Last night was must-see TV, at least at my house. Having followed former NBC executive Jeff Zucker’s stupefying programming decisions, further driven home after reading Bill Carter’s The War For Late Night, it’s a wonder the network even has its Thursday night comedy line-up. I sat through Perfect Couples‘ cold open and shaved my legs during The Office, but Community and the triumphant mid-season return of Parks and Recreation did not disappoint. But since I refuse to watch Outsourced or Leno but planned to stay up for the Dismemberment Plan performance on Fallon (seriously, music booker Jonathan Cohen is turning it out), I needed something to occupy my time. I stumbled on the chords to “Jane Says” and attempted to untangle a necklace. I also watched Lisa Cholodenko’s The Kids Are All Right, after Dana Stevens and virtually everyone else told me to see it. Also, Cholodenko’s comments during the Hollywood Reporter directors’ roundtable won me over and Annette Bening’s recent Golden Globe win reminded me of her cerebral sex appeal. Plus I’ll literally see any movie Mark Ruffalo is in.
I was more than a little skeptical of this movie during its theatrical run. The possibility of a dalliance between a lesbian and her heterosexual male sperm donor made me grimace a bit. My principal concern was something Amanda Klein touched on with in part of a tweet that stated “lesbians really love getting pounded by straight dudes.” To my surprise, the affair between Julianne Moore and Ruffalo’s characters didn’t bother me as much as I thought it would. The affair certainly isn’t the focus of the movie, which breezes through it to devote considerable time to the aftermath. Moore’s Jules discusses human sexuality’s fluid nature in an earlier scene. Yes, this is rather obvious foreshadowing. But frankly, I’ve known a few lesbians who’ve been involved with men in various capacities. It didn’t make them any less queer.
This commitment to representing lesbians as complex beings because of and apart from their sexuality was reflected in the performances. Bening and Moore very much registered as a couple to me. They’re possibly the sort of couple where one partner was queer long before she found the other, who may have discovered her lesbian identity through this relationship. The movie handled the affair as an indiscretion and lapse of judgment between two aimless people who briefly take solace in approaching middle age as one party’s daughter is heading off to college and the other is just getting to know the kids he helped create. Furthermore, I thought the exploration of lesbian partners who shared the experience of child-bearing fascinating, especially when they have to confront parenting differences in relation to which child they gave birth to. Seriously, I want to read more about this.
However, The Kids was merely all right. There’s a lot to recommend. The ensemble is fantastic (recognition should also go to Mia Wasikowska, who I loved in the first season of In Treatment and is great as older daughterJoni). Music supervisor Liza Richardson does an exceptional job locating the songs these characters would identify with (Joni would totally throw the Knife on while loafing in her room). The production design is phenomenal. The homes immediately resonate as the dwelling places where upper-middle-class bougie southern Californians. Thus Cholodenko and Stuart Blumberg’s script, which my partner had an allergic reaction to, also registers. I don’t necessarily like these people, but I buy them. Every clipped line or wine ovation Bening delivers as breadwinner doctor Nic strikes the right balance between surreptitious and well-mannered. Likewise, every time Julianne Moore says “man,” it seems like a joint is being passed just out of frame. And when the couple interrogate their son Laser (Josh Hutcherson, playing a role with a name only ex-hippie types would come up with) about their suspicion that he’s gay or goad their children into sharing their feelings, the premium they place on unfiltered self-expression scans as the tactics of people who use phrases like “higher self” and spend thousands of dollars and hours in therapy. While I’m not enamored with the efforts, I certainly appreciate their sensitive realization.
My biggest problem with the movie was exposition. I know that the movie was made for a pittance and under a truncated shooting schedule, but I would have appreciated ten more minutes of set-up. Why are Jules and Nic in a rut? Why does Ruffalo’s Paul care about being a father after forgetting that he donated his specimen when he was 19 and broke? Why is Laser’s friend peeing on cats? Who exactly is Paul’s girlfriend Tanya (played by Yaya DaCosta, who should have won the third cycle of America’s Next Top Model but is doing okay by herself as a working actress, particularly in John Sayles’ Honeydripper)? This is drawn together too hastily for me, especially given the care put into the rest of the movie.
