As many of the West Wing faithful have gleefully discovered, all seven seasons were recently added to Netflix Instant, which means I know what I'll be doing for the next few months.
The West Wing isn’t a perfect TV show in its depiction of women, but it’s better than most. So what went wrong with Sorkin's newest show, The Newsroom, which struggles to present even one plausible female character?
As a sad teenage liberal, disillusioned with the Bush administration, I grew up on The West Wing. The political world that Sorkin depicted—one that passed the Bechdel test, where women’s reproductive rights mattered to the president, the press secretary was a woman, and the first lady was as awesome as Rizzo in “Grease”—wasn’t a reality then, but watching TheWest Wing made me think it could be.
Less charitably, The West Wing is porn for liberals.
I wasn’t sure it would hold up this time around. But it does. The writing is still excellent, and the issues explored on the show—gun control, abortion rights, marriage equality, gender parity, terrorist threats—aren’t any less timely now than they were in 1999.
Last week’s weirdly controversial Girls episode "One Man's Trash", was defined by melancholy. This week's episode, “Boys”, articulates that melancholy in a precise way with a metaphor about—what else?—Staten Island. Ray describes Staten Island as a place where people who want to live in Manhattan but can't are relegated to watch the city in a “quiet rage” on its fringes.Ray’s not talking about Staten Island—he’s talking about himself, Adam, Hannah, Marnie and all the other young characters on the show.
Even with book deals, fancy art parties, a seemingly perfect relationships,Girls' characters want more from their lives. The main characters all present a veneer of being okay with where they are, while actually longing to change their lives.
In this episode, Hannah finally she seems motivated. She's sent out some essays and has met with the editor (played by John Cameron Mitchell fromHedwig and the Angry Inch!) of Pumped magazine. He’s read her essays and describes them as “sweet, naïve and infuriating” but asks Hannah to write an e-book for him. The only catch is that he needs it in a month.
We live in an era where anyone can increasingly curate their own personas, even us “normals” as 30 Rock'sJenna Maroney would say. Any nobody with the internet can create and filter the public perception of their personality, but of course this self-conscious curation is most obvious with pop stars—Lizzy Grant turned into Lana Del Rey, Christian pop singer Katy Perry became whipped-cream-loving pop superstar Katy Perry.
No one is better at this than Beyoncé. With Life Is But a Dream—the documentary directed, written and produced by Beyoncé herself that aired on HBO this weekend—Beyoncé appeared to give fans an intimate peek into her life while actually delivering, of course, a carefully constructed portrait.
The film is a mishmash of home videos, selfie Photobooth confessional videos (always sans makeup and looking flawless) and more typical documentary style video. It’s not completely linear—it’s more like you are watching a collage, a scrapbook of moments in Beyoncé’s life.
In the third episode of RuPaul's Drag Race, twelve queens remain to fight tooth and nail polish for the crown. In this leg of the competition, a children's show challenge separated the Muppets from the babies. I've illustrated my six favorite moments from episode one and episode two of Drag Race, here's the hits from this season's third glittering installment.
Today is Galentine’s Day! This fictional-turned-actual holiday from NBC’s Parks & Recreation is a day for ladyfriends to celebrate one another’s awesomeness. All week, Bitch has posted two daily Galentine’s cards featuring Parks and Rec characters that I drew for you to share with your friends—here's the final batch!
This Wednesday is Galentine’s Day, the fictional-turned-actual holiday from NBC’s Parks & Recreation, wherein ladyfriends grab brunch and celebrate one another’s awesomeness. To help get you in the mood, from today through Wednesday Bitch will post two daily Galentine’s cards featuring Parks and Rec characters that I drew for you to share with your friends!
Love it or hate it, Girls fits into a specific, maligned literary genre, noted television critic Emily Nussbaum in this week's New Yorker. Nussbaum compares Girls to previous works about young women, most notably Mary McCarthy’s 1963 novel The Group. Like Lena Dunham's show, critics at the time called The Group drivel about self-important, privileged young women. But that hasn’t stopped dozens of women from continuing to publish similar stories. As Nussbaum writers:
These are stories about smart, strange girls diving into experience, often through bad sex with their worst critics. They’re almost always set in New York. While other female-centered hits, with more likable heroines, are ignored or patronized, these racy fables agitate audiences, in part because they violate the dictate that women, both fictional and real, not make anyone uncomfortable.
This week’s Girls episode, “One Man’s Trash,” reads like a short story from McCarthy, Sylvia Plath, or, I would even say, from Raymond Carver. It’s a story that’s based on the uncomfortable nature of two lonely people who just want to experience something else for a brief moment.
This Wednesday is Galentine’s Day, the fictional-turned-actual holiday from NBC’s Parks & Recreation, wherein ladyfriends grab brunch and celebrate one another’s awesomeness. To help get you in the mood, from today through Wednesday Bitch will post two daily Galentine’s cards featuring Parks and Rec characters that I drew for you to share with your friends!
Community finally returns tonight for its fourth season, and I, for one, could not be more excited. While Community has been off the air since last season’s finale in May, fans’ grumblings over changing premiere dates and show times has attracted some serious backlash. What’s the big deal with this show, anyway? Folks complained that Community is too weird, too meta, too full of Chevy Chase’s sour, unlikable antics (Chase, incidentally, left the show mid-season).
Community’s detractors and skeptics take issue with the show’s heavy reliance on parody (each episode is loosely organized around a well-known film or genre—Thursday’s episode is rumored to borrow from The Hunger Games), sometimes-obscure verbal and visual pop culture references, and constant potshots aimed at the show’s shabby fourth wall. But Community’s weirdness and fondness for self-reference are precisely what set it apart from other sitcoms’ bland, recycled jokes and story lines. Its penchant for parody does more than plant Easter Eggs for film geeks. All of these tactics put Community in a position to be, well… feminist.