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Showing posts with label SRPS TV Night. Show all posts
Showing posts with label SRPS TV Night. Show all posts

Wednesday, May 2, 2018

Aggretsuko - adorable badass

Yesterday I was logging into Netflix to watch my current obsession (Offspring, a charming comedy-drama from Australia), and saw an interesting looking teaser for something called Aggretsuko, based on a character from the Sanrio franchise. I thought it looked cute but maybe annoyingly so, and I didn't have high hopes for the story, but I figured I should probably check this out anyway, just to have an informed opinion.

A couple of hours later I'd binged the entire thing in one sitting and ran off to rave about it to my friends.

Image of a cute red panda anime character surrounded by office equipment and the title "Aggretusko" in yellow and red lettering.


It starts out showing us young Retsuko, a fresh-faced college grad starting her new job in a big office, full of possibility and hope for the future. Fast forward five years, and she's a burnt out corporate zombie who has to psych herself up to get out of bed each morning. I think many of us can relate.

Retsuko is the dutiful worker who performs her tasks without complaining and doesn't balk when others dump their work on her or when her sexist pig of a boss (who is literally a pig) goes on and on about how useless women are. She's the kind of person who's afraid of speaking up for herself, even when being followed around a store by an annoying sales clerk. In fact, she buys some socks she doesn't even like because she feels bad for leaving without purchasing anything.

A cute anime red panda character sits at a computer in a dark office with a stack of papers on her head.


As meek and timid as she appears, she has a secret. One that involves a microphone: she screams her rage out to death metal where no one else can hear her.

And that's where Retsuko's story really begins. Over the course of 10 episodes, we get to watch her come into her own power, with the help of her friends and the guidance of two older, badass professional women who take a liking to her and see a spark of something great behind the anxiety.

OK, so I don't know the characters in the Sanrio universe other than Hello Kitty, and isn't there a chocolate one? But now I'm starting to rethink my assumption that it was all silly fluff. There's something truly subversive going on in Aggretsuko (Aggressive Retsuko) around women's righteous anger as a force for change.

I'm sure there are some self-rescuing princess types out there who came out of the womb already kicking ass and taking names (yay you!), but most of us have had to overcome a huge amount of societal training. As Amy Pohler said, "It takes years as a woman to unlearn what you have been taught to be sorry for." So much of what we've been taught about our worth and how to interact with the world holds us back. Like Retsuko, we were taught not to speak up or talk back, but instead suffer in silence and rage in private.

A cute, but angry, anime red panda is screaming into a microphone as an anime gorilla and anime bird watch.


Another thing Aggretsuko gets totally right is the role of other women in the process of unlearning. The real power comes from truthful conversations with other women, learning from each other's stories and reveling in the support that comes from that kind of shared experience. It's through her friendships with the two older company women, Gori and Washimi, and her coworker Fenneko, that Retsuko is able to imagine other ways of responding to the injustices of life, both professional and romantic.

Aggretsuko earns the Self-Rescuing Princess Society seal of approval for its story of a young woman coming into her own power, and its positive portrayal of female friendships. We get to watch Retsuko unlearning. It's not a straight line. She has setbacks and stumbling blocks. Who doesn't? But with the help of her friends, she is able to grow into a kickass young woman. I guarantee by the end of the season you'll be giving a super feminist fist pump in her honor.

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Friday, October 28, 2016

SRPS TV Night: Just Add Magic

Three girls find an ancient magical cookbook and through the recipes inside they learn about the power of love, the value of friendship, and the importance of being yourself.

I don't watch a lot of television geared toward the tween set, but when this popped up in my Amazon recommendations I was intrigued. I love cooking and magic and empowering young women, so it seemed like it might be something I could enjoy.

And you know what? It is!

Just Add Magic is the perfect blend of thrilling and charming -- something quite rare these days when shows are either gritty and realistic or saccharine sweet. It doesn't resort to cringe-worthy sitcom set-ups or jokes you can see coming a mile away. It's actually quite enchanting while also being quirky and fun.

The basic premise: Kelly Quinn and her two BFFs, Darbie and Hannah, find an old cookbook in the attic that used to belong to her grandmother, who has become strangely silent over the last couple of months. They quickly learn this cookbook is not for making ordinary dishes -- it's full of magical recipes and mysterious clues. And they hope it will be the key to solving the mystery of Kelly's grandmother's illness... or curse.

But nothing is easy when it comes to magic. These recipes bring a new sense of power, but at a price.

