Wednesday, April 13, 2016

TV Sluts Threeway, OJ Simpson Edition

Hello, Readers! As we are wont to do from time to time, your TV Sluts have joined forces to collectively discuss The People v. OJ Simpson: American Crime Story. The miniseries, the latest from Ryan Murphy and co. and following up on the success of American Horror Story, profiles the trail surrounding the murder of Nicole Brown Simpson and Ronald Goldman in 1995. What did we think of it? Find out... 

Please let there be aliens... please let there be aliens...


Maggie Cats: WOOHOO. That's the secret; we're always slutty.

Clovis: Slutty, slutty assembling.

AP: But we are not always assembled and not always slutty in the same place in time and space. Who would like to begin? BECAUSE OMG

MC: General thoughts?

C: So much racism! So much sexism!

AP: It was, much like the case itself, a train wreck. In that I could not look away.

MC: I remember when the trial was happening, I think I was...14? But most of the broader cultural implications were completely lost on me.

AP: Also: Kato!! What what what was he on?

C: Kato was criminally (see what I did there?) underused.

AP: I see what you did, and I appreciate it.

MC: That pun was a crime.

AP: Yeah, I remember it all happening, but I also paid zero attention to it. If punning you is wrong, I don't want to be right!

C: I remember classes in my high school shutting down so that we could watch the verdict being delivered. Even in small town lily-white MI, it was a thing.

MC: I think the main things I took away from the show was how ridiculously underprepared the prosecution was for the defense's strategy and how Marcia Clark was eviscerated in the media. Basically for being a woman. That enraged me.

Marcia, Marcia, Marcia!

AP: Well, that hairdo was pretty bad. I had no idea she was a rape victim.

MC: Me neither! I wonder if that came out in the book she wrote after the trial.

AP: And I also didn't remember/know that a tabloid published a nekked photo of her. Because what do you do when there's a lady lawyer? You slut shame her OBVS.

C: Duh. Ladies practicing law? Pshaw! Who ever heard of such a thing?

AP: Next you'll tell me they let the womenfolk do the doctorin’. That just ain't natural.

MC: Seriously. It kind of opened my eyes to the progress we have made even in the last few decades. Though stuff like this still happens, but nowadays I think there would be backlash.

C: I was really glad to see how they treated Marcia Clark as a character. Which is to say, I thought they showed really well that she was always in a damned-if-she-does-damned-if-she-doesn't place.

MC: I absolutely agree. Any character with Kiss From a Rose as their theme song is OK by me.

C: Oh Man, we need to talk about the wondrous ‘90s music employed in this show.

AP: I was also interested in the way they portrayed her. They showed her as someone who was really trying to do her job and get at the truth, and not as a famewhore. Who was Johnnie Cochran. Who is the biggest famewhore in the history of famewhores BT Dubs. And that actor’s portrayal was spot on. 

Real life v. Hollywood. Brother from another mother?

MC: Absolutely. She did an impossible job AND was in the middle of a custody battle. That's brutal.

C: Agreed, but I also liked that Johnnie Cochran was a complex character himself. Like, he was a total famewhore, but one who did have a very clear guiding principle that wasn't just around his own self-aggrandizement. (Though, that obviously was a factor as well.)

MC: The guy who played Cochran [Courtney B. Vance] has been in a lot of Law & Orders and is always great. I was psyched when I saw he was playing that role.

AP: I remember when I started watching it, I looked up who was playing Cochran because he nailed it. He was really the stand-out for me, acting-wise.

C: Totally. I had to keep reminding myself that he wasn't actually Johnnie Cochran. And on the other end of the spectrum WTF John Travolta?

AP: I know, right! Oh, he was baaaaaad.

MC: OMG that was so weird! Sarah Paulson for me was the real stand out.

AP: Yes, she was excellent.

MC: Was Travolta supposed to be bad though? Like, was that the character? He was just so swarmy.

C: It was like watching a demented sad clown trying to be a lawyer. Krusty would have been a better choice.

AP: I am so over Travolta. And was he wearing a bad make-up job or is that is face now?

MC: He is plastic fantastic. I actually thought he was fabulous as that character; but that's because we aren't supposed to like that guy either.

AP: It was a departure for him, but I can't say I'm a fan of his acting. Just kind of chewed the scenery a bit. It was a bit too much.

Pennywise wasn't this disturbing.



MC: "Juice...Juice..." It was crazy. So basically OJ Simpson is responsible for the Kardashians. THANKS,OJ.

AP: And that is why OJ is currently in prison. He *was* good, I have to say. But I was always distracted by his skunk hair.

MC: That's what that guy's hair looked like though!

AP: No wonder Kris cheated.

C: What did you guys think of the decision to incorporate the Kardashians into the story? Obviously, they're trying to say something about what fame does to people.

MC: I had read the showrunners were specifically setting out to show the cultural impact of the trial. Example: Kato.

C: And the Kardashians are obviously one of the biggest components of that.

Next season on American Horror Story...

AP: I thought the scene with the little Kardashians was good foreshadowing. Like, you could see Little Kim plotting to become famous somehow. Overall, you could see that the show was addressing the cultural shift.

MC: It certainly did not paint a flattering portrait of most of the LA rich people.

AP: It was kind of the first time there was wall-to-wall coverage of a murder case, and it wasn't because people were interested in it legally or wanted to see justice done, they just wanted to be entertained, and the media complied.

C: Agreed. It seems to me that the big takeaways the show wanted us to, well, take away were the danger in obsession with fame, the problem with putting justice essentially to a public vote, and the very real and very much still pervasive mistreatment of minorities by white people in power.

MC: Absolutely. The whole thing had a "last days of Rome" feel to it.

AP: It was bread and circuses all the way.

MC: Everyone had a stake and an opinion on it. It was like a perfect storm with the race issues, celebrity, and salaciousness. Fo sho

C: I mean, Chris Darden's last speech to Johnnie Cochran even lays it out when he says "[the police] are still going to keep right on killing us." They may as well have had a flash forward to a Black Lives Matter march.