However, the scene that’s the center of the movie for me is Nic impromptu performance of a verse from Joni Mitchell’s “All I Want” at a dinner at Paul’s house. When perusing his record collection she discovers, after weeks of suspicion about him and his proximity to her partner, that they’re both fans. This part didn’t surprise me, nor did the reveal that Wasikowska’s character is named after her (seriously, poll a sample of late boomer or early Gen Xer women — 4 out of 5 probably love Mitchell, especially if your pool resides in California). I could be snarky and say that it would be better if they dug a little deeper than track one of the canonical Blue. What, no love for The Hissing of Summer Lawns? But Blue captured the zeitgeist and lives on across generations for a reason. It’s a devastating record about love curdled by deception and human error.
It totally works here, bolstered by Bening’s disarming performance. The camera lingers on Nic’s ostensibly private reverie. It’s a purposely awkward but deeply informative scene. Nic might be embarrassing her kids but she’s ultimately singing to herself. Jules and Paul watch, perhaps only slightly aware of how deeply affected she is by what’s going on. Following her performance, she will walk into Paul’s bathroom and have the truth she already knows confirmed for her. But this scene gives you insight into her interiority and why she’ll remain committed to her family after the fallout. It’s a subtle, powerful moment that demonstrates what the movie is and what it could be.
One of the recent joys in my life is Netflix adding seasons of King of the Hill and Parks and Recreation to its Instant queue. This provided me with solace over the past week as I attempted to rid a seemingly endless stream of sinus waste from my nose. Also, these delightful Greg Daniels-helmed sitcoms make up for The Office outstaying its welcome long before Jim and Pam walked down the aisle.
I’m revisiting the sixth season of Hill, a show I’ve already established my fandom for in an earlier post about another female musician in the cast. However, I must’ve either missed or forgotten about “The Bluegrass Is Always Greener,” wherein overworked violin prodigy Connie Souphanousinphone ditches music camp in Fort Worth to enter a bluegrass competition in Branson with neighbor Hank Hill and his buddies.
Connie is one of the show’s most interesting characters and played wonderfully by Lauren Tom. She is smart, shy, and well-mannered, yet critical of her parents’ materialism and stubborn toward her dad’s wishes that she dump boyfriend Bobby Hill, date the more superficially suitable Chane Wassonasong, and become an accomplished violinist. She’s the protagonist of “Aisle 8A,” which focuses on her getting her first period while staying with the Hills while her parents are away on a business trip. It’s one of my favorite episodes of the show’s run and perhaps one of the few episodes that considers an animated girl character’s foray into menstruation.
Connie’s parents Mihn and especially her father Kahn put a tremendous amount of pressure of their only child to excel in school and extra-curricular activities. The dimensions of their involvement are complex. They at once take pride in their Laotian heritage and also out of a need to prove themselves as fully integrated into American bourgeois society, supposedly a world away from the fictional suburb of Arlen, Texas. Connie takes pride in her scholastic achievements, but as a musician isn’t as interested in becoming the New York Philharmonic‘s principal violinist as she is in having fun. She becomes interested in bluegrass after hearing Hank jam with the neighbors in the alley. Fed up with her father’s hovering (and possibly also the stereotype of the Asian American violin virtuoso), she skips out on a bus to Fort Worth and gets the gang together for the trip to Branson.
Things take an interesting turn, however, when Hank reveals he may share more with nemesis Kahn than the same letters in their name when he puts too much pressure on Connie and takes the fun out of performance. She quits the band and starts playing on a street corner with Bobby. Admittedly, she and Bobby have troublesome delusions of meeting poverty-stricken Appalachian families to get back to the “roots” of bluegrass. However, the episode resolves with all parties convening and Connie reconnecting with the personal joy she gets from playing music.
