TV: Girls Acknowledges Its Privilege.

girls sandy hannah fight

In last week’s season two premiere of Girls, I thought Hannah’s sex scene with her new black boyfriend (played by Community’s Donald Glover) within the first few minutes was a bit on the nose, but at least Lena Dunham and the other writers are making an effort to remedy the lack of people of colour that plagued the last season.

So while last night’s speech by Glover’s Sandy was equally as conspicuous, it was also a pertinent commentary on Girls, racism, hipsterism and progress:

“Oh, I’m a white girl and I moved to New York.. And oh, I got a fixed gear bike and I’m gonna date a black guy and we’re gonna go to a dangerous part of town…”

Hannah refutes by saying the fact that Sandy’s black has never occurred to her until he just brought it up:

“I don’t live in a world where there are divisions like that.”

Fair point, as that’s an ideology I try to adopt myself, and it’s also the reasoning Dunham supplied last season when the race issue was brought up constantly. Ultimately, it wasn’t Sandy’s race that created division in their relationship, it’s the fact that he’s a Republican. Hannah just couldn’t “be with someone who’s not an ally to gays and women”. Fair enough.

Related: Girls Are Complex Creatures.

Girls: Pretty Girl Problems.

Girls: Sexual Harassment & Invasions of Privacy.

Girls Just Want To Have Realistic Expectations.

Image via Ch131.

TV: Domestic Violence, Sex Work, Abortion, Women Proposing to Men, Marriage Equality, Euthanasia… Who Knew Winners & Losers Would Be So Progressive?!

winners & losers

The season finale of Winners & Losers aired little more than a week ago on Channel Seven, and the issues of domestic violence, sex work, co-parenting, abortion, women proposing to men, marriage equality and euthanasia got me thinking about just how progressive the show is.

What started out as an entertaining little serial about four high school friends who decide to enter the lotto—and win!—after a particularly traumatic ten-year high school reunion has proved to be one of the only Aussie soaps tackling the hard issues.

While the first season was more about the romantic ups and downs of four Melbourne girls and how they dealt with their lotto win, whispers of what was to come in season two were heard in the finale, when Bec married Matt only to discover that she was pregnant with Doug’s, who’d finally gotten it together with med school bestie Sophie, baby! Phew!

With Bec being entangled in such a messy love square of course the “tender issue”, as Ann Romney would put it, of abortion would be brought up. It was disappointing that the non-existent abortion only received a one-episode story arc, but I was proud of the series for showing the nuanced ways different people deal with terminating a pregnancy, namely Sophie, who last episode found herself embroiled in an unwanted pregnancy situation of her own.

But it goes to show that as many views on abortion as there are IRL, there are in Winners & Losers. So far we’ve only seen the reactions of Bec (staunchly pro-life when it comes to herself, but supportive of the choices of other women), Doug (who expresses disbelief that his virile sperm has resulted in two unplanned but ultimately wanted pregnancies in the past year!), and Sophie (who chose her choice of abortion and underwent the procedure the same day in last fortnight’s episode. Oh, if only abortion were that easy to obtain for so many women…), but judging from the alternative lifestyle of Frances and the tumult of Jenny’s existence recently, they’ll see beyond the political mess that abortion has become and empathise with their friend first and foremost.

The irony of bringing a “bandaid” baby into the world to heal the wounds between the two doctors is not lost on Doug. Sophie reasons that she’s “taken the morning after pill before; it’s not that different” (except that the morning after pill prevents implantation while an abortion is literally terminating an already implanted pregnancy. So, not entirely accurate W&L writing team.) and Doug retorts that he’s “not some one night stand”, insinuating that pregnancies that result from casual sex can only be and are the only unwanted ones.

Season two has been jammed packed with human rights matters like there’s no tomorrow. Flirty Cat came on the scene only to die a medically-assisted suicide a few episodes later. It was revealed that not only was high school mean girl Tiffany suffering physical abuse at the hands of her rich, Brighton-dwelling partner, but she was receiving money from him in return for her sexual services. Unfortunately, only on television could this come to light in a custody hearing and the mother still be able to see her children. On a not-so-well-though-out whim Sophie decided to propose to Doug because she knew how much marriage meant to him, only to break off the engagement two weeks later. While that storyline might not have turned out for the best, at least the show gave the notion of a woman proposing to a man without stigma a go.

