You guys, I’m finally doing it. The kickstarter funded Veronica Mars movie was the extra little push I needed to finally, ten years later, take up with that girl-detective everyone loves so much. I’m about a week behind the Vulture training schedule (and yes, this is 2014 and yes, I am a millennial content-addict, so yes, there is a training schedule to watch a now-defunct show in anticipation for its crowd-sourced feature debut). I just finished season 1 and I’m crashing hard towards the finish line, loving every minute of it.
Tag Archives: television
Inspired partially by an encounter with a cologne-model looking dude at a train station and the most recent episode of Shameless (in which Lip hooks up with a very sexy woman much larger than him), I wrote this week for Role/Reboot about what happens when “guys like that” like “girls like me.”
I’ve written about this before (as did everybody else) after the infamous Girls episode with Patrick Wilson.
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As you’ve probably heard, Saturday Night Live hired a black female comedian this week, Sasheer Zamata, 6 years after their last black female performer (Maya Rudoph) left the show. You may not have heard that, in addition to Zamata, SNL announced that they had hired two new black female writers, LaKendra Tookes and Leslie Jones.
After the Zamata announcement, I went and watched a trillion of her youtube clips of her stand-up and sketch work. This is my favorite:
Why do I think it’s important for cultural touchstones (which, whether you like it or not, SNL is) have diverse writers and casts? Because a straight white dude would never do a bit like that. Ever. And it is brilliant, and insightful, and kind of uncomfortable, and funny as hell. We need this kind of comedy to be part of the mainstream. That’s not to say that straight white dudes can’t contribute (Louie CK’s rape joke remains one of my favorites), only that a diversity of experience (like for example, having different colored skin, growing up in a different neighborhood, having immigrant parents, etc) creates a diversity of content, and that diversity of content is what eventually leads to empathy with people who are, on the surface, not like us.
This week for Role/Reboot I wrote more about Sasheer Zamata’s casting, with a nod to Cindy Gallop and Mitt Romney’s “Binders full of women”:
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More dramatic than the bomb in the guy’s chest? Than the house made of candles on the hillside? Than the plane crash that killed Lexi and Mark? Than the shooter who roamed the halls of Seattle Grace? More dramatic than the time that Meredith died? I know, right? That show is craaaaay.
Yes, what happened on Grey’s Anatomy two weeks ago was true drama (skip to 34:00). For those of you who quit this bad boy when it jumped the shark half a decade ago, Meredith and Christina are still best friends, but much else has changed [SPOILER ALERT. Ha, as if anyone waits with bated breath for Grey's spoilers]. Meredith married Derek and they have two adorable children, Zola and baby Bailey. Christina got married and then divorced when her husband Owen couldn’t abide by her consistent refusal to have children (I mean, come on…. she told him that when they got together, but that’s not the point…) They are both still surgeons at Seattle Grace (renamed Sloane Grey Memorial).
What drama could this mundane divergence of paths produce? There were no bones protruding from skin, no organs spilling on to slick linoleum floors. Nope, no guts and gore here, just good old fashioned human drama. Christina and Meredith had planned an elaborate surgery. Meredith’s day took a turn with kiddie emergencies left and right. Christina boxed her out of the surgery and replaced her with a more prepared doctor, Dr. Bailey. And then this:
Meredith: You stole that surgery from me.
Christina: I am sorry. I really wish you could have been in there with me.
Meredith: I worked my ass off to do that surgery with you and you stole it from me. That was low.
Christina: Meredith, you were unprepared, you were unfocused, and you were late. I didn’t steal that surgery from you. I rescued that surgery from you, because you couldn’t do it.
Meredith: I understand that you believe you are god’s gift to medicine, but I am every bit as talented and competent a surgeon as you are.
Christina: No, you’re not. I’m sorry, but you’re not. And that’s, that’s okay. You have different priorities now. You’ve cut back on your clinical hours. You log less time in the OR, I mean, you don’t do research. And I get it, I mean, you have Zola, and baby Bailey, and you want to be a good mom.
Meredith: I don’t believe you! You are saying that I can’t be a good surgeon and a mom.
Christina: Of course not! Dr. Bailey’s a mom, and she was fantastic in there!
