Political Humor and Humanity in HBO’s ‘VEEP’

She’s a toxic political figure, a creator of monumental gaffes and inappropriate situations who doesn’t even have the excuse of good intentions. Her intentions are always self-serving and she treats her staff atrociously, often assigning them the blame for her mistakes.

This repost by Rachel Redfern appears as part of our theme week on Unlikable Women.

Foul-mouthed and frazzled, Julia Louis-Dreyfus (eternally known as Elaine from Seinfeld), stars as United States Vice-President, Selina Meyer, in the Emmy Award-winning HBO political satire, VEEP. The show focuses on Dreyfus’ character, a woman who wants power, but resides in a fairly weak place, politically, having to hide in the shadows of the president and worry about her approval ratings.

There are two Hollywood versions of Washington, D.C.–one where the president is Morgan Freeman and he’s strong, but compassionate, and you feel good about being an American. The other version is something out of a John Grisham novel in which the city is one giant 60 Minutes expose of cynicism and conspiracy (the latter version just makes you sad to be alive). VEEP is the second, minus the conspiracy and snipers and with the addition of obsessive BlackBerry use.

Since the show never features the president, VEEP is free to focus on the more trivial aspects of federal politics, like the clean jobs bill Selina tries to put together, only to have the president close it down and give her obesity instead (not that obesity isn’t a big issue, it just offers a few more humorous situations than Guantanamo Bay). VEEP is interesting though, not because the characters surrounding her are ridiculous, but because Selina, the main character, is ridiculous and unlikable herself. She’s a toxic political figure, a creator of monumental gaffes and inappropriate situations who doesn’t even have the excuse of good intentions. Her intentions are always self-serving and she treats her staff atrociously, often assigning them the blame for her mistakes.

Julia Louis-Dreyfus as Selina Meyer in HBO’s VEEP

Selina’s staff isn’t any bundle of joy either; they’re just as unethical and self-serving as she is. Amy (Anne Chlumsky) is her competent, yet also incompetent chief of staff; Gary (Tony Hale of Arrested Development), is her faithful personal aide who is so loyal he takes a sneeze in the face to save her from being sick, and even breaks up with her boyfriend for her (in a sidenote, this is the second role that has featured him as a mildly obsessed man with an insane devotion to an older woman, a role that is played out as being emasculating and undignified); Sue (Sufe Bradshaw), is her sassy secretary; Mike (Matt Walsh) as the over-the-hill fading director of communications; Dan (Reid Scott) who is politically savvy, but also a social climber of epic proportions; and of course, the weird presidential liaison, Jonah (Timothy Simons), who tries to sleep with Amy.

Selina and her female staff are just as foul-mouthed and unpleasant as their male counterparts, a fact I actually really like about the show. Instead of giving the women a rosy, fictional gloss, they’re painted more as unique players in the political process, rather than just a token show about “Women in Politics.” In that vein, the show does portray the still highly sexualized role of female leaders, which is disturbing, but unfortunately very realistic. Examples of sexual harassment are fairly common on the show, like when Sue is the recipient of some pretty blatant comments from a congressman, which she just shrugs off; the death of a famously lecherous senator is mocked as everyone raves about him publicly, but in private, all the women sarcastically share their stories of his disgusting behavior. It’s sad to think that this situation is probably very common; male political figures lauded as leaders, when in reality they’re abusive perverts. For me though, the most astute and frustrating example of this came when Amy, Selina’s chief of staff, has to negotiate with two congressmen from Arizona; their immediate disdain for her and the patronizing, “sweetheart” she receives when she sits down is so realistic and problematic I wanted her to smack them. And yet, like so many powerful and intelligent women, she just had to take the condescension or risk sounding like an “over-emotional bitch.” This portrayal of randy behavior from the male senators strikes a contrast to the depth of scrutiny that the women on the show receive about their sex life. When Selina has a pregnancy scare, the media goes crazy and many of her interviews after address that very personal topic, rather than larger, national issues.

Humorously though, her cynical staff decide to turn it into a sympathy moment and try publish a story about in a woman’s magazine. It’s one of many instances when Selina’s stance as the loving, but absent mother plays a role in her political success; It’s only when Selina cries on camera about missing her daughter that her approval rating increases. Comedy shines again as the greater revelator of cultural inequality as Selina’s motherhood is constantly called into question (as is her femininity when she’s given the nickname, “Viagra inhibitor”). As is always the case, a male leader’s relationship with his children is less important than his hairline, but a female leader must always appear guilty and remorseful about her position, she must always regret the fact that her ambition has taken her out of the home or risk being perceived as cold-hearted or worse, un-maternal.

In the end, Selina (and even most of her staff) are undeniably unlikable people. Very little (if any) time of the sitcom is spent showing political figures as doing anything to improve the lives of their constituents; rather their days are filled with scheming and backbiting. Despite the fact that the characters aren’t people you would ever want to meet, the show does highlight the selfish and elitist world of the Unites States’ highest political people, and it’s a nice change to have that shown with a female lead.

Aside from the very astute commentary that the show makes about gender and politics, one of it’s greatest strengths is in the area of the gaffe. Oh the political gaffe: Romney and his 47 percent, Akin and his “women have a way to shut that whole thing down,” Vice-President Joe Biden about half the time. While all we see is the unbelievably stupid thing that a public figure has just said on national television, VEEP does an excellent job of leading up to Selina’s gaffes. They give us the background story and the same information that Selina is given so that when the gaffe does occur it’s incredibly funny, but also a bit understandable. It’s an element of the show that serves as a great reminder of the humanity of our politicians; while yes they say stupid things sometimes, we probably would too if we were in their shoes. I mean, I say stupid stuff all the time, I’m just lucky enough that there aren’t any TV cameras around when I say it. At the end of the day, politicians are just people with better hair.

Rachel Redfern has an MA in English literature, where she conducted research on modern American literature and film and its intersection, however she spends most of her time watching HBO shows, traveling, and blogging and reading about feminism.

“Mama’s Here Now” and Dynamics of Sexual Trauma

But last Thursday’s episode, “Mama’s Here Now,” hosted a surprising masterclass on dealing with the fraught topic of sexual abuse on network television.

Cicely Tyson and Viola Davis in 'How To Get Away With Murder' — Cicely Tyson and Viola Davis in *How To Get Away With Murder*

Written by Rachel Redfern.

SPOILER ALERT

“So let’s just roll out the complicated, inter-genertional, often racially influenced, issue of sexual assault in America in about 40 minutes and be pretty much exhaustively mind-blowing,” said How To Get Away With Murder last Thursday.

I think its been universally accepted that Viola Davis is delivering some of the best acting on network TV for her portrayal of Annalise Keating in How to Get Away with Murder. The show itself is fun and entertaining, although occasionally falls into the trap of “so much drama,” in the courtroom and out. However, despite its flaws, the show boasts an expansive diversity in its character base: lots of female lawyers and judges, ethnically diverse cast, and LGBTQ relationships.

But last Thursday’s episode, “Mama’s Here Now,” hosted a surprising masterclass on dealing with the fraught topic of sexual abuse on network television.

Thursday’s episode opened with Annalise receiving a visit from her aging mother, Cicely Tyson. Hopefully you know Tyson from her work on Because of Winn Dixie and Diary of A Mad Black Woman. Tyson steps into Annalise’s house and we have the first scene of straight familial comfort, a mother holding her daughter: simple and powerful. But as with most mother-daughter relationships, it becomes apparent within the next few minutes that there is a fraught backstory between the two. Annalise’s mother insists on calling Annalise “Anna May,” a name that becomes a clear symbol for a life that she shed on her way to becoming a successful professor and sophisticated trial lawyer.

Parallel to the beginnings of Annalise’s family drama is the strange client that “the gang” and Bonnie (Liza Weil, from Gilmore Girls) decide to take on. The strange case revolves around a timid nurse accused of raping a male patient post-surgery.

And while Bonnie struggles through her own Annalise as “mommy” lawyer issues, Annalise begins to reveal that she was sexually assaulted by her uncle as a child, accusing her mother of knowing what happened to her and not caring.

Cicely Tyson brilliantly plays Annalise Keating's mother. — Cicely Tyson brilliantly plays Annalise Keating’s mother

During all of the personal drama is Bonnie’s courtroom case; besides the obvious similarities between the two storylines, both dealing with sexual assault, Bonnie’s case is difficult to unpack. A woman is accused of rape by man, but she claims the sex was consensual. Bonnie and “the gang” then discover that the accuser is a gay man in a relationship with hospital legal staff, in league to grab a big payout from the hospital on a falsified rape claim. I found this problematic.

Sexual assault happens to both men and women, and in an episode committed to the discussion of the ways that victims of abuse often don’t see any justice, if felt like an odd juxtaposition for the storyline. However, it could also have been read as a way of repositioning normal gender stereotypes, a switch from men as sexual aggressors to women as enactors of violence and trauma as well.

But the magic of this episode was in the complexity with which the writers and actors dove into a hugely complicated issue and emerged, not with easy platitudes of forgiveness, but rather, a more complicated evaluation of sexual (and racial) politics.

In an explosive dinner scene, Annalise–haggard and drunk–accuses her mother of not caring about what her uncle did to her. But in a surprise, Annalise’s mother delivers her mantra for the episode: “I told you, men take things! They’ve been taking things from women since the beginning of time.” She angrily lists her own sexual assault by her reverend as a child, a teacher who raped her aunt, and Annalise (and audience) sit there, horrified at the string of violence she spits out.

The obvious anger and helplessness that both of these women feel just spills out, crossing generational borders and speaking volumes to the pervasive ugliness of sexual assault. But it doesn’t stop there–Tyson continues on, revealing more about Annalise’s past with Sam, and the reasons for her occasional disdain for Annalise: “Ain’t no reason to talk about it and get all messy everywhere. Certainly no reason to go to a head shrink or for help.”

Viola Davis and Cicely Tyson in mother-daughter mode.

Sam was Annalise’s therapist; as Annalise reveals her vulnerabilities to her mother’s disgust with her daughters weakness, so many things click into place: Sam using his place of confidant and doctor to prey upon Annalise’s belief that she “belonged in a hand-me-down box.”

After Tyson’s tirade against the nature of men, their next scene together is different: softer, stronger. Annalise seems stripped down–no makeup, no wigs, her hair bunched into a more natural ‘fro, everything from her life as a lawyer pushed to the side as she sits on the floor between her mother’s knees while she brushes her daughter’s hair. For me, this was the most telling scene; not only is it an iconic image, but it also takes Annalise back into her older self, and we see her, confused, half in and half out of her old world and her new one. But despite the fancier settings than the ones she obviously grew up with, women’s problems are the same, and so are the solutions.

It is in the safe and familiar image that Tyson reveals the truth about Annalise’s uncle and what happened to him. Annalise’s mother saw the man emerge from Annalise’s room and knew what had happened, and so days later, while he was passed out drunk on the couch, she took a long match, and burned the house down, fixing the problem the only way she knew how. Tyson now repeats the refrain, “Only God can judge.”

Conclusion: Men take, women fix things?

Rachel Redfern is a traveler and teacher who spent the last few years living in Asia. Now back in her native California, she focuses on writing about media, culture, and feminism. While a big fan of campy ’80s movies and eccentric sci-fi, she’s become a cable acolyte, spending most of her time watching HBO, AMC, and Showtime. For good stories about lions and bungee jumping, as well as rants about sexism and slow drivers, follow her on Twitter at @RachelRedfern2.

‘Finding Vivian Maier’: The Greatest Art Mystery of the 20th Century

However, Vivian Maier–besides being an obvious genius–remains a mystery. ‘Finding Vivian Maier’ follows the narrative mystery as we pursue the reclusive and eccentric Vivian (or her personas of Ms. Meier, Mayer, Meyer, Meyers, Maier) across the US and through the streets of the 1950s and 1960s, attempting to discover more of a woman who is still unknowable.

This repost by Rachel Redfern appears as part of our theme week on the Academy Awards.

[youtube_sc url=”http://www.youtube.com/watch?v=2o2nBhQ67Zc”]

In April of 2009, one of the greatest street photographers of the 20^th century died in a Chicago nursing home. Her passing was quiet and seemingly without notice, and the photographs that she left behind were dusty unknowns, auctioned off at a storage locker in Chicago. The buyer, John Maloof, began posting the photos on the Internet, hopeful that someone would recognize their quality. When the photographs went viral, Maloof began searching for the photographer, just a handwritten name on a few receipts stuck into the boxes, and stumbled upon a woman as fascinating as the art she produced.

Directed by John Maloof and Charlie Siskel, Finding Vivian Maier is an award-winning documentary exploring the art and artist discovered on an auction house floor, and whose prolific work has been subsequently shown all over the world. During her life, Vivian Maier produced over 150,000 photographs, as well as films and audio recordings, and did so while keeping her talents and work completely hidden from the world—choosing instead to work as a nanny in New York City and Chicago.

However, Vivian Maier–besides being an obvious genius–remains a mystery. Finding Vivian Maier follows the narrative mystery as we pursue the reclusive and eccentric Vivian (or her personas of Ms. Meier, Mayer, Meyer, Meyers, Maier) across the US and through the streets of the 1950s and 1960s, attempting to discover more of a woman who is still unknowable.

Vivian Maier hid herself well during her life, and there has been some speculation: is it right to expose her now in death? Would Maier be pleased at the recognition of her talents? Her friends say no, but Maloof disagrees (for obvious financial reasons), arguing that since Maier corresponded with an art printer in France that she was obviously interested in displaying her work at some point.

Finding Vivian Maier embodies an art historian’s meta-dream of art exposing art and reveals the way that art can be lived in a person—empathetic, obviously political, socially conscious, occasionally gritty artwork, reflective of the woman behind the lens.

For photographers there is often the thought that we must be standing in front of the exotic to have something worth photographing; however, Maier exposes women, children, minorities, laborers, and other “background” faces in “normal” cities with a compelling charisma. As one historian states in Finding Vivian Maier, the fact that Maier was able to push so deeply into the personal space of her subjects and then photograph them with such an honest vulnerability, is remarkable. As an artist, her work is not a moment out of time, but instead occupies a contradictory grounded timelessness where we, the viewer, are included in a sympathetic, deeply personal interaction.

One of Maier’s beautiful, inclusive moments from the streets of Chicago

Despite the occasional self-congratulatory tone of the Maier discovery, the documentary is exceptional. Finding Vivian Maier is paced like a mystery film and viewers are drawn in to explore the fractured pieces of Maier’s secretive life along with Maloof. However, in a delicious, almost teasing way, after Finding Vivian Maier is finished, we’re still left with much to wonder about the enigmatic artist and spirited woman that was Vivian Maier.

Additionally, within the past few months a legal battle has surfaced over the right to print, publish, curate and sell Maier’s work by a Chicago lawyer (aptly) named Mr. Deal. Until the case is decided it seems that the unknowns surrounding Maier’s curious life and work will grow even more.

Finding Vivian Maier was released on DVD July 29 and can be viewed in theaters around the country. Collections of Maier’s photographs can be viewed at exhibitions in New York City, Chicago, Los Angeles and a host of other cities around the world. To view Vivian Maier’s work online, click here.

Rachel Redfern is a traveler and teacher who spent the last few years living in Asia. Now back in her native California, she focuses on writing about media, culture, and feminism. While a big fan of campy 80s movies and eccentric sci-fi, she’s become a cable acolyte, spending most of her time watching HBO, AMC, and Showtime. For good stories about lions and bungee jumping, as well as rants about sexism and slow drivers, follow her on Twitter at @RachelRedfern2.

Eight Trailers to Watch (and Love or Hate After)

However, in honor of some possible greatness, let us consider some more films that could also be equally amazing, or as roundly terrible. Enjoy.

Melissa McCarthy is going to be in Ghostbusters! — Melissa McCarthy is going to be in *Ghostbusters*!

Written by Rachel Redfern.

There’s a reboot of Ghostbusters coming, a la femme, and of course people are freaking out. It’s not new to have reboot that retools popular characters into another gender, Battlestar Galactica did it to amazing success with the character of Starbuck; in fact, after some of the death threats against her died down, she became a fan favorite and easily the most dynamic part of the series. Now, Ghostbusters is an epic classic of Dan Akroyd and Bill Murray and I will love it forever, and I can’t really think of any beloved film with such a complete makeover before, so whether or not this new Ghostbusters will be as amazing is yet to be decided.

However, in honor of some possible greatness, let us consider some more films that could also be equally amazing, or as roundly terrible. Enjoy.

[youtube_sc url=”https://www.youtube.com/watch?v=Bed87s9ORrk”]

Sisters

This is an easy one. Fan favorites and feminist/actress/producer/writer team extraordinaire Tina Fey and Amy Poehler are back together again as sisters. I imagine this is sort of how they are in real life? Anyway, we don’t know too much yet, just that they’re estranged sisters who really like the ’80s and are obviously back together for some embarrassing mischief and heartwarming family time.

What information does this offer us about women? Women are goddamned hilarious is what.

[youtube_sc url=”https://www.youtube.com/watch?v=EoQuVnKhxaM”]

Ex Machina

I’m excited about this; so far the trailer is super ambiguous–who is manipulating whom? Is the female AI character evil? Consciously pulling the strings of the men of surrounding her? Or is she a victim? Abused, feared, and typecast by her obsessive creator? On an entertainment level I’m excited, on an intellectual level I’m intrigued.

From looking at the trailer it seems that either way we’ve got something interesting going on with sexuality, violence, creation and it’s telling, I think, that the AI figure is a woman Alicia Vikander (The Fifth Estate). Also starring Domnhall Gleeson (Bill Weasley in the Harry Potter films, Black Mirror) and Oscar Isaac (A Most Violent Year, Inside Llewyn Davis).

[youtube_sc url=”https://www.youtube.com/watch?v=P3IsUOSHlnU”]

Cake

Woman has bad marriage and/or gets a cancer, many things go wrong, has sassy girlfriend and/or sexy new lover, woman finally find self-discovery, lots of tears in between. This kind of Hollywood “chick flick” inevitably seems destined for Girls Night Out everywhere, but usually gets a lot of disdain from critics and male filmmakers. On the one hand, I get it, there’s usually not much difference in the plot and characters between the films, and they all seems fairly formulaic. However, there is something very necessary and realistic about the women’s stories that these films tell.

Female dissatisfaction is something that Betty Friedan recognized in The Feminine Mystique, and these films tap into it with their themes of anger and dissatisfaction coupled with reinvention or discovery being the resolution. It’s a simple, very human problem, and it’s interesting that it appears so often in films meant for women.

This film seems to fulfill much of that formula, with the addition of one unique detail: Anna Kendrick as the dead wife of Jennifer Aniston’s new flame/friend. Female friendship wrapped up in the darkness of suicide and chronic illness.

This one could be different.

[youtube_sc url=”https://www.youtube.com/watch?v=62E4FJTwSuc”]

Terminator Genisys

The Terminator franchise feels like it’s been around forever, and regardless of its age, still manages to be a big moneymaker. And with the popularity of the Hollywood reboot in top form, Terminator is going to get one, again.

I bring up this trailer because it has Emilia Clarke in it (Danaerys Targaryen, mother of dragons, queen of everything she decides she wants, Winter is Coming ya’ll), so it should bring in that crowd. Also, Arnold is back, or at least a lot of CGI Arnold is back, proving that his original, fame-creating phrase, “I’ll be back” should actually be, “I’ll return incessantly.”

Anyway, minus the fact that Sarah Connor is a kick-ass rescuer instead of the rescuee, this new Terminator feels pretty stock and trade Hollywood action film reboot and I’m feeling pretty meh about it.

[youtube_sc url=”https://www.youtube.com/watch?v=MgbBwovOOoc”]

The Boy Next Door

I think the premise here is actually really interesting: dissatisfied woman has sexual relationship with high school boy, creating a destructive and obsessive situation that wrecks itself on their suburban life.

However, I think the dialogue here is struggling a bit, what with comments like “I love your mom’s cookies” and, as he takes her clothes off, “No judgments.” The whole thing looks like it could go the way of shirtless cliché.

[youtube_sc url=”https://www.youtube.com/watch?v=wp20Kn2VbYE#t=48″]

Queen of The Desert

Back in college, while taking an excellent, now-seemingly pretentious sounding course, “The Desert Sublime,” I studied Getrude Bell, famous anthropologist and explorer. She was an amazing woman who we just don’t hear that much about today; however, Nicole Kidman is about to change all that.

Kidman plays the Victorian traveler in an intriguing new biopic (not to be confused with the Hugo Weaving film, Priscilla, Queen of the Desert) from Werner Herzog. Bell’s story is pretty incredible and I can’t wait to see it on the silver screen, I’m a bit hesitant about her costars however: James Franco (Harry Osbourne!), Robert Pattinson (Edward!), Damian Lewis (Nicholas Brody!). I just struggle to see these actors outside of the 21^st century, and maybe have some personal issues with a few of them.

Also, I can’t tell from the clip what exactly to expect from the rest of the film, but I’m going to hope for the best. Queen of the Desert premiers this month at the Berlin International Film Festival.

[youtube_sc url=”https://www.youtube.com/watch?v=5L-9rcEhGm4″]

Clouds of Sils Maria

How actresses are expected to age has cropped up in the news lately. Juliette Binoche’s new film, Clouds of Sils Maria is pretty obviously addressing that issue. But it looks like its also addressing a lot more–namely fame and female relationships.

In the trailer, Binoche’s opposite is Chloe Moretz, whose character seems like a pretty pretentious, bitchy actress, but I’m assuming that’s just the tip of the iceberg we’re seeing so far. Then there’s this complicated relationship she’s got going on with her much younger assistant, Kristen Stewart, a relationship that seems ambiguous; is Stewart using the Binoche for her fame? Is Binoche sexually attracted to her employee? Lustful? Jealous? Obsessive? We’re not really sure yet.

Either way, Binoche and Moretz are amazing actresses, and in an out-of-character move, Stewart looks great.

[youtube_sc url=”https://www.youtube.com/watch?v=9zc3KTQJvK4&spfreload=10″]

Spy

I really like Melissa McCarthy. I’ve liked her since Gilmore Girls, up through Bridesmaids, The Heat (not so much with Tammy and Identity Thief, but hey, Samuel L. Jackson has Snakes on a Plane, so ya know, equality), and now probably this. It’s a spy movie where over half of the top seven people on the bill are women: this is a big deal people! Allison Janney will also be there and she’s hilarious, British comedienne Miranda Hart (obviously funny), and Rose Byrne, who isn’t known for being funny, but was also in Bridesmaids, so it looks like she can definitely be funny.

The plot doesn’t seem particularly difficult to guess, I’m assuming that McCarthy will get her bad guy in the end, but not before making a mess of things and engaging in comedic gold. Also, that bit with Janney and Statham about the use of the “T” word was actually pretty brilliant. More, please.

[youtube_sc url=”https://www.youtube.com/watch?v=mPyYEqYSo9A”]

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Rachel Redfern has an MA in English literature, where she conducted research on modern American literature and film and its intersection; however, she spends most of her time watching HBO shows, traveling, and blogging and reading about feminism.

Is ‘Better Call Saul’ the Next ‘Breaking Bad’?

So what about ‘Better Call Saul’? Will Gilligan and Gould offer us more female characters (to either love or hate)? So far I see only one major female role being advertised, that of Kim Wexler (Rhea Seehorn), a tough lawyer foil for Saul. At this stage, it just feels thin, and we all know that Gilligan and Gould can absolutely produce some interesting female characters to add to their Alberquerque setting; the question is, will they?

Written by Rachel Redfern.

[youtube_sc url=”http://www.youtube.com/watch?v=9q4qzYrHVmI”]

It’s a well-known fact that the second a studio or network creates something successful, they sit there like greedy yuppies, desperately trying to milk the last ounce of financial profit they can. Will the AMC Breaking Bad spin-off Better Call Saul be the same? A tired reiteration of characters we’ve already left behind? A collection of cameos and winks to the audience about Walt and Jesse? Lots of shots in a Los Pollos Hermanos?

Or will it bring us all back to New Mexico and settle us deep into another round of rich character storytelling? Since the premiere for Better Call Saul is on Feb. 8, only a few short weeks away, we won’t have to wait long to find out. I think it’s fair to say that with the amount of popularity and cultural significance assigned to its predecessor that critics and fans alike will fall upon it the minute it airs, condemning or rejoicing.

Bob Odenkirk as the great Saul in AMC's 'Better Call Saul' — Bob Odenkirk as the great Saul in AMC’s *Better Call Saul*

So far, the critical response has been cautious but favorable. The New York Times did an amazing write-up a few days ago and in the end, it appears that Better Call Saul isn’t aiming to be the next Breaking Bad, dark and anxious with a few big gulps of humor to break up the destruction of our hero; rather Better Call Saul looks to be a slower, more “writerly” exploration of characters we’ve already met. (Also, did everyone already know that this website existed?) And considering the way that Albuquerque (originally mostly chosen for its significant tax breaks to films) became such an ingrained, central part of the Breaking Bad narrative, I hope that Albuquerque becomes even more of a shining star.

A nuanced, often comedic character exploration thoroughly grounded in the stark, mythical landscape of New Mexico is promising, and hopefully takes this “prequel” out of an ill-fated spin-off and into some strong, revolutionary territory of its own. In this way, hopefully Better Call Saul can evolve into its own kind of show, maybe even manage to distance itself from the big brother shadows of Walter White and Jesse Pinkman.

However, Breaking Bad was an action-driven biopic that featured only three prominent women: Skyler (Anna Gunn), Marie (Betsy Brandt) and Lydia (Laura Fraser). And while everyone desperately, twistedly, wanted Walt to become “the one who knocks,” wanted to see him plot, manipulate, and ultimately win, Skyler was his nagging wife, hated by millions of fans for her disruption of Walt’s illegal activities (things got so bad, she actually wrote an op-ed for The New York Times about it).

Naturally, looking back it’s easy to see the important role that Skyler especially facilitated in the series, as well as Marie and Lydia, all of them with their moments of contradictions and complexity. However, the three female characters seem sparse when compared to the robust male cast.

Rhea Seehorn as Kim Wexler in AMC's 'Better Call Saul' — Rhea Seehorn as Kim Wexler in AMC’s *Better Call Saul*

So what about Better Call Saul? Will Gilligan and Gould offer us more female characters (to either love or hate)? So far I see only one major female role being advertised, that of Kim Wexler (Rhea Seehorn), a tough lawyer foil for Saul. At this stage, it just feels thin, and we all know that Gilligan and Gould can absolutely produce some interesting female characters to add to their Alberquerque setting; the question is, will they?

We won’t find out for at least two weeks, but in the meantime, let’s dream of exciting new shows featuring amazing and interesting female characters. What have you got?

The Beautiful Journey of ‘Layover’: An Interview and Review

Written by Rachel Redfern.

[youtube_sc url=”https://www.youtube.com/watch?v=7yU_m-uxwe8″]

While so many of us find displeasure in the level of Hollywood films often topping the box office, the new indie film, Layover, directed by Joshua Caldwell is proof that it is not the budget and special effects that make a memorable film, rather it’s the story and characters that we find compelling. Layover is a beautiful, atmospheric indie film about a young French woman, with limited English, who has a 12-hour, one night layover in Los Angeles. Simone (Nathalie Fay) looks up an old friend and from there, spends a reflective, surprising evening on the streets of LA.

Joshua Caldwell, the award-winning director and screenwriter of Layover, was generous enough to grant us an interview for this piece and help us understand how Layover came together and what makes it so compelling. Simone is a woman in transit, and as Caldwell explained to us, a woman “who was on a journey, but a journey she wasn’t really sure she wanted to be on. She’s given this brief moment of pause and reflection before having to decide whether she continues on or not.”

The viewer’s experience of Simone’s thoughtful, life-changing night in Los Angeles is further augmented by the fact that 90 percent of the dialogue is in French. While making life much more difficult for the editing team, and obviously for the actors and crew, it also increases the feeling of isolation that we experience through Simone, making the city seem truly unfamiliar. And while adding to the general atmosphere of the film and the power of Simone’s layover, according to Caldwell, it actually increased the actor’s performance: “Shooting in French actually allowed me to focus more on the performance and emotion and make sure that was coming through regardless of the language. My ear wasn’t tuned to whether the words were correct or not, which can often distract you from paying attention to the emotions.”

'Layover' and its atmospheric Los Angeles — *Layover* and its atmospheric Los Angeles

It’s a plan that apparently worked and as a female viewer, I loved Simone’s bold, no-fear attitude. This wasn’t a movie about being out alone late at night wandering the streets of an unfamiliar city, but rather about moving confidently through space, regardless of our inner fears about growing up. Simone’s concerns about becoming a mother and the perils of marriage, but her wish to still move forward despite her own fears, certainly speak to the experience of the modern 20- (or 30-) something.

And yet, the way that Simone slides through a single night in a foreign country (whether metaphorical or literal) is not only reflective of the millennial experience, but also of a larger, more human experience. The surprising connections, the flirtations, the dancing, the night views, the sense of isolation, the unwelcoming airport terminals and blank hotel rooms. But also, the sense of community between a small group as people wander in and out of a party, the awkward conversations with old friends, and the inevitable regrets of old choices and vague hopes of new ones, are all present.

It’s a tribute to Caldwell that the moody, quiet woman we meet at the beginning, is by the end of the film, not necessarily different, but appears to the audience to be completely different—real, relatable, transitioning.

The film has been heralded as a beautiful coming of age film, which it is; however, it’s the intimate connection that Simone and the “Mysterious Motorcyclist” (Karl Landler) make that sets this film apart. Intimacy without romance and erotic tension without sex is difficult to portray, but Layover manages to connect two young, average people in one, surprising, unexpected moment. Its sort of the most beautiful, and best kind of movie, the kind of story that film does best, two souls connecting, understanding, changing, and then saying goodbye, either to each other, or who they were before. And it’s these kinds of stories that connect across age, which was exactly Caldwell’s intention, despite the film’s stars all being obvious millennials.

Layover is an anomaly in other ways as well; the acting is superb, the dialogue realistic, and several of the scenes were compounded by haunting cinematography, yet the whole package production cost a mere $6,000. Contrast that number, a solid down payment on a Toyota, to the $30 million spent on Guardians of the Galaxy.

Telling great stories like Layover with such a small amount though will hopefully have repercussions in the rest of Hollywood as some film budgets, and the films being made, are hopefully reconsidered. According to Caldwell, having a smaller budget actually helped Layover to move organically, allowing the characters to interact with more realistic situations; “There’s a reality to it that I don’t think would have come from a more polished piece. Also, what our lack of money forced us to do was create really compelling characters that jump off the screen and stick with you after the movie is over.”

It’s a powerful lesson in the abilities of excellent storytelling to arise from a more grounded budget, (an almost laughable meta-moment of art imitating life), and makes sense as Layover takes its influence from the French New Wave style, which favors being creative with what you have. Layover was actually shot on a Canon 5D, which Caldwell believes, “was a beautiful example of what can be done with a minimal budget.”

Karl Ladler as the 'Mysterious Motorcyclist' in 'Layover' — Karl Landler as the “Mysterious Motorcyclist” in *Layover*

And it’s not just to Caldwell’s credit that the film has turned out so well, but also to the excellent quality of actors he’s employed; Nathalie Fay especially is worth watching in the future, though you can catch glimpses of her in past roles for Hangover and Due Date. Caldwell too, heaped praise on the star of Layover and told us how he managed to grab such a talented actor for his project: “I met Nathalie (Fay) when she came in to audition for a very small role in a digital project I was directing called Level 26: Dark Revelations. During shooting, we got to talking and she mentioned she was from Montreal and spoke French, and I guess that just stuck with me. With Layover, I needed people who I knew would be on board with the way we were shooting it (on weekends, no trailer, do their own make up, etc.)… But beyond all that, Nathalie was a natural for the role and deserves all the praise she’s receiving.”

It’s the final scene however, that is especially moving; in a beautiful voiceover, Simone predicts her future and wanders through the sadness and depression she knows she’ll feel soon, but also the hope she has that happiness will be there too. It’s a familiar, very poignant moment, and I found my experiences suddenly, fully, reflected back to me, in that thoughtful way that only good stories can accomplish.

Luckily, Caldwell is working on more projects, including a second film in the LAX trilogy (of which Layover is the first), which includes yet another female protagonist passing through Los Angeles, though this time with higher stakes: “The second film in the series is called Assassin, and it’s the story of a female contract killer named Jane who escapes up to the San Bernardino Mountains when a job goes wrong. There, she meets and falls in love with a local woman named Ella. As the two grow closer, the baggage of their past lives threatens the future of their relationship.”

As with Layover, Assassin will be produced on a minimal budget, though this time, Caldwell and company are looking for some audience participation and will be funding this film through Seed&Spark and would obviously love any support offered (you can check out their Seed&Spark page here and a trailer for the project here.).

Josh Caldwell, director and screenwriter for 'Layover' — Josh Caldwell, director and screenwriter for *Layover*

Joshua Caldwell is an MTV Movie Award winning director, writer, and producer. He has worked with a number of high-profile producers, including CSI: creator Anthony E. Zuiker. His award-winning short film Dig, starring Mark Margolis of Breaking Bad, was featured in numerous film festivals and his Superman fan fiction short film Resignation which screened at Comic-Con 2014. LAYOVER had its World Premiere at the 2014 Seattle International Film Festival where it was nominated for the prestigious FIPRESCI New American Cinema Award and is now available at LayoverFilm.com. Follow Joshua on Twitter @Joshua_Caldwell

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15 Funny Women for 2014

On the subject of female comediennes, A.O. Scott, ‘New York Times’ movie critic, recently wrote, “The ‘can women be funny?’ pseudo-debate of a few years ago, ridiculous at the time, has been settled so decisively it’s as if it never happened…The real issue, in any case, was never the ability of women to get a laugh but rather their right to be as honest as men.” I love A.O. Scott and his writing is brilliant, and I agree with him—the “can women be funny?” argument is a weird pseudo-debate that managed to gain traction on the big world of the web.

Written by Rachel Redfern.

On the subject of female comediennes, A.O. Scott, New York Times movie critic, recently wrote, “The ‘can women be funny?’ pseudo-debate of a few years ago, ridiculous at the time, has been settled so decisively it’s as if it never happened…The real issue, in any case, was never the ability of women to get a laugh but rather their right to be as honest as men.” I love A.O. Scott and his writing is brilliant, and I agree with him—the “can women be funny?” argument is a weird pseudo-debate that managed to gain traction on the big world of the web.

However, I disagree slightly. I don’t think its as if the debate never happened, because for some insane reason, women have to keep proving that they are funny. Studies have been done to discover why woman might not be perceived as humorous as men and documentaries have explored the topic with famous comedians. Why people seem to believe that there aren’t funny women out there when there seem to be a million examples of hard-working funny women producing and creating funny material everyday, remains a strangely resilient, sexist mystery.

I mean SNL has been a hot spot for female comediennes for about 30 years—have people not noticed that a staple of modern comedy has been staffed by women for a LONG time?

Tina Fey and Amy Poehler

Tina Fey and Amy Poehler: the two incredibly popular, insanely talented funny women just sort of rule over popular comedy on TV—did you see them host the Golden Globes when they were awesome and made fun of George Clooney, Leonardo DiCaprio, made out with Bono (who makes out with Bono?) and cross-dressed. No one could ever deny that those two women aren’t talented and ridiculously hard working. Both of them write and produce TV shows and movies all the time. Do you know how hard that is? To write a full-length feature film and multiple episodes of TV shows? Oh, and books. I’ve been working on a novel for like five years and it’s still not finished.