Recently, my partner got season nine of The Simpsons on DVD. Perhaps suggesting our age, this was the last season either of us watched in its entirety upon original broadcast. We’ve caught episodes from season ten on in syndication, and I marvel at how the show has maximized high definition’s potential. We also saw The Simpsons Movie, which was more remarkable for the assuredly bombed woman who sang loudly to herself, yelled at Maggie for being a “cunt,” and called us “asshats” for telling her to be quiet before being escorted out of the theater. But for both of us, the ongoing series peaked 13 seasons earlier. The show may be sporadically hilarious and subversive, but like many successful television shows that go on for too long, it has also exhausted premises, developed a frantic tone, got further away from the family’s class struggles and feelings of mediocrity that made the show especially poignant in the early seasons, and dispensed with much carefully-crafted character development.
This last point seems especially true of Marge and Lisa Simpson to me. The show was never especially savvy with what to do with the tower-coiffed matriarch, who has dumbed down considerably in my estimation. The show’s predominantly male, Ivy League alum writing staff admit as such in several episode commentaries, noting that they rarely provided her with friends, struggled with ideas for a character so doggedly sensible, and sometimes relied upon female personnel to give her character development and narrative action (ex: season seven’s “Scenes from the Class Struggle in Springfield” was written by Jennifer Crittenden).
But the family’s spiky-haired middle child prodigy was always the show’s center for me growing up. What’s more, Lisa episodes were penned by male writers and rank among the best of the series for me, though they tend to focus more on her relationship with Homer than with Marge. Bill Oakley and Josh Weinstein’s “Lisa Vs. Malibu Stacy” is my absolute favorite, but it’s in rich company with Jon Vitti’s “Lisa’s Substitute,” Dan Greaney’s “Summer of 4 Ft. 2,” Mike Scully’s “Lisa’s Rival,” Greg Daniels’s Emmy-winning “Lisa’s Wedding,” and David S. Cohen’s “Lisa the Vegetarian” (note: Oakley and Weinstein were show runners from seasons 7 and 8 and were replaced by Scully for 9-12 to develop the animated series Mission Hill; Greg Daniels went on to co-create King of the Hill and adapted the American version of The Office). So you’ll excuse me if I get snotty and say that Lisa has no business lip-syncing Ke$ha’s butt-stupid “Tik Tok.”
Much of why these episodes work so brilliantly, apart from the writing, is to do with the animators and animation directors working in accord with voice actress Yeardley Smith, whose distinct performance captures so much nuance around the heartache, loneliness, and ironic detachment that often comes from being the kid sister of a popular kid and is too smart for her surroundings. As creator Matt Groening often points out, Lisa is the only character he envisioned leaving Springfield. He and many other show personnel counter this by claiming her as the show’s tragic character whose ideas and actions are often thwarted or go unnoticed. Several smart girls can relate.
However, while I have noticed a slight lapse in Lisa’s all-too-precious perspicacity as the series has gone on, I recognize that she’s still a smart girl committed to change. To echo Jonathan Gray’s claims in Watching The Simpsons, Lisa remains the longest-running feminist character on television.
One thing I especially like about Lisa is her interest in music. Assuredly, she’s motivated in many other areas, including environmentalism, writing, and film-making, among others. But I always delighted in seeing Lisa strut out of Mr. Largo’s band practice while belting out a saxophone riff, as the director clearly doesn’t know what to do with free-thinking talent who have exceeded his teaching abilities. She has also used her musical aptitude toward political change, rallying her father Homer and his co-workers with her acoustic guitar and an impassioned protest anthem when they staged a strike at the power plant for better health benefits.
Having recently watched season nine’s “Lisa’s Sax” (written by past and current show runner Al Jean), I was touched while relearning the origins of how Lisa came to the jazzy woodwind instrument. Unable to afford admission into a ritzy private day care for their accelerated toddler, Marge wracks her brain for a way to encourage her daughter. Homer ends up forking over money he was saving for a new air conditioner when a chance visit to a music store presents Lisa with her artistic calling. I think it was a wise investment.
I was talking with my friend and neighbor Rosa-María during Glee‘s fall finale about Freaks and Geeks. We were specifically talking about the final episode, “Discos and Dragons,” which she just rewatched. In it, Michiganian teen protagonist Lindsay Weir is loaned a copy of The Grateful Dead’s American Beauty by her hippie high school guidance counselor Jeff Rosso and steps into a larger world.