AP: And don't forget the domestic violence angle. Because yes, the cops were racist. And yes, Mark Furhrman is kind of a Nazi. But that doesn't take away from the fact that OJ beat and terrorized Nicole.

MC: Since I didn't follow the actual case closely as a kid, a lot of the facts of the crime were a surprise to me. Like how the LAPD failed at every possible step of the way. The prior beatings and abuse were a shock to me as well. It was so awful.

AP: They completely failed. That was one part of the case I knew about. I knew about that and the glove, and that was about it.

MC: I think the show also worked to keep the focus on the victims, something the trial was not able to do. Like, "hello? Remember the people who were brutally murdered?"

C: But weirdly, we never saw the victims. Which, for a Ryan Murphy show, I was really surprised by given that he never met a bloody body scene he didn’t love to film. We see flashes of two bodies in the first episode, but never their faces. It’s not until the show ends that we even see any representation of Nicole Simpson and Ron Goldman.

AP: I actually thought that was a good choice. It was respectful to the victims not to cast them as Body 1 and Body 2. It was better to just let the real victims be...the victims.

C: It seemed to me like the show was trying to make a point about how much the actual victims were left behind in this process.

MC: Totally agree. This was actually the strongest Ryan Murphy show I have seen. I think because it was limited run, completely mapped out in advance, and based on real events. Keeping the Dad and sister of Ron (I think?) front and center was smart.

C: Yeah, because he was bound by facts and couldn't throw in aliens in episode 6. Just for funsies.

AP: True or False: Aliens would have made it that much more intriguing.

C: I maintain that John Travolta was playing his character as an alien. It's the only thing that makes sense to me.

MC: False. Truth is stranger than fiction. Also, Hahahaha, word.

AP: I think we may have a solid theory going. I mean, Homeboy is a Scientologist. I'm sure he thought aliens factored into it somehow.

MC: Oh, lord.

C: "Aliens did it" would actually probably make a more believable defense strategy than the one they actually presented.

AP: "If I Did It," by OJ Simpson. 

Please note that this is an actual book. 

MC: So, I have to ask. Do you guys think he did it? I have never expressed an opinion because I never thought I knew enough of the facts.

AP: I still don't think I know enough of the facts, to really say for sure. I would say he probably did it, but I also wonder if there wasn't someone else involved.

C: I think, based only on what I know from reading, that yes he definitely did it.

MC: How about this: do you think OJ believes it was someone else? The way he was portrayed it was like he honestly didn't know why he was there.

AP: Yes. That I believe. He might have done it in a fit of rage, and then honestly blacked out.

C: I think OJ probably doesn't have a realistic impression of his own mind. Which is to say, I think he knows he did it, but in his head the reasoning for it is so constructed and explained away and rationalized that he effectively believes that he did not do something he did.

MC: I would believe that; or convinced himself he blacked out. Right--and justified. Since Nicole was "his." It was creepy how he always called her "my Nicole."

C: That's what makes his whole case fascinating in my mind: I think he's pretty clearly the killer, but the case lived and died on the very real issue of institutionalized racism.

AP: And he really got off because the cops were so incompetent.

MC: It was like, the jury let this one black man go who actually committed it in response to all the black men who were convicted and innocent. And, to be fair, that is a legit reason to get off.

C: For me, the show hit it best in the last episode in a scene between Johnnie and his wife. His wife effectively says that OJ very likely did the crime that he was accused of, but the reason why she's proud of Johnnie is because he shined a light on how terribly African Americans are treated by the police in this country. Even if OJ didn’t deserve to go free, the attention his case brought was still a good thing. The case was an imperfect one, but the issue it raised is one that needs to be talked about, basically.

Justice, LAPD-style.

MC: Our justice system is designed around the idea it is better to let 10 guilty men free rather than imprison one innocent man. 

AP: Or the jury may have believed the defense. They might have actually thought that they knew what cops were like, and in their minds, it's totally reasonable for cops to plant evidence.

MC: Which we all know is now how things go down. I totally agree with Clovis. And like we noted, the police fucked this up royally.

C: I don't believe that the jury "threw" the case, for lack of a better word. I'm pretty convinced that the jury members honestly believed that he did not commit the murders.

AP: No, I don't think they threw it either. I think they honestly thought the cops planted evidence. Because the jury was comprised of African-Americans, and cops have planted things on African Americans.

MC: Well, you don't have to believe he was innocent. You just have to have reasonable doubt. I'm not sure I would have convicted. Even if I believe he did it. Reasonable doubt is not that high a bar.

C: Exactly. They had enough experience with the LAPD to easily believe the police were corrupt and that it wasn't beyond reasonable doubt that they could have framed OJ. Hence, acquittal. 

MC: The defense definitely called a lot of the evidence into question; and remember, this was basically the first high profile use of DNA. There was no CSI. People were like, whaaaaa?

C: Also it shows how you have to be careful telling a story, right? "Please listen to this long, droning explanation of science" isn't as compelling for people as "these racist corrupt cops tried to pull a fast one on you."

MC: Exactly. The show did a good job of showing how the jury was totally not getting it--nobody wants to hear 3 days of some scientist blabbering on.

AP: No, if it's not in layman's terms, nobody is going to care.

C: So what do we think were the things the show did best?

AP: THE CAR CHASE. With OJ and the gun and the screaming = Hilarious. You can't make this shit up. That's why it's so good.

Traffic on the 405 this morning: Light with a few backups due to fugitive activity. Normal Tuesday, folks!

MC: It definitely told a compelling story. And I thought was pretty honest while still being dramatic.

AP: The script was compelling, and the cast was committed.

C: I thought they did a really good job of taking a period piece and connecting it subtly but solidly with issues that we're seeing today. And that it didn't have the usual Ryan Murphy hallmarks of weird shit happening just for fuck's sake.

MC: For sure; I was pleasantly surprised by the quality of everything. But it still felt soapy enough that it was entertaining.

AP: It was really quite addictive. Nobody was phoning it in, except Travolta, who was coming to us live via satellite from his auditing center.

MC: He was with his alien overlords so distracted.

