Posts Tagged ‘Netflix’
* What that means is that in South Carolina, the Confederate flag abides by its own rules. While governors—as well as the president—can usually order that all state and national flags within their jurisdiction be flown at half-staff, this one is exempt. Instead, the Confederate flag’s location can be changed only by a two-thirds vote by both branches of the General Assembly. “In South Carolina, the governor does not have legal authority to alter the flag,” said a press secretary for Haley. “Only the General Assembly can do that.” Take down the flag.
* Tech isn’t really making a “sharing” economy. So what is it making? The Servitude Bubble.
* Performance-Based Funding Can Be Fickle, One University’s Close Call Shows. Florida State would have lost $16.7 million if its median graduate had earned just $400 less.
* The sheep look up: don’t drink the water edition.
* Did abortion cause the drought? I say teach the controversy.
* It’s a weird, weird world: Obama is going to be on WTF. I’ll never accept this is real.
11. Enthusiasts have hitherto only loved the world in various ways; the point is to hate it (too).
* Another pedagogy gimmick, but at least it’s cheap: roleplaying games.
* SethBling wrote a program made of neural networks and genetic algorithms called MarI/O that taught itself how to play Super Mario World. This six-minute video is a pretty easy-to-understand explanation of the concepts involved.
* Everything you want, in the worst possible way: please god don’t ever let Captain Worf happen.
* No pricey pension plans, some argued. No promotions based solely on seniority. No set hours for a given workweek. No prohibitions against layoffs. Unions! Catch the fever!
* The arc of history is long, but Mitch Horwitz is doing a Netflix comedy series with Maria Bamford.
* Didn’t we do this one already? All six Star Wars films at once.
* And if you want to know why there’s no future for our civilization, just read this.
* Tonight! DC! 6:30! Resolved: Technology Will Take All Our Jobs!
* Michael Bérubé and Jennifer Ruth: Time for a Teaching-Intensive Tenure Track.
* The problem is that the IRB system is so fundamentally misconceived that it is virtually a model of how to regulate badly.
* Teen got arrested after cop tried to pick her up, failed. Warrants issued for people who cheered at Senatobia graduation. In the last seven years at least 29 police K-9s have sweltered to death after officers left the dogs inside hot patrol vehicles.
* Sepp Blatter resigns. Something something joke about George Lucas character names.
* Alternative Idea for Resolving Sexual-Assault Cases Emphasizes Closure. “Administrators promised to keep her charges confidential and to protect her from retaliation.” For what it’s worth, I had some general thoughts on Title IX earlier this week that I Storified on the off-chance anyone is interested. I don’t think the outlook is good.
* Draft, uh, let’s say Bloomberg.
* And the arc of history is long, but Arrested Development season five will air in spring 2016.
* 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.