English 1102: Television and Feminism

Dr. Casey Alane Wilson • Georgia Institute of Technology

Category: Review Topic 2 (Page 3 of 5)

What Family Actually Means… Writing in Sense8

The idea of family is one that has been present throughout every episode of Sense8. How could it not, when each character is linked by a bond stronger than that of any sibling or spouse? This is a theme that is often explored by the show’s writers, and comes to the center of the show’s attention in season 2 episode 9, “What Family Actually Means”.

The episode was written and directed by Lana Wachowski, along with her sister, Lilly Wachowski- the duo behind The Matrix, Cloud Atlas and numerous other sci-fi movies and tv shows.  In “What Family Actually Means”, the Wachowskis explore the idea of family, and, as the title may suggest, what it really means for people to call each other family. Almost every scene in the episode, save maybe for Wolfgang’s carryover from the bruhaha of the last episode, ties directly into the idea of family. From the beginning of the episode, we see Nomi giving a powerful speech in which she describes how her sister was there for her when she needed her the most, despite having done everything that she could to push her away. This, Nomi tells an unfriendly audience, is what family really means: people who are there for you and love you unconditionally.

As the episode goes on, we see more definitions of what family is, and what it is not. We see Sun’s disgust at a poster of her brother beneath the words “Family is our business”. He had let Sun take the fall or his embezzlement, thus putting himself and the family company over the well-being of his own sister, deftly defying the notion that families look after one another. Will and Riley also uncover additional familial transgressions, as they find out that Angelica sold out members of the other cluster that she birthed to Mr. Whispers to lobotomize. The horror of this is solidified with the apparent suicide of the doctor who had facilitated it over what she had done. Turning back to positive examples of family, the audience is shown how Dani, practically family to Lito, drags him out of his depression and gets him an interview with a Hollywood producer for a film that she thinks will be perfect for Lito. She stayed up all night reading hundreds of scripts because she was dedicated to Lito and determined to get him back on his feet. We witness Nomi’s family, her girlfriend, her sister, and her father all come together to defend her from the FBI agent bursting into her sister’s wedding. For the first time, Nomi’s father stands up for her and refers to her as his daughter. This leads us to another notion about family, that despite internal issues, you always stick together in the face of outsider attacks.

This scene also introduces another aspect of the show’s writing, the feminist devotion to portraying many types of people and their daily realities. In the wedding scene Nomi’s girlfriend calls out the FBI agent for interrupting the wedding just to “Satisfy his male ego”. Additionally, we constantly see the tension between Nomi and her family over the issue of her being transgender. Lito’s career is struggling because he is a gay actor who wants to play masculine roles. We see Kala struggle with gender norms and the fact that a brilliant friend of hers had given up science to become a homemaker. These are all very real issues that people face because of who they are and the show does not hesitate to depict them.

Finally, the reality of grief and loss is depicted as Will loses his father and we see all of the moments that they had shared together and realize that families do not last forever.

Will cannot be there in person for his father’s last moments.

 

Prison Life and….. Lighting?

Since its inception, Orange is the New Black has been one of the most popular shows on Netflix among subscribers. Although a great deal of the show’s acclaim can be attributed to its writing, the visuals incorporated in the show help foster an element of realism. In fact, the second episode of the first season, Tit Punch, is an excellent demonstration of how well the series’ plot is evoked through its cinematography.

In the beginning of the episode, the lighting creates a grayish color scheme while the camera focuses on two different scenes in medium length shots. This particular segment of the show depicts Red, a well-respected cook in the jail, in a flashback with her husband who encourages her to socialize with some boisterous guests in their shop. The use of shots in this manner allows viewers to observe Red’s customers from her perspective and predict her subsequent actions. In addition to that, the segment’s grayish color arrangement essentially conveys Red’s emotions as she works up the courage to befriend her clienteles. As Red ventures towards them, her facial expressions and body language indicate how uncomfortable and uneasy she is with placing herself in that predicament. The consistency of the color pattern and sentiments in this clip assist in forming a clearer message for the audience.