C: Travolta's thetans really deserve an Emmy nod for this one.

AP: And he'll have to donate half his Emmy to the church. And Lord Xenu. And Tom Cruise


MC: Don't forget Nathan Lane. So random! The casting in this was so weird and so awesome.

C: How much fun did Nathan Lane have playing an uber straight dude? I mean, really?

AP: I loved Nathan Lane. He was basically playing Ken Starr.

MC: But David Schwimmer definitely wins for most random. And great. But I thought he only directed stuff now. He hasn't been in anything for a while. It was a great role too--I found his whole arc about doubting OJ's innocence and struggling with that really compelling. What would you do if you believed your best friend murdered someone? I mean, we're all cool with it because TV Sluts united forever. But it must be hard for normal people.

C: We're going to be blogging from prison, let's face it.

AP: They let you have internet time in Gitmo, right?

MC: I bet Arsenic Pie goes first. She'll get put in the slammer for speeding tickets and they'll ignore all the real crimes you've committed.

AP: FOR THE LAST TIME, PUNNING IS NOT A CRIME! You know I'm going to bust some kittens out of a university science lab and it'll be the big house for AP.

MC: 20 to life, bitch. You'll get your comeuppance.

AP: Fortunately, I learned to fashion a shiv from watching Downton Abbey. Anyway, back to it, OJ didn't seem like OJ, casting-wise. He's supposed to be a pro football player, right? Why was the actor they cast so fucking tiny?

MC: Well, he HAD been. He was retired at that point.

AP: Right, but he didn't shrink. He was physically too small for the role.

MC: It's pretty common for pro athletes to gain a lot of weight after they stop playing.

C: I thought Cuba Gooding Jr did a good job, but agreed that he never quite nailed OJ. Like, he just didn't quite become the part the way Courtney B Vance did for Johnnie Cochran or Sarah Paulson did for Marcia Clark.

MC: I actually think is a good thing to talk about--because the show didn't seem to want to take a stance on whether OJ knew he did it or not. So I don't know how much Cuba was given. It's hard to walk that line. 

AP: He did a good job being Cuba Gooding Jr. He didn't seem physically imposing at all is my point.

MC: The first few episodes of showing how he could get very unbalanced. I would have like to have seen him rage out.

AP: He didn't go all the way into how scary OJ supposedly could be.

Unclear if this is a compliment to OJ Simpson or an insult to Cuba Gooding Jr.

C: Maybe the reason for that is because the show was trying to be agnostic about his guilt or innocence. I mean, it's notable that we never once see any kind of recreation of the night in question, which would have been easy enough to film.

MC: Agreed. The audience is definitely supposed to make up their own mind. So it's difficult for an actor to play that role when the story never specifically tells him whether he did or not. He has to be convincing both ways.

C: And that fits with the idea that the show really isn't that interested in OJ himself, it's interested in the questions raised by the case (and trial) and what the cultural fallout from it was.


C: Thanks. I am incredible, aren't I?

MC: It's this kind of hard hitting analysis people expect from us. Also poop jokes.

AP: And Scientology jokes. Cuba did a fine job acting-wise. He just seemed kinda there. Like, he's not as tall as OJ, and not as muscular, and he didn't have that same physicality. Which, even if the focus isn't on OJ, OJ should still have been more of an elephant in the room. He just wasn't.

"Yes, you, young man. Would you mind trying on the gloves of this famous football player?"

MC: Yeah, agreed. The 8 previous calls to the police for domestic abuse is kind of a hard fact to ignore. The whole thing is just awful. Everyone failed Nicole in this circumstance.

C: The thing that was probably most heart-breaking to me was the scene of the Goldman family silently walking back to their car, hearing the news reports of people celebrating throughout the city and then asking "what do we do now?"

MC: Absolutely.

AP: You sue. That’s what you do.

C: Which has always been the thing that brings me back to the guilt or innocence question when you think about OJ. If he didn't do, someone did and that someone has never been pursued. Of course, the reason why is because the LA DA honestly believes that they found the killer and there's no one else to pursue, but hey. Double Jeopardy, everyone!

MC: But then when we say things like that, I want to roll my eyes and be like, of course we know who did it. Which kind of throws my whole "I haven't made up my mind yet' thing out the window.

AP: The defense did do a good job of pointing that out. That no other suspects were ever considered.

MC: Any final thoughts? 

C: I'm interested to see what next season is. This is an anthology series, after all.

AP: I would like to see them do the Steven Avery case, actually

MC: Charles Manson? Lizzy Borden? Good stuff about women in there.

AP: Nothing will top Christina Ricci though.  The Christina Ricci one was such a hot mess!!

C: I would love a season focused on the Chicago Murder Castle and the World's Fair. (Devil in the White City stuff.)

MC: As long as they focus on the murders and not the architecture. Zzzzzzzz

AP: I think this is a good series. So long as they keep attracting high caliber actors.

C: That's the real benefit of an anthology. You can get really good, big names because they don't have to sign away seven years of their lives. It's basically just shooting a big movie and then they can come back next season if they want to.

AP: Yeah, not too shabby to get Bruce Greenwood on board. I have a crush on him.

C: Didn't he play Captain Pike in the NuTrek movies?



MC: I have a crush on David Schwimmer now.

AP: I'm telling Rachel you put moves on her man. I'll hold her down and shave her head.

C: It's hard to come back from Rachel. She did a number on all of us in the 90s.

MC: Yeah, Greenwood was great as the DA! He's very handsome. Though he seems short.

AP: He's 5'11"

MC: Someone has IMDB open.

AP: LIKE A BOSS. Anyway, overall, very good. Very compelling. A couple casting hiccups, but really well done

MC: I think it's fair to say we all enjoyed the hell out of the show. Both as entertainment and for raising conversations about broader issues. It certainly is a huge flashpoint in American history.

C: Yes. TV Sluts agreement.

MC: TV Sluts hooooooooo!