Winners & Losers is certainly not faultless, and it has a long way to go when it comes to racial diversity and tackling stereotypes of non-straight people (Cat kissed women in a slightly male-gazey way, while Jonathan is a walking gay man trope), but it has to be given props for at least attempting to unpack the issues that many Australians face every day, but are so seldom seen on our screens.

Image source unknown.

TV: Gossip Girl Returns to Form as it Takes Inspiration from its First Season.

Finally, Gossip Girl is slowly but surely returning to its so-bad-its-good dramatic roots, taking inspiration from its first season as the show did in its fifth season finale: Blair struggling to stay on top, Rufus and Lily at loggerheads, and Dan and Serena rekindling their flame on a Vespa!

Nelly Yuki is finally getting the last laugh against her high school nemesis Blair who, try as she might, can’t seem to find a way to revive her mother’s struggling clothing line. Eleanor Waldorf returns to make sense of the mess Blair has left, what with Sage Spence’s penchant for stripping off Blair’s designs, and shames her daughter for being a sexual deviant. While I’m not a fan of the slut-shaming, Eleanor makes a good point when brings up that the plotting and scheming that we all know and love Blair for is so high school, and urges Blair to embrace her “Grace Kelly side”, not her “Grace Jones side” in order to save Waldorf designs.

Enter Nelly, who is now a Women’s Wear Daily reporter, much to Blair’s chagrin. Reverting to their high school selves, Nelly finds Blair contemplating her navel on the Met steps, a location GG die hards will know from the early days of the show that Blair and her minions frequented. When Nelly insinuates that Blair—wearing a headband to boot—is essentially still stuck in high school, she has an epiphany: Blair needs to embrace her striking-fear-in-the-hearts-of-teens attitude in order to be a tastemaker for the 12-25 set of young fashionistas. Ahh, the Met steps: inspiring people everywhere.

Just like in the inaugural episode of the show, Lily and Rufus are fighting in an art gallery. Rufus’ gallery opening is all set, but when Ivy checks the RSVPs, it turns out everyone’s going to a charity art benefit that Lily’s hosting. Ivy, using CeCe’s money gifted to her by Lola, buys all of Lily’s art and replaces it with the artwork from Rufus’ gallery. Meanwhile, Chuck is trying to prevent the sale of one of the works Lily has donated as he thinks Bart has hidden evidence of his illegal oil dealings in it. He has, but Ivy buys the painting off Lily and intercepts Bart’s documents before Chuck can get a hold of them. Phew! Got that?

Finally, it seems the love between former step-siblings Dan and Serena has reignited, after Serena offers to take Dan apartment hunting. Conveniently, Dan has bought a Vespa after his summer in Italy, and, his and Serena’s first date five long years ago. From the photos leaked from the set of the final episode (wedding!), it looks like this time around their relationship is for keeps…

Related: Gossip Girl Season 5 Finale—What Goes Around Comes Around…

Alexa Chung, It Girls & Gossip Girl.

Images via Sockshare, Hello Giggles, Gossip Girl Screencaps, Internet Movie Cars Database.

TV: The Underlying Message in Glee’s “Makeover” Episode.

With the U.S. presidential election taking place one day before Glee’s “Makeover” episode—in which McKinley High’s class presidential election occurred—aired in Australia, Glee showed that it is capable of some self-awareness and social commentary every now and then.

Shades of Brittany’s bid for last year’s class presidency can be seen, but where that episode dealt more with the feminism of both the 2008 and McKinley’s elections, last night was about the celebrity culture that surrounds voting.

Blaine tries to make this clear when he admonishes Brittany for using her popularity to influence the glee club members to vote for her. “This isn’t a popularity contest; it’s about who’s got the best ideas.” That may be so, but the creators saw fit to milk this angle for all it’s worth with a “Celebrity Skin” by Hole montage.