Meredith: Then what are you saying?
Christina: I’m saying, I’m saying… Bailey never let up. She lives here. Callie? Never let up. Ellis Grey [Meredith's mother] never let up. And I know you don’t want to be your mother. I’m saying, you and I started running down the same road at the same time, and at a certain point, you let up. You slowed down. And don’t say that I don’t support that, because I do. You made your choices, and they are valid choices, but don’t pretend they don’t affect your skills. You are a very good surgeon, but we’re in different places now. And that’s okay.
Ahhhhh, oh Grey’s, I love you so. For all the deserved flack it gets for melodrama and oversimplified dialogue (whenever Shonda wants you to get an emotional point all she knows how to do is repeat it three times with different inflection. I need you. I need you. I need you. Check it, she does it on Scandal too), she does tap into the political side of female friendship with some serious know-how.
I would rather have conversations like this than landslides and biker brawl mayhem in the emergency room any day. These conversations are hard, way harder than corralling sexting interns or sobbing family members, and they feel real. Your friends will make different decisions than you would make for yourself, or than you would make for them. It’s hard, because you love them, and you trust them, but you’re scared for them, and you’re scared for yourself. You don’t know what’s right or what will happen and when someone who has been running the same race as you for a long time suddenly veers left or slows down or speeds up, it’s hard not to wonder if you should be following suit. Trying to read your own motives and values in the shadows cast by people you love and trust… that shit is complicated and lovely and challenging.
Take notes, Shonda, and keep it up.
Related Post: How Grey’s got gay marriage right.
A NewStatesman piece is going around this week called “I Hate Strong Female Characters,” and it’s actually pretty good. Sophia McDougall makes the not-new but needs-repeating argument that we conflate the presence of “strong female characters” in our media with equality. She points out that a) implying strength as an unusual asset for female characters is belittling (would we crow about a film with strong male characters? HAH) and that b) boxing female characters into narrow tropes of success (she can roundhouse kick!) reduces human complexity and replaces one archetype with another. Putting Scarlet Johnson on the cover of the Avengers does not equality make, even if she can roundhouse. See Margaret Lyons’ similar argument regarding The Newsroom.
Though I wouldn’t state my position with quite the extremity McDougall’s essay title suggests (though that’s probably just a smart editor baiting for clicks), I generally feel the same way. The female characters that I am thrilled to see in TV and movies are complicated, multi-faceted, not-always-right, not-always-wrong humans. While there’s an aspirational part of me that will always love CJ Cregg (The Jackal is forever in my heart), CJ is not complicated for me. She is strong and devoted and loyal and smart, but I always agree with her. She never makes mistakes. Never behaves badly, or selfishly, or shows weakness that isn’t also designed to show strength. She is an idealized version of what I want a press secretary to be (Remember “Crackpots and These Women?” Bartlett idealizes her too) and never forces me to confront hard truths or tough ethical dilemmas.
There’s room for the CJs, of course, but it’s also important that we show that women can be messy and difficult (This is the age of the anti-hero, right? How about an anti-heroine?) They can be good people who make mistakes, or bad people who aren’t always bad, or, you know, just people who are hella complicated because they’re humans. Here are a few of the characters that I generally like because they are forceful, ambitious, strong, driven but who are sometimes dishonest, weak, foolish, selfish, conflicted, etc.
- Deb Morgan (Dexter)
- Skyler White (Breaking Bad)
- Piper Chapman (Orange is the New Black…actually, everyone on Orange is the New Black)
- Rayna James, Juliette Barnes (Nashville)
- Jeanette Desautel, LaDonna Baptiste-Williams (Treme)
- Peggy Olson (Mad Men)
- Carrie Mathison (Homeland)
- Claire Underwood (House of Cards)
- Cersei Lannister (Game of Thrones)
- Diane Lockhart, Alicia Florrick (The Good Wife)
There’s something to be said for the fact that I could pull this list off the top of my head. I do think things are getting better, with more and more interesting (not “strong,” but interesting) roles for women. So what do we want? I think McDougall sums it up well:
What do I want instead of a Strong Female Character? I want a male:female character ratio of 1:1 instead of 3:1 on our screens. I want a wealth of complex female protagonists who can be either strong or weak or both or neither, because they are more than strength or weakness. Badass gunslingers and martial artists sure, but also interesting women who are shy and quiet and do, sometimes, put up with others’ shit because in real life there’s often no practical alternative. And besides heroines, I want to see women in as many and varied secondary and character roles as men: female sidekicks, mentors, comic relief, rivals, villains.
