The Knick’s Clinical Style

Andrew deWaard

Poking a Dead Horse

Regarding the original script for The Knick, Steven Soderbergh “knew that if [he] said no, the second person who read it would say yes.” In fact, the critical reception of the show seems to find the only flaw to be the script and clunky dialogue, whereas the directing is considered, by Matt Zoller Seitz of New York Magazine, to be “the greatest sustained display of directorial virtuosity in the history of American TV.” We might consider, then, that perhaps the script itself wasn’t necessarily the attraction for Soderbergh, but the opportunity it presented to channel so many of his cinematic preoccupations and skills into one formal package.

Like his early, then-controversial experiment with a multi-platform day-and-date release for Bubble, a practice that has since become common for indie films, Soderbergh is again innovating at the margins of the industry by fronting all ten episodes of a prestige television series, a method that will now be employed by David Fincher and David Lynch as well. True Detective, a show which shares a production company (Anonymous Content) with The Knick, received much acclaim last year for its similar use of only one director, though not to the same degree of singular vision employed by Soderbergh and his many pseudonyms. As Peter Andrews he is the cinematographer and camera operator; as Mary Ann Bernard, the editor, a system he has employed for more than a decade in his filmmaking, as well as his first foray into television back in 2003 for the underrated K-Street.

Like the color-coded storylines in The Underneath and Traffic, as well as the expressive use of yellow in The Informant!, The Knick presents its hospital scenes in a stark monochrome with (literal) splashes of red, its wealthy interiors in bright, claustrophobic decadence, and its underclass exteriors in drab, underlit earth tones; each color palette plays a representative role. The use of natural light with a digital camera is another aspect of Soderbergh’s cinematography that has been honed over the years, from the early miniDV experiment Full Frontal and the HDNet-produced Bubble and The Girlfriend Experience, to the frank, digital depictions of violence in Haywire and pandemic in Contagion.The reasons are technological (Soderbergh was an early, vocal proponent of the now common RED camera), financial (quicker, less costly setups), and performative (less stoppage means more fluid acting), but at The Knick, the lighting is both a literal and figurative concern, from the electrification of the hospital to the dynamics of power and enlightenment that energize the characters.

This visual scheme is also befitting of Soderbergh’s aim to sully the prestige of the period picture through formal means. Like The Good German, which uses only the filming equipment of the era but none of the constraints of the Hays code to present its tale of post-WWII American duplicity, or Che, which focuses on the day-to-day realities of revolution, Soderbergh’s approach to depicting history is to shine a natural light on the process, rather than the spectacle. The opening scene of The Knick features a child poking a dead horse; the rest of the series will graphically demonstrate in clinical detail how the history of technological progress, and early medical experimentation in particular, is not too far removed from that image.

After The Knick, Television Has No Excuse to Not Make Race Meaningfully Visible

Kristen Warner

A look at the professional and personal lives of the staff at New York’s Knickerbocker Hospital during the early part of the twentieth century. Andre Holland and Clive Owen.

Having not noticed the marketing or promotion for the premiere of The Knick, I was unaware of Andre Holland’s presence and was pleasantly surprised to see him on screen in the pilot episode. Holland’s character Dr. Algernon Edwards arrives at the Knickerbocker hospital without much fanfare. The Black Harvard trained surgeon, just returning from a prominent residency in Paris, arrives at The Knick in search of Clive Owen’s Dr. John Thackery who he imagines will heartily welcome him to the hospital. Expecting a clichéd, superficial “race” conversation, I watched the first meeting between he and Thackery with mild interest. However, my mild interest became obsession once I witnessed Thackery realizing he had been fooled into hiring a Black man.

Edwards: I’m beginning to think you weren’t told everything about me. You envisioned something different I take it. Something…lighter.

Thackery: I did. And to be frank Dr. Edwards, I only agreed to this meeting as a courtesy to Ms. Robertson but I am certainly not interested in an integrated hospital staff.

Edwards: My skin color shouldn’t matter.

Thackery: Well if it doesn’t matter why was that information held back from me?

Edwards: You’ll have to ask Ms. Robertson.

