Contradiction and Consternation for Axe
by Samantha Della Fera | Michigan Daily | January 9, 2019
In the current “Golden Age of Television,” it is undisputed that television programs have begun to venture into the cinematic. With longer run times, higher budgets and a broader horizon of freedom to express a theme or message, it is plain to see that television is no longer film’s “little brother” in the “family” of the overall media landscape.
One of the most prominent ways in which television has elevated its craft is through the augmented role of music. For the past century, music has been an integral part of film culture. There is no “Rocky” without “Eye of The Tiger,” there is no “Gentlemen Prefer Blondes” without “Diamonds Are A Girl’s Best Friend.” Imagine a movie without a score or musical montage. It would just feel like a hollow stage play. Conversely, music has no storied history in television (save for catchy theme songs). In fact, the only example of overlaid audio I can think of in past television is the episode of “Seinfeld” when George attempts to use Petula Clark’s “Downtown” as a clue for his work project. And even still, that was 1996.