While Brittany chooses to run with “part-robot” Artie, whom she forgot she dated several seasons ago and broke up with because he called her stupid, as her vice presidential candidate, a category which Sue Sylvester points out has been introduced “for no discernible reason whatsoever”, she suggests Blaine pick Sam as running mate. Sam assures Blaine he’ll bring in the “sympathy” and “not-gay vote[s]” because his family is on food stamps and he’s not gay: kind of like John McCain picked his “granddaughter” (according to Brittany) Sarah Palin as vice presidential candidate in 2008 to seemingly ensure the “female” vote to no avail.

Brittany’s influence on her opposition seemed to work to her disadvantage, as at the end of the episode we see Blaine and Sam (“Blam” as they are collectively called on the congratulations banner) celebrating their victory. Blaine is experiencing some self-doubt and displacement at McKinley when Kurt is more focused on his new intern-career at Vogue.com with guest star Sarah Jessica Parker (who herself is heavily involved in politics and the campaign to get Obama reelected, serendipitously enough) than him, but Sam says being the school’s “first gay-guy president” whose place of birth is brought into question by Brittany is something to be proud of, just like Obama was America’s first black president whose birthplace was also called into question by a fellow “celebrity” perhaps bitter about Obama’s influence in Hollywood: Donald Trump.

Related: The Underlying Message in Glee’s “Asian F” Episode.

Image via AllMyVideos.

TV: The Underlying Message in Glee’s “Britney 2.0” Episode.

Did Glee really need to do another Britney Spears episode? As Artie pointed out, “we’ve scraped the bottom of that Britney barrel” but Britney’s made a comeback as judge on The X Factor broadcast on the same channel as Glee—Fox—so both shows are running with the Britney theme no matter how uninspiring she’s become.

Apparently New Directions “really came into your own during the last Britney week”, according to Mr. Shue, and what he says goes. Coincidentally, Brittany S. Pierce is undergoing a meltdown the same week the glee club resurrects her idol and namesake’s back catalogue. She’s feeling rejected by her long-distance lady love Santana, was kicked off the Cheerios and subsequently lost her high pony. Channeling Britney circa 2008, Brittany says if she can’t have her high pony then she doesn’t want any hair at all, and attempts to shave it off before attacking McKinley High’s resident paparazzo, Jacob Ben Israel, with an umbrella.

I appreciate the satire Glee is trying to undertake here, revealing that Brittany’s crisis—which culminates in Brittany getting busted for leading New Directions in a lip-syncing rendition of “Gimme More”, replete with Britney’s junk food of choice, orange soda and Cheetos—was her “intentionally hitting rock bottom… so I can make a comeback like Britney”, but they either push it too far bordering on racist, ableist, homophobic, sexist, inappropriate crap (case in point: resident Jesus-lover, Joe, singing Britney’s song about a threesome, “3”) or not far enough, as with last night’s episode as a whole.

Britney Spears’ tragic life is ripe for the picking—the recent revelation from former paparazzo turned Britney’s manager turned collaborator with Courtney Love on a musical about her and Kurt Cobain’s life together that Britney used to do crystal meth—so much so that Christie Whelan’s turn in Britney Spears: The Cabaret was the exemplar of how to do a Britney satire. Glee’s “Britney 2.0” was not.

Related: The Underlying Message in Glee’s “Britney/Brittany” Episode.

The Underlying Message in Glee’s “The Spanish Teacher” Episode.

The Underlying Message in Glee’s “Yes/No” Episode.

Glee: The Right & Wrong of It.

Glee: T.G.Inappropriate.F.

“This is a Story About a Girl Named Britney… I Mean Lucky!” Britney Spears: The Cabaret Review.

Images via Ch131.com.

TV: Has Smash Jumped The Shark With This Bollywood Number?

This post was originally published earlier in the year when Smash first aired on Foxtel’s W, now SoHo.

My reaction to the above scene is equal parts cringe and intrigue. While it could be seen to be pushing the boundaries, and it does tie in with Dev’s Indian heritage and movie star Rebecca Duvall’s racial ignorance, it could also very well be the moment when Smash jumped the shark. What do you think?

Related: Has Smash Jumped the Shark with this Bollywood Number?