A great example of how well the lighting establishes the mood would have to be the scene in which Piper visits her counselor. During the visitation Piper requests to be moved to a different prison because of the kitchen staff’s refusal to feed her. The only lighting in the room they are situated in comes from the counselor’s lamp, which is focused on the report he drafts for Piper’s complaints. Since the lamp serves as the only source of light in the room, all of the other areas appear to be either dimly lit or not lit at all. This contrast gives viewers the impression that Piper’s counselor is the only individual who can help resolve her dilemma. In other words, the lighting in this scene was symbolic of Piper’s sole glimmer of hope.

Piper’s meeting with her counselor

Another instance in which lighting asserts the mood occurs when Piper is seen sobbing over her present circumstances. In this segment, the entire room appears to be illuminated; however, Piper arranges herself in such a way that causes her to block the path of the light source. As a result of this, Piper’s shadow comes into view on the wall behind her. The presence of her shadow really showcases how she allows her sentiments to overcome her and essentially detach her from her surroundings.

All in all, the second episode of the first season makes extensive use of lighting and cinematography to captivate viewers. Although these characteristics are integrated into every episode of the series, the scenes in Tit Punch frequently rely on these visual elements to distinguish phenomena and alternatives from one another. The visual design of the show helps define a level of intimacy between the characters and viewers.

Only The Real Ones Will Know

One special episode of Broad City that represents its uniqueness in comedic writing is the fifth episode of season two, titled “Hashtag: FOMO.” The writers of this episode are the stars Abbi Jacobson and Ilana Glazer, who co-create and write the show as well as having co-created and written the web-series of the same name.

Abbi and Ilana 

Having the main stars write this episode is ideal because much of “Hashtag: FOMO” is Abbi and Ilana scrambling around the city from party to party trying to spend the best time, all while progressively getting more drunk as the night goes on. In this episode, the dialogue is structured mainly around Abbi’s and Ilana’s funny conversations and interactions with others. While there is a writer’s crew and a set script that the Broad City creators follow, the dialogue in this episode is structured in a way that reveals how unstructured the entire show really is. Abbi’s and Ilana’s conversations exude a feeling of familiarity where their perfect chemistry on screen makes the writing flow more naturally. The audience can take it as them improvising their dialogue, but Abbi and Ilana wrote this episode to truly show the natural conversations between two close friends, which makes it all the more relatable to the show’s demographic of millennial viewers. The unstructured feeling of the dialogue within this episode matters because the viewers get to see the true bond of friendship between Abbi and Ilana, which allows the concept of female friendships to be aimed at more than one specific demographic of viewers.

What real friends ask each other

While Broad City strays away from the tropes of typical comedy shows, Abbi and Ilana utilize “easter eggs” throughout the series to appeal to the observant, frequent viewers of the show. “Hashtag: FOMO” has a great example where towards the end of the episode, blackout-drunk Abbi drags Ilana to a underground speakeasy where the patrons receive Abbi warmly. Ilana is bamboozled, and Abbi assumes a persona unlike her named Val, a daring performer with a mid-Atlantic jazz voice who the audience loves. This easter egg refers back to the season two premiere where an old lady shouts “Val!” to Abbi on the subway, much to Abbi’s confusion. The audience does not know the context of Val until later, which shows how Abbi and Ilana write the show as if they are living in the moment alongside the viewers. There is not any dramatic irony between Abbi and Ilana and the viewers, but rather with Abbi, Ilana, the viewers, and the surroundings of the show. As the writers of the show, Abbi and Ilana use these easter eggs to create a more satisfying world where past actions influence future events, almost like real life. That is why “Hashtag: FOMO” is a standout episode of Broad City. The unstructured dialogue and the witty easter eggs create a hilarious episode where Abbi and Ilana find out more about each other than they ever knew.

Ilana shocked at Val 

How to Write Suspense if You’re Actually a Director

I want to take a moment to explore suspense as a genre. Alfred Hitchcock, arguably one of the greatest directors of the twentieth century, was a pioneer in the genre and laid much of the groundwork for how suspense is portrayed in a modern context. Hitchcock established a framework for creating suspense. Within that framework he juxtaposes two important points: an informed surprise (dramatic irony) and a twist (an actual surprise). Let us apply these two techniques to explore the writing on S1E6 of my resident review topic, Search Party.