I’m not a Deadhead. For those of you watching Community, main character Jeff Winger’s religion/Paul Rudd analogy in this week’s episode is pretty much exactly how I feel about the band (i.e., we understand the appeal and don’t begrudge it, but also don’t share it). To me, I’ve long wondered why anyone would listen to the Dead when there’s Santana, a peer jam band that was more rhythmically intesting with a better lead guitarist. And before anyone starts mailing me bootlegs, I have also heard American Beauty. My first listen even took place around some pretty optimal conditions. It didn’t take.
That isn’t to say that I’m not fanatical about other things. For one, I’m a huge Animal Collective fan, who are themselves a bunch of hippies with a rabid fan base. And while I don’t think the two bands sound that much alike, both espouse feel-good truisms like “What do you want me to do, to do for you to see you through?” and “You have your fits I have my fits, but feeling’s good.” And of course, Animal Collective’s “What Would I Want? Sky” samples the Dead.
I’m fanatical about this show too. It’s one of my favorite television programs, perhaps of all time, and unlike some of the critically-acclaimed fare of the decade (ex: The Wire, The Sopranos, Mad Men, 30 Rock, The Office, season two of Friday Night Lights, season three of Arrested Development), I don’t think I know anyone who has seen Freaks and Geeks and doesn’t like it. I’m especially fanatical about how much music factors into both the characters’ lives and the tone of the show. For a show set in pre-MTV suburban Michigan, it nails the radio domination of classic rock, the percolation of punk and post-punk, and the general antipathy toward disco. Thus, it makes sense that Lindsay and many of her peers would be into the Dead, as they’re also into The Who, Led Zeppelin, and Rush.
As an aside, one of Lindsay Weir’s clearest televisual counterparts is not a Deadhead, even though the band was fashionable at the time of her show’s season-long run. Angela Chase, the angsty protagonist of ABC’s ultra-90s’ drama My So-Called Life was given her father’s tickets to a Dead concert in “Father Figures” because he couldn’t make the show. She scalped them out of anger toward her father, who she caught talking to an attractive woman who was not her mother outside their house. She also did it for the chance to talk to her crush Jordan Catalano, who was willing to buy the tickets from her. But it’s also clear that Angela doesn’t get what all the fuss over the band is about, much to the ire and bewilderment of her Deadhead friend Rayanne Graff.
I think Lindsay becoming a Deadhead is really interesting. Throughout Freaks and Geeks‘ 18-episode run on NBC and the Fox Family Channel, Lindsay worked toward defying expectations. Sometimes, these expectations were put upon her by her peers, whether they be her kid brother Sam and his nerdy friends, the Mathletes she used to be close with as a geeky good girl, or the burnouts she hangs out with throughout the series’ run. Other times, they were put upon her by authority figures, whether they be the concerned faculty at William McKinley High School or her parents, who feared this bright girl was throwing her life away by running with a bad crowd.
But the best moments for me of this show were when she defied her own expectations, which were already considerable. She does it when dumping freak Nick Andopolis, an otherwise nice boy who was completely wrong for her, and later when she tries to be his friend. She does it when she rejoins the Mathletes only to quit again after realizing that she doesn’t get any joy out of it. She does it when she tries pot for the first time, only to discover that she really doesn’t like it. She does it when she sticks up for her friend Kim Kelly in English class when they both dismiss Jack Keroauc’s On the Road, to the disdain of their pretentious teacher. She does it to dazzling effect when promoting her family’s sporting goods shop while sticking it to Vice President George H.W. Bush and his lackeys for throwing out the original question she was going to ask him in assembly during his visit to her school.
She does it here too. Originally skeptical of the Dead’s profundity, she gets a gentle nudge from a stoner couple at her school (one of whom is played by Samaire Armstrong, who I enjoyed on The O.C. as Seth Cohen’s music geek girlfriend Anna and who had an enviable platinum blonde pixie cut with hot pink roots in the Lindsay Lohan vehicle Just My Luck). When Lindsay gets the record home, she slowly absorbs the music and ends up “getting it,” whirling around exuberantly in her room.