The Problem with Smash.

TV: Alexa Chung, It Girls & Gossip Girl.

It was just last week that I admonished Gossip Girl for losing its relevance, but last night’s episode sure proved me wrong when it featured newsworthy It girl-of-the-moment, Alexa Chung.

Chung’s been in the news recently with her comments on her fashion icon and thinspiration status:

“… You can appreciate my style without having to appreciate my weight. It’s not actually mutually exclusive. I just get frustrated because just because I exist in this shape doesn’t mean that I’m like advocating it…

“I’ve been dragging my ass around castings for years without anyone saying, oh you’ve got unique style. I think it was very much a case of being in the right place in the right time. I’ve really just been ripping off Jane Birkin. Sorry, has no one else seen a picture of Françoise Hardy? Look it up. I’m just the middle man.”

It’s an interesting discourse which I’m not going to go into here but is discussed at length by Rachel Hills, both at Musings of an Inappropriate Woman and Daily Life.

Interestingly, at Blair’s debut fashion show in which Chung models as herself, a lot of her collection is clothes Chung would wear in real life. Okay, maybe just the straw hats that all of Blair’s models accessorise with… And come to think of it, newbie Sage has a certain Alexa-air about her…

Related: Gossip Girl Becomes Even More Irrelevant in its Final Season.

Elsewhere: [Jezebel] Alexa Chung Doesn’t Want To Be Your Thinspo: “Just Because I Exist in This Shape Doesn’t Mean I’m Advocating It.”

[Musings of an Inappropriate Woman] When “Style Icons” Speak: My Response to Alexa Chung on Body Image.

[Daily Life] Skinny Privilege.

Image via Ch131.

TV: Gossip Girl Becomes Even More Irrelevant in Its Final Season.

Gossip Girl premiered its sixth and final season in the States two weeks ago and it’s being fast-tracked to Fox8 in Australia like so many U.S. shows are these days (I can’t keep up!). While its finale is a long time coming and I’ll always be nostalgic for the good old days of GG (seasons one and four were probably my favourites), I think Gossip Girl has finally lost the plot.

Last season’s finale seemed to juxtapose where all the characters started out with where they might end up, and fans held out hope that the show would return to its soapie-scandalous roots with Dan wreacking revenge on the Upper East Side, Serena being the lost cause that inevitably rears its head at least once per year, and Blair and Chuck teaming up to drag everyone down with them, namely the traitorous Bart and Lily.

Two episodes in and the season’s not starting off as strong as it could have, and Dan’s struggling to avenge the wrongs he feels he’s been handed by his socialite set of former friends and lovers. Partner-in-crime Georgina spent last week’s episode arranging meetings with all the major New York publications—New York, The Nation, Vanity Fair et al—but Dan instead opts to publish his exposé in serial form in Nate’s Spectator, a fledgling newspaper that’s struggling after Nate let the “who is Gossip Girl” scoop go in exchange for finding Serena.

Seriously?! I mean, despite the fact that The Spectator is a new newspaper in a sea of old-media extinctions run by a presumably not-even-21-year-old that relies on unmasking a high school blogger to sell copies, channelling Dominic Dunne, who rose to fame with his Vanity Fair pieces on crime and justice for the rich and famous in the ’80s, Dan is barking up the wrong tree in trying to get “the memoir he should have written” serialised in a magazine, only highlights the show’s irrelevance.

Georgina opines that once they can get a magazine to bite, in will roll the money, fame and movie rights. Um, hello, blogs are where it’s at these days. Look at all the Tumblrs and Twitter accounts that now have books, TV shows and movies based on them: Suri’s Burn Book, Fuck! I’m in my 20s, Shit My Dad Says, The Social Network, Stuff White People Like, The Sartorialist… I could go on forever. We know Dan did the whole book-to-movie deal, Rufus crapped on about “creating a groundswell” by word-of-mouth, and Serena tried her hand at blogging last season, but if Gossip Girl wants to “move on” from high school and debut in the adult world, as Serena so desperately desires, she’d better stop living in the first half of last decade.