Monday, April 04, 2016

Criminal Tension

It’s fair to say that my usual television habits aren’t exactly light-hearted. I loved Breaking Bad, but generally saw it more as a surrealist family drama. So understand that when I say that American Crime is tense, I mean it’s, like, REALLY tense. This is probably the most uncomfortable show on television. Counting the Republican Debates.  If you can get yourself comfortable with being a little uncomfortable, however, it’s one of the few shows that I’ve seen where I continually think to myself, “How the hell is this show on television?”

So, something light and effervescent tonight then? 

Before I go any further, I should mention that American Crime is not to be confused with American Crime Story: The People vs. O.J. Simpson. The latter is the latest offering from Ryan Murphy and company, capitalizing on the success of American Horror Story by launching a new anthology franchise that will explore real American history. American Crime is also an anthology series, however this is from writer John Ridley who is most known as the writer of 12 Years a Slave.

As an anthology series, American Crime changes its story each season though retains much of the same cast. The story this season revolved around an elite private high school in Indianapolis and the fallout that occurs at that school and amongst the students, teachers, parents, and community members when it comes out that a student reports the he was raped at a party hosted by the school’s powerhouse basketball team. That set-up alone should tell you most of what you need to know about all the places that this show is unafraid to go: the simmering racial tension that exists in American cities, overt and covert homophobia in a post-Obergefell country, what politicians used to call “class warfare”, and the morally grey area that school administrators inhabit in trying to provide an education in a time when funding is low or non-existent.

American Crime is unflinching in looking at each of these issues. It’s also a testament to how well put together the series is that it never feels overstuffed despite all the issues on its plate. That’s largely because it correctly understands that the uniting strand behind all of these things is a collective fear of “the other”, the person that is different from us. As such, all the racism, homophobia, class tensions, privilege, and cutthroat business actions are accurately interpreted as symptoms of the same ugly disease.  What makes it good television is that the characters are so completely watchable that viewers are far more likely to get wrapped up in the story than feel like they’re attending a political rally.

This scene actually passes for almost "playful" relative to some of the others... 

So what’s it actually about? The action mostly revolves around an elite private school headed by Leslie Graham (Felicity Huffman) and attended largely by the children of Indianapolis’s upper class families.  Working class mother Anne Blaine (Lili Taylor) is an exception, sacrificing all she can to afford the tuition for her 17-year-old son Tyler (Connor Jessup), who previously attended one of the city’s rougher public schools. The story begins when Anne is informed by Leslie that Tyler is set to be expelled from the school after lurid photos showing him drunk and in various stages of undress have surfaced on the internet, a direct violation of the school’s code of conduct. Tyler confesses to his mother that the photos are genuine, however that he was, in fact, drugged and raped by another student while attending a party hosted by the co-captains of the school’s massively successful Basketball team.

Tyler’s claim is the catalyst for significant unrest at the school, currently in the midst of a multi-million dollar fundraising effort that Leslie hopes will catapult her to an even loftier position than Headmaster. At the same time, it shakes the confidence of the school’s basketball coach, played by Timothy Hutton, as he must face uncomfortable questions about the behavior of his players, including whether or not one of them is truly guilty of the crime and if so what that means. Caught up in all of this is the LaCroix family, headed by matriarch Terri, played by Regina King. Terri’s son, Kevin (Trevor Jackson) is one of the two co-captains and Terri worries that these allegations will derail her carefully planned future for her child. As one of the wealthy, she can afford to hire representation to protect Kevin’s interests, even if that means causing harm to victim Tyler or to the other student implicated directly in Tyler’s claims, co-captain Eric (Joey Pollari).

Safe to assume "have conversation about not getting involved in a rape charge" was not initially in her work plan.

Terri is a mass of contradictions and Regina King plays every one of them beautifully; she’s the driven perfectionist career woman who wants to play the boys’ game but is intensely aware of what it means to be an African American woman in that world. She is both controlling and patronizing of her son and at the same time his biggest champion and a doting mother. She represents the curious intersection of being one of the sole minority families at an elite upper class predominately white school and at the same time being one of the wealthiest, affording her son access to the kind of privilege that other characters can’t even dream of. Seeing Regina King walk the fine line of each of these near-contradictions every episode is one of the joys of watching the show.

Likewise, watching Felicity Huffman as Headmaster Leslie Graham is like watching a Venus flytrap getting ready to spring. Leslie is utterly composed and in control, exuding concern about her students while managing the political and administrative duties of her school. All that control belies her ruthlessness, however, as we quickly see when trouble descends and Leslie manipulates, maneuvers, and manages problems away, always with a level voice and the kind of platitudes about leadership and responsibility that have all the genuine emotion of a Successories poster. Her chief concern lies with preserving the school and her record as an administrator, though she’s so darn sensible sounding, even when she explains to a grieving mother that because the mother signed a piece of paper while emotional, the school has no obligation to safeguard the mother’s damaged child. She isn’t cold, per se; she’s tactical.

"Yes. I am fantastic, aren't I?"

What makes the show particularly uncomfortable, aside from the subject matter generally, is watching how each of these characters from their varied perspectives approach the issue. Race is front and center, though handled without the easy shorthand of poor-black-rich-white characterization that many stories fall back on. A significant subplot revolves around the actions at one of the public schools after three Latino students attack a black student for groping a girl. The school’s overtaxed principal, played by Elvis Nolasco, suspends the three Latino students for their frankly violent assault leading to outrage by the Latino community who point out that the black student went unpunished despite attacking a girl. The principal, a black man, must examine how his approach is not only intended but viewed by communities that are already racially divided.

Ugh. Simmering racial tensions in high school. Worse than math homework, amirite?

Homophobia is also an evident theme and, with one particularly terrifying exception, is addressed mostly in the kind of “er, not that there’s anything wrong with that” wishy-washiness that shows that a fair number of people actually believe that there is, in fact, something very wrong with that but just recognize that they can’t say such things. (There are likely a lot of Trump voters in this story.) Tyler’s mother and his girlfriend struggle to find the middle ground between being supportive of him and deeply uncomfortable with his lie-of-omission. Tyler’s sexual orientation becomes a subject of debate as he’s called to justify his own feelings because they have bearing on a criminal case. His own family, one that is deeply loving of him, shows their own flaws when Tyler recounts how one of the surrogate parents who helped raise him, a man who still clearly cares for him as a son, unthinkingly continues to throw words like “faggot” around as insults.

And then there’s the issue that makes everyone uncomfortable: Tyler’s rape. Anyone who has spent any significant time around the issue of rape will recognize all the hallmarks of familiarity here. As the series progresses, the rape takes on a grayer hue reflecting the reality that most rapes aren’t committed by strangers in alleys but by someone we know. When it comes out that Tyler went to the party willingly and, in fact, with the intention of having clandestine sex with his attacker, not only does Tyler have to come clean about his sexual orientation but also the very nature of it and the exploratory nature of sex itself. When his mother angrily demands to know if he intended to have sex, his response is a weak but ultimately exactly correct one: “I didn’t go there intended to be violated.” We logically know that we’re not supposed to blame the victim, but the myriad of ways in which we still manage to are fully on display here, particularly given that the victim is male.

Predictable MRA bullshit misinterpretations to being in 3...2...

When you’re dealing with so many heady issues, it’s inevitable that some of the presentation is going to get a little mucked up. Viewers may find it unsettling that the victim of rape here is male, particularly given that the number of male rape victims, while certainly in existence, is far outweighed by the number of females. It’s not that hard to draw the conclusion that the rape is given its importance only once it becomes something that happens to men. And while there is a female victim of sexual violence among the show’s ensemble cast, her story is given nowhere near the heft or screen time as Tyler’s.

Likewise, the show’s one prominent African American family is wealthy and powerful, particularly in contrast to the other predominantly working class white families. At several times in the season, different white characters seek out Terri LaCroix and her husband to ask for assistance and are unilaterally rebuffed every time. It’s not terribly hard to see a racist form of wish-fulfillment embodied here whereby a viewer, again likely also a Trump voter, would interpret this as yet more evidence of how black people have gotten the upper hand over white people and white people are punished unfairly. While the show clearly takes pains not to sympathize with such a position, it shows just how tricky it is to tackle these issues even given the full breadth of ten hours’ worth of air time.

Which, ultimately, is what leads to the points in American Crime where the writing stumbles. The show is very eager to address big issues that don’t normally get their day on TV aside from a few “very special episodes.”  For all the deftness it manages in raising these big questions, it has a hard time providing any answers to them. In addition to a narrative and thematic gap, it also leads to some plainly uncomfortable dialogue. Characters are tasked from time to time with expressing the themes of the show, leading to dialogue that no human being has ever said independently. It’s so eager to get in the big point that it sometimes tells when it should show. The writing works best when it isn’t trying to underline its own thesis.

The end result of this story is less about a particular bad thing happening than it is about how bad things continue to happen. It illustrates how crime creates a ripple effect. One crime inevitably leads to another and victims can become perpetrators startlingly fast. Episode 8 even inter-cuts the dramatic action with real life interviews with the victims and survivors of school shootings and bullying attacks, showcasing starkly both the victims who chose a better path and the ones who opted for revenge. In the final episode, not every storyline has a clear resolution and the final picture is far murkier than the one that we started out with. Which is to say, unlike a lot of television, American Crime can be just as uncomfortable as real life.

Thursday, March 31, 2016

Bosch, Season 2

It's time again for one of the best opening themes in television again (I'll just wait while you rewatch the Season 1 credits):
That's right, everyone, Bosch is back.
If you don't remember and are too apathetic to read my review of Season 1, Bosch is a police procedural based on the mystery novels of Michael Connolly (fun fact: The Lincoln Lawyer -- the book and the Matthew McConaughey movie -- are a spin-off of the Bosch novels; apparently the Lincoln Lawyer is Bosch's half-brother).

As we left Season 1, Detective Heironymous "Harry" Bosch (played by Titus Welliver) had stopped a serial killer, solved the murder of a little boy, and gotten himself deeply in trouble with the police department for reasons completely unrelated to his gruff personality and "pragmatism" when it comes to police procedure. It's now six months later; Bosch is back to work solving crimes when a mobbed-up Armenian pornographer is found shot dead and stuffed into the trunk of his Bentley.

Suspicion immediately falls on the victim's wife, Victoria Allen (played by Jeri Ryan), as Starfleet is always suspicious of the Borg:

Seriously, though, it's because Tony Allen was a man who launders money for Armenian organized crime and spent a lot of time in Vegas in the company of strippers not his wife. She just maybe was jealous and looking for some of the money.

But clearly she didn't double-tap Tony on a lonely California highway and shove him in his trunk. So who did?

Bosch applies his trademark lack of tact and vengeful need to get the perp to this case, even when it makes him enemies with the mob and the FBI. In the meantime, we continue to follow some of the other characters from Season 1; Deputy Chief Irving is still trying to finagle a chiefship out of Los Angeles politics and his son is working undercover for Internal Affairs. Surprisingly, these plots intersect with Bosch's main case in a way that is neither too brief nor too contrived.

I really enjoy Bosch. It's gritty; Los Angeles in this show is a hot desert full of nasty corrupt people, and that's just the police officers. But each person has a personality, real motivations, and are played well by a cast of people who generally aren't "Hollywood pretty." Even the villains are people, which is refreshing, because that wasn't true even for this show last season.

Last season, Reynard Waits was kidnapping mothers and leaving their infant kids behind in strollers crying. Reynard was a monster; remember that we are introduced to him with a dead prostitute in the back of his literal murder van. There are no monsters this season, just people who have decided to do evil. And the distinction is clear. Bad people still do normal things, like hang out with old friends and then go back to their hideouts to have trouble opening a tin of disgusting-looking Vienna sausages (maybe it was the lighting, but they looked super-gross). The show is better for it.
This gunfight, from the literally explosive final episode, was also one of the most "real" I've seen -- everyone's shooting blind, hitting things by luck alone, and desperately ducking not to get shot.
One warning: this season does not end "tidily." Yes, the bad guys are caught, but it's more of just a thing that happens than a denouement, because life continues to go on. It's interesting, it's plausible, but it's not an NCIS "got the bad guys let's high-five and have some drinks" kind of ending.

Tuesday, March 22, 2016

Daredevil, Season 2

So, I've watched the new season of Daredevil, the original "Marvel comic book show on Netflix."
It's not much of a spoiler to say this season has more ninjas.
I reviewed the first season some time back, so I thought I'd take first crack at Season 2. However, my thoughts have become long and nitpicky, so I've provided some TL;DR versions up front.

Short review: If you liked the first season, you will continue to like Daredevil. There is a lot of awesome in the show.

Slightly longer review: This is a very entertaining second season that, due to not having the novelty of introducing the character, has to work harder to be as awesome, and it doesn't quite make it. It's good, but not mind-blowing.

The long, rambling review you read this blog for:

Season Two opens some months after Season One; the Kingpin is in prison. Blind but blessed with super-sensory powers -- like the ability to know without actually being able to see how much facial stubble he should have before he stops being sexy and starts being a guy clearly too lazy to shave -- Matt Murdoch continues to prowl the streets at night as Daredevil. During the day, at his law firm of Nelson & Murdoch, Murdoch is flirted with by his office manager, Karen Page. She apparently went for the mysterious hot lawyer in the partnership (Murdoch) instead of the funny, dependable husky one with the pageboy haircut (Frederick "Foggy" Nelson) who was clearly trying to make a connection with her all of Season One, and was perfectly charming doing so, but does not have Charlie Cox's biceps or abs.

(An aside: Mike Colter's Luke Cage still has the best-defined chest in the Marvel Cinematic Universe.)

I so want to like the second season of Daredevil more than I do. The acting remains solid, with notable performances by Jon Bernthal as Frank Castle ("The Punisher") and Vincent D'onofrio reprising his role as Wilson Fisk ("The Kingpin").
Jon Bernthal in a scene that does not require a particularly large acting range
Just as everything seems to be going all right -- except for the fact that no one actually pays Nelson & Murdoch except in foodstuffs -- former Marine Frank Castle starts avenging his murdered family by shooting his way through half the organized crime in New York, showing all the restraint of a Quentin Tarantino movie. Murdoch, who (and this is a theme of the season) takes his Catholicism seriously and believes the power to take a life is God's alone (beating them into a brain-damaged concussion is totally within God's plan, though, as I'll mention later), is compelled to intervene.

Simultaneously, there's some business with a ninja-themed magical death cult which brings Matt's super-assassin ex-girlfriend Elektra back into his life. With all the super-tsuris, Murdoch finds it harder and harder to be the Daredevil and be a lawyer, much less a decent boyfriend.

Let me reiterate before I nitpick the hell out of it: I found it decent. It was diverting. Best points:
  • Wilson Fisk's fight choreography is amazing. The Kingpin fights with his weight and strength and it's fascinating to watch. Frankly, the Kingpin episodes in this series were the most interesting to me.
  • There's a scene where the Punisher has to murder his way through a gauntlet of angry men armed only with his fists, and, as grotesque as it is, it demonstrates how Frank Castle's will to survive just keeps him going (unlike some other fight scenes pointed out below).
  • Madam Gao is still (briefly) in the show. She's still amazing as evil tiny grandma. 
The plot moves along at an agreeable pace, and there's lots that's still good, but there are some significant weaknesses:

Last season, we had just the Kingpin. There were some subsidiary baddies, but it was just one plot.

Now, while Matt Murdoch having way too much on his plate is a plot point, there's more more villains than needed for that:
A) The Punisher (an antagonist if not a "villain") is murdering everyone in NYC on his long if ill-defined hit list.
B) The Hand, the aforementioned magical death cult, is doing something apocalyptic in a vaguely Asian way which involves Japanese people and ninja and makes me feel a little bit racist for watching it.
It was a much more sensitive treatment when the Tick and Oedipus faced "The Night of a Million Zillion Ninjas."
C) The Kingpin is rebuilding his empire of crime.
D) There's also a mystery drug dealer who is the proximate cause of the Punisher's family being killed and whose identity is revealed only in the last few episodes at which point you don't care.

You cannot do justice to all of these plots while having four separate antagonists, at least not in 13 episodes (maybe 26, but Agents of Shield continues to show us how to waste a lot of episodes on fanboy references and not enough Clark Gregg). Each villain has associated characters; the Hand brings in Elektra, as well as my least-favorite Daredevil-universe character, Stick (least favorite partly because "blind guy who can hit people accurately with a crossbow" means he isn't "blind" as most people understand the term, but mostly because his plot entwined with the Hand and if you can't tell, I find vaguely-Asian apocalyptic death cults tiresome).

So, remember last time, when I said Daredevil failed the famous "Bechdel test"? 

Still does, and in a crazy blatant manner.

Seriously, there are only a handful of scenes where two women have lines, and in those scenes, the number of times that women speak to each other is even lower. There are only two substantive conversations between women that I counted; both are between Night Nurse and a hospital administrator and, frankly, are irrelevant to the plot.

Let's not get confused and think I'm saying a story must be include the conversations of women to have merit. They don't. It doesn't even mean the stories are sexist, although they often are. 

Here, failing the Bechdel test makes the story weird. Let me give you an example: watching the scenes with Karen Page in them, it feels like Karen Page exists in a world where there are strangely almost no women. 
Typical number of non-Deborah Ann Woll actresses in the same scene with her.
Karen works at a law firm where both lawyers and all the clients who have anything of importance to say are men. All but one of the law enforcement officers she speaks to are men; all of the police officers assigned to protect her in various scenes are men. The journalist she has regular conversations with is a man. When she digs up a source to speak to, that person is always a man. 

Furthermore, there are two other major female characters in this season. Karen Page doesn't speak to either of them. She's in one scene with Elektra where Karen speaks four lines directly to Matt Murdoch, then leaves. Foggy gets to have a long conversation with Claire ("the Night Nurse"), but Karen doesn't even meet her. 

Claire and Elektra are never in the same scene together. 

Remember: this story takes place in modern New York City. Not a North Dakota oil field or on an Alaskan fishing boat. Statistically, there are women in nearly equal proportion to men in NYC.

Now, we get back to Jessica Jones. Even in a show where there weren't that many male characters, it was clear that men existed in New York. Just because Jessica's boss, BFF, craziest next-door-neighbor, doomed client, etc. were women, that didn't mean that she didn't also have conversations with men who were cops, bar owners, drug addicts, crazy mind-controlling sociopaths, etc. It was a New York that seemed, well, not a weird alternate universe version of itself.


I am not kidding when I say that basically all of the Punisher's facial bruising in this scene can be attributed to Daredevil or someone else punching him in the face repeatedly to try to knock him unconscious.
Daredevil's fights are brutal. In small doses, this is "realism." In large doses, it's tiresome. 

Culture blog The Mary Sue loves a five minute fight scene that takes place down a flight of stairs, calling it an iteration of the "hallway fight" from Season One. I hate it and think it's all that's self-indulgent about the violence and fight choreography of Season Two.

If you don't remember Season One, early on in the season Daredevil has to rescue a child from some criminals. He breaks into their place and fights three rooms full of them in a scene that takes place mostly in the confines of a claustrophobic hallway. It was pretty badass.

It also was early in the show, establishing Daredevil's facility with hand-to-hand combat. Also, in that scene, he's basically wearing black exercise clothes as his superhero outfit, which you can see is torn in places from violence. And even in that scene, there are times where Daredevil pops into a room with a bad guy and the exact method of his dispatch is left to your and the foley artist's imagination.

So, in this new fight scene, Daredevil has, for reasons too spoilery to explain, to fight his way through an entire biker gang down about twelve flights of stairs with an object duct-taped into one hand and holding a chain in the other. No surprise: he does so.

Unlike the scene in Season One, it's now been pretty well established that Daredevil, even injured, can mop the floor with anyone who isn't a Navy SEAL or trained by ninja or something similar. Remember at the end of Season One, where a dirty cop who was about to get shot in the head closed his eyes and then, without the camera leaving his face, there were a bunch of punching noises so that when he opened his eyes Daredevil was standing there and all the people who wanted to kill him were beat down? I don't know how else to say it -- it is not a surprise that Daredevil can beat up a building full of "mere mortal" criminals. There's really no tension to this scene; you know he's going to plow through all of these guys because it's been done on- and off-camera for a season and a half. 

Furthermore, as of the end of Season One, Daredevil wears bullet- and knife-resistant armor, so the risk he takes in fighting an entire biker gang is significantly diminished. Not only do we know that he's going to go like a weed-whacker through these guys, we know that, unless one of them is super-lucky, they can't really even hurt him much. 

And on top of the lack of dramatic tension, there are no rooms where Daredevil can fall in with a guy and you not have to watch him "realistically" beat a person into unconsciousness. Look, I appreciate that Daredevil is a show where, often, it's clear that you usually can't knock a person unconscious with a single blow to the head, but watching a fight where Daredevil delivers "I know your concussed, but now stay down" blows to people's heads is just not that much fun. I sat through it saying to myself, "okay, so when do we get to the bottom of the stairs?"

The excruciatingly long stairway fight is only the apex of watching Daredevil cause chronic traumatic encephalopathy to nearly every baddie he encounters. We see lots of fight scenes that go on for a long time because they have to literally beat the bad guys into submission. It gets old and I just don't enjoy it. 

Separately, I counted at least three separate stabbings in the eye with a sharp object, one of which was waaaaay more drawn out than it had to be. If your fight choreography go to is "stab him in the eye," you need to work on your creativity. 

If you're going to have Daredevil fight a weird supervillain, the Spot is way more interesting than a mystical Asian death cult.
  • New York criminal procedure doesn't work that way.
  • Small law office finances, especially dealing with New York City rents, don't work that way. 
  • That thing with the sorta-zombies was never adequately explained.
  • I'm still not sure how the ninjas are so silent that they mask all the things that Daredevil might be able to hear, but still need to breathe audibly. In the quiet places where Daredevil more than occasionally fights them, shouldn't Daredevil be able to hear the synovial fluid squirting back and forth in their joints? If they can silence that, why's breathing a problem? 
  • Daredevil's mask is really unattractive and distracting. It's like a mutant Captain America mask.

Daredevil's fine. It's diverting and well-acted. You won't regret watching it. It's just doesn't rise to hoped-for greatness. 

Thursday, March 17, 2016


I've been lazy. And distracted. But mostly lazy. You've probably noticed the lack of updates, and that's the unfortunate result of my laziness. The fortunate answer is that I have awesome friends who are also awesome writers and who love to watch television. So please enjoy this beautifully written guest-post from Trisha, covering the mini-series, 11.22.63, based on the Stephen King novel and brought to you by executive producer, J.J. Abrams. --Maggie Cats

There is nothing like the fixation of a kid.  I think parents today can agree with that when they are watching Frozen for the n-teenth time, or trying to wash an article of clothing that has been worn every day for a month.  This graduates into boy bands, which for my generation meant head-sized buttons of various members of New Kids on the Block pinned all over jean jackets and vests.  I think my parents could have only dreamed of something so normal, but instead they got me.

My childhood obsession was the Kennedy assassination.  I was a weird kid.

Those who know me as a weird adult are probably not that surprised.  My dad was a bit of an enabler for this, talking theories, letting me stay up past my bedtime to finish cable channel documentaries, buying me books, planning a family trip to Dallas; my mom spent a few years perpetually rolling her eyes, which she still does every time I bring it up.  So when it comes to Kennedy assassination fiction and non-fiction, books, TV shows, movies (JFK twice in the theatre), I am fairly well versed in the genre, and always excited to add to my random “expertise.”

Full disclosure: if I had known 11.22.63 was a book, I would have read it first.  I missed that memo though, so here I go, even though the book is always, always better (except for 50 Shades of Grey).

