Summer Binge-Watch: Dear White People

I first witnessed this power out on the Yard, that communal green space in the center of the campus where the students gathered and I saw everything I knew of my black self multiplied out into seemingly endless variations. There were the scions of Nigerian aristocrats in their business suits giving dap to bald-headed Qs in purple windbreakers and tan Timbs. There were the high-yellow progeny of AME preachers debating the clerics of Ausar-Set. There were California girls turned Muslim, born anew, in hijab and long skirt. There were Ponzi schemers and Christian cultists, Tabernacle fanatics and mathematical geniuses. It was like listening to a hundred different renditions of “Redemption Song,” each in a different color and key.

-Ta-Nehisi Coates, Between the World and Me

I haven’t seen the movie Dear White People, but I watched the first season on Netflix. As near as I can tell, this is like watching Buffy the Vampire Slayer the TV series without watching the movie. The movie is fine, but the show is something different and completely worthwhile on its own. The first season is 10 half-hour episodes, following a group of very different black students as they navigate life in college, trying to find themselves and their places in the world. And it’s really good.

Most episodes focus on a different student and their experience. While the stories overlap, the timeline does move forward a little each time, so we can see how the same kids went from an act of overtly uncovering racism on campus to being driven to riot. We get some flashbacks, so we can see how one student expressly requested to not be assigned to black student housing, was anyway, but then grew to love it and feel that living there helped her to define her identity in a way she wouldn’t have been able to on her own. We see people who have ideas about the “right” and “wrong” type of black person realize that it’s not about the type of person so much as how far they’ve been pushed. Students of other ethnicities aren’t ignored; they’re just not the focus. Every character has strengths and weaknesses and goals. They make mistakes and they make friends and they struggle to identify themselves against parents and a school and a society that’ve already identified them.

The show puts a lot of thought into the difference between “segregation” and “having space.” And it doesn’t pretend that there are easy answers, although there are definitely some wrong answers. It can sometimes throw in a little absurdism a la Atlanta, but for the most part plays it straight and is well worth the viewing time, giving it to characters that don’t get nearly enough representation. The show, knowing that’s the case, makes the time count.

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Summer Binge-Watch: The Crown

One of my coworkers is all about this show. When I told him I was watching Victoria, he insisted I watch this. Unfortunately, I had to wait about six months in between. And then I was kind of disappointed.

Victoria aired on PBS last winter, and was about the early reign of Queen Victoria, who inherited the crown in 1837 at 19 years old. Women were not generally allowed to have any kind of power at all, but she was head of state and had to not only assert herself politically but find a husband and have a family while being queen. The writing wasn’t always the best and the show could be amazingly soapy (there were also all these intrigues involving the serving class) but the costumes were amazing and the drama was real. Victoria was only in line to be queen because her older cousin had died during childbirth, a thought that terrified Victoria when she got married and became pregnant. But since neither birth control nor c-sections existed, and discussing women’s health was considered vulgar, there wasn’t much she could do about it.

The Crown is available on Netflix and is about the early reign of Queen Elizabeth II, who inherited the crown in 1952 at the age of 25, when she was already married and had two children. This show is about how stifling the manners and traditions of monarchy can be, and most episodes follow this template:

Loved One: I want to do this thing.
Queen: That’s a perfectly reasonable thing to do. Of course you can do the thing.
Government: They cannot do the thing. It’s against tradition, and since your uncle abdicated the throne everyone’s just waiting for you to turn out to be crazy so you can’t do anything against tradition.
Queen: Sorry, Loved One, you cannot do the thing.
Loved One: You suck!
Queen: Being queen sucks.
fin

The fashion is pretty, but since it’s the 1950s and not the 1850s, it doesn’t seem that alluring to us today. And as an American, being told that the traditions of the monarchy are constricting just doesn’t make sense. If traditions aren’t working for you, just change them. Tradition for tradition’s sake isn’t a part of our culture. My coworker who loved the show has a British wife, who explained to him all the nuance that probably flew straight over my head. I will say that John Lithgow does an amazing job playing Winston Churchill, who has a much more complicated character with an actual arc and everything. But I strongly suspect the show is trying very hard not to disparage people who are still alive… and have a lot of power. Unfortunately, when the conflict can play out over one episode, it ends up feeling like the same episode over and over again.