Friday, September 23, 2016

SRPS TV Night: Pitch



I don't usually watch live TV. And I rarely watch TV at night. I'm a fan of catching up the next day or so via streaming or DVR. So, staying up to watch a TV show as it's being broadcast is reserved for the very best shows -- the shows I'm too excited about to wait even a few hours to watch.

So when I said I was going to stay up and watch Pitch last night at 9 o'clock -- when I'm typically ensconced in my nightly bath -- my husband was a bit surprised. To be honest, I was a little worried it wouldn't be worth the special treatment. Well... that worry was gone after the opening few minutes, when it was clear this was something special. By the first commercial break, I was "all in."

The real life build up for this show has been pretty much like the on-screen build up we see for Ginny's first pitch. At every turn in the first 20 minutes of the show, Ginny is inundated with reminders of the importance of her position and the sheer number of people who are either placing their own hopes on her, or are just waiting for her to fail to justify their own sexist beliefs.

That's a lot of weight to place on one person, or one show. In Ginny's case she flounders under this unfair burden. On the big day, with everyone watching, as you might expect, she has trouble focusing, distracted by thoughts of her father, the voices of her detractors, and her feelings of responsibility to the seemingly endless stream of young girls in the stands holding up "We're counting on you" signs.

I'm not going to spoil the show for you, but it's pretty obvious that eventually she does pull it together, with some help from some unexpected places as well as from some trust-worthy friends. And from her own sheer force of will, which, as we learn, she got from her father.

This is classic hero's journey stuff, and it makes for a fantastic emotional roller coaster ride. As much as I enjoy wish-fulfillment fiction, I have been craving a good hero's journey story with a kickass female lead. Seeing my heroes doing the hard work to overcome their challenges is the best source of inspiration for when I'm facing my own struggles.

For this show to be truly successful, we need to be emotionally invested in each of the characters -- love them or hate them -- and this pilot does exactly that, and perfectly so. We get to meet her teammates, her coach, her friends, and her father. We get to meet the people who've helped to make her who she is today through their love and support, or by their dismissal, or even out-right hate.

Honestly, I can't help but think of Ginny's struggles in this first episode as a kind of allegory for our expectations and reactions to this show, and on a broader scale, the often unrealistic responsibilities we place on anyone trying to break this kind of historic barrier. We have to acknowledge how our own hopes influence the way we view someone else's actions, and relax a little and give folks a little room to do what they're good at.
"You do this for you. You do this for your team or you don't go it all. Because you can't aim your pitches if you're aiming to please everyone." 
It is as true in life as it is on the pitcher's mound. After being totally wowed by the first episode, I'm hopeful that Pitch will live up to all of my baseball-loving expectations as well as my feminist hopes. We have a whole season to see how it goes. For now I'm going to relax a little and just enjoy the ride.

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Wednesday, October 28, 2015

TV Night - Supergirl

I'm sure it comes as no surprise to anyone that I have been eagerly awaiting the premier of Supergirl. I've had October 26th marked on my calendar for a while now. I'm sure like many of you, I've been more than a little anxious about how good the show would be.



Well, I've watched it twice already this week (and plan to watch it again once I'm done here), and I'm here to report that it is, in fact, very, very good! It's not perfect (and I'm a more than a little upset that "perfect" is even a goal here, to be honest), but it's great in so many ways. Here are my top three reasons for watching:

Monday, August 24, 2015

TV Night - Switched at Birth

"Sometimes I just wish I could be Daphne. Not deaf, not hearing, just a girl playing basketball."

In the autumn of 2012, I was taking a full load of college classes, working toward my degree. One of my favorite classes that semester was an Adaptive PE class, in which we learned about how to modify physical education and recreational programs for people with physical, cognitive and emotional disabilities. It was also during this time that I discovered season 1 of Switched at Birth on Netflix, and watched it all in one week during break. I was impressed with the show's handling of the specific issues facing the deaf and hard of hearing.



Flash forward three years, and I realized that while I'd stopped after watching season 1, the show had kept going. Two weeks ago I went looking for a new show to watch on Netflix, and found that there were three* more seasons of Switched at Birth to catch up on! Of course, I got started immediately. And I'm so glad I did. Not only was it as good as I remembered, it actually got increasingly better with each season as they expanded on the characters' stories. Plus, my timing was perfect -- I finished last week, just in time for its return for the second half of season 4 tonight (August 24)!

Without going into any spoilery details, here's a short list why you should be watching this excellent show:

Tuesday, March 24, 2015

TV Night - Madam Secretary

I sat down and made a list of all the TV shows with amazing female characters that I'm watching, and my first thought was, "There are so many great shows out there right now!" And then, my second thought, "How in the world am I going to be able to pick just one to review?"