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For book club, we recently read Robin Sloan’s Mr. Penumbra’s 24-Hour Bookstore, a modern, bromantic, technologically-obsessed, Google-worshipping fantasy adventure in which millennial heroes and heroines are obsessed with the idea of Old Knowledge (aka OK). I’m kind of obsessed with Old Media (OM?), specifically it’s intersection with New Media (NM), and TBD Media (TBDM). I think this is a fascinating question:
OM + NM + TBDM = ?????
The combination of Old Media and New Media happens to be in vogue right now. If OM = books, TV, movies, music and NW = Facebook, Twitter, Instagram, Blogging, etc., we already have lots of neat examples of these things working together. I’m having fun with mind-mapping right now, so….
- The Bling Ring - Sofia Coppola’s strange new movie about a band of overprivileged teenagers who break into celebrity homes uses screenshots of Facebook, sequences devoted to the taking of selfies, and texting as avenues to explore the meta “Pics or it didn’t happen” mentality of the youth (self included).
- House of Cards - Netflix’ original (and now Emmy-nominated) political intrigue-a-thon incorporates on-screen text messages over images of characters in their own locales. Old school political mastermind Frank Underwood uses new school journalist Zoe Barnes to channel her demographic access into viral and conniving campaign messages.
- Americanah – The new novel from Nigerian author Chimamanda Ngozie Adichie is about a young Nigerian couple who follow separate paths (her to America, him to the UK) before reuniting in Lagos decades later. The protagonist, Ifemelu, writes a blog about race from the perspective of a non-African-American black person that becomes famous. Excerpts from her blog are incorporated into the book, and her online presence is treated as a fundamental piece of identity (as many of us now consider it to be).
The real interesting question, of course, is what happens when OM meets NM meets TBDM. What is TBDM anyway? Well, it’s obviously things we haven’t even created yet. Will our media become more multi-sensory? Will we control the stories we watch or be actors in them? Will the idea of created media devolve so heavily that we’ll all just read/watch real life as it happens a la Truman Show? What do you think?
Related Post: Past experiments with mind mapping
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1. JOURNALISM: This my be my favorite editorial I’ve read in quite some time. From Tim Krieder at the NYT, he writes about uncertainty of stating one’s opinions on the internet: “I felt like the explanatory caption beneath my name on-screen ought to be: PERSON IN WORLD.” This is basically exactly how I feel about everything.
2. STYLE: Ever wonder about Rihanna’s hairstylist? Who is this person? Where did he or she come from? NYMag has got you covered.
3. WAR: In this not at all scientific but very strangely powerful series, soldiers are photographed before, during, and after war.
4. TELEVISION: How to make a good drama that wins lots of awards. Is there a formula for that? Perchance there is and it’s only 13 steps!
5. GEOGRAPHY: Highly difficult, highly addictive, Geoguessr is game where google streetview displays a picture and you try to guess where in the world it was taken. Good luck with Australia vs. Texas.
6. DEPRESSION: Blogger Allie Brosh is back after a long hiatus. This webcomic explains where she’s been, and also does a pretty excellent job at describing depression to those that are not depressed. Play close attention to the fish analogy.
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Super excited to share with you all a new partnership I’m embarking on with the Nashville Scene. A collection of writerly ladies, like the always-fabulous Kim Green, will collaborate on a weekly column called Vodka Yonic. We’ll be tackling a wide variety of topics, both serious and less so, that are hopefully of interest to readers such as yourselves!
My first contribution ran last week and I must confess that I’m really proud of it. I’ve been meaning to write about Battlestar Galactica through a feminist lens, and this gave me the perfect opportunity. More broadly, this is a piece about what I think feminist television really is, and what we should be looking for in our media to indicate that it treats female characters equally and with respect. Hint: that doesn’t mean that the women are always the good guys. I hope you like it too!
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