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Summer Binge-Watch: Riverdale

One of the people in my writing group decided to write a Riverdale spec, so I spent the weekend watching season 1. Riverdale is a gritty murder-mystery show on the CW based on the Archie comics, and the look on your face right now is absolutely correct. Some people have described it as “Archie in Twin Peaks,” meaning the dark, murder mystery part of Twin Peaks and not the supernatural or “weird for the sake of being weird” parts. My overall impression is that this is a VERY teenage show. Every time our narrator, Jughead, references the murder of Jason Blossom as “when Riverdale lost its innocence,” I think, “no, you’re just 16. That’s what 16 feels like.” When Betty confesses that sometimes it feels like there’s an evil inside her and she doesn’t know where it comes from, I’m reminded of Pubertus. And when Cheryl changes moods like hats, I remember that brief period in high school when I tried wearing hats.

And yes, this show is ridiculous. Most of the adults are mustache-twirlingly evil. Betty’s mom, Alice, is supposedly a reporter but writes articles specifically about her personal vendettas and without regard for libel laws. When Alice is right, she’s right for the wrong reasons and in the worst possible way. She’s so over-the-top that the writers use her in situations where there is a clear path forward that any rational person would take, but the show doesn’t want to go that way so they use Alice to derail the plot. A friend called her a “human record-scratch,” which is a phrase I have to work into my everyday conversation. For instance, you may have heard about the plotline at the beginning of the show where Archie is sleeping with his music teacher, Miss Grundy. (There was a strong fan reaction when the show debuted.) Miss Grundy is clearly a sexual predator, and when the parents finally find out and confront her, Archie basically recites all the things that kids who are the victims of sexual predators say, starting with “she didn’t do anything wrong! I pursued her!” So the way this would go in real life is that she would be arrested and tried, and those stories can be interesting but the writers really knew they had made a mistake with this one and wanted it over as quickly as possible, so instead they put Alice in the scene and she started screaming to where we thought Miss Grundy would end up swinging from a tree and everyone agreed that she just needed to leave town as quickly as possible.

And yet, the show can be frustratingly real. Betty still trusts and confides in her mother, despite her mother breaking that trust every single time, because it’s her mother. Most of the kids, in fact, should have declared themselves emancipated long ago but don’t because this is how it works. When Jughead’s dad accepts money to set off a chain of events that he knows will involve making his son homeless, it’s heartbreaking. When we watch the other adults in Jughead’s life penalize him again and again for being poor instead of protecting or providing for him, the reality makes us cringe.

And amongst all of this, the Blossom family literally tries to replace their dead son with Archie, because they kind of look alike, and nobody sounds the alarm. Jughead tells someone “you can talk to the Sheriff, or you can talk to me [a high school reporter]” and this is played straight. Betty is not only a far more responsible reporter than her mother (despite trying to cover up stories involving her friends), but the school newspaper, which didn’t exist at the beginning of the year, has a larger operating budget than the town paper. THIS IS ACTUALLY STATED AND UNIVERSALLY AGREED ON. The kids are definitely the adults, and yet the kids are still kids. Sort of what you expect from a show based on the Archie comics.

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Background Info: The 1973 Westworld Movie

The movie was written and directed by Michael Crichton, and is the basis for the current HBO TV Series of the same name. The thing that strikes me while watching it is how little is actually there. It’s like if you broke down a movie to its logline; say, The Hangover would be “A group of men take their buddy for a bachelor party in Vegas and wake up the next morning with no memory of what happened – and no groom.” Which accurately describes the movie, but obviously there’s a lot more that happens with tigers and a baby and Mike Tyson, because it’s a full movie. Well, in Westworld, “at a high-end amusement park populated by robots acting as people, the robots malfunction and start killing the guests.” And that’s it. That’s the whole movie. Really. Don’t believe me? Here’s what happens:

We open on something like filmed testimonials for Delos, which is made up of three parks: Medievalworld, Romanworld, and Westworld. (Notably, this was clearly shot after the rest of the movie, because everywhere else it’s referred to as Westernworld.) Guests discuss living their fantasies of shooting six men, a woman talks about getting her groove back, and a man gushes about marrying a princess, something he dreamed of doing “all my life!” And they say men don’t fantasize about their wedding days. One man brags that he was the sheriff of Westworld for two weeks. This will be important later. It’s also established that visiting costs $1,000 a day, which today would be around $5,500. (This seems low to me, but two different inflation calculators gave me similar numbers. I was thinking closer to $12,000.) Remember the Fyre Festival fiasco? Yeah. I think we’re supposed to hate these people.

