I'm a big advocate of the political power of popular culture. I want to make every single person who is still saying, "I just don't understand why they have to be so public about it," sit down and watch The Laramie Project. The ability of narrative to move us is a side of feminist activism we don't talk about much, but it is, to me, the best one we have, which is why I love writing about pop culture from a feminist angle. I don't go, as I've said before, for monocausal explanations of just about anything. But I do think there's some relationship between seeing something depicted in a story and finding it easier to approach in real life.
The exception that's been proving my rule lately is the appearance, suddenly, of a spate of television shows about fat people: More to Love, The Biggest Loser, Drop Dead Diva. I put it this bluntly because in general, I'm an advocate of fat acceptance, and that includes calling fat what it is: fat. The Washington Post, in what one supposes was a hamfisted attempt at solidarity, recently proclaimed that "fat is fabulous" on television these days. They went on to speculate: what could possibly be behind this trend of having so much adipose tissue on display? Could it be that the fat people are taking over (the article slyly notes that "adult obesity rates increased in 23 states last year, and nearly one-third of all children in 30 states are considered overweight")? Alison Sweeney, the host of The Biggest Loser, limply offers that it must be about people connecting with the "human spirit."
Those of us who watch HBO's True Blood would have a hard time denying the show's sex appeal (or at least, sex). After all, Bon Temps, Lousiana (the fictional setting for the show) is one seeexxxy town. Vampires banging humans? Check. Humans banging shape-shifting farm animals? Check. A racy sex website hosted by a main character? Check. A crazed ancient goddess who makes everyone around her bang each other? Check. But female rape fantasies realized by gentlemanly Civil War-era vampires? Um, no, actually.
The current issue of Nylon Magazine features an interview with Anna Paquin (main character Sookie Stackhouse), Stephen Moyer (her boyfriend Vampire Bill), and the show's creator Alan Ball. Much of the interview revolves around Anna Paquin's nipples and hair color (thanks, Nylon! I guess blondes really do have more fun!) but this final quote from Stephen Moyer has me sharpening my stakes (and not just because I think Vampire Bill is kind of a douche):
Epilogue: Stephen Moyer, on Vampire Sex:
The thing about vampirism is that it taps into a female point of view – you have an old-fashioned gentleman with manners who is a fucking killer… it’s an interesting duality, because in our present society it would be an odd thing for a woman to say, ‘I want my man to be physical with me.’ How, as a modern man, can you fucking work that? It’s one thing to be polite and gentle… But when do you know it’s OK to crawl out of the mud and rape her [as Bill does in one scene]?... It’s difficult stuff for a bloke, but a vampire gets away with it…. I think that’s the attraction of the show – it’s looking back at a romantic time when men were men, but they were still charming."
Behold, Sookie Stackhouse living out every modern woman's fantasy (or... not). Image via Icons of Fright
WTF, Vampire Bill? Was raping women a "gentlemanly" activity when you were growing up during the Civil War? (Yes, he grew up during the Civil War.) Do you think that forcing yourself on a woman and sucking her blood is the "romantic" realization of every frigid, non-Vampire-dating woman's fantasy? And am I the only one who read that coming-out-of-the-grave scene as completely consensual (if a bit unhygienic)? Let's discuss.
If you haven't been watching America's Best Dance Crew this season, it's time to start. For those out of the loop, ABDC (as it is known in the in-crowd) is a dance competition show on MTV that combines crew battles and audience voting to determine, well, America's best dance crew. Sure, the show is a little corny, and the awesome Artistry in Motion crew was eliminated last week despite their body-positive message, but ABDC has a lot to offer the feminist television viewer. The show focuses on teamwork and togetherness as opposed to the abilities of certain individuals, and every week they give the teams a different challenge (the Beyoncé challenge was particularly kickass). The real reason to watch, though, is Vogue Evolution.
America's Best Queer/Gay/Trans/Vogue/Activist Dance Crew!
I don't imagine many of you are Dollhouse viewers, not least because the new series by Joss Whedon of Buffy and Angel fame had a rocky ride of a first season. If you gave up on him, I have a new mantra for you: Joss is always worth the trouble. Joss identifies as a feminist, and indeed, before anybody scoffs or points to Buffy's short skirts or what have you, I encourage you to read this.
That said, Dollhouse ain't perfect, on feminist or any other grounds, frankly. I only managed to stick it out through its initial rough patch on faith alone. See, Fox forced Joss to retool the show and rearrange some plot development early on. This led to some awfully confusing early episodes in which the network's desire to sell the show as Sexy! seemed at odds with Joss's own plans. The premise of the show being a brothel staffed by people who have, literally, had personality lobotomies, this isn't just in bad taste - it is bad marketing.
