The watching of one’s favorite programs has increasingly stretched beyond the TV set and onto the internet, with various online viewing outlets providing exclusive programming for its subscribers. In the case of Hulu, Stateside viewers suffering from Anglophilia have been particularly excited about seeing a flurry of programming from the UK turning up, but now they’re starting to bring us a few treats from down under as well.

The crime-family drama “The Straits,” starring Brian Cox, who you probably know from “Manhunter” or “Braveheart” or possibly even “Super Troopers,” premiered on Hulu a few days back and will be doling out a new episode every week, but once you’ve started watching, between the dialogue, the action, the humor, and, sure, the sex and violence, too, you’ll find that a week will seem like a bloody lifetime. 

Bullz-Eye was fortunate enough to chat with Cox about his new endeavor, not to mention a few other highlights from his none-too-shabby back catalog, but be forewarned: he’s been talking about “The Straits” in the past tense for awhile now – it premiered in Australia back in February – so you’ll see that he has a tendency to slip up and offer spoilers on occasion. Not that they’ll stop your overall enjoyment of the series, but just don’t say we didn’t warn you.

Bullz-Eye: Well, I didn’t have enough lead time to absorb all 10 episodes of “The Straits,” but I’ve knocked out three of them thus far, and I’m really enjoying it.

Brian Cox: Well, good! Good, good, good. [Laughs.] It’s a good show!

BE: It is. A nice blend of drama, a bit of humor here and there, and certainly some darkness.

BC: Yeah, it’s got a black-comedy effect about it.

BE: So how did “The Straits” fall into your lap? Did they approach you directly?

BC: They did! They got in touch. I was doing “That Championship Season” on Broadway, and I just got this call from my English agent…because I have agents here and I’ve got agents in England…and they said, “How do you feel about going to Australia?” And the irony was that I’d been trying to get Australia for about the last four or five years, and I’m thinking, “Well, it’s only ever gonna be a job that gets me out there.” So when I got this call, I said, “I’ll do it! I don’t care what it is. I’m desperate to go to Australia!” [Laughs.] Then they said, “Well, hang on, read the script!” And I read the script, and I said, “Well, this is even better: a great job, a great role, and I get to go to Australia! This is a must!” So my wife came and my kids came, and it was a fantastic opportunity, one which I cherish. And I’m very sad that we’re not going to do some more of it, because I do think we were just…you know, the potential of it is enormous. But they’re a little nervous about it, because it’s about a crime family.  But what I love about this show and what I love about Australia…

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The Television Critics Association press tour is always an exciting opportunity to mingle with my TV critic peers, meet and greet with the individuals involved in the latest and greatest (and otherwise) new series, and get the scoop on what we’ll all be seeing on the small screen over the course of the subsequent six months. This summer’s tour was the first time I didn’t subsequently write up my recollections of the event – my only excuse lies in the lyrics of John Lennon: “Life is what happens to you while you’re busy making other plans” – but had I pulled together a list of highlights, one of them certainly would have been that I had the opportunity to head over to the 20^th Century Fox lot and attend a special advance press screening of the pilot episode of FX’s “American Horror Story.”

Creators Ryan Murphy and Brad Falchuk were in attendance to introduce the pilot, along with cast member Connie Britton, and, as is par for the course for series creators when they’re standing in front of an audience of TV critics, Murphy and Falchuk seemed as excited for us to see the episode as they were nervous to learn what we thought of it. Indeed, unless they were skulking in the back of the auditorium, they didn’t stick around to witness our reactions to the events unfolding onscreen, let alone to hear any of our discussions after the closing credits had rolled.

It should come as no surprise to learn that critical reaction was mixed – I mean, that’s pretty much a given for any new series, right? – but if there was one recurring theme to the many conversations going on about “American Horror Story” during our post-screening dinner, it was that a great number of the people who wouldn’t necessarily commit to actually liking what they’d seen were at least willing to concede that it was going to stay near the forefront of their thoughts for quite some time to come…which, as it happens, is where I was with the show, too.

If you’ve seen the pilot, you can probably appreciate my position: it’s creepy, disconcerting, and, yes, there are a few legitimate scares amidst the cheap but effective made-ya-jump moments, but it’s also full of a multitude of horror tropes and plot devices, including (but not limited to) a haunted house, gory murders, ghostly apparitions, eccentric neighbors, a sinister stranger delivering a warning of impending tragedy, and a pregnancy possibly brought about by evil forces.

Was it memorable? Absolutely. Did it make an impact? I dare say it did: even though I didn’t know if I liked it, I already couldn’t wait to watch it again. Was it sufficiently intriguing for me to want to seek out a second episode? You better believe it. But even with these things said, in addition to getting the feeling that Murphy and Falchuk were throwing things against the wall to see what stuck, I was also left with nagging uncertainty about where the hell they were going with this thing.

Now that I’m six episodes into the proceedings, I’m far more confident about the situation, but I won’t lie to you: it was a little bit touch-and-go for a bit.

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