Then we move to the hovercraft currently transporting a group of guests to Delos. Why a hovercraft and not a plane? Or a train, like the current series? Shut up, that’s why. We meet James Brolin, looking exactly like James Garner in profile and playing John Blane, keeping it cool. He has been to Westernworld before. He’s being grilled by Richard Benjamin, playing Peter Martin, who is a total dork about the whole thing. Peter asks John how much a Colt .45 weights, and John says it’s 3-4 lbs. Having never handled a gun in my life, I feel completely confident that John is full of shit. Every robber would have carpal tunnel. Everyone else watches a movie pumping them up to visit Delos, and giving us no new information except that Romanworld is basically a giant orgy. (Medievalworld is if you want to stab robots with swords, and Westernworld is if you want to shoot robots. In all of them, you can also fuck robots.) One guy traveling with his wife is clearly regretting that they are going to Medievalworld instead of Romanworld. The hovercraft arrives and everyone gets onto trams to go to their respective worlds, which is mostly us being introduced to robots that look like people “except the hands.” The guys going to Westernworld are given authentic clothes to change into, but they’re just in a big, open locker room, and Peter finally gets a gun.

We do get to briefly see Central Control, where they mostly say numbers and there’s one guy who’s always on the phone placing lunch orders or complaining about his laundry not getting done. It’s a swell job.

Peter and John arrive at their hotel, which Peter complains about being an authentic shithole, and John tips the innkeeper just so we can see his hands, which actually look fine to me but apparently are not? John gives Peter a hard time for still thinking about the wife who divorced him six months ago and took the kids, which, the hell? Peter shoulda pistol-whipped John as soon as he found out John lied about the gun. Who are these guys to each other, anyway?

They go to a bar and Peter’s having trouble getting into the spirit of the place (he orders a vodka martini, extra dry) until Yul Brenner, playing a character called The Gunslinger, shows up. He’s clearly a robot, clearly designed to goad tourists into shooting him. So Peter does, but it takes a while, and nobody thinks much of it besides Peter. John finally explains to Peter that they know The Gunslinger was a robot because Peter was able to shoot him, and the guns don’t shoot anything with a body temperature. Which, do the robot whores have cooch-warmers? Because I’d imagine that would be awkward to fuck a cold robot.

We check in on Medievalworld, I think just to show how much better the food is there than Westernworld. Then we’re back in Westernworld, where Peter and John visit the brothel because they have the same questions I do. Peter’s getting the hang of playing cool and ordering whiskey, but still freaks out at the prospect of fucking machines. For about two seconds. And then he’s all sad they have to miss the bank robbery happening across the street so he can fuck a machine. His robot, by the way, does not look into this. At all. She looks downright sad. But Peter doesn’t notice over the sound of his boner. They make sweet, sweet love, which, to be fair, doesn’t look particularly rapey. (This is one of the differences between the movie the TV show. The movie: “You can fuck and kill robots!” The TV show: “You can rape and kill robots!”) We see the robot’s eyes get wide and hear a tone which we’re supposed to interpret as her being affected by this malfunction, and when she leaves she says “I think you’re very nice” which I suppose is why she doesn’t kill Peter? John comes in so they can both giggle like schoolboys.

At night, while all the guests are asleep (sure, that’s how resorts work), the park employees come around to pick up all the robots that are dead or otherwise in need of service. They’re all put on a conveyor belt and taken to a big room lined with surgery-like repair setups. This is mostly to show off the special effects. It’s funny how there’s not even an attempt to get the actors playing robots to stop blinking if the camera isn’t focused on their eyes, although they do hold their breaths. We then get a long explanation about how more robots are breaking down than expected, and it started in Romanworld and is spreading. They kind of go out of their way to NOT invent the term “computer virus,” calling it “a disease of machinery.”

In the morning, after the robots have been activated, The Gunslinger shows up looking for Peter, presumably because that’s the last person he remembers shooting him. John dives behind a bed, which is a good idea when Peter swings into action, taking out a mirror and a lamp before slow-motion shooting The Gunslinger.