So, here starts a new semi-regular blog series wherein I discuss my favorite shows, one at a time, not necessarily in any kind of order or even in a timely fashion.



So, I know I've already raved about Madam Secretary in another post, but it's such a great show and well worth a closer look (and a longer rave).

Just some of the things I love about this show, with no spoilers for those who aren't caught up:

Thursday, December 11, 2014

SRPS Shout-Out - Shonda Rhimes

Have you seen this? The amazing Shonda Rhimes was honored with the Sherry Lansing Award at The Hollywood Reporter's annual Women in Entertainment breakfast on December 10, 2014. In acceptance, she gave this remarkable speech.

Monday, November 10, 2014

TV Night - Madam Secretary

Over the last few days I have been busily catching up on my TV watching from a couple of weeks. In particular, I have been a bit behind on Madam Secretary, which is one of my favorites from this season. It's not perfect -- it's a bit hokey, in that the crisis always gets resolved by the end of the show, and there's some second tier romance drama -- but overall it's quite a good show.

And, to be honest, I'd still watch it even if it was terrible, just to see Téa Leoni as Secretary of State. I just adore her in this role. Strong, smart, kickass, calm, and totally together except when she's not.

Friday, November 15, 2013

Miss Fisher's Murder Mysteries: Cocaine Blues

Tonight I was looking for something to occupy my brain while I work on some simple tasks for class, and just happened to look at my Netflix home page, which showed some new program I hadn't heard of before called Miss Fisher's Murder Mysteries. My thoughts went something like this:
I like a good period mystery. And Netflix seems to think I'd give it 4+ stars. OK, I'll check it out.
I click the little red arrow and it starts up. A pair of slippers cross the screen and then a pair of white shoes running away. Being chased down by the housemaid with a gift of baby booties?
Oh... accurate-looking period clothing. I like seeing the shoes! I'm intrigued!
Now we see the man in slippers, pajamas and a bathroom as he stumbles to the bathroom sink and eventually falls to the floor. And then the opening credits start with with a jangly jazz number, and then open up to Miss Fisher strolling down the gangplank and into the arms of her friend Dr. Mac.

I'm sold.
I don't know who that woman is, but I already adore her and want to see more of her!

Some great conversation between Phryne and Mac and we learn a little about what has brought her back to Melbourne -- something sad, something about revenge perhaps? Then Miss Fisher is invited off to a meeting with her Aunt Prudence at the very same home where the earlier drama happened! Of course! She arrives just as Mr. Andrews' body is being carried out the very same front door she is entering. Double of course!

And Aunt Prudence! The very first lines out of her mouth are deliciously catty and wonderfully proper.
Oh! I hope we get to see lots more of her! 

There's the curious behavior of the maid, Dorothy. She appears to be afraid of the telephone. We learn later that she's Catholic and that her priest thinks that electricity running through wires is unnatural, and will "sooner or later come into contact with the molten center of the earth and blow up the whole world." Of course, she's soon fired from her position in the house, and taken under the wing of the sexually liberated, mystery-solving, worldly Miss Fisher, which certainly makes for a very entertaining partnership between the liberated woman and the naive maid.
Oh! She is super cute and innocent. What a perfect pair they will make for all kinds of adventures!
Then there's the back-alley abortions, the cocaine use (with a great scene between Phryne and Mac "testing" a sample several times "just to be sure"), sex, shootings, class warfare, curious flashbacks, threats of revenge, and antique car chases. I love the range of women characters. [spoiler] The bad guy in this first episode is really a woman. A smart, flawed woman, almost sympathetic woman.

I've only seen one show so far, but this promising to become my new favorite show. Miss Phryne Fisher is smart, shrewd, sophisticated, and sexy. What else could I hope for in a new television heroine*? Plus, while looking for photos to use for this blog post, I came across some very interesting images presumably from future episodes, and I cannot wait to see the stories behind some of them!



Some of my favorite lines:

Aunt Prudence: Phryne, dear. I hardly recognize the child in you. Apart from the length of your skirt.

Detective Robinson: Miss Fisher, I appreciate your curiosity for crime...
Miss Fisher: Well, every lady needs a hobby.

Dr. Mac: Looks like a nerve powder. Usually prescribed for women, of course, the hysterical sex, for nervous exhaustion, emotional collapse, wandering wombs... that sort of thing.
Miss Fisher: Why on earth would a womb wander?
Dr. Mac: Unnatural behavior will do it, according to Hypocrites. Like celibacy.
Miss Fisher: Oh good. Mine's not going anywhere.