Season 1, episode 6 (The Secret of the Sinister Ceremony) of Search Party was actually written by the show’s creator and show runner, Sarah Violet Bliss, and is one of the few episode of the show she doesn’t direct. Bliss has also written several other episodes of the show, as well as an episode of the Wet Hot American Summer revival, the movie Fort Tilden, and a handful of short films. This episode is an interesting exploration of how she writes suspense, and how it compares to her directing.

Dialogue in the episode is written mostly as conversations between two characters. Through this, Bliss employs Hitchcock’s first tactic beautifully. No one character is given full context about what is going on. Dory and her friends have no idea what this cult-esque dinner party riddled with too many pregnant women is about. No one at Bellow & Hare bothers to tell them exactly what “the Moment” is, so we assume the obvious: murder (particularly Chantal’s). We’ve got the perfect bomb under the table situation until – boom! – Dory accidentally walks in on a live birth.

The Secret of the Sinister Ceremony strays from the forged path of the show and does an excellent job tying up several loose ends. Take, for example, the opening scene of the episode where Dory is making a “crazy wall” in her apartment. At the end of the episode, the wall becomes the major plot point, as we discover the sinister note left for Dory and company in the middle of it: STOP LOOKING FOR CHANTAL. Here Bliss leaves us with the classic cliffhanger ending, encouraging the viewer to dive headfirst into the next episode. Nevertheless, she manages to tie in groundwork established int he first minute of the show. It’s not like Dory makes that crazy wall and it’s never brought up ever again.

Pretend this is Alia Shawkat and not Charlie Day

I think the most compelling thing about this episode is that it’s written how the show is directed, for the most part. Violet Bliss is directing a thriller, and Search Party is her vessel. The direction of this film, while it adds to the general suspenseful mood as one watches, is second to the way that key details are hidden throughout dialogue and character interaction. Every twist and turn has us at the edge of our seats, but we could probably see them coming if we paid more attention to the writing.

Works Cited:

Truffaut, François, and Alfred Hitchcock. Hitchcock. New York: Simon and Schuster, 1967. Print.

Sense8 Doesn’t have very much writing for me to analyze, but I’ll do my best

According to the Sense8 Wikia Episode 3 of Sense8, “Smart Money is On the Skinny Bitch”, like all the episodes in season 1, was written by The Wachowskis & J. Michael Straczynski. J. Michael Straczynski is known for movies Babylon 5 and World War Z. Lana and Lilly Wachowski also wrote The Matrix and its sequels, as well as Bound. They wrote these movies as The Wachowski Brothers, but they are both trans women and now write simply as The Wachowksis. Nomi, one of the 8, is a trans woman, and the Wachowskis likely use their personal experiences to make Nomi a realistic character.

Sense8 stands out to me as having very minimal verbal communication. There is no voice-over or narration, and many scenes feature either no spoken words or only a couple of single lines spoken without responses. For example, the opening scene of this episode features two scared and as-of-yet-unidentified children watching around a corner as a mysterious man cuts open a woman’s skull with a surgical saw. The only dialogue is the girl whispering “Don’t look at him…”

A young girl whispers in the opening scene

One of the 8, in contrast, has strikingly more dialogue than the others in this episode. Lito, a famous actor has three separate scenes, all of which are focused on his dialogue with three other side characters. In these scenes, however, more emphasis is placed on what is left unsaid. Lito trips over his own words when trying to express his emotions to a woman in the first scene, and eventually his boyfriend takes pity on one/both of them and explains what Lito was unable to say. In the next scene the woman explains that Joaquin, who she is hiding from, “had words” with someone, and that her father is in the “import/export” business, once again leaving the real message unsaid.

Despite the lack of dialogue, there is rarely silence in Sense8. Whether it’s the whirring of sawing through bone, the roar of a crowd at an underground fight club, or a piano solo one of the 8 is remembering her father perform — the lack of dialogue leaves the audio track open for other forms of communication about setting and mood.

Additionally, a falling low-note and fading of the audio is often used to indicate that a character (or in this show, a pair of characters sharing senses) is entering bullet-time, a cinematic element originally popularized by The Wachowskis in The Matrix in which heightened perception is represented by other characters and setting elements moving in slow-motion while the camera pans at normal speed. This visual effect is able to be smoothly incorporated into Sense8 due to a lack of dialogue, which would normally have to be paused for a bullet time shot.

 

Getting Off the Boat Quickly

This episode is written by Nahnatchka Khan. They have also written American Dad! And Don’t Trust the B—— in Apartment 23. While I have not seen American Dad!, Don’t Trust the B—- in Apartment 23 seems to use similar quick dialogue and cutbacks to explain situations.

Since the show is following a family in a sitcom format, most of the dialogue in the show is conversation.
There are callbacks to previous events, such as when Eddie’s grades were delivered and Eddie got caught hiding them by his mother. These callbacks provide context for the scenes in the show.

Report Card Time!


One callback also utilizes voiceover by adult Eddie. This callback is when he is describing what the Chinese Learning Center (CLC) is because the principle is confused when the mother asks about it. These voiceovers by adult Eddie are not frequent in the show, but they are a reminder that the show is set in another time period and is being told by Eddie from the present. The voiceover also is used to explain things people might not otherwise understand, either culturally or about their own family dynamic. For a show revolving around the theme of being a diverse family in a mainly White area, these explanations make sense for the show. Finally, the voiceover serve as a way to share the moral of the episode in the final moments.
References to pop culture are also frequent in the writing. They seemed to be use to show characterization of Eddie, since he is characterized as loving hip hop. In addition, they are used to provide context for the time period.

Eddie the Hip Hop Lover


The show’s writing is fast paced and concise, which seems to fit the speed of the family. Especially, the mother who likes things to be efficient as possible. In addition, since the episodes are only around twenty minutes long, the fast paced script serves the show well as they need to create and resolve a conflict quickly.

Willful Writing

 

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When words fail, fries and wine will do the trick! A few fries might have aided me in the writing of this very blog post…

In today’s blog post, I will be discussing the willful writing of Shonda Rhimes, in Season 1, Episode 3 of Scandal, “Hell Hath No Fury.” First, I will define “willful” so that the word has appropriate meaning within the context of this blog post. The definition of willful I will be using is, “deliberate, intentional, or done on purpose,” rather than, “a strong sense of will or stubbornness.” Throughout this post, I hope to show you that Rhimes’ writing obtains a very deliberate and intentional purpose.

For this specific episode and the entire series, Shonda Rhimes is credited with the writing. In addition to writing  Scandal,  Rhimes has also written other TV shows such as Grey’s Anatomy and Private Practice. Rhimes is credited with the production of other widely popular shows like How to Get Away with Murder and Station 19. She also wrote Crossroads, a film about singer, Brittney Spears. Finally, last but certainly not least, she wrote my absolute favorite movie of all time,  Princess Diaries 2: The Royal Engagement!!! Needless to say, Shonda Rhimes has a very successful, and almost unrivaled, writing career, especially in the female television writer and producer arena.

Now, back to the third episode of Scandal.  The dialog in the show is very cold and straight-forward. The characters speak without warm and convey no emotion. I believe Rhimes does this to authenticate Olivia Pope within the harsh, cut-throat environment of Washington and the White House. In this particular episode, Olivia deals with a horrific rape case and yet she shows almost no emotion, and she definitely does not sympathize with the victim. Thus, Rhimes keeps Olivia’s female character from showing “traditional” feminine characteristics to show Olivia can handle the good, bad, and ugly, just like her male peer professionals. Therefore, the harsh dialogue discourages personal affections and reinforces work prioity.

There is no voice-over in Scandal, and I believe that again authenticates the show and its characters. Rhimes would rather have events play out and film the reactions or have the characters voice the plot themselves than have an unknown narrator provide information. The Scandal world is full of strong lawyers and highly successful businessmen, so providing information from a separate, unlinked source would not fit into the rest of the writing in this show.

