence hits all the right period notes, from the jazzy graphics to the presentation of its supporting cast: Andre the Giant, Jean Paul Sartre, and Jean “Huggy Bear” Cocteau. (Did you know that Beckett drove a young Andre the Giant to school in real life?)

Thompson ups the verisimilitude by copping Pat Williams’ theme for The Streets of San Francisco and naming the imaginary pilot episode after a collection of Beckett’s short stories.

He also notes that a DVD  release of the first, only and, again, entirely non-existent season has been held up by the notoriously litigious Beckett estate. Alas.

Note: An earlier version of this post appeared on our site in 2015.

Related Content:

The Books That Samuel Beckett Read and Really Liked (1941-1956)

An Animated Introduction to Samuel Beckett, Absurdist Playwright, Novelist & Poet

Watch Samuel Beckett Walk the Streets of Berlin Like a Boss, 1969

When Samuel Beckett Drove Young André the Giant to School: A True Story

Samuel Beckett Directs His Absurdist Play Waiting for Godot (1985)

Ayun Halliday is an author, illustrator, and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday

Watch the Opening Credits of an Imaginary 70s Cop Show That Stars Samuel Beckett is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/2QjIS95
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca