Posts Tagged ‘Netflix’
* South Carolina Officer Is Charged With Murder of Walter Scott. The police can’t police themselves. And now the public is too scared to cooperate with them. Police Reform Is Impossible in America. The Police Are America’s Terrorists. Man Who Recorded Walter Scott Murder Is Worried Police May Kill Him. White America’s Silence on Police Brutality Is Consent.
* Report: Hillary Clinton Overlooked Labor Violations After Millions in Donations. Guess what I’m #ready for?
* The Brontosaurus Is Back. Take that, science!
* The analysis concluded that, over the past 10 years, the five pension funds have paid more than $2 billion in fees to money managers and have received virtually nothing in return, Comptroller Scott M. Stringer said in an interview on Wednesday.
* Agents of S.H.I.E.L.D. to get even more boring spinoff. If that’s possible.
* Lili Loofbourow takes the bait on the “is that all there is?” Mad Men and boredom thinkpiece. Also from Lili: You Should Be Watching ‘Fortitude,’ A Murder-Mystery That Makes Climate Change The Real Villain.
Seeing this review of Unbreakable Kimmy Schmidt at the Los Angeles Review of Books has inspired me to finally write up some somewhat idiosyncratic thoughts I’ve had about the series that I haven’t seen reflected anywhere else. (And thanks to the people who have indulged me about this on Twitter, especially @millicentsomer and @evankindley.) I definitely agree with the reviewer that Unbreakable Kimmy Schmidt is a “woman out of time” story, but I really think the interpretive emphasis on “Unfrozen Middle Schooler from the 1990s” should be on “middle schooler” rather than “from the 1990s.” My take is that the 1990s nostalgia is largely driven by the Millennial audience the show is pitching itself at — it’s an engine for jokes but not really the center of the project. “Unfrozen Middle Schooler,” in contrast, is the actual heart of Unbreakable Kimmy Schmidt, at least the way I want to read it as a feminist work.
One of the things I talked about with Lili and Evan on Twitter was whether Kimmy’s abduction is taken seriously as an event or if the bunker is taken seriously as an actual lived environment. Having completed the series now, I still don’t think so: I think “the bunker” essentially functions in the series like being in a coma, or being shot with a Grow-Up Beam, or making a wish to be Big. It’s a magic spell to get Kimmy from middle school to adulthood without having to go through high school and college, which is the source of her power in the series, from her refusal of the usual rules of society to her love of backpacks and bright, mismatched clothing. You can see this utopian imaginary working really clearly in the incredibly infectious theme song, where the removal of the girls from the bunker and a closeup on Kimmy’s ecstatic childlike grin over the lyrics “Unbreakable! They alive, damnit! It’s a miracle!” quickly gives way to a montage of nostalgic, home-video-style images of childhood (and specifically girlhood), which express the same unvarnished joy but also absolute self-confidence (thumb’s up), total mastery of their environment (the dancing, the hula hooping, the monkey bars), and maximum resilience in the face of adversity (the baby plopping down face first).
We return to the in-universe “autotune the news” frame only once during this thirty-second sequence, to be told that “females are strong as hell” — the clear implication to me being that we ought to draw an interpretive connection between the claim of female power and childhood, specifically, girlhood: before sex, before even puberty, before the male gaze, before pervert teachers and abusive boyfriends and quasi-consensual sexual encounters and ubiquitous street harassment and the too-familiar host of other abuses inflicted upon women from the moment they enter young adulthood. What the magic spell of the bunker allows Kimmy to do is pass over the moment in which girls are forcibly conscripted into becoming “women” (somewhat or entirely against their will) and emerge instead as an adult who has not internalized our society’s misogyny or its mean, psychosexual aggressivity. So much of what is delightful about Kimmy is precisely the fact that she has retained the aspirations, expectations, confidence, and general affect of a precocious middle-schooler without having had to temper or diminish herself through unhappy experiences with patriarchy. If the show has a moral or utopian message for women, it’s Let’s all go back to thinking about ourselves the way we did before society told us we were worthless, and it’s a pretty damn good one.
We’ve been working with children’s stories a lot in my “magic as literature” course this semester, and one of the oppositions we’ve really been focusing on (especially as we’ve studied Disney, and Frozen, recently) is the opposition between what mythographers call “the girl’s tragedy” and what we’ve been calling instead the utopia of childhood or (here more directly) the utopia of girlhood. The girl’s tragedy is the female answer to “the hero’s journey,” but the narrative doesn’t work the same way: instead of the boy hero who sets out from home, masters the outside world, slays the dragon, and then returns home to become king, the girl’s tragedy is a story about being ripped from safety and forced to accommodate oneself to the whims of adult men, particularly their sexual urges. The happy ending for the girl’s tragedy — the happiest one available — is that she accepts her role as wife and mother and gives birth to a male son who will then inaugurate the next cycle of heroism; girls and women who refuse to play the proper role are typically cast out of the realm of the human altogether, turned into animals or plants or stars or foam. The utopia of childhood describes those comparatively rare stories that are exceptions, where the girls are neither forced to become mothers nor punished, but allowed to remain what they were without transformation by instead bending the adult world to their will (as in Brave, or Moonrise Kingdom, or arguably Frozen, though in most of these the girl-heroes seem only to buying themselves time rather than enacting a full and permanent transformation of their circumstances).
Of course the utopia of childhood can itself be deeply retrograde, and is frequently misogynistic in its way — we spent a lot of time on “The Problem of Susan” in the Narnia books precisely so we didn’t fall too in love with the impossible fantasy of never growing up (when in the end we all have to). Nor can we safely imagine childhood in such uncomplicatedly rosy terms, both because childhood can also be a time of fierce frustration, competition, and intense pain even when it is not actively shattered through the cruelty and abuse of adults. But all the same there is something undeniably appealing about the idea of returning to a childhood that is both happy and which never gives way to something else, a desire that structures so much of our culture (particularly the middle-class culture of “good parenting”) that it really almost goes without saying. And in the case of Kimmy Schmidt‘s feminist politics of course the idea is not that women find some fantastical way to literally de-age themselves so much as they look to their younger, effortlessly capable and supremely confident selves as inspiration in the present.
There’s one more thing to say about Kimmy Schmidt, which is again about the abduction and the bunker, which would seem to be a rather large problem for my reading of the series. Isn’t Kimmy’s entire situation itself a literalized girl’s tragedy, insofar as she is abducted as a child and put into radical seclusion, all the while being fed obscenely misogynistic lies by a woman-hating male adult? Well, yes! The question of Kimmy’s abduction, and the horrific sexual violence it inevitably implies if thought about too much, is a pretty thorny one for the series: fixated on too much, it threatens to derail any potential for comedy in the show at all. (UPDATE: Someone just sent me Emily Nussbaum’s review, which talks a lot about this issue.) The series cleverly solves the problem by opening the door just a crack — “yes, there was weird sex stuff in the bunker” — and then simply leaving it there. Something happened — perhaps, as Evan suggested in what has become my headcanon, it was all between the girls and not involving the preacher at all — but it hasn’t changed Kimmy, or defeated her. And she emerges from Hell neither pregnant with the monster’s baby, nor transformed into a weeping plant or into sea-foam, but just as unflappable and unbreakable as she was when she went in.
And in any event the treatment of the bunker doesn’t really work the way the ten-second summary of the setup would suggest. The presence of the preacher is actually a further occasion for Kimmy to refuse to internalize her sexist training, precisely because it is now located within a single, odious man against whom she can fight. The button at the end of the first episode demonstrates precisely this: Kimmy proves he is lying to them, he says he’s going to break her someday, and she replies no, he never will. It’s easy to see why, in contrast to the microaggressions and little indignities — alongside the very big ones — that make up girls’ training to be women in our society, which is constantly delivered by parents and siblings and friends and trusted authority figures and widely celebrated mass culture texts, Kimmy’s more direct training in misogyny at the hands of the Reverend never really takes. In the bunker she had an obvious enemy, someone she could tell she was feeding her poison, and so she could reject it. It’s actually outside the bunker where the true brainwashing takes place, which is all the more insidious because it seems like education, like help, like love.
I’ve been incredibly busy lately, and things are only going to get worse in the next few weeks. But for now, some links!
* I made a Twitterbot that I’m pretty pleased with: @LOLbalwarming. It’s the only authentic voice left to us in these tough times.
* Book plug: Shaviro’s No Speed Limit: Three Essays on Accelerationism is really good. It’s the #3 book you should buy right now after the longstanding #1 and #2.
* And while I’m hawking stuff on Amazon: they discontinued my Swiss Army canvas wallet, so I had to find a new one. It’s leather, alas, but this Fossil wallet is everything else I want. It’s great.
* Why, in this day and age, is there even a Save command in any application? Its very presence implies — indeed, guarantees — that the default state of the world is unsafe. This breaks the rule our ancestors learned over billions of years of interaction with the objective world: when you do something, it stays done, until undone. Saving considered harmful. After what happened to me the other week, I am 100% on board with this.
* Scott Walker budget cut sparks sharp debate on UW System. Deep cuts in Wisconsin. Anticipating budget cuts, nervous UW System tried to strike deal. Republican UW Professor Has Sharp Words For Walker Over Faculty Comment. Scott Walker’s State of Ignorance. A reckless proposal. A self-inflicted wound. Be skeptical. Chasing away UW’s stars. Cut athletics.
* From the archives, apropos of absolutely nothing: Stalin, CEO.
* “No Crisis” is a Los Angeles Review of Books special series considering the state of critical thinking and writing — literary interpretation, art history, and cultural studies — in the 21st century. A new installment to the series will be released at the beginning of each month through the fall of 2015. Our aim, as our introductory essay explains, is to “show that the art of criticism is flourishing, rich with intellectual power and sustaining beauty, in hard times.”
* As an opening gambit, I want to suggest that undergraduate students do not care about digital humanities. I want to suggest further that their disinterest is right and even salutary, because what I really mean is that undergrads do not care about DH qua DH.
* Exciting new degradations: Bill Would Allow Texas Teachers To Kill Students.