Rhimes uses silence amongst her characters as a placeholder for emotion. Many times throughout the show, and especially in this episode, Olivia remains quiet instead of demonstrating her own feelings about a situation or scenario. For example, as the rape victim gives her testimony and continuously asks Olivia rhetorical questions, Olivia remains motionless and completely silent.

For this particular episode, I did not notice any literary allusions or callbacks. However, I did notice that Rhimes’ writing aims to put each character in a light of reality and truth. She does not hide Olivia’s cold heart, Quinn’s stupidity, Huck’s anxiety, or Steven’s doubt. Instead, Rhimes almost makes the faults of her characters blatantly obvious, as to appeal to viewers’ sense of reality and relatability.

 

Silence is Golden: A Look at Dialogue and Writing in Jessica Jones

The episode I am writing about, Episode 7: “AKA Top Level Perverts”, is written by Jenna Reback and Micah Schraft. Reback has been a production staff member of 7 episodes of the show “Red Window” and 9 episodes for Jessica Jones, including this episode, while Micah Schraft has been a production staff member of and written episodes for several shows, including 3 episodes for Jessica Jones and 14 episodes for Jane the Virgin!

Going back to the writing of episode 7, dialogue in this episode, much like many other components, is structured similarly to the other episodes: short segments of people conversing, Jessica Jones included, followed by long segments of the episode focused on Jessica herself either voiced over at times with certain quotes from Jessica or simply joined with jazz background music as she is either planning out a new idea involving capturing Kilgrave, coping with her traumas of the past, or even just walking around the bustling New York City at night-time. This emphasis on Jessica for the majority of the time in this episode, and others alike, continues to put the viewers in her point of view and empathize with her as she makes each decision and carries out each of her decisions, including her decision to first take the blame for Kilgrave’s murder of her lover in order to end up in a high-security prison to capture Kilgrave, to finding him in the police station and deciding to go with him to save the lives of the people around her.

A standard supermax prison cell, one that   Jessica wanted to go to

Silence, due to its continued prevalence in this episode as a large portion of it focuses on Jessica formulating the plan above and making mental decisions, is key in each episode as it allows for the viewers to learn more about her through her mental recollections. One of the things that become obvious is that she never liked her stepmother who took her from an orphanage and initially seemed like a nice person, due to her bad actions and intentions for her actions, something that took several moments of flashbacks by Jessica in each episode for the viewers to notice.

Finally, something that stood out to me about the writing of this episode, compared to the previous ones, is the way Kilgrave is somewhat justified in his actions, especially for his love for Jessica as he declared it when in the police station. He told her that he fell in love with her since she was the only one who was able to resist him to an extent, as in his power of mind control, showing that he admired her physical and mental strength. The writers therefore wanted to present Kilgrave as being somewhat rational, even though very over-the-top with many of his actions, which is definitely a unique idea present in this episode that was not present in previous ones.

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Kilgrave before admitting his love for Jessica

Stereotypes and Writing (The Right way and The Huang way)

Today I would like to focus on an important aspect of ‘Fresh off the Boat’, its writing. I specifically decided upon episode 8 because it had some good humor/writing and dealt heavily with stereotypes, one of the chief themes of the show.

Episode 8 was co-written by Jeff Chiang & Eric Ziobrowski, two writers who have previously worked as guest writers for ‘American Dad’, and as staff writers for ‘Enlisted’ and ‘Don’t Trust the B—- in Apartment 23’. This track record shows that they are both comedy writers, a claim which episode 8 backs up.

The episode starts off with the classic voice over by Eddie (real Eddie), which is the trademark of the series, and starts us off by stating what this episode will cover, Eddie finding someone at school who he can identify with.

Some of the important dialogue between Eddie and his mother start off the flashback and frame what they both want, Eddie to be a ‘good Chinese boy’ and Eddie wanting to go to the Beasty Boys concert.

The humor is typically scene based, revolving around Eddie and Philip’s interactions, and how all of the faculty at his school thinks that they like each other only because they are Chinese.

In the same manner that Eddie and Phillip are butting heads, Louis and Wyatt, his new greeter, are not getting along as much as Louis expected.