Thackery: It’s also nowhere to be found on your credentials.

Edwards: Is your race listed on yours?

Thackery: There’s no need for it to be.

The conversation is a rarity for television because it cleverly allows for race and racial discrimination to exist both at the level of institution and at the individual. Thackery’s reservations about taking Edwards on are not solely bound to his personal feelings but also to the systemic structures that suggested Edwards’ Blackness would operate as an economic hardship for the already struggling hospital. What’s more, that the scene occurs with dark skinned Black coal workers in the background only adds to the layers of privilege Thackery comfortably rests on AND Edwards simultaneously distances himself from.

What’s more, the conversation seeds a larger idea of what Thackery and Edwards’ relationship will be forged upon—economics and efficiency through entrepreneurship. It is only after Thackery discovers Edwards’ underground clinic and learns of the inventions he has created that his Blackness takes a back seat to innovation and he is allowed to exist as more and yet still not enough because his demonstrable title and skill set are only permissible within the confines of the hospital.

Throughout the season we watched Edwards navigate his classed and gendered space between the equally classed and gendered worlds of whiteness and Blackness—because he can never truly belong in either. Cultural specificity as well as questions of racial self-fashioning, repression and respectability are carefully sutured into the text. Where to begin with the richness: Edwards’ Black cohabitants in his hotel whose dignity is tied up in pride and jealousy of what they don’t have, or those he brawls with because he can’t fight the white men, or the Black seamstresses who become surgical nurses (OMG!!) or the Black coal workers who become security for his clinic or his chemistry with my only issue in his storyline: the magically 21^st century, post-racialized yet terribly naïve, white love interest Neely? It is rare—as in NEVER—to have such precision and intelligence and depth with regard to Black folks on television, let alone within one season of a series.

This leads to my final point: watching The Knick, I was reminded of the other television historical drama I watch: Mad Men. Years ago I wrote here that while early seasons of Mad Men may have had justifiable reason to strategically exclude Blackness from its text, I believed at some point the series would explicitly include race as part of its frame. As of yet, that still has not happened. Thus that The Knick, a tale of turn of the century New York City can find ways to make Black bodies visible and their experiences meaningful in a time and space they are not normally represented in media without resorting to hindsight smugness and Mad Men, a tale of 1950/60s New York City would not, is quite revealing.

“Pretty Silver Stitches”: the Sounds of Surgery in Steven Soderbergh’s The Knick

Lisa Coulthard

In his influential The Soundscape: Our Sonic Environment and the Tuning of the World, R. Murray Schafer comments on the phenomenon of disappearing sounds in our acoustic environment — that certain sounds such as leather saddlebags, school hand bells and razors being stropped will someday be extinct and unknown. From the clop of horse hooves and wooden carriage wheels on brick roads to the glass and metal clink of medicine vials and hypodermics, representations of endangered sounds carry with them both a sonic nostalgia and a sometimes uncanny sense of the acoustic dead coming back to life. What is so intriguing about the soundscape of Steven Soderbergh’s circa 1900 New York in The Knick is the way it thoroughly and unambiguously rejects this sonic nostalgia, while at the same time adhering to and celebrating a degree of acoustic historicism. Many have commented favorably on the anachronism of the synthesizer and electronically based music of composer Cliff Martinez (a longtime collaborator of Soderbergh’s), noting that it offsets expectations and avoids clichéd citations of operettas, ragtime, classical or other music one might associate with the era. The complex music for the show instead emphasizes droning minimalism, electronic software synthesizers, and rhythms and tones more resonant of musique concrete than televisual scoring. In particular, the use of the baschet cristal, a mid-century friction ideophone favored by musique concrete composers indicates the musical ties are in not only anachronistic but in direct opposition to the period presented.