The next scene only makes any sense at all in the context of the TV show, so props to the show for that. See, the show explains this concept that the park has “storylines,” which you can choose to participate in or get roped into. The movie sort of references the concept (like with the bank robbery) but the whole concept doesn’t seem as scripted out. What happens here is that Peter gets thrown in jail until the judge arrives “next week.” Which, clearly, you can’t have someone paying $5,500 a day for a park experience and then lock them in a small room for a week of that time. From the park’s perspective, that just doesn’t make sense. Fortunately, John is familiar with this concept, so he bribes someone to pass Peter a note that he’s getting out of jail. And then the side of the jail blows up. How is not explained. Did John also sneak Peter explosives? There’s no evidence of that. Does the wall randomly blow up every other day or so? No idea. But then John shoots the sheriff as they leave. Hey, remember that guy at the beginning that was all happy he got to be sheriff for two weeks? How was John so sure that wasn’t happening again? Anyway, the boys take off into the desert, where John is bitten by a robot snake and the boys prove they’re BOTH really bad shots and everyone in Central Control freaks out because even the snake robots aren’t supposed to hurt people. And we check in briefly again on Medievalworld, so we can see how quickly the robots can be reprogrammed, I think. And then Westernworld gets a new sheriff, who is a short tourist wearing glasses who clearly causes all the other tourists to worry that he’s going to get in the way of their robot-killing-and-fucking with his non-macho ways.

Central Control talks again about the snake problem and decides not to let anyone new into the park, although the people already there can stay. One guy says, “but we can’t ensure their safety!” and another guy says, “sure we can. Watch: they’re safe!” And clearly he’s mixing up ASsure and ENsure. This is why, presumably, they have INsurance.

John and Peter are at a bar fight/chance for stunt people to show off in Westernworld, except everyone is beating up everyone else. So clearly 1) that thing about guns not working on anything with a body temperature is going to be irrelevant and 2) some guests are beating on other guests. But just like in Fight Club, everyone leaves happy.

It seems all the scenes in Medievalworld have been leading up to this one, which is relevant because a “sex model” robot turns down sex with a guest and clearly that’s not right. Central Control takes this WAY WAY more seriously than the snake biting someone or The Gunslinger stalking someone, but they still don’t shut down the park. I mean, sure, snakes are supposed to bite people, but a woman turned down sex?!? WE HAVE A CRISIS HERE. So then the Black Knight shows up in Medievalworld and kills the guest. HE DIDN’T EVEN GET TO HAVE SEX FIRST. They try cutting the “robot power,” but that does nothing because the robots run on batteries, and naturally this is when The Gunslinger shows up again and this time he kills John. Peter’s like, “uh oh, better not shoot him again!” and runs away and The Gunslinger follows him.

We see quick video of the robots killing everyone in Romanworld and Central Control complaining about how they have no control and then realizing they can’t even save themselves because when they cut the power they accidentally locked themselves in. Peter rides a horse through the desert and The Gunslinger rides a horse through the desert. Peter loses his gun. Peter finds a maintenance man, who offhandedly suggests Peter throw acid on The Gunslinger’s eyes, then tells Peter he hasn’t got a chance and promptly gets shot by The Gunslinger. Peter rides his horse into Romanworld, where there are lots of dead bodies and suspiciously few robots. He finds an entrance to the underground tunnels (how? don’t know) and kind of picks one at random. He finds Central Control, where everyone has suffocated because their electronic doors are also airtight, or something. The Gunslinger follows Peter into the tunnels.

Peter finds the surgery/repair lab, where there is a handy bottle of HCl with which to douse the eyes of robots. He rather hilariously lies on a table and tries to pretend to be a robot until The Gunslinger walks up to him, and then he throws the acid in his face. And then just strolls away, like, “problem solved! This robot with a clear grudge against me will definitely be fine with this!” Fortunately for Peter, when The Gunslinger finds him, he can’t shoot him because THE BATTERY ON HIS GUN IS DEAD. I feel like someone at the NRA watched this movie and had nightmares. Anyway, Peter runs to Medievalworld, where all the robots’ batteries have died, so he and The Gunslinger are the only ones moving. Now The Gunslinger can only see Peter’s body heat, so Peter’s invisible if he hides near open flame. Yeah, that’s a thing that happens. So Peter then sets The Gunslinger on fire, and strolls away because that was so effective last time.

Peter finds a woman chained up, pleading for help, so he unchains her and then forces her to drink water, which short-circuits her. Maybe there was more rape in the movie than I realized. This is when The Gunslinger shows up again, but mostly so he can fall over and finally die. Peter actually watches it happen this time, so he finally learned his lesson. Or, since then he takes a load off on the stairs to reflect on things, maybe not.

And that’s the whole movie! From this, the TV show came up with a thing about the robots developing consciousness and spent a lot of time exploring what humanity is, what memories are, and what identity is. It’s bigger than the movie in every way, but although you can see the clear inspiration from the movie to the series, there are almost no clues as to where the series is going. At least, none that can be deciphered in advance.