Just like how the Eddie and Philip are stereotyped, so too is Wyatt, a classic all american cowboy character

As usual, the show’s rap allusions keep us grounded in the era, but besides that, no illusions are used to any meaningful effect. The other standouts in this episode are the jokes (and Randall Park’s character). A great example of the humor is the faculty and their interactions with Eddie, specifically the principal. The final scene with Eddie was also a standout with the narration and the resolution of the character tension between Eddie and Walter.

Writing About “A Small Orange Blur”

I researched Lynn Sternberg  who wrote episode 9 of The Bold Type. By research I mean that I did a light Google search, clicked on her Twitter profile, and skimmed through her posts. For a writer, she doesn’t write many of her own tweets; the majority of her posts are retweets, and many of  her retweets are political in nature which is unsurprising in light of episode 9’s content. Excluding episode 1, The Bold Type always begins with a voiceover that  briefly highlights past events of previous episodes and introduces the main characters, Sutton, Kat and Jane. The voiceover is done by a female whose accent is hard to place. It doesn’t add anything to the story, but I have a feeling it was meant to sound powerful and refined. The voiceover’s only purpose is the introduction in the beginning, so its only value is in setting the tone for the episode, but it’s hardly memorable. What is memorable is the dialogue of The Bold Type; it feels so real and organic. I can see my friends and I having the same conversations, well maybe not the exact same conversations, but the feeling is the same. There is such an authenticity to the dialogue in every episode, and this episode is no different. Where this episode does stand out though is in its external references to the current political climate. With witty comments slipped in such as describing a glimpse of Trump as “a small orange blur” and Jacqueline referring to Trump as “Number 45”, Sternberg sure had her fun expressing her political beliefs.

I thought I might put a picture of Trump here, but I though I’d spare us all that pain, and just add a picture of an orange cat to represent “a small orange blur”.

In addition to subtle and not so subtle jokes, the episode explicitly showcased protests against President Trump. As another angle, this episode also took a softer more personal tone with Adena’s deportation. Of course, I do not know what it feels like to be deported, but the episode did its best in detailing certain aspects of deportation: the uncertainty, the powerlessness, the loss.

This is from when Adena calls Kat to tell her she’s being deported. It’s so sad when people who have nothing to apologize for feel like they need to apologize.

Balancing both the joking element along with seriousness is really a smart way to go about an issue such as this. Even in the midst of Adena’s hardship, a bit of humor surfaced when Kat called the Immigrants’ Rights Hotline and it put her on hold saying “our current volume is extremely high” which is just a humorous way to allude to the massive mistreatment of immigrants in the United States. Another bit of writing with a deeper meaning is when one of the characters says “the president has things totally screwed up out here” in reference to New York City traffic being completely gridlocked due to the president’s visit to the city. I have a deep suspicion that this statement was not only a reaction to some extra traffic in New York City but also to the president’s actions in the United States in general because “the president has things totally screwed up out here” too.

New Girl: Re-writing what humor is:Topic 2

New Girl is a show that has relatively light-hearted humor that really registers with the target audience.

The writers of New Girl don’t like to take anything too seriously. This is obvious when Nick has a cancer scare and everyone acts in a humorous way, and Schmidt even uses this as an opportunity to hit on Cece. The show writers are very aware of the fact that this show is a comedy, not a sob story or a philosophy 101 class.  The writers make the audience have laughs by creating characters that are ridiculous and eccentric yet oddly relatable and loveable. The characters have a lot of flaws, all of which surprisingly make them more likable not less.

Elizabeth Meriwether and Berkley Johnson are both credited for writing episodes of New Girl. Both people also wrote for other comedy works including Conan and No String Attached.

The references the writers make are also funny because of how out there they are. Like for example “‘Cece: I really felt that Gavin was different. Didn’t you feel like Gavin was different?

Jess: Yeah, I mean he seemed like a really nice…European DJ with a face tattoo.'”