But the use of synthesizers and instruments such as the electric guitar or baschet cristal do more than merely distance The Knick  from its historically based setting. Stressing sounds more than distinct musical pieces, and blurring effects into music (via heartbeats or similar rhythms), Martinez’s music weaves through the series in an integrated way that, as Jed Mayer suggests, “does not so much accompany scenes as insinuate itself into them.” With no conventional credit sequence or series song, Martinez’s music occupies a pervasive rather distinct presence in The Knick. And yet, with titles such as “Pretty Silver Stitches,” “Son of Placenta Previa,” “Abscess,” and “Aortic Aneurysm junior,” Martinez’s music tracks stress the particular importance of music in the operating scenes. In the same way that Martinez’s use of electronic music and the physical vibratory tonalities of the baschet cristal highlight organic/inorganic binaries, so does the combination of music and sound effects in the surgery scenes. Heavily scored, these surgery scenes are also acoustically graphic – emphasizing the drainage of blood through hand cranked machines or vacuum suction, the spurting flow of fluids, the thud of blood soaked sponges, the metal and glass tings of surgery implements, the sounds effects of the operating room highlight the coming together of organic and inorganic materials in the act of twentieth century surgery. The anachronisms of the music are thus less shocking than one might think – engaged with organic and inorganic materials, blending sonic rhythms with music, and integrating into the action, Martinez’s music works in concert with the historically accuracies of the sound effects to create a split acoustic space, drained of the nostalgia for lost objects discussed by Schafer, but resonant with the coming together of bodies and machines that define the birth of modern surgery, which is after all The Knick’s central drama.

Clive Owen’s Dirtied Star Image in The Knick

R. Colin Tait

In Emily Nussbaum’s original New Yorker pan of The Knick, she stated that her biggest problem with the series is that it relies on cliches that have come to populate the latest iteration of the Premium Cable era of TV. Most offensive of these tropes to Nussbaum is the antiheroic figure of William Thackery — the brilliant, troubled, (ahem…racist) and cocaine-addicted surgeon played with particular fury by movie star Clive Owen. However, Thackery does not merely represent “more of the same” for TV’s era of “Difficult Men,” nor is this type a recent phenomenon. Nussbaum could just as easily be complaining about Shakespeare’s Prince Hamlet, Macbeth or King Richard the Third as examples of a well-worn type — complex characters whose moral ambiguity is a draw for both audiences and actors alike. Indeed, tragic complexity is nothing new, nor should it be treated as such.

Owen’s portrayal of Thackery is a revelation within his career for several reasons, partly due to the long-form seriality of the series and partly due to his collaboration with Steven Soderbergh. Soderbergh has often coaxed career-best performances from his actors. Since he directs, shoots and lights all the scenes himself, the result is a remarkable sense of intimacy with his actors on the set. Second, the director often employs actors to work against their type – as in Matt Damon’s role in The Informant! where the actor gained forty pounds, or, more recently, where Michael Douglas refashioned himself in an Emmy-winning turn as flamboyant superstar pianist Liberace in Behind the Candelabra. Third, Soderbergh employs open framings, long-takes, and shoots little extra coverage, ensuring that the performance in front of the camera is solely the actor’s responsibility and that they bring their best as soon as the camera rolls.

Owen’s performance of Thackery – ranging from his cocaine-inspired megalomania to his pathetic, desperate moments trying to kick the drug – also conforms to a ‘modernist’ streak within Soderbergh’s work, where the actors effectively work so far against their star persona that it becomes “dirtied.” There is almost something of a Brechtian distanciation effect as we watch Owen perform Thackery, and it is impossible to separate the sensation of watching his performance from the sensation of watching the actor wreck their star image.

For Owen, playing Thackery allows the actor to do something that his film roles only partially allowed him to. Indeed, the most memorable Owen parts are the ones where he plays complicated, flawed characters (think Children of Men and Closer here) or where he was a handsome, blank slate (The Hire, Croupier). These characteristics have not always gelled with Hollywood stardom and have ultimately led to Owen only ascending so high as a leading man.

However, the new emphasis on flawed protagonists within cable television allows Owen to sit in his sweet spot. Playing Thackery affords the actor much more leeway to emphasize the traits that made him famous in the first place, ruggedly handsome, taciturn and intelligent instead of the ill-fitting action roles that he has sometimes been shoehorned into as a result of being a leading man in Hollywood.