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2017 Emmy Nominations

2017 Emmy Nominations are out, and I’d like to congratulate my friends Franki Butler, who wasn’t personally nominated but wrote on this season’s Genius, which was, and Jack Dolgen, who was nominated as one of the songwriters for Crazy Ex Girlfriend. Also, a bunch of the music supervisors and composers who I know through work were nominated. This is the first year there’s a Music Supervision category, so everyone here is very excited about that.

Of course, the big question is, Am I watching all the good stuff? So:

Best Drama Series
House of Cards (Netflix) – NOT YET
Better Call Saul (AMC) – YES
The Crown (Netflix) – WATCHING NOW
The Handmaid’s Tale (Hulu) – YES
This Is Us (NBC) – NOT PAST THE PILOT
Westworld (HBO) – YES
Stranger Things (Netflix) – YES

Best Comedy Series
Veep (HBO) – NOT PAST THE PILOT
Atlanta (FX) – YES
Black-ish (ABC) – YES
Master of None (Netflix) – YES
Modern Family (ABC) – NOT ANYMORE
Silicon Valley (HBO) – NO, BUT MY CARPOOL BUDDY WROTE A SPEC THIS YEAR SO I GOT TO HEAR ALL ABOUT IT
Unbreakable Kimmy Schmidt (Netflix) – YES, BUT I’M BEHIND

Best Limited Series
Big Little Lies (HBO) – YES
Feud (FX) – NOT YET, BUT IT’S ON THE LIST
The Night Of (HBO) – YES
Fargo (FX) – NOT YET, BUT IT’S ON THE LIST
Genius (National Geographic) – YES

Not too bad. I should be caught up on everything I intend to catch up on before the Emmys on September 17th. Things that are on my list just got shuffled up a bit, so keep an eye out for binge-watch posts. I’m preparing one now for Dear White People, and also a couple posts on background research: I recently read the Legion omnibus and watched the 1973 Westworld movie, and now I have THOUGHTS and FEELINGS.

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Summer Binge-Watch: Genius

Season 1 aired on the National Geographic Channel and followed the life of Albert Einstein. Season 2 has been ordered, but it was a couple months before they announced who it would be about. I saw a lot of speculation about Marie Curie, which seemed to completely miss that she was in the Albert Einstein season so that wouldn’t make sense. I remembered that I had added a book on Picasso to my Amazon wishlist once because I thought he might make the basis for an interesting TV show, and got stuck on that thought. Lo and behold: Season 2 will be about Pablo Picasso. So I’m calling it now: Season 3 will be Mary Shelley and Season 4 will be MLK Jr. (Tesla would also be an interesting choice, but I suspect a highly volatile one.)

I’m not going to avoid spoilers because there’s nothing here you couldn’t find out on Wikipedia. The opening episode leaps in time between Einstein trying to skip his last few years of school to go straight to college, much to his father’s and professors’ chagrin, and his realization that he needed to leave Germany prior to the start of World War II. The second episode then takes us back to those school days and the series progresses in more-or-less chronological order, sometimes flashing forward or back or jumping a few years. There are separate actors for “young Einstein” and “older Einstein,” which is jarring in episode 6 when they switch and you realize they’re supposed to be representing Einstein only 4 years apart in age. But when the show is playing fast and loose with the timeline, it’s a handy way to keep track of which time period we’re in.

The moral of the story is that Einstein was a genius, but not a saint. The opening shot of the show is older Einstein banging his secretary and asking her to move in with him and his wife. (His wife later respectfully requests that he cut that shit out.) I remember when I was kid, hearing on the radio an episode of “The Rest of the Story” about a honeymooning couple where the wife was screaming at her husband because, once again, he forgot something – the keys to their honeymoon cottage. The rest of the story is that it was Albert Einstein. I don’t remember if the wife in question was Mileva Maric, his first wife, or Elsa Einstein, his second wife (they were cousins, according to Wikipedia on both sides of the family). The show didn’t address that particular story, probably because it really is so trifling. Much bigger was how he wooed Mileva by appealing to her intellectual curiosity and treating her as an equal, and then as soon as they had children expected her to be his secretary and mother at the expense of her own ambitions. When she balked, he literally drew up a contract stating that she wasn’t allowed to speak to him. Multiple people in his life observe that he is good at physics and bad at people, but the show makes clear that was a choice he made. He’s not incapable of understanding people, he’s just unwilling to put in the work necessary to learn. We see Pierre and Marie Curie, so we know what it looks like when a male scientist supports his wife in the same time period. It seems like his second marriage to Elsa worked largely because they both already had children and did not have any children together, so she was able to devote most of her time to him.