Mrs. Andrews: I rescued us from bankruptcy and disgrace, and I built an empire. All I wanted was my own life back. But John wouldn't let me have it. Judge me if you like. But I saved myself.
Miss Fisher: What a shame it took a life of crime for you to find your strength, Lydia.

Miss Fisher: And she pointed the finger as Sasha De Lisse, and I was forced to discount him with my own... thorough investigation.

Dorothy: Miss, about the job. I don't know what my priest will think of you. Guns and knives, and dancing.
Miss Fisher: Considering your last employers were a drug baroness and a rapist, surely he'll find me a modest improvement.


* Well, I'd also like to see more women of color, more disabled women, more transwomen, more native women, more of all those who are always underrepresented.

Tuesday, January 22, 2013

SRPS TV Night - Downton Abbey: No Way Back

I've heard a couple of complaints that Season 3 of Downton Abbey is more "soap opera-y" than Seasons 1 and 2. That hasn't really been my experience. If anything, it's the same level of drama, with extra doses of "times are a'changing."

Mayhaps the writers recognize that their viewership is predominantly women interested in seeing the differences and similarities between modern life and life for women in the early-1920s. This week's episode is chock full of slut-shaming, votes for women, and figuring out how to navigate the changing roles of women in public life.

Also, is it just me, or is Mary the least interesting sister this season? I'd much rather see more about Edith and Sybil, and their doings. Mary seems happy to have things stay the same, while Edith is curious about the future, and Sybil has jumped right in.

Edith as Suffragette
I hate to admit it, but I'm starting to like Edith. Remember when she was so nasty and horrid in Season 1? That feels like ages ago. It's not that I feel sorry for her after she was jilted at the alter. In fact, I think that was the right decision for Sir Anthony. It was clear that Edith was looking forward to being his nurse-wife, because she needed a project. No self-respecting man wants to be someone's project-husband.


Now that she seems to be settling into her role of eccentric spinster aunt quite easily -- breakfast with the men, handling arrangements for dinner, and writing letters to the editor regarding female suffrage -- I'm starting to like her more. I hope she continues on this vein. It's kind of like what I had expected for Lady Sybil when she was going to those meetings back in Season 2.

And speaking of Sybil...

Sybil loves a ... Catholic, and a revolutionary
It continues to be a point of pain to Lord Grantham that his youngest daughter married the chauffeur. Not only that, but he turns out to be a revolutionary, involving her in dangerous activities. And she defends him and many of this actions. Although I suspect even she wasn't aware of the depth of his involvement. Her support begins to fade when she learns that he attended meetings planning attacks on Anglo-Irish -- people like her family, people like her.
"You never told me you went to those meetings."
"I never told you I didn't."
"And what else haven't you told me?"

I really wanted to see more of Sybil in this episode. And I really wanted her to have more of an argument with Thomas about his involvement in the Irish rebellion. Although, I'm happy to see her putting her foot down on returning to Ireland. It's clear she truly loves Tom and wants to build a life with him. I just wish we had more time with her this season. In a way, it feels like she's left Downton and they're only going to show her new life in relation to the family. What her life is like outside of the house is a mystery.

The road to ruin
We all knew that the moment Mrs. Crawley learned about Ethel, she was going to try to rescue her.  I cannot imagine how difficult Ethel's life has become since she was turned out. I imagine she's had encounters with people more like Mrs. Bird, than like Mrs. Crawley. It's really not hard to imagine that she was effectively forced into a life of prostitution to feed her son. She's a fallen woman, and as such there is no place for her in proper society.

But Mrs. Hughes, font of kindness, readily agrees to help Mrs. Crawley reach out to Ethel, and even speaks kindly of her in the meeting between Ethel and the Bryants. And, then, when Ethel has kissed her son goodbye, she offers her some words of comfort.

"You've done a hard thing today, Ethel. The hardest thing of all."
"You don't agree, do you?"
"I don't want to make you doubt, now that it's happened."
"You've done the right thing for the boy, Ethel, whatever Mrs. Crawley may say, begging your pardon ma'am."
"Perhaps you're right."
"I am. Until we live in a very different world than this one."
With more scenes like this, Mrs. Hughes is becoming my most favorite character. Her compassion and understanding of the underlying societal forces makes her one of the most compelling characters. She's the voice of reason in the house and the larger community. And she clearly knows that the treatment Ethel is receiving is terribly unfair, but she also knows that it's not in her ability to change it.
"What chance is there for a woman like her? She's taken the road to ruin. There's no way back."
She's not saying that Ethel is beyond saving, but that there's no way society, as it is now, will let her come back. But you can see Mrs. Crawley's wheels turning already. You just know she's going to try and fix this too.