In 2016, in Lisbon, Maine, Jake Epping (James Franco) enters a TARDIS in the closet of his friend’s diner that transports him back to October 21, 1960.  The episode is called Rabbit Hole, but I prefer thinking that the Doctor and the TARDIS are somehow camping in the diner closet as opposed to a late white rabbit. Call it a personal preference.

Jake's friend, the always brilliant Chris Cooper, explains the rules: no matter how much time you spend in the past, only two minutes pass in 2016.  And every time you enter the TARDIS you go back to October 21, 1960, and everything you did during the prior visit resets.  Chris Cooper wanted to stop the Kennedy assassination, which would somehow butterfly to no Vietnam War and a more perfect union today.
This explanation was a little tenuous to me, but I do not have the personal demons of a Vietnam veteran.

For spoilery reasons Chris Cooper cannot complete this mission, and implores Jake to continue on with all of the information he gathered during his prior visits to the past.  Jake, fresh off signing his divorce papers and burying his dad, acquiesces.

The past brings us James Franco sans scruffy goatee, so I already like it.  The first few scenes were so typically Franco that I had flashbacks to Never Been Kissed and Whatever It Takes (holy crap, James Franco was in Never Been Kissed!--MC), and not in a good way. Jake makes his way to Dallas to start positioning for changing the future/past, but as Chris Cooper warned, the past doesn’t like to be changed.  It strikes back in minor, and then major ways, and a shattered Jake finds himself reassessing his mission, and the potential tragedies of the next three years as he works towards this end.

I love the ambiance of Stephen King’s writing, and that shows like Haven (a personal favorite) and 11.22.63 work to bring that slight, surreal tinge to the screen, the not-quite-normal undercurrent that keeps you fully concentrating on the minute details, because who knows when they may reappear.  This isn’t an on-in-the-background show, especially in the first two episodes, which detour away from the plot that the previews promote.

In the second episode Jake finds himself positioned to right a wrong from his 2016 life, and his interactions surrounding this decision drive his character forward, but not the Kennedy story.  James Franco gives an amazing performance, especially when he is listening to others.  I am not a huge Franco fan, but in this setting his perfectly practiced micro-expressions are spot on.  At first during this episode I was tempted to call it a throwaway, and if I wasn’t so excited about Dallas, November 1963, I might have turned it off.

But the supporting cast performances are worth the entire watch, and the ending reveals a Jake much better equipped to move forward; even though it might not be his decision alone to do so.

Since Jake is in the past, Chris Cooper is confined to flash-backs (flash-forwards?).  He is so good that I always want more, and to see him outside of his tour guide role.  Josh Duhamel is more successful than Franco at ditching his high school hunk past and is genuinely creepy, albeit with perfect hair.  Credits list T.R. Knight who has not appeared yet, but I’m hopeful and eager for a Franco interaction.  Franco is best in this series when he is confronted with people whose motivations he is trying to process.

I’m writing this while starting Episode 3, which is still set in 1960.  I’m waiting for the time jump which I assume is coming, as there are only 8 episodes.  I’m waiting for the introduction of the historical characters that I know, and the conspiracy theories I love to debate.  I’m waiting for Chris Cooper to reappear in the past, though that is completely against the rules of the TARDIS.  I will keep watching until the end, and right now it is for more than just seeing Stephen King’s take on Oswald, the grassy knoll, and the assassination conspiracies, though that definitely helps.  Right now I’m eager for more interaction with new characters, and hopefully old ones, and a main character whose decisions surprise me.  That doesn’t happen often.

The first five episodes of 11.22.63 are streaming on Hulu.  A new episode is available every Monday.

Thursday, February 25, 2016

Mozart in the Jungle Is Basically Slings & Arrows. So... Awesome and Hilarious

So, I’ve been pretty disillusioned with the teevee offerings, but then lo! I happened upon ye Amazon Prime. And yea, before me was Mozart in the Jungle. And there was much rejoicing.

Is it Slings & Arrows but with an orchestra? Yeah, kinda. That doesn’t mean it isn’t great and completely addictive.

Zombie Heath Ledger, is that you?

Gael García Bernal stars as Rodrigo, the flamboyant maté tea-drinking enfant terrible conductor of the New York Symphony orchestra. Brought in to replace aging, life-crisis-having Thomas (Malcom MacDowell), Rodrigo both inspires and infuriates the orchestra’s members and administrative staff (the latter embodied by Bernadette Peters).

Rodrigo’s first subversive act is to hire Hailey (“HAILAI!!”), the ingenue oboist, portrayed by Lola Kirke. Hailey subsists as struggling musician in New York by giving oboe lessons to sullen pre-pubescent students, and by playing in off-Broadway orchestras for sub-par trite musicals. Rodrigo hires Hailey because, as he says, she plays with “THE BLOOD,” but she is too inexperienced to keep pace with the older, more seasoned orchestra veterans.

Turns out, adults come up with as many innuendos about wind instruments as 12-year-olds.

Inspired by Mozart in the Jungle: Sex, Drugs, and Classical Music by Blair Tindall (on whom Hailey is based), the show is a comedic look at the lives of classical music musicians and their business-oriented overlords. NPR doesn’t want to believe that artsy types take drugs and sleep around. Oh, NPR. You are adorable.

Executive producers are Roman Coppola, Jason Schwartzman, and Paul Weitz (the latter occasionally directs). Schwartzman, who seems to have given up acting and has decided to make a career out of being a hirsute hipster, makes occasional appearances on the show as a pretentious classical music podcast presenter. Veteran actress Saffron Burrows appears as Cynthia, the borderline nyphomaniac cellist.

For those of us who wanted MOAR Slings & Arrows, Mozart in the Jungle serves as a pretty fair substitute. The Golden Globe-winning series is not just for classical music or art wonks, although it might be the most appealing to that demographic. Like Slings & Arrows, its humor does depend somewhat on inside jokes, but the rest of it is genuinely funny and quirky.

Or maybe it’s just funny to those of us who suffered through private music lessons and a crazy competitive band program inhabited by teenage music fascists. Maybe that’s just me.

Mozart in the Jungle is free for Prime members. Plebes will have to pay per episode/season.