What all the roles of the cable drama era have in common with Shakespearean drama – ranging from Bryan Cranston’s Walter White in Breaking Bad, to Michael Sheen’s portrayal of William Masters in Masters of Sex, to Owen in The Knick – is they separate the actor from their stardom, distilling each performance down to the specifics of their complexity and allowing the actors and their audiences to revel in the dirt.

Because the director is also his own cinematographer and editor (under the pseudonyms Peter Andrews and Mary Ann Bernard) the final product is a distinctive Steven Soderbergh experience — something in-between a medical procedural and an art-film. I would be remiss if I didn’t mention the ambient score of longtime collaborator Cliff Martinez, whose anachronistic synth score makes the series all the more remarkable. It is precisely this fusion of cinema, television and personality that has critics resounding with near-universal praise for the show, resulting in a very heavy ride on the Soderbergh bandwagon.

Curiously enough, Soderbergh has actually received some of his highest praise for his work on The Knick. Reading the reviews, one almost forgets that only six years earlier, critics stormed out of Che at the Cannes Film Festival, beginning the filmmaker’s long and slow departure from the film industry. Soderbergh’s other engagements with history have barely registered in the critical canon. More accurately, they were all panned. Soderbergh’s second film, Kafka, with its concern with the 19th century, bad science, mad doctors and their experiments on live subjects fared so poorly that it has yet to be released on DVD. Nevertheless, The Knick and Owen’s Dr. Thackery share DNA with this early film. Likewise, The Good German was so poorly reviewed that it shares the same Rotten Tomatoes rating as Paul Blart: Mall Cop (both at 33% fresh).

As someone who has studied the filmmaker-cum-TV-showrunner for some time, this is the most fascinating part of this story, for me, as Soderbergh’s reputation has been rehabilitated entirely —  to the point of retrospectives emerging which praise movies that were universally accepted as failures (even Solaris!) as few as several years earlier.

So, what accounts for the change in opinion? Well, as Andrew deWaard and I argued in our volume The Cinema of Steven Soderbergh: indie sex, corporate lies and digital videotape, the director has always been ahead of his time and oftentimes ahead of his critics and audiences. Thus, his direction doesn’t always match with the moment that his films are released, nor with the critical climate in which they are received. But when Soderbergh wins, he wins big — as evidenced by his Oscar win for Traffic in 2001, his Palme D’or for sex, lies and videotape in 1989, and his recent Emmy win for Behind the Candelabra (2013). Similar to the indie moment ushered in with sex, lies and videotape, (coincidentally, almost 25 years ago to the day of The Knick’s release) the series marks the director’s return to the spotlight at a moment when conversation about American culture is shifting away from “cinema” and towards quality TV. Not only does it presumably mark the arrival (or legitimacy) of television as an art form, but arrives as a sort of art-film/quality television fusion. The Knick lands at a moment when debates about TV include calls by critics such as Matt Zoller Seitz to consider television’s aesthetic qualities and studies by academics such as Michael Z. Newman and Elana Levine’s, who chronicle television’s ascendence as a “legitimate” cultural form.

The Knick is, finally, an example of Soderbergh’s business savvy and his investment in his personal brand. Though Soderbergh has always pushed at the borders of creativity, industry, technology and commerce, his move to Cinemax (rather than HBO, even though he had the opportunity to) has certainly bought him more leverage and exposure with this series — not to mention control of the way it is being received. Soderbergh’s doubling down on the medium has him executive producing two more shows for upstart networks – one an anthology series based on his 2009 film The Girlfriend Experience for Starz, and another, Red Oaks, a series pilot for Amazon directed by his longtime collaborator and 1st Assistant Director Gregory Jacobs.

We’ll see how The Knick fits into the director’s ongoing and storied career after the series rolls out but I think that it’s safe to say that Soderbergh’s signature and influence will pop up in other unexpected places on the small screen for some time to come.

Veteran transmedia storytellers Campfire previously designed campaigns for programs such as Game of Thrones and Bag of Bones. In those campaigns, as in the current one for Hunted, Campfire relies on a multi-pronged strategy to spread word of mouth about the program and increase brand awareness of the channel on which the program airs. As such, the campaigns combine an interactive web-based component, a physical object sent to opinion leaders, and, in the case of Game of Thrones and Hunted, targeted, local events. All elements of the campaign synch to provide potential viewers with an immersive experience of the program’s characters and storyworld.