Everyone else
And there's some stuff about Thomas (as my friend Cat's husband says, "We hate him!), and Mrs. O'Brien. And loads about Daisy and the new footman. All that will have to wait for another post, I'm afraid. This nasty cold and my homework are conspiring to keep my blog posts short.

I'll just leave you with this, my favorite Dowager Countess line from this show, when they learn of the burning of the castle in Ireland by revolutionaries:


"That house was hideous."

Saturday, January 19, 2013

Happy Birthday Jean Stapleton

Best known as Edith Bunker on All in the Family, Jean Stapleton is a wonderful actor.


She won three Emmy's and two Golden Globes for that role, but she's also been in other shows, movies, and stage productions. She even played Eleanor Roosevelt in a television biopic in the early 80s.


Here's a wonderful interview of her from the Archive of American Television. What a remarkable actor!

Tuesday, July 17, 2012

SRPS TV Night - British women make great detectives!

I have been watching lots of TV series on Netflix on the PS3. It's pretty cool how as soon as I finish a series, the Netflix app gives me three suggestions based on what I just watched. I can chain shows pretty easily, without having to do any searching.

One show I watched recently was Vera. Just seeing the cover, I know it's got Brenda Blethyn, one of my favorites. You may recognize her as Mrs. Bennett from the Pride and Prejudice movie with Keira Knightly, or as the mother from Secrets and Lies, or as the widow in Saving Grace. All three are great SRPS movies.  So, already I knew this was going to be a great SRPS television series. Also, interestingly, she was in a movie entitled The Witches with Anjelica Huston.


I was not disappointed one bit. Well, I was disappointed with the fact that there are so few episodes, but as any BBC series fan knows, that's the price we pay for excellent stories.

Based on the heroine of Ann Cleeves series, Vera is like a kind-but-tough country grandma-turned-police detective. Not exactly a Columbo-type, though. She's not exactly self-deprecating. She's tough. She'll yell and put the fear of God into her staff when she needs to. But she's also kind and clearly a caring member of her local community. Or, as Brenda Blethyn says of her character:
"She's kind of like an ordinary person really. If you sat next to her on the bus and struck up a conversation you'd probably be talking about the two-for-one pries down at the Co-op."

Only season 1 is available on Netflix at this time. One of my favorite episodes is about a murder associated with a controversial quarry project. It's not just the story, but the great roles and performances for everyone involved. The characters are well-developed, complex people with mixed desires. I cannot wait to get my hands on season 2. It has immediately been added to my wish list.

Once I was finished with Vera, Netflix suggested Blue Murder. I have to admit I was a teeny bit skeptical after watching the first 10 minutes. The production values are very different, and not only because the show is a few years older. But I was also intrigued by the premise of a single mother trying to handle raising her children, who is also pregnant, serving as a detective.


In season 1, one of my most favorite storyline was between Janine and her neighbor and friend, Leslie. It's just the real-kind of friendship you'd expect between friendly neighbors helping each other out.

While Vera never really delved into Vera's private life, Blue Murder spends a good amount of time showing us Janine's personal struggles and accomplishments as well as her detective work. And I think that's what I like the most about this show. The investigations are exciting, and usually involve some kind of clever twist, but it's nice to see how Janine juggles her personal responsibilities as a single mother, handling issues with her children and her estranged husband, exploring romantic possibilities, and just trying to keep everything together.

While the series ran for five seasons, from 2003 to 2009, Netflix only has seasons 1 and 2. You can be certain I'll be searching out the last three seasons.

Sunday, July 8, 2012

Happy Birthday Anjelica Huston

Anjelica Huston is one of my all-time favorite actors. Such class, such presence, such beauty!


I think the first movie I saw her in was The Grifters, although imdb tells me she'd been in films and TV shows since the late-60s. She even appeared on Lavern and Shirley twice!


She's currently playing a kick-ass Broadway producer in the show Smash.


I love how in the show, she's clearly an older woman, but still strong, beautiful and happily, healthily sexual. She's what I hope being 61 is really like!

Keep kicking ass, Anjelica!

Thursday, April 5, 2012

Mad Men - all about Betty

So, I've watched this last weekend's newest Mad Men episode twice already, and I'll probably watch it a couple more times, but I wanted to at least start to get my thoughts put into words.


