Maybe an excess of cultishness will just always disgruntle me. It's not like I've read every last online analysis of last week's episode of Mad Men—of course not, because I'd still be at it at age 90. But I got irked anyway when I couldn't turn up any heretics willing to opine that the big shock of Christina Hendricks's Joan consenting to be pimped out by her bosses at Sterling Cooper Draper Pryce for the sake of landing the Jaguar account was kind of, how you say, jiveass.
We’ve been talking all kinds of heavy-duty topics lately, haven’t we? Rape, anti-gay violence, fistulas—the kinds of things things that you might not want to bring up at your family’s dinner table. (Speaking of which, having family dinner conversation about your day can be a bit strained when one parent is a prosecutor who focuses on murder, child rape, and sexual assault, and the other is a journalist drawn to social injustice and evil deeds generally. “Hi, honey, how was your day?” “Saw some autopsy photos. Dude smashed her face into a zillion pieces with a mallet. And you?” “Oh, learned more about that Sierra Leone story in which four-year-olds were kidnapped for American adoption.
Me, some years ago, sneering at a pompous ass who is sneering right back.
Whenever Paul Krugman goes on television, you can see his discomfort coming off him. Or at least that's what I see; since I've never met him in person, I don't know how much his television manner differs from his ordinary manner. But he always looks as though inside he's shaking his head, saying to himself, "This is such bullshit. I can't wait to get out of here." And it's hard to blame him. The other day, Krugman did a debate on Bloomberg TV with noted economic crank Congressman Ron Paul, and came away utterly disgusted...
Barack Obama is too cool to be President: It’s the implicit argument of the new ad from Karl Rove’s mega PAC American Crossroads, which shows President in a series of his cooler moments, and tries to argue that such coolness undermines his ability to do his job. The ad makes no logical sense, of course. There’s no reason to think that a quick wit or good taste in music somehow prevents someone from understanding how to run a country. But then again, this is Karl Rove we’re talking about, a man who built his career tapping the animal instincts of the electorate, hoping to activate the knee-jerk reactionary inside all of us just long enough to win at the polls.
One of the reasons Game of Thrones quickly overcame my aversion to medieval fantasy stories was its fresh approach to storytelling. From the diversity of characters to the emphasis on the voices of those of diminished status, the show lays waste to some clichés of television. Which is all the more reason that I was disappointed this past Sunday when the show resorted to what has become the most tiresome trope on television: the use of torture scenes to create tension. I’ve really hit a limit this time, and would like to ask the world of TV writers to try to go a year---longer, if possible---without raising the stakes by chaining one character down as another comes up with elaborately sophisticated ways to inflict pain.
The Washington Post has a feature in their Style section called "Hey, Isn't That...?" which reports on celebrity sightings in the District. It isn't a gossip column like you'd find in a paper in New York, it's just brief, breathless accounts of how an actual celebrity was right here in our town. Like, Susan Sarandon was spotted at a restaurant in Georgetown! Pinch me! It shows just how provincial DC can be. Which is why people here seem very taken with Veep, the HBO program that premiered last night. As Tom Carson pointed out last week, there are some things the show gets wrong, like the fact that people treat the Vice President without much deference. And there are some things it gets right, like the look of offices on Capitol Hill (incredibly cramped, with people having to step over each other to get to their desks; see the picture that accompanies this post). And of course, some characteristics and scenarios are exaggerated in unrealistic ways—that's comedy. But the show's two least likable characters are so spot-on it almost gave me the shivers.
Brought to us by The Thick of It and In The Loop creator Armando Ianucci and starring Julia-Louis Dreyfus as ditzy, vainglorious Vice President Selina Meyer, Veep, which premieres Sunday, is HBO's bid to break TV's long-standing jinx on shows about politics. And ... jinx, you ask? Hey, bub, what about The West Wing?
That's just it. The hat trick of The West Wing—which was at its worst and least convincing, you may recall, when obliged to gingerly dramatize Jed Bartlet's re-election campaign—was that it wasn't about politics at all. Certainly not in that greasy-pole way Disraeli told us about and that Robert A. Caro, whatever his frighteningly humorless virtues, fails to enjoy.
I didn’t get to watch the premiere of HBO’s new series Girls before witnessing the amazing amount of hype that managed to create a backlash before the show even aired. Having now watched it, I really wish I could have gone back in time and done so without reading so much about what the show says about TV, women, Brooklyn, education, the economy, and sex. I think I would have liked it more being free to watch it as I do shows about a group of male characters—a show about unique people doing stuff and being relatable because they are individuals.
The new TV series GCB—originally titled Good Christian Bitches after the book of the same name—premiered last month on ABC. Don’t Trust the B–– in Apt. 23 will premiere on the same network April 11. Can you imagine a network using “the N word” in a show title? Don’t trust the N-word in Apt. 23. That won’t happen, but between 1998 and 2007, the use of the word “bitch,” on television tripled, from 431 uses on 103 prime-time episodes in 1998 to 1, 277 uses on 685 shows in 2007. I don’t have the figures for 2012, but I’d be willing to bet that this latest development means our culture is even more comfortable with the term.
Is it callous to call the Titanic’s sinking everybody’s favorite disaster? No doubt, but you know what I mean. Considering how oodles of the tragic minutiae no buff can do without bump up against the climax’s unknowns, April 15, 1912, is like an ideal cross between the assassination of JFK and the Alamo.
Confession: I only recently started watching Game of Thrones. Despite all the hype from people whose taste I trust, the swords-and-dragons thing just doesn’t appeal to me, even as much as horror or sci-fi. I must now admit I was wrong in my prejudice. The show’s deft characterization and careful plotting have overcome my native hostility to anything with a Ren Faire vibe. Of particular interest is the character of Tyrion Lannister, brother of the deceitful queen and a Renaissance man stuck in a medieval world. He’s also one of those rare characters in Hollywood: someone who has a disability but is not defined by it.
Aaron Sorkin, the creator of The West Wing, among other things, is coming out with a new HBO series called The Newsroom. What can we expect? If Sorkin's oeuvre is any indication, we can expect lots of rapid-fire dialogue delivered while people are walking purposefully down hallways, surprisingly cogent explanations of issues, and, above all, thorny moral quandaries tackled with bold truth-telling. Let's take a look at the trailer:
I can't help wondering how many politicos—and long-suffering political spouses, too—are secretly hooked on HBO's sexy, hugely entertaining Game of Thrones, whose very lively second season kicks off Sunday. Not because they can identify, mind you. It's just hard not to imagine them envying their fantasy equivalents in George R.R. Martin's brutally uninhibited realm.
I’ll have to work this in quickly before it becomes a cliché, but despite the show's title, female characters have eclipsed male characters in audience sympathies on Mad Men. Identity is the show’s primary concern, putting the rapidly changing gender roles of the '60s at the center of its plot developments. And, the face showrunner Matthew Weiner gave post-'60s America is a female one. One thing seems certain to pass, despite the show’s unpredictability: Peggy Olson will eventually eclipse Don Draper, her mentor.