Kermit Elementary Principal Roxanne Greer told the Odessa American that she could not comment on the suspension, because “all student stuff is confidential,” but Steward said that she told him that any and all threats to a child’s safety — including magical ones — would be taken seriously by the school.
* Harper Lee to publish new novel, 55 years after To Kill a Mockingbird. Her editor tries to put a good spin on what for all the world looks like elder abuse.
* Grace has Type 1 diabetes, for which there is no cure. Now 15 years old, she has endured approximately 34,000 blood tests, 5,550 shots and 1,660 medical tubing injections to keep her alive.
* Bring the Jubilee: Croatia Cancels Debts For Tens Of Thousands Of Its Poorest People.
* Boing Boing reviews David Graeber’s The Utopia of Rules.
In the TV pilot, Juliana finds a banned newsreel called The Grasshopper Lies Heavy, which portrays a world in which the Allies won the war. The idea that this might be true fills her with an almost religious, tearful enthusiasm. In Dick’s version, The Grasshopper Lies Heavy is a book. Juliana discovers that that book is true—but her reaction is not exactly fervor. Instead, it’s a mixture of hope, bafflement, and a kind of displaced, distant fear. “Truth, she thought. As terrible as death.” That truth, or at least one possible truth suggested by Dick, is that there is no radical disjunction between his alternate history and our own. The TV show encourages us to congratulate ourselves on our horror at the Nazis, and our distance from them. But Dick’s novel suggests, disturbingly, that the defeat of the Nazis did not, in fact, truly transform the world. Their evil was not banished; it’s still here with us, a dystopia we can choose, and that many of us do choose, every day.
* But friends, I’m here to tell you: it gets worse.
* Although there were negligible differences among the racial groups in how frequently boys committed crimes, white boys were less likely to spend time in a facility than black and Hispanic boys who said they’d committed crimes just as frequently, as shown in the chart above. A black boy who told pollsters he had committed just five crimes in the past year was as likely to have been placed in a facility as a white boy who said he’d committed 40.
* BREAKING: Politicians listen to rich people, not you.
* Probably wouldn’t be my first choice if I had that kind of cash, but: The Vatican Will Offer Free Shaves And Haircuts To Rome’s 3,276 Homeless People.
* New York cooks up a special unit for kicking hippies.
* Harry Potter and the Methods of Rationality is back.
* In case you missed them: the syllabi for my spring classes, which start tomorrow.
* Meanwhile MLA saves its best panel for last: 759. Guilty Pleasures: Late Capitalism and Mere Genre. Today at 1:45!
* On March 11-12, 2015, the Humanities Division at Essex County College will host its Spring 2015 Conference, “Speculative Humanities: Steampunk to Afrofuturism.” This two-day conference offers space for writers, musicians, artists, and academicians to explore, expand upon, and rethink the implications of speculative humanities. This year’s conference will feature a special emphasis on the life, work, and influence of Octavia E. Butler.
* Really, though, huge shoutout to all the literary critics heading home today.
* #FreeCommunityCollege. Did Obama Just Introduce a ‘Public Option’ for Higher Education? Angus is happy. Who Has a Stake in Obama’s Free Community-College Plan? Of course, it’s a Republican plan. And there’s a catch. Or two.
Sometimes you don’t get a sales pitch. It’s none of your business, it’s reactionary to even ask the question, it’s an assertion of privilege, something’s got to be done and what have you been doing that’s better? Sometimes you get a sales pitch and it’s all about will and not about intellect: everybody has to believe in fairies or Tinkerbell will die. The increments sometimes make no sense. This leads to that leads to what? And what? And then? Why? Or perhaps most frustrating of all, each increment features its own underlying and incommensurable theories about why things happen in the world: in this step, people are motivated by self-interest; in the next step, people are motivated by basic decency; in the next step, people are motivated by fear of punishment. Every increment can’t have its own social theory. That’s when you know that the only purpose is the action itself, not the thing it’s trying to accomplish.
As leverage, Silvia Federici outlines the two-part process of demanding a wage for previously uncompensated labor. The first step is recognition, but the ultimate goal is refusal. “To say that we want money for housework” she says, “is the first step towards refusing to do it, because the demand for a wage makes our work visible, which is the most indispensable condition to begin to struggle against it, both in its immediate aspect as housework and its more insidious character as femininity” (Wages Against Housework). Another way to say this is: it is only with the option of refusal that not-publishing is meaningful.
It is clear that “publish or perish” is undergoing a speedup like all other capitalist work. We must all struggle for a re-valorization of living labor. And in the first step against publication’s command over living labor, we agree with Federici, who demands that “From now on we want money for each moment of it, so that we can refuse some of it and eventually all of it” (Wages Against Housework).
* New research is first to identify which reserves must not be burned to keep global temperature rise under 2C, including over 90% of US and Australian coal and almost all Canadian tar sands.
* Rave drug shows great promise in treating depression once thought resistant to drug therapy. I hope they found some way to control for the curative effects of glowsticks.
* The kids aren’t all right: Millennials Are Less Racially Tolerant Than You Think.
* And exciting loopholes I think we can all believe in: “He was doing research for a film,” said Sherrard. “It’s not a crime; it’s artwork… He’s an intellectual.”