[youtube_sc url=”http://www.youtube.com/watch?v=Cc8HwtqhNDY”]

Betty White

How about Betty White, who remains awesome and hilarious and could probably beat me in a 5K and she’s 83.

[youtube_sc url=”http://www.youtube.com/watch?v=Gv3c4pBZYiI”]

Julia Louis-Dreyfuss

There’s also Julia Louis-Dreyfuss who just racks up awards for TV comedy (also an alumni of SNL) and has been producing fantastic comedy since 1987 (longer than most of our readership has been alive). She’s an all-around comedienne whose portrayal of a self-centered, out of touch, Vice President of the United States of America on VEEP is absolutely spot on and fantastic. I love that she can portray someone so unlikeable and still make us love her.

[youtube_sc url=”http://www.youtube.com/watch?v=p4FHpJ4Ri8w”]

Fran Drescher

I know that she’s probably not on many “funny women lists,” but she should be. Drescher is not only a writer, producer, and actress (The Nanny, The Simpsons, Thank God You’re Here, Living With Fran), she’s also one of the strongest, most inspiring women in Hollywood. Just Google her and understand exactly what this woman has been through in her life and how’s she not only, still funny and optimistic, but also a legit activist and US diplomat for Women’s Health Issues. Respect Fran Drescher.

[youtube_sc url=”http://www.youtube.com/watch?v=QDioSZ8YUDM”]

Kirsten Wiig

Did you see Bridesmaids? Have you ever watched SNL?

[youtube_sc url=”http://www.youtube.com/watch?v=D9sCsfoyN8o”]

Isla Fischer

Isla Fischer: First off, she’s married to Sascha Baren Cohen so you know she has a sense of humor. But more than that I love the way she completely commits to ditzy, hilarious roles (The Bachelorette, Confessions of a Shopaholic, Hot Rod). In fact, I can’t even think of any Isla Fischer role that wasn’t comedic.

[youtube_sc url=”http://www.youtube.com/watch?v=sotx95oNMuA”]

Sarah Silverman

Sarah Silverman: that woman has a mouth like a sailor and I want to be with her all the time. She says the C-word more than a drunk me and I love her. Oh, and she’s also hilarious, her standup is fantastic and she’s also not a bad actress (she was the best part of that weird movie, Take This Waltz).

[youtube_sc url=”http://www.youtube.com/watch?v=eSfoF6MhgLA”]

Melissa McCarthy

Melissa McCarthy is bold and incredibly brave with her comedy—she’s a master of gross physical comedy and as a woman, that takes guts. I would actually consider one of the most cutting-edge female comediennes out there right out, and definitely the bravest. I want more interviews with a woman who is incredibly versatile and not afraid to take risks—Also, her gun-loving, foul-mouthed, “sex-goddess” role in The Heat was just fantastic, more funny characters with contradictions please!

[youtube_sc url=”http://www.youtube.com/watch?v=uHPtRjo67pM”]

Sandra Bullock

Sandra Bullock unfairly has a very “girl next door” reputation, despite the fact that 90 percent of her career has been devoted to very silly, funny, relatable comedy.

[youtube_sc url=”http://www.youtube.com/watch?v=JYYcvTrd7-A”]

Mindy Kaling

Mindy Kaling: we all know her, and obviously this lady is one hell of a comedy writer. She started writing for The Office at an insanely young age (thanks for making me feel like a failure at life—you too, Lena Dunham), and then creating her own show. The Mindy Project is, I think, actually a high-cut above your standard sitcom, the jokes are funny and pointed, and Kaling has managed to cobble together a very silly, pop-culture-obsessed, shallow woman, and mix her up with an insanely smart, outspoken gynecologist, normal-sized, woman of color. Hello complex character that more accurately reflects women in America!

[youtube_sc url=”http://www.youtube.com/watch?v=9khXnRPsYGQ”]

Amy Sedaris

Amy Sedaris: if you don’t know who that is, go and Google her. If I could go to any dinner party in the world, I would ask that it be at Amy Sedaris’ house. Sedaris’ straight-faced comedy is in its own category of genuine silliness, biting sarcasm, and sheer absurdism. I died when I read her Simple Times: Crafting for Poor People book and desperately wish that she would bring back her show, Strangers with Candy, on Comedy Central and go back to writing that insane advice column.

[youtube_sc url=”http://www.youtube.com/watch?v=te-MKE6kPzo”]

Ilana Glazer and Abbi Jacobson

Broad City: Have you seen this quirky new show on Comedy Central? Created by newcomers Ilana Glazer and Abbi Jacobson (and produced by Amy Poehler) as a spin-off of their web series, there’s a scene in ep. 6 that had me in tears it was so brilliant. Again, young, talent-ridden comediennes bursting with genuine, funny girl comedy that is so “buddy-buddy” and focused on female friendship that we could just talk about it for days.

[youtube_sc url=”http://www.youtube.com/watch?v=D5ufnqqP5dc”]

Chelsea Handler

Chelsea Handler: I get that a lot of people find Chelsea Handler a bit in-your-face with her, “I got drunk and slept with my boss” kind of humor, however I think she’s marks a really important step for comediennes. Handler is crass, sexual, wildly inappropriate, brags about her lack of self-awareness, and most importantly, doesn’t apologize. Handler has put herself out there as an unreformed party girl and carved out a great space for funny women who also may or may not be alcoholics and sex addicts. Cool. The world needs all kinds and her unabashed account of one-night stands in My Horizontal Life is hilarious and awe-inspiring.

Oh, and she was also the only female comedy-based late-night talk show host for about eight years and told off Piers Morgan for being an idiot.

[youtube_sc url=”http://www.youtube.com/watch?v=RUkW9umVUqs”]

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‘Finding Vivian Maier’: The Greatest Art Mystery of the 20th Century

Written by Rachel Redfern.

[youtube_sc url=”http://www.youtube.com/watch?v=2o2nBhQ67Zc”]

A portrait of the artist--Vivian Meier — A portrait of the artist–Vivian Maier

One of Meier's beautiful, inclusive moments from the streets of Chicago — One of Maier’s beautiful, inclusive moments from the streets of Chicago

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Rachel is a traveler and teacher who spent the last few years living in Asia. Now back in her native California, she focuses on writing about media, culture, and feminism. While a big fan of campy 80s movies and eccentric sci-fi, she’s become a cable acolyte, spending most of her time watching HBO, AMC, and Showtime. For good stories about lions and bungee jumping, as well as rants about sexism and slow drivers, follow her on Twitter at @RachelRedfern2.

‘Girl Soldier’: Trauma, Terror, and Reconciliation

Jonathan Torgovnik, South-African based award winning photographer and filmmaker, was drawn to these women’s stories and from them created the short film, ‘Girl Soldier.’ ‘Girl Soldier’ features interviews with several ex-child soldiers from the Sierra Leone civil war—women who managed to survive their traumatic history and have now been reintegrated back into their communities.

Kadiatu Koromoa sits for a portrait in Jonathon Torgovnik's 'Girl Soldier' — Kadiatu Koromoa sits for a portrait in Jonathon Torgovnik’s *Girl Soldier*

Written by Rachel Redfern.