First of all, I love Dawn. I love that she seems to perform her job very well, but that people (like Harry) keep making it awkward. She just wants to be a good secretary, but other people want to keep reminding her about her difference.

But the issue most people have been talking about is Betty's appearance. Which surprises me, really. Every blog I've read has either been blatantly offensive with phrases like "the elephant in the room, literally!" Or otherwise making fat jokes with her as the punch line. Each one feels like a punch in my own gut.


Other posts are mad at the writers for using Betty's weight as a way of making her more sympathetic or "redeeming" her, which I think is kinda weird. I've always thought Betty was sympathetic.

Also, why can't Betty grow and change in her new relationship? Don can become a better father and boss because of his relationship with Megan. I think we're finally going to see who Betty is without the voltile Don-Betty dynamic, and the truly loving adoration with Henry. She can still be a bitch, and I'm sure once her fear of death disappears, she'll return to her old self.


But the other issue I think is interesting, and I haven't read anything about, is the whole issue around being fat in the late-60s, when diet pills were considered so normal your mother-in-law would recommend them. Yes, the scene of Sally and Bobby trying to zip up her dress was juxtaposed with Don neatly zipping up Megan's dress, but I think it's more complex that just a "hey, look, Betty's fat now" thing. Remember last week, when Don was making breakfast for the kids? He asked Megan if she wanted anything, and her response was, "just black coffee for me." And Sally looked at her with admiration. Already, even then, I suspected that Sally was picking up on the notion that women need to be thin to be considered worthy. And, that was reinforced by the ending scene where Betty and Sally were having ice cream, and Sally stopped halfway through.

Several bloggers accused Betty of "stealing" Sally's ice cream. I totally didn't see it that way. Instead, I see Sally's walking away from the table as a kind of rebellion against her mother. Not only is she still angry at her for being a bitch, which I think Betty is actually trying to overcome, but she's adding some fat-shaming in there too. "I'm full." Really? What kid is ever too full to eat ice cream? No, this is more complicated that just Betty being fat. This is about Betty, Megan, Sally and women in general in the late-60s.


Interestingly, the doctor insisted on an exam for the diet pills and even gave Betty some pushback. Of course, as someone who wasn't alive (ex-utero, at least) in the 60s, I don't really know how easy it was to get diet pills at the time. But Pauline, Henry's mother seems to think they're easy to come by. Even the Rolling Stones, who were also an off-camera feature of this episode, had a song about "Mother's Little Helper," that came out in 1966. While the drug in the song is a barbiturate, it seems like getting prescriptions should have been easier than it was for Betty.

But, then again, it's good that the doctor did the exam. And, who knows, maybe after finding nothing physically wrong with her, he would have given in and given her a prescription to give her "a little jump start."


I don't think the show was written to humiliate Betty, although she was certainly well and truly humiliated throughout the show. First, she had to beg off from yet another function. And I'm sure it was because she felt ugly and fat, and not easily fitting into her dress just made it worse. Even Pauline commented on it, saying, "you've missed a bunch of these, Betty."

Heck, just having Pauline come by to talk with her was humiliating. "I know how it happens. You get comfortable and you give up a little bit, and then it just gets out of control." As though her fatness is a moral failure, like she's just being lazy. For a split second, we even got to see the old Betty, when she snapped back, "Why haven't you taken them?" But Pauline takes it in stride, and brings it back around to how Betty isn't pleasing her husband.


When Betty shows up at the doctor's office, she's not her old self, demanding what she's there for. She's contrite. "Well... it's just that I'm wondering... I've put on a few pounds, and I haven't had much luck reducing on my own for some reason." She's hedging. She's trying to be brave, but you can tell she's worried he's going to judge her too. And he does. "Mrs. Francis, when a housewife has rapid weight gain, the cause is usually psychological -- unhappiness, anxiety, boredom, things that cause us to lose our self-control." See, even he is bringing it back around to something she's likely doing wrong.

Of course, it's not her fault. It's a tumor on her thyroid. Which explains the tiredness and lack of regular-Betty behavior. As someone with a thyroid condition, I can totally relate to both the weigh gain and the weird behavior. If I miss taking my replacement thyroid pills for two days in a row, I can totally feel it. That Betty is sitting on the couch in her housecoat eating Bugles is no surprise. And she's not doing it because she's lazy. And I guarantee when her tumor is removed and her thyroid is acting normally again, we'll see more of the old Betty we know and love to hate.