Here's a shocker: when you start dating your boyfriend thirty seconds after he leaves his wife, the woman who carried his eight children, he might not be sticking around with you for very long. You might also be surprised when, as his divorce is being talked about everywhere from websites, to TV shows, to our podcast and oh, right, on his reality show that perhaps maybe, just maybe, you, as the lady who decided to date this man, might be dragged through the mud along with him when his divorce from his wife and subsequent fall from A-#1 Super Dad status gets ugly. It was a fantastic idea to date him in the first place, don't get me wrong. I mean, as a "journalist" for Star Magazine who was supposed to be covering the shitstorm that is Jon and Kate Gosselin's life right now, you definitely did not overstep any boundaries by being with him in the first place. And yes, you should absolutely go on E!, Inside Edition and The CBS Early Show and let all of us know how he "totally screwed (you) over and acted like a dirtbag". Maybe, you know, you shouldn't have believed him when he said he would be with you forever. This is a man who started seeing you when he was still married. Perhaps, and this is just me rambling here, you shouldn't go on TV and get upset about how you broke up and are now having to deal with the aftermath. This is douchey behavior. Yes, Jon Gosselin's behavior was douchey, as well, absolutely, but you cannot fight douchebaggery with douchebaggery, you know what I'm sayin'?
I can't say that this first episode of the third season of Mad Men wowed me, but I suppose it was inevitable, amidst all the hype, that the episode would disappoint at least one person in its audience. And indeed, it was something of a shaky start. Don's reminisicing - or, really, more accurately, reimagining, since he can't possibly remember - the circumstances of his own birth made for a rather confusing opener. Not only did there seem to be, literally, a dick joke in it (not a particularly clever one IMHO), it was an oddly sentimental moment for a character whose trademark is emotional opacity. Don has never been the kind of man who much interests himself with the inner lives of women, or more particularly someone attached to the notion of mothers and origin. He is, as the old saying goes, the epitome of a self-made man, constructed entirely of the things he thinks he wants to be, however disappointed he may be when he gets them.
These scenes seemed designed to tell us that Don is newly recommitted to his life at home with Betty and the kids (who are soon to number three). But we swiftly learn that he is still a womanizer. But there's something new about his taste. One of the things that has always rescued Don from the "complete tool on the subject of women" column has always been his interest in what used to be called "difficult" women - sexually-free, bohemian Midge; reluctant adulterer Rachel; ambitious Bobbie; mysterious Joy. Whatever might be said of Don's philandering, in short, at least the man had taste. But this time, Don is after an airline stewardess (played broadly by Sunny Mabrey with an irritating accent) for whom mystery and subtlety are foreign concepts. And, for the love of God, she's a blonde - very much what Betty might have been had her modelling career tapered off (the
stewardess coyly offers that she is asked all the time whether she, herself, is a model) and she had never gotten married.
I admit that when I heard Mad Men was going to premiere just as I was starting this TV guestblogging gig in the otherwise rather deserted month of August, I breathed a sigh of relief. If there is one television show that not a one of my communist, death-panel-supporting, child-killing liberal feminist friends is ashamed to admit to loving, it is Mad Men.Mad Men, in short, has an acceptable television pedigree. In my particular case, and I am not kidding about this, I started watching it because it was recommended to me by none other than Joyce Carol Goddamn Oates at a talk I attended a long time ago at the NYPL. Talk about your "I-don't-even-have-a-tv" bookworm street cred. And Feminist bloggers love Mad Men too. In fact, it's just about the only television show that gets universal coverage in the feminist blogosphere, and all week, everybody's been gearing up for the Big Event. DoubleX is live-tweeting it. Some other prominent feminist bloggers, including Pandagon's Amanda Marcotte, are having a salon about it at RHRealityCheck. And pretty much everyone I know who loves Mad Men loves to talk about how very, very feminist it feels to have so many nuanced portrayals of women on a single television show.
I, too, think that there is a lot of feminist merit in Mad Men - more on that in a second post this weekend, and I'll have thoughts on the premiere next week, it's gonna be a Mad Men heavy guestblogging experience - but I find it really problematic as a show to recommend to people who aren't feminists, or who aren't, at the very least, what I would call ready for a serious discussion of gender roles.
Image from susanphotography at Flickr under a Creative Commons license.
I am just about the only person I know - and certainly the only feminist - who has been religiously watching Showtime's Nurse Jackie (In fairness, Jezebel started out covering it but seemed to lose interest very quickly, and the only regular commentary I see on it is Jacob's excellent recaps at TWoP.) Maybe I should be generous to the fools people who don't watch the show. Perhaps the neglect is due to the unfortunate dead end of July and August. Perhaps it's because the show has the unfortunate timing of airing whilst we are all salivating at the imminent prospect of a new season of Mad Men (more on that tomorrow, by the by), which happens to be everybody's favourite feminist-food-for-television thought nowadays. Perhaps it's because most people I know only watch television shows once they are out on DVD anyway, so all first seasons on cable are kind of a wash, popularity-wise.
Hi Bitch blog readers! I'm a sometime blogger (under an assumed name, mostly, but my sorely neglected personal blog is here) and I can't tell you how excited I am to be associated with Bitch even briefly. I am incredibly honored to get to talk to and with you for the next few weeks about women and television, a subject about which I am embarrassed to say I know entirely too much.
Saturday morning cartoons was a rite of passage for many of us growing up in the USA in the 1980s. Smurfs, Transformers and even the WWF cartoon was on the docket each weekend. Yes, each of them were platforms for selling us cereal and toys, but it still stinks.