Trigger Warning: Sexual Assault, Violence

After the viral video Kony 2012, there was a whole slew of renewed interest in the problems of child soldiers–the trauma, abuse and the horrors that accompanies such a twisting of childhood innocence and trust into a weapon all came to light. Eventually, Kony 2012 and its creators fell out of favor with activists, and the continuing problem of child soldiers and its life-long effects on its victims and their communities faded to the background. Unfortunately, to date, there are still over 300,000 child soldiers worldwide with half that number fighting in African conflicts.

There is a surprising and often unspoken fact that over 40 percent of all child soldiers worldwide are girls. The images we normally see of child soldiers always feature young boys stoically gripping an AK4; they rarely feature girls and never show the women these soldiers later become.

Jonathan Torgovnik, South-African based award winning photographer and filmmaker, was drawn to these women’s stories and from them created the short film, Girl Soldier. Girl Soldier features interviews with several ex-child soldiers from the Sierra Leone civil war—women who managed to survive their traumatic history and have now been reintegrated back into their communities.

From 1991-2001 Sierra Leone was the site of a massive civil war that resulted in the death of 50,000 people. Thousands of children were abducted and forced to fight for rebel forces—the atrocity of utilizing children for an armed conflict was doubled by the horrors they were forced to commit.

In the Sierra Leone Civil War, 30 percent of all child soldiers were girls.

Torgovnik spends much of the film with the women recounting their personal experience as child soldiers; this is an unnerving experience for the viewer as well, especially in the easy way that each woman shares the horrific events of her childhood. And for many of the women, their lives as a child soldier didn’t necessarily end with the war; many were left with babies after being impregnated by their captors.

As the end of the film shows, these women were able to deal with the trauma because of their shared experience and the group-counseling sessions organized by shelters and NGOs.

While the beginning of Girl Soldier is a stark reminder of the sickening crimes committed in the name of war, the end of the film covers the sad, but uplifting aftermath. It is inspiring to watch the human ability for forgiveness that these women demonstrate: despite the horrific acts committed against them by their captors, these men now walk free after Sierra Leone’s reconciliation hearings. In order for their country to survive and to have peace, these women had to learn to live with the men who had brutalized them in the first place.

The 2006 film Blood Diamond featured a gritty Leonardo DiCaprio and impassioned Jennifer Connolly against the backdrop of the Sierra Leone civil war; despite its Hollywood origins, Blood Diamond did expose the horrors of child soldiers through the story of Dia. Large-scale Hollywood epics such as these are important, as they bring awareness on a massive level; however, while many of the women in Girl Soldier had similar experiences during the war, the faces, the photos of children and friends, the context of women in their home villages, makes their stories even more horrifying, and ultimately more personal.

To watch Girl Soldier and read an interview with Torgovnik click here.

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Death and Life on ‘K2: Siren of the Himalayas’

On April 18, 2014, 16 Sherpas, the great guides of the Nepali mountain range, were killed in an avalanche from the Khumbu icefall, making Friday, April 18, the deadliest day in Everest history. The tragedy brought light to a controversy of Everest summiting that had been brewing for the past few years. Suddenly, there was a spotlight on the high-adventure tourist industry running out of Everest: the overcrowded and littered Everest summit, the fights between Sherpas and trekkers, and the fact that Sherpas do the hardest, most dangerous work of summiting without awards or recognition.

Written by Rachel Redfern.

[youtube_sc url=”http://www.youtube.com/watch?v=TB4rTolvnFY&feature=kp”]

In light of the 2014 tragedy on Mount Everest when 16 Sherpas were killed in an avalanche, the release of Dave Ohlsen’s 2009 K2 documentary, K2: Siren of the Himalayas, feels especially timely. On April 18, 2014, 16 Sherpas, the great guides of the Nepali mountain range, were killed in an avalanche from the Khumbu icefall, making Friday, April 18, the deadliest day in Everest history. The tragedy brought light to a controversy of Everest summiting that had been brewing for the past few years. Suddenly, there was a spotlight on the high-adventure tourist industry running out of Everest: the overcrowded and littered Everest summit, the fights between Sherpas and trekkers, and the fact that Sherpas do the hardest, most dangerous work of summiting without awards or recognition.

K2, however, is a slightly different animal than her more popular sister; while summiting the highest mountain in the world, at 8,848 meters, is no mean feat, and by 2010, 3, 142 individuals have climbed Mt. Everest.

As of 2010, 302 have climbed K2.

At 8,611 meters, K2 is not only the second-highest mountain on earth, it is also widely considered the most dangerous; its faces are steep and technical, and there is no safe path to the top. Over one-fourth of those who attempt K2 will die.

K2: Siren of the Himalayas follows four world-renowned climbers, Fabrizio Zangrilli (USA), Gerlinde Kaltenbrunner (Austria), Jake Meyer (England), and Chris Szymiec (Canada) as they attempt to summit K2 on the 100 year anniversary of the Duke of Abruzzi’s surveying expedition in 1909.

For these four Alpinists, summiting K2 marks the peak in their careers; Gerlinde Kaltenbrunner especially since she had already climbed 13 of the world’s 8,000 meter peaks and K2 would make her 14th (only 32 people have ever completed all 14). And the Zangrilli/Kaltenbrunner expedition stands in stark contrast to those on Everest: Zangrilli and Kaltenbrunner explicitly climb without the use of oxygen or high-altitude porters.

For what at first glance feels like stock tribute to a group of male climbers dominating a mountain, is actually a contemplative, slow-moving exploration of the dangers of high-altitude mountain climbing. And while there are stunning vistas of sunrises, sunsets, and glaciated mountain ranges, the majority of the film centers on the close-knit climbing community and their measured patience and startlingly humility in the face of their accomplishments. Especially since so much of the film shows their unwearied acceptance of their failures over the mountain.

Rather than a puff piece on “Look what I did!” K2: Siren of the Himalayas is instead, “Look what I could not do, but continue to respect and admire.”

The film evolves as well as Kaltenbrunner comes into focus with her calm wisdom, joy of the mountains, and humility at her failures and successes. Kaltenbrunner would actually be the only one from the expedition to attain the peak and become the second woman to climb the fourteen eight-thousanders, and the first to do it without oxygen and high-altitude porters. Basically, she’s amazing.

Gerlinde Kaltenbrunner after reaching the K2 summit in 2011.

As much of the climbing world contemplates the unsteady future of Everest expeditions (the 2014 season was canceled after the avalanche), K2: Siren of the Himalayas stands as a moderated, joyful glimpse of why so many climbers do what they do, as well as highlighting the great dangers of our beautiful, and volatile home, and the adventurers who explore her.

K2: Siren of the Himalayas will be released in the USA on Aug. 22, 2014: visit their website here for information about screeners and locations.

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‘Fargo’: Female Fail or Female Fabulous?

Without revealing too many spoilers, the philosophy of the main characters was overwhelmingly skewed toward the idea of the “hen-pecked” “downtrodden” American male, completely emasculated by a society that demands respect and a lack of violence. At first then it appeared we were viewing a hyper-masculine awakening of the main character, Lyster Nygaard (Martin Freeman) and cheering him on as he committed his first acts of violence.

Written by Rachel Redfern.