But, even so, it's kinda interesting to me how this show set in the past is trying to tell a story about being fat in the 60s, and people are jumping all over it in the present, totally missing the point. Or, more likely, proving that very little has changed in the last 46 years. Women can't get fat without it being some kind of humiliation or moral failure. Whether it's about how disgusting Betty is now, or how sad it is that they made Betty fat, or how the writers made Betty fat to mock fat women, I think most people have missed the point. She's fat, and she's tired. But, at the end, she's also relieved to still be alive, and adored by a loving husband who doesn't care if she's fat, so maybe she's eating the rest of Sally's ice cream because she wants it and she can. Sally didn't want it. It's not like she pushed Sally down and took it from her. She really wanted Sally to enjoy the ice cream as much as she was so they could share a nice mother-daughter moment (which was a nice juxtaposition with the scene of the new guy Michael and his father), but she is rebuffed.


I'm curious why Betty turned to Don during her moment of fear when she returned home from the doctor's office and Henry wasn't home. I think this really says more about how she feels about Henry. Like maybe she's confused by how he reacts to her. Don was firm, authoritarian with her when they were married. Henry is kind and understanding. But even during the phone call, we can see how Don has changed. She has to tell him, "say what you always say." Meaning she called him for a brisk talking-to to help her calm down. She needed someone to be in charge.

There's a whole lot more going on in this episode, but I don't really have time to give it an in-depth treatment. I love the image of Roger Sterling juxtaposed with all the young kids in the office. Heck, seeing Don and Harry backstage at the Rolling Stones concert with those kids. Or even Don compared to Megan. "You're so square you have corners!" Lots of scenes showing the whirlwind of change everyone is facing. Don's 40, but he may as well be 60.

What about Pete and his power play? He's the new face of advertising and he's rubbing Roger's nose in it. And likely justifiably, considering how Roger was acting in the previous episode.

And Peggy hiring the new guy, Michael. Some claim that Michael is the "new Peggy" but I don't see it that way. He's brash and creative, and I expect there will be fireworks, but I trust Peggy to remain in control of the situation. She's not fooled by him for one second.

Sunday, April 1, 2012

Sunday is coming.


If you're at all like me, you're waiting for Sunday night to arrive and bring a new season of Game of Thrones. If that's the case, then here are some awesome videos to help you bide your time:

Or this gem:
How about a Simpsons version?
And then there's the Game of Ponies awesomeness:

Tuesday, March 27, 2012

Mad Men - It's all about the women


I watched the season premier of Mad Men yesterday afternoon, and haven't stopped thinking about it since. So I re-watched it this afternoon (it's Spring Break, and it's raining, perfect TV-watching time), to maybe sort out some of my thoughts.

The first thing that strikes me, of course, is the political protests in the opening scene. I'm sure it's no coincidence that the handwritten signs in the windows are so similar to the same signs that were places in windows during the early days of the Occupy Wall Street protests last year.

The fact that Don and Roger are laughing about the trouble the folks at Y&R got into for dropping water bombs on the black protestors is quite telling. They're not laughing because their competition is being called out for being discriminatory. They are giddy about the negative attention, but only because they're mad that Y&R stole one of their accounts, not for the actions behind the negative attention. They run an ad claiming they're an equal opportunity employer whose "windows don't open." But instead of running it in the job ads, they run it in the advertising column, with the sole intent of further humiliating their competition. This, of course, comes back to bite them in the butt.


This is not the first time Mad Men has addressed the racial issues of the day, but it is the first time we see it actually in the context of Madison Avenue. Before, it was Betty's interactions with her housekeeper Carla, self-congratulatory politically-liberal Paul Kinsey's girlfriend and their talk about going on the Freedom Rides, and the episode where Lane Pryce was infatuated with the black Playboy bunny, and... well... that's all I can think of. Frankly, I'm curious to see where they go with this. I know there are lots of folks watching, carefully, to see if they treat the subject of race relations in the 60s with the carefulness that other issues have been addressed.

Speaking of the 60s, this is the first episode that really, truly feels like I would expect the 60s to feel like. It's finally feeling like the 60s as I think of them based on my very limited knowledge of the era. The home decor is starting to look eerily familiar to what I grew up in.

Aside from this first peek at what's in store for this season in terms of character lines and cultural stories, this episode felt like it was mainly about the women.


We started out with Sally and Megan. Even if the scene was more about the new-found domesticity of Don, the attention paid to Sally's curiosity about Megan and her father is what stuck me most about this scene. She's curious about Megan in bed with her father, but she's also aware of how his relationship with Megan has turned him into a more caring and attentive father. She genuinely seem to glow when Megan compliments the gift of a shaving brush, as though getting Megan's approval of the gift was as important as her father's.