But I have also noticed the writers also assign certain types of jokes to certain characters. For example, Schmidt mostly gets jokes making fun of how he’s into some really exotic or peculiar things like when he told his roommate ” Can someone please get my towel? It’s in my room next to my Irish walking cape.” Jess also says the more nerdy, awkward or naive jokes, like the line in the screenshot below.

Screen-shot of the types of jokes Jess usually makes

Another thing that I have noticed is that the writers base almost all the plots in season one about relationships. I think what happens with the couples is a great way to create more drama and keep viewers around for the next episode. Almost all new characters introduced end up becoming someone’s love interest.

The final and most important aspect of the writing in New Girl to me is the sense of camaraderie. The writers create a real sense of community between Jess and her roommates. You know that no matter what they have each other’s back- and you root for all of them to be happy- which is what makes the show so enjoyable. This was shown in the episode titled “Injured”, where everyone helps Nick pay for his treatment. The characters are written out to be both emotional support and reason for emotional insanity for each other.

Voice-overs v. Silence in The Bold Type

If you have ever worked out to one of those exercise videos, you know what I am talking about when I say the person teaching those workouts could definitely have a second job as a motivational speaker. As weird as it sounds, however, it’s actually true. The coaches have a knack for getting people to “keep going” far past the point of when they would much rather give up.

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Jane waiting to find out if she will be sued.

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Sutton speaking to Oliver about giving her benefits.

The Bold Type uses the voice of a cycling class instructor as a voice-over in the episode “No Feminism in the Champagne Room”, as multiple major events are happening in each of the main character’s lives. The instructor’s voice reigns over the images of Sutton as she goes into her new boss’s office and demanded benefits since her new job does not pay enough and she knows that she is worth more than what he is willing to offer. The inspirational voice continued as Jane sits in a conference room facing the threat of a lawsuit from a woman she has written a story on and who is now blaming her for some misfortunate events that happened since the release of the story.

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Kat telling Adena that she wants to be in a relationship after her spin class.

The voice of the coach continues still, from its original source, where Kat is in the cycling class listening to the encouraging words as she is trying to sort through her own feelings of confusion where Adena is concerned.

Words like, “you are here for a reason!”….“test what you are capable of” ….“ the journey is just as important as the destination, so embrace the incline!”… “push through, you are stronger than you think”, are playing in the background of the episode. Though it is an exercise instructor who is originally only speaking for her students, her words are universal to all of the obstacles faced by the girls in the show.

There are also moments of silence within the episode. Set in between louder music, everything will stop in order to bring attention to a few words or one specific event. Like when Kat poured her heart out to Adena, the music played loudly, yet when Adena said she was leaving for Paris to try and fix things with her girlfriend, all music faded away. This happens again when Jane finds out that she has the BRCA gene mutation and is more at risk to get breast cancer than others.

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Jane getting a blood test to see if she has the mutation.

The use of a voice over is typically not used in The Bold Type, however, in this episode, it makes an impact on the viewer, as do the moments of silence. Both affect the emotions of the viewer. Unselfconsciously making viewers feel as if they are a character on the show themselves.

The Backstory of the Hilarious Dialogues of New Girl

New Girl is a show that is known for its simple and hilarious jokes. This episode of New Girl called “Cece Crashes” is written by Rachel Axler. She has also written episodes of How I Met Your Mother, Parks and Recreation and Veep, which are all shows that are somewhat similar to New Girl. The dialogue is structured to maintain a constant dialogue between the characters. There is not a voiceover on the show unlike some others, so there isn’t a narrator to fill in the gaps. Since this show is light in terms of plot, a narrator is not necessary. Shows usually use voiceovers to inform the audience about the plot or more about the characters and what they’re thinking. But in this show, it is usually pretty evident on the motives and situations of the characters.

Silence is usually not very apparent in the episode. When there is silence, it is usually to set up an interaction between two or more of the characters and to create a sense of build-up in the plot line for the episode. Otherwise, this episode was very dialogue heavy. Especially since this episode created a high amount of tension between Jess and Nick, there was a lot of dialogue especially from Jess about her dilemma of having a romantic relationship with one of the guys that she lives with.