Fargo, the 1996 black comedy from the Coen brothers, featured a beloved, innocuous female lead–a demonstrably unique, pregnant chief of police, seemingly full of Minnesotan goodwill and rural sensibilities, yet surprisingly quick and courageous. FX decided to do a remake, and personally, when I first heard this, I felt there was no way a network spin-off could ever mimic the ingenuity of the original: it seemed like nothing but a bad idea.

But after viewing, Fargo is the rare kind of remake that manages to hold true to the aesthetic sensibilities of the original while expanding the world/characters.

Within the pilot however, I had a few concerns. Without revealing too many spoilers, the philosophy of the main characters was overwhelmingly skewed toward the idea of the “hen-pecked” “downtrodden” American male, completely emasculated by a society that demands respect and a lack of violence. At first then it appeared we were viewing a hyper-masculine awakening of the main character, Lyster Nygaard (Martin Freeman) and cheering him on as he committed his first acts of violence.

FARGO - Pictured: Martin Freeman as Lester Nygaard . CR: Chris Large/FX — Martin Freeman is Lester NyGaard: The Emasculated Modern Man

Similarly, the fantastic character of a less-young female chief of police, so outside of a tough and rumble portrayal normally shown, was no longer present, it seemed. Instead, there was a traditional male police chief–steady, measured, respected, with a pregnant wife and a cohort of bumbling deputies. In fact, in general, Fargo is overwhelmingly a male show, playing host to a lot of casual, intense violence.

The themes of savagery and aggressiveness sort of manage to double-back on themselves, however, where male characters are often referred to as predators and wolves, yet the two most savage characters are also the smallest and the most sensitive to bullying. There’s an underdog quality to the violence as those who are humiliated and emasculated, suddenly turn on their oppressors. Breaking Bad subtly led us down the dark side over five seasons, blurring lines between right and wrong all the time. Fargo though goes straight for the jugular and within the first few minutes we see a main character fundamentally change as he commits his first act of violence. Fargo is less about exploring the grey areas and developing an anti-hero in the vein of Walter White and Don Draper; rather it takes a more literal battle between good and evil, echoing its own biblical themes and references.

So, there are obviously several straightforward evil men running around Fargo, but where are the women, I asked?

Allison Tolmun in 'Fargo' — Allison Tolmun in *Fargo*

But then, up came Molly Solverson and her ridiculous last name. Fargo DOES have a delightful female protagonist in the vein of the great Marge Gunderson. She’s smart, unassuming, and tenacious. In reworking the original, Noah Hawley has given us a new character to enjoy, but definitely evocative of Gunderson. Newcomer Allison Tolmon (Molly Solverson) brilliantly acts the part and has even been careful of viewing the original Fargo so as not to confuse her character and that of Gunderson: “I think the series lives and breathes as its own entity. I felt that I’d given myself enough time to work with Molly that I could go back and watch Margie and that I would’ve created enough distance between the two of them that she wouldn’t bleed over into Molly, which was my concern.”

Molly is the moral center of the show; there are no grey areas here either–Molly is the good guy, dedicated to peace and justice and an eye roll towards the overwhelming incompetence she encounters from the men in her office. And to give Noah Nawley credit he’s accomplished something very difficult in a female TV show character: he’s made her relatable. She’s competent, confident, silly and quirky, the very-real embodiment of a girl you’d probably watch a movie with on a Friday night.

So while the show still lacks a lot in the female character department, do we consider it a failure or success that there’s at least one, dynamic and unique female character? Even one as delightful as Molly Solverson.

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How Is The Sex, Masters and Johnson?

The biggest question for the show will obviously be, um, what about the sex? Sex is in the title: the opening sequence bathes in it, and every episode features it. As a big proponent of women’s sexuality I’m pretty much all for it; however, I desperately hope that ‘Masters’ doesn’t just become cheap exhibitionism driving up late night ratings; I want to know that ‘Masters of Sex’ is trying to tell us something in all of the orgasmic moaning (fake or real).

Written by Rachel Redfern as part of our theme week on Representations of Female Sexual Desire.

: Provocative, even now

Although Masters of Sex had its season finale in December, now is the perfect time to do a series re-watch to prepare for the season 2 premiere on July 13. Beyond that, the Showtime star powerfully, and singularly, discusses the topic of female desire and female sexuality, without becoming pornography.

While the show was not perfect in its first season, understandable since it was still trying to find its stride, by the season finale it had fulfilled a lot of hopeful expectations. Its main star, Lizzie Caplan (Virginia Johnson), chooses provocative projects and usually plays fascinating, complex characters: a sociopathic hippie in True Blood, a relationship-squeamish woman in Save The Date, and an emotionally damaged party girl in Bachelorette. The show makes a big deal about Johnson being a unique, sexy, fascinating woman and showing her interest in being a scientist, but I’m still curious as to what’s driving her. Hopefully in season 2 her character’s development will begin to grow and we’ll get more of a peek into what’s helped her become such a confident woman, as well as fostering her fascination with scientific studies.

But, the biggest question for the show will obviously be, um, what about the sex? Sex is in the title: the opening sequence bathes in it, and every episode features it. As a big proponent of women’s sexuality I’m pretty much all for it; however, I desperately hope that Masters doesn’t just become cheap exhibitionism driving up late night ratings; I want to know that Masters of Sex is trying to tell us something in all of the orgasmic moaning (fake or real).

: Don’t lie, you would have looked too.

One thing I’m loving though, it’s two women picking all the material, which is fantastic for a show that is portraying the way that society’s view on sexuality, especially female sexuality, is changing. And I think that a lot of people were curious, and maybe a bit worried, wondering how Masters of Sex was going to be dealing with sex, women, and stereotypes. There are still so many myths and legends, images and dichotomies, and pop psychology and moral sermonizing that happens anytime women and sex are placed anywhere near each other, that it was very possible for Masters to become another fluffy, giggle-fest of boob shots and phallic jokes.

Masters of Sex showrunner, Michelle Ashford, discussed the staff’s perspectives on the show’s sex scenes, and how much they’ve chosen to include; turns out, they’ve been selective and thoughtful—sifting through hours of scenes, trying to ensure that they’re engaging and fulfilling the narrative, instead of just becoming pornographic. In fact, Ashford admitted that she finds many sex scenes boring without any real relevance to the story; in the case of Masters, they’ve tried to take a different approach: “We knew we had to figure out a new way to do sex so that there was always story pulling through it. And there had to be a point of view to the sex, so it’s either tragic or it’s funny or it’s confusing … but it could never be showing sex just to be sexy.”

: Intimacy tells their story

Are they successful in telling the story of sex in their scenes? I would argue that yes, they are: Masters and his wife, Libby (Caitlin Fitzgerald), have terse, dutiful sex, while Virginia is direct and free-spirited, and the young Dr. Haas (Nicholas D’Agosto) is controlling, searching, experimenting. Each character’s experiences (not necessarily their proclivities) reflect their relationships with each other and themselves. Perhaps, at this point, the sex scenes are where the story is, and it’s where we learn the most about each character.

So what do you think? How is the show evolving? Are the sex scenes merely exhibitionism? Is the show helping the way we think about sex? How do you think it’s portraying sex?

See also at Bitch Flicks: “Why You Should Be Watching Masters of Sex,” by Erin Tatum