Then we have Joan and her mother. Actually, we get lots of Joan and her mother. What a great insight into Joan's character through her relationship with her mother. We see them several times throughout the episode and their relationship seems to be a volatile one, with underlying resentments and accusations. We see where Joan gets her wit and ferocity. But by the end of the episode, we also see the caring side of the relationship as well. The scene of them in the elevator is one of the sweetest scenes I've seen in a while. It speaks volumes.

Joan's fight to return to work is a very promising peek into where I hope they continue to explore the role of work as a source of identity in women's lives. Joan is Joan. She needs to be Joan in the office to feel like herself. Her worry about the stability of her job and her tears in Lane Pryce's office are the first real signs of weakness we see in Joan's tough exterior, and they not about her role as a mother or wife, but about her role as an important part of the running of the office. Her self worth is reliant on her position at work, just like many of the men. "I'm sorry, I've been like this since the baby. It's not him. I just keep thinking about what's going on here and I missed it too much." Lane puts it perfectly, "It's home, but it's not everything."


Speaking of women at work, there's lots of snark about Mrs. Draper's work, and totally inappropriate comments about her sexual life with Don. "She should have just rolled over and said, 'Don, what do you think of this?" "I'll bet she says that every morning." This is some of the mildest forms of frat boy humor in the episode, setting up the tension between Megan and everyone else in the office, but also creating extra tension for Peggy and the other women, either pitting them against Megan for attention, or putting them in the uncomfortable position of having to stand up to the boys. Only Peggy really has the guts to do so.

I'm curious to see how the interactions with Peggy and Megan go. Their relationship seems tense, but also a bit companionable.  And how much of the tension is really between Peggy and Don, and only played out with Megan? Peggy's anger about Don's uncharacteristic response to the Heinz folks who aren't impressed with her Bean Ballet idea is telling. She wanted the old Don to open fire in her defense, and say "what he usually says, 'Hey buddy, if you got such great ideas, why don't you open your own agency.' The clients are right all of a sudden? I don't recognize that man. He's kind, and patient." "And it galls you." "No, it concerns me."


At the same time, I see Megan trying to find and use her power, a lot of which lies in her sexuality. Which, of course, is what all those jokes in the office are about. Her song and dance for Don's birthday party is definitely feeding the fire of talk in the office. The scene in the kitchen with Harry and Stan, with Megan hearing what Harry is saying, was painful. How many times has something similar been played out in offices over the years? At least in this case, Harry was ashamed of himself.

What, or who, is she trying to exert her power over? The work she's doing is clearly something she wants to do and to take pride in. But she's also exerting power over Don, who is clearly unused to being in that position. She predicts that after the party, "everyone will have sex." But she and Don don't. He's mad, and sulking. The scene where she's cleaning up in her lacy underwear is clearly a power play. She's goading him. At least this time it worked.


Sure, there were interesting scenes with men, and about men, but the best were about the men in relation to the women in their lives. The men-only business scenes are just more of the same. They're still wonderful Mad Men scenes, but they pale in comparison with everything else happening -- Pete and Roger bickering, the running gag with Bert Cooper not knowing what's going on around him -- those scenes are in black in white compared to the vibrancy of the scenes with Joan, Megan, and Peggy.

Case in point, the scene on the train with Pete and the other man, Howard, isn't about work, but about their dissatisfaction with their married lives. "They don't understand." I love how this shows how little the wives understand about being a working man who needs time with his thoughts, but this lack of understanding goes both ways. Pete had just finished complaining about how Trudy is finally "getting back to herself." He goes on to say, "There was a time when she wouldn't leave the house in a robe."


Later, when Pete comes home late from work (to a house that is far too similar to Don and Betty's old home to be mere coincidence, I might add), he tries to complain to Trudy, saying, "There's no fruit to my labor." She replies with, "I guess none of this counts, an acre of land, a wife, a child." But, in his mind, "That has nothing to do with work."

The husbands don't understand the concerns and problems of the wives, and the wives don't understand the husbands' pressures at work. Each is trying to live up to some ideal set by society, which is a recipe for disaster. I really hope we see more of this discussion of gender roles and how they started to shift in the 1960s.


Also, can I just say: Peggy with the baby and Pete walking in?! Roger holding the baby?! And what's with Lane and the photo of Dolores? Do you think the guy with the wallet knows that Lane kept the photo? 

And, then, in the final scene, the juvenile ad prank on Y&R comes back around and takes a big old chomp. I can't wait until next week!


All photos from AMC's website.