The specific elements that comprise the Hunted campaign have been analyzed by multiple media outlets such as ARG Net, Huffington Post, and by Myles McNutt, so I will highlight only a few relevant features. The online component at ByzantiumTests.com consists of personality tests that supposedly decide if the participant is fit to work for Byzantium Security. As one might expect, it doesn’t matter how one responds to these tests—in the end, all participants are deemed to be part of the 1% that qualifies for employment at Byzantium (nevertheless, it is worth playing through all tests to get to the very last, the baffling outcome of which leads one to ask “but how did they do that?”). I found it interesting that the online component asks viewers to join Byzantium when the company is marked as an antagonist in the series itself, but as I previously explained regarding The Hunger Games, this strategy invites viewers into the diegesis while simultaneously not revealing too much in advance to the program’s premiere.

The physical component of the Hunted campaign takes the form of a wooden puzzle that has a secret compartment for a password-protected flash drive. After solving the fragmented anagram burned into the wood, one has access to exclusive materials. Campfire’s goal of sending out the puzzles to the lucky few—or shall we say, the lucky 1% of television viewers privileged enough to receive mail from Campfire—is also to spread the word about Hunted (full disclosure: I received one of those puzzles, too, and am presumably doing my part by writing this post). After all, as Campfire’s Creative Director Steve Coulson told me, an important goal of this transmedia campaign is to generate word-of-mouth buzz that connects a quality drama like Hunted with Cinemax. The dual goal of the Hunted transmedia campaign is thus not only to recruit new viewers for Cinemax, but also the elevate viewers’ opinion of Cinemax’s brand (Campfire created a campaign with similar goals for A&E and its Stephen King mini-series Bag of Bones).

Photo Credit: Armando Gallardo

So far, all of this is fairly standard in the world of transmedia storytelling. However, the last component of the Hunted campaign stands out. As part of a localized event, posters promoting Byzantium Security appeared in the area around Wall Street in time for the one-year anniversary of Occupy Wall Street. In contrast to the online component, which is easily identified as promotional material for Hunted because of its copyright disclaimer, the ads did not have any overt link to the program. Indeed, many people mistook the posters for real ads advertising security for the 1%.

The above photo circulated widely on Twitter and blogs following the OWS anniversary. The revelation that the Byzantium ads were “just” for a TV program didn’t necessarily improve opinions about the ad (see, for example, the reactions on OWS’s Facebook page). One could say that this reaction was a win for Campfire nevertheless since Hunted and Cinemax became part of a passionate conversation. However, seeing the ads either as marketing triumph or terrible co-option of activist language is too simple, especially because the program itself raises the question of what it means to work for a company that protects the 1%.  For me, ambivalence might be a better term for describing this mash-up of activist language and television promotion. While the ads might not promote a security firm for the 1%, they promote a program that targets those who can and will spend the additional monthly fee for Cinemax; a group we might imagine as the “1%” of television viewers. While the actual number of subscribers is larger than one percent, the discourse of quality television depicts viewers of premium cable drama as the elite among TV viewers (as suggested by Michael Z. Newman and Elena Levine in Legitimating Television).

There is also the question of commercial television’s role in contributing to a conversation about the issues addressed by OWS, like global finance. Is television depoliticized, as Alternet’s Sarah Jaffe observes, or is TV another venue in which this conversation happens? The first episode suggests that Hunted will follow the usual approach of commercial television and present the conflicts surrounding Byzantium in a personalized way, namely as a conflict between main character Sam Hunter and Byzantium, her employers, rather than offering a systemic critique of Byzantium as cog in the machine of global finance. Despite this personalization, it seems too easy to divorce a program like Hunted from the larger discourse surrounding OWS. Perhaps the ultimate achievement of the Byzantium ads is that it forces us to look more closely at how both the commercialized rhetoric of transmedia and the activist rhetoric of OWS engage in a conversation about the 1%.