Sage, Serena’s boyfriend Steven’s 17-year-old daughter and Nate’s new girlfriend (phew!), perhaps puts it best when she said, “Nobody in high school reads Gossip Girl. It’s for old people.” Or people who just can’t move on from the way things used to be.

Related: Gossip Girl Season 5 Final—What Goes Around Comes Around…

Is Serena Our Generation’s Dominic Dunne?

Gossip Girl Thinks Bloggers Aren’t Good Enough.

Image via YouTube.

TV: The Problem with Smash.

This post was originally published earlier in the year when Smash first aired on Foxtel’s W, now SoHo.

Smash, the Steven Spielberg-produced musical-serial about a Marilyn Monroe Broadway show, debuted with promise. I quite enjoyed the first few episodes, with Debra Messing as one of the musical’s writers, Angelica Huston as its producer, and Broadway star Megan Hilty as the number one contender for the role of Marilyn. But then Smash kind of plateaued.

Clem Bastow, writing for TheVine, seems to think it’s because of Katharine McPhee’s inclusion as the other competitor vying for the lead, and I have to agree. Bastow writes:

“The trouble with McPhee’s performance in Smash is that it jolts me out of my suspension of disbelief… [B]ut whenever Karen/Katharine opens her mouth, the fourth wall comes crashing down around me. Her voice is thin, her performance mannered, she acts with her chin like a young Gwyneth Paltrow, and self-consciously holds her mouth in such a way to suggest a very pretty female version of Jack Nicholson’s Joker.”

I’m all for Hilty’s Ivy Lynn, who’s spent ten years in the chorus and lives and breathes Marilyn through and through. But I just can’t get behind McPhee’s Karen Cartwright who, as Ivy rightfully observes, got to New York five minutes ago, hasn’t paid her dues and is already getting callbacks for lead roles. She can’t act (McPhee as Karen nor Karen as Marilyn), complains about everything and is an ineffable dolt.

But in the last few weeks, Smash has been looking up. I immensely enjoyed the episode when Ivy lost the plot after being replaced as Marilyn by Uma Thurman’s major movie star, Rebecca Duvall, and had to go back to being an angel in the chorus line of Bombshell’s (the name they’ve settled on for the fictional—but very well could be a real Broadway show if Smash’s commercial success continues—musical) writers’ other Broadway show, Heaven on Earth. Ivy loses it, mixes her throat medication with alcohol, goes on stage high, and ends up singing Rihanna’s “Cheers (Drink to That)” with Karen in Times Square (video above. Please excuse the horrid quality, but I wanted a clip that actually showed the scene rather than just the audio).

I still can’t stand Karen and Ellis, the sneaky assistant to Huston’s Eileen and, formerly, Bombshell writer Tom Levitt but, if it’s about Marilyn Monroe, I’m willing to let Smash go out with a bang.

Are you watching Smash? What do you think of it?

Related: The Problem with Smash. 

Elsewhere: [The Vine] You Ain’t Gettin’ 88 Cents From Me, Smash.

Image via Crushable.

TV: The Puberty Blues Give Way to Feminism.

There was an inkling that Ten’s standout show, Puberty Blues, would touch on ’70s-era second-wave feminism a few weeks ago when Sue tried to borrow her boyfriend’s surfboard. Then, last week, she expressed dissatisfaction with their sex life and her partner told her not to “get all femmo” on him. Throw in Sue and Debbie’s strong mothers, and Puberty Blues really taps into “the problem that has no name”—The Feminine Mystique—that both Gary and Debbie’s mums experience, as well.

The show deals tenderly but realistically with Debbie’s parents’ relationship breakdown and how a strong woman in the house both working and doing the domesticities can cause tension in the home. Debbie told her mum in last night’s final that she really admires her for working and having a family, and that makes her believe that she, too, can lead a “big life”.

After saving an old friend from repeated gang rape in the back of a panel van, Debbie and Sue feel empowered and emboldened to do something else with their newfound feminist leanings. So, with nothing to lose in the form of boyfriends and keeping up appearances in the “cool” clique, the young girls the show is centred around venture away from the towels on the beach that is the domain of the “molls” and try their hand in the surf. You go, girls!

Image via This Island Continent…