The backdrop of all of this is the growing antisemitism of pre-WWII Germany, and the United States. The Red Scare is seen as a clear cover for antisemitism, and the reason it took so long for Einstein to get a Nobel Prize is that one of the scientists on the committee is a literal Nazi. Other scientists compromise their principles and are still targeted. The build up is slow – a politician friend of Einstein’s is assassinated ten years before he finally decides to flee, but he is far from the only one. The resulting “brain drain” means Germany had no chance of winning the nuclear race, especially once Heisenberg decided to stall rather than give Hitler the bomb. The bomb which Einstein was terrified would be his legacy, perhaps with what seemed at the time like good reason but today seems like a footnote.

A funny side effect of focusing on Einstein’s pacifism is that while we’re told that he’s famous for not signing his name to things, we mostly see him signing his name to things. In fact, by the time he reaches old age, he is having his secretary write letters to the president that feel like they might as well end with “I am not a crackpot.” And yet, he’s being targeted by vindictive crackpots. As in Germany, he doesn’t realize the danger he’s really in because he doesn’t believe how actively evil people can be. Or at least, that’s how the smirking Hoover is depicted here. Einstein’s much more concerned with the passive evil his son sees him as, finally circling back to his family at the end of his life. His son is the one tasked with collecting his body after death, and while he reluctantly gives the doctor permission to keep and study Einstein’s brain, he warns him that that doesn’t come close to explaining who his father was. He’d probably also say that ten hours of TV dramatization won’t do it either, but at least it brings nuance and multiple viewpoints to play, and uses pretty CGI to explain complex theoretical physics.

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Summer Binge-Watch: Big Little Lies

I was looking for a nice palette cleanser after The Handmaid’s Tale. I needed the TV equivalent of beach reading. This aired on HBO last February/March. It’s being called Season 1, and no announcement has been made yet as to whether or not there’ll be a Season 2, but it’s based on a book and Season 1 covered the whole book. Considering it’s a murder mystery and at the end the murder is solved, it’s hard to predict if Season 2 would try to follow the same people or if it would be more of an anthology situation. I guess we’ll see. I watched it on HBO Go.

Yes, murder mystery. I’m going to try to keep this fairly spoiler-free, but the first episode opens with various townsfolk being questioned by police about a murder and then flashes back to the start of the story, so you know up top it’s a murder mystery. You know when the murder will happen, but you don’t know who died or how or who did it. Mostly this device is an excuse to hear how the people outside of our main characters gossip about the main characters. And they gossip A LOT.

The “big little lies” in question are the lies or omissions we all make so that other people think our lives are better than they are. It’s about the struggle rich, (I’m just going to say it), white women feel to appear perfect. And it’s easy to write this off as a show about white women’s problems, but I think it is something we can all relate to in some capacity. I think often of a woman I used to work with; I lost touch after the show we were on was canceled and we went onto different paths, but we were Facebook friends so I still saw what she was up to. I was excited for her wedding pictures, and heartbroken a few years later when she announced that her husband had passed away. But she announced it on Facebook and in the same post also announced how excited she was to be going to see New Kids on the Block in concert. I have no doubt whatsoever that she was absolutely devastated, and continues to be. But the pressure Facebook puts on people to appear happy at all times hits some harder than others. This show doesn’t tackle social media directly, but it doesn’t need to. We all know about keeping up appearances.

The show does an excellent job of slowly layering in the cracks in the facades, showing us how any of the main characters could be desperate enough to kill any of the others. And really, by the time the murder happens, it feels almost incidental. (Almost. If they hadn’t followed through on the promise of telling us who died and how, there would not be the Emmy buzz we’re currently hearing.) There’s one point that I think the show wants us to take literally and I’m choosing to take metaphorically, because that’s an option that’s available to me as a viewer.

And that’s the thing about appearances: they’re open to interpretation. Whether it’s the truth or not, whether it’s what you want people to see or not, people will color the stories you give them with their own. They’ll see whatever is to their benefit to see, either because it makes them feel better about themselves or it’s a better story overall or they care about you and don’t want to have to worry. Trying to control appearances is ultimately a fool’s errand, and on Big Little Lies, it gets someone killed. The moral of the story is ultimately: find your people, let them see everything, and screw what anyone else thinks.

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