Finally, the writing of the show always seems very natural. Sometimes, in sitcoms, the writing, and dialogue is usually somewhat forced and awkward because the writers try too hard to be funny. The humor is always forced but in New Girl, merely the interactions between the characters are what makes the show humorous and it is very easy to watch. The writing is along the style which I prefer which is why I choose to review this show. I am very excited to see all the jokes New Girl has in store for the rest of the season (:

Jess/Nick and their quarrels

One Fish, Two Fish, Red Handmaid, Blue Wife

Wow, it’s so blue. Both metaphorically and physically. That was the first thing I noticed about The Handmaid’s Tale. The show begins in a whirlwind, with a woman, later known to be June, running away with her child and husband. In an instant, the cinematography built immense tension and already had me on the edge of my seat, waiting to see what would happen.

The beginning of the show is definitely confusing. Is this the US? Is it the future or past? What are they wearing? What’s going on? The show is mostly chronological, and it gives very little backstory all at once. Instead, the directors incorporated the use of flashbacks to fill in the gaps yet make you more confused all at once. The transitions between the present and the flashbacks of the past are always very jarring. You see June and Moira enjoying a run one morning and standing up to sexist barista, then the next thing you know, June is sitting silently while the world beats her up. The sexist barista represented the slow shifting of society, which clears things up. But also, it makes you wonder what was the last straw, what made society snap?

Another thing I noticed was the use of a blurry background, or sometimes foreground, in the shots. To me, this conveyed isolation and the unknown, like women weren’t allowed to “see” what was going on around them. Physically, this could be shown by the Handmaids’ wings, a bonnet-like hat that covered the sides of their faces, preventing them from seeing out and others from seeing in.

The blue filter over the whole show makes June/Offred’s characters stand out above the rest and exemplifies societal divisions.

Speaking of clothes, the colors each social group wore added to the visuals and expressed the hierarchy and contrasts the overall color scheme. As I mentioned, the show is very blue, which of course creates a depressing mood. However, blue is also a very calm color, and this society seems to revolve around passive aggressive but calm tension. The Wives wear blue, the Marthas wear green, and the Handmaids wear an especially contrasting red. Red is often seen as a provocative color, and this labels them as whores and outcasts them from society.

Unlike books, where the words must convey visuals that each individual puts together in their head, TV shows rely on visuals to convey emotion- this is what a good show does. And The Handmaid’s Tale does just that.

This writing has sure got me dancing, alright

“I Hope You Dance” is the season 2 finale of Wynonna Earp. A culmination of all the events that happened in the episodes before it, “I Hope You Dance” ties together the pregnancy of Wynonna, the resurrection of the demon, and the cult of Bulshar in one epic, jam packed session. Written by Emily Andras, as almost every episode of Wynonna Earp has been so far, the finale is a great mixture of suspense and humor. Andras is listed as a creator, showrunner, and executive producer for Wynonna Earp, a show originally airing on Syfy. Along with Wynonna Earp, she is also credited with writing works on Lost Girl, Killjoys, and Instant Star.

The dialogue structure of this episode is very straight forwards, with no frills or voiceovers. While some may find that repetitive, I think it is a perfect match for the tone and style of the episode. Not only the writing, but also the delivery makes the dialogue seem both realistic, despite the unrealistic nature of the subject, and witty. There really is no silence or allusions to outside things, given that the entire production of Wynonna Earp is very much in a universe bubble in itself. While some may find the lack of dialogue diversity to be bland, I remain a big fan just because of how the minimalist style fits perfectly with every other aspect of the show. What stands out most to me about the writing is how it manages to be humorous and clever, with witty replies and subtle humor over the somber backdrop and intense natures of the happenings of the show. With that, I conclude my praise for the writing in the season 2 finale “I Hope You Dance”.

But before I sign off, I have to leave you with some notable quotes that made me cry (and concerned my roommate):

“Stand down you shit strumpets. I mean it. And you. That is a women’s coat.”
“Oh, look, sister. An Earpitizer for both of us.”
“Bulshar? Bullshit, whatever his name is.”
“Can I name the baby? It feels like its name is Phil.”

The birth of baby Alice (not Phil)!

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