As an aside, kudos to actress Linda Cardellini for being able to make what could be an otherwise cheesy scene believable.
Discovering the Dead couldn’t come at a better time for Lindsay. As her junior year winds to a close, she finds out that she’s been selected to participate at a state-wide academic summit at the University of Michigan. The idea of spending two weeks of summer vacation participating in competitive seminars and hobnobbing with her supposed intellectual peers sounds like a flattering offer but a pointless exercise to her. It sounds like little more than résumé padding to me, though I probably would’ve gone if offered it at that age).
However, the idea of following the Dead from Texas to Colorado with her Deadhead friends and Kim sounds like an ideal way to spend part of her summer vacation. So she decides to skip out on the symposium to go truckin’.
And while I have no doubt that Lindsay ends up going to a good college anyway, I’d imagine that those two weeks did more to shape her as a young woman than battling wits with a bunch of eggheads about great literary and philosophic work ever could. She’s probably the kind of person UC-Santa Cruz are looking for to manage their Grateful Dead collection. At the very least, I’m sure she’s got some items to donate.
Thought I’d throw this up here out of respect and empathy for the 9-to-5ers, especially to the ladies who, like me, fantasize about putting a mixed-gender vocal group together and dancing in the middle of the workplace. This one especially goes out to my rad ladyfriends Liz and Kristen, who got some awesome stuff published today. Liz published an article in St. Mary’s law journal about prostitution, sex trafficking laws, and gender discrimination. Kristen wrote a Dark Room guest post on Ryan Gosling’s band Dead Man’s Bones, just in time for Halloween. Proud of you two!
While I’m kinda done the American Office (specifically done with the lack of real consequences for Michael Scott’s ridiculous actions and sorta bored by Jim and Pam), I hope that Mindy Kaling gets creator-writer-star status like Tina Fey.
As an aside, sorry to be a hater, but I’m getting nervous about being done with 30 Rock. TGS, my expectations are sagging and you need to pick it up!
Anyway, I thought I’d post Subtle Sexuality’s way-awesome, super-Autotuned music video for “Male Prima Donna,” the new single from Dunder-Mifflin cube dwellers Kelly Kapoor, Erin Hannon, Ryan Howard, and the ‘Nard Dog, Andy Bernard. Clearly the girls are playing with Lady Gaga fashion, and their developing Valley Girl friendship has been a highlight for me, and I hope Kaling and actress Ellie Kemper are real-life friends. Also, Ed Helms and B.J. Novack rap, the latter while wearing a white top hat. The only thing I’d say is dump that jerk so we can all dance at the office party.
First off, R.I.P. MJ. Something tells me that Mindy Kaling and Kelly Kapoor would want me to pay tribute.
So, my friend Christina, who works at Merge Records, posted this news item on Facebook yesterday and I thought I’d share. Mindy Kaling, writer, producer, and star of The Office, likes her indie rock. She, along with folks like Zach Galifianakis, Amy Poehler, and artists Miranda July and Kara Walker, is compiling a playlist of her favorite songs from the label’s catalog for their 20th anniversary box set! As a bonus, the proceeds from her contribution are going to Doctors Without Borders.
Kaling’s presence on the American Office is one of my favorite aspects of the series (Bitch feels similarly). To quote my friend Liz, Kelly Kapoor’s “hyper-femininity is fascinatingly funny and a window into the absurdity of what pop culture thinks women are and/or like.” Kaling is also responsible for writing some of my favorite episodes of The Office, in large part because they tend to be the most critical of male buffoonery (ex: she penned “Night Out”). She’s also developing her own show for NBC — perhaps a female buddy comedy. YAY!
In addition to which, I love that she’s into indie rock. In my limited contact with Merge personnel, they have struck me as some of the nicest, most down-to-earth people in the music industry. And it goes without saying that I’m excited that a woman of color is aligned with this Merge retrospective, as indie rock can tend to be a white man’s game.
Yay, Mindy and Merge! The box set is already sold out, so place your orders now!