English 1102: Television and Feminism

Page 27 of 35

I will focus this blog post on the first episode of Season 1 of Grey’s Anatomy. Shonda Rhimes is credited with writing this episode. She’s also written episodes for “Scandal”, “The Writers’ Room”, “Private Practice”, “Gilded Lilys”, “A corazón abierto”, “Off the Map”, “Inside the Box”, and “Seattle Grace: Message of Hope”. The first episode’s dialogue is structured much like other TV shows, the characters in the episode have conversions between them as the plot gets revealed to the viewers. The dialogue in Grey’s Anatomy is very informal. That is, the characters talk between themselves in a way that is easy for an average person to understand. However, some parts of their dialogue include medical terminology that an average person might not know. I for example, didn’t know much of the medical terms that were exchanged between the characters. However, the medical terms are explained to patients and their families such that the viewers can also understand the plot. Throughout the episode, there are multiple moments in which Meredith’s voiceover is played to the viewers. Funnily enough, the voice over played at the beginning of the episode wasn’t originally part of the episode, but Rhimes said that “In the editing room, it felt like a piece was missing, so we added it”. The voice over is used as a way of explaining and revealing Meredith’s thoughts to the viewers without Meredith directly saying them to anyone. It reveals Meredith’s stress and anxiety throughout the episode and strengthens the connection between Meredith and the viewers. Silence is also used in the episode at times of panic. Well, not silence exactly but background music which overtakes the audio from the episode. For example, during one of the surgeries in the episode, the characters struggle to help a dying patient and the song “Life Is Short” by Butterfly Voucher is played overtaking the audio in the episode. The happy vibe of the song is a complete contrast to the mood of the episode. There are no literary allusions that stand out. What does stand out about the writing is how the episode was able to portray the difficulties of being an intern at a hospital so well to the viewers.

Image from Grey’s Anatomy season 1, episode 1

Kimmy Schmidt Experiencing Life!

By Lukas Hessler

On September 11, 2018

In Review Topic 1

In this post I will be analyzing the writing in the first episode of Kimmy Schmidt: Unbreakable, titled “Kimmy Goes Outside!” where Kimmy finally is able to get out of the bunker she has been living in for 10 years and decides to move to New York City.

The title episode’s writing was helmed by two very well known writers in the comic scene today, Tina Fey and Robert Carlock. Tina Fey is known for being a pioneer for females after she broke through the male-dominated comedic writing profession and was hired to be the first ever female sketch writer on Saturday Night Live. Besides her illustrious SNL career, Fey also wrote the screenplay for Mean Girls (2004), as well as created and wrote the popular TV show 30 Rock. Similarly to Fey, Robert Carlock also worked as a writer for SNL and 30 Rock, while also taking part in writing for the well known television series Friends. The hilariously clever, and random deadpan humor that viewers have enjoyed from these writers for years perfectly translates to the odd plot of Kimmy Schmidt and allows audiences to have a jubilant experience while watching Kimmy leave the bunker and go out into the real world.

The dialogue in this first episode is very snappy and quick. After all Kimmy is experiencing so many things for the first time in this episode! There is no time for any emotional monologue, she is practically still a kid in a women’s body as she has not matured since she went into the bunker during her childhood. As previously stated, the script in this episode is filled with quick, random one liners to promote the absurdity of the whole situation and to get the audience to laugh at the nonchalant, deadpan humor and enjoy the characters on screen.

With that, it should also be noted that the episode has almost no silent/dull moments! Kimmy is now living in New York City, a place that Titus (a supporting character) expresses “will chew you up and spit you out… like lunch”. The lack of silence promotes the rushed and exciting tone of the whole script throughout the title episode where Kimmy is eating candy for dinner for the first time, running with strangers who are out for a run, partying at a club for the first time, and making up for all the lost time she spent in the bunker.

I believe the writing in the title episode is perfectly executed. Fey and Carlock use deadpan humor perfectly to make the audience laugh while also using pathos to get the audience to sympathize with Kimmy’s plight, causing them to want to keep binge watching the show, which is ultimately the objective of the first episode. The writing put on paper is perfectly edited and acted for a quick episode filled with snappy, witty and humorous dialogue which I have enjoyed and look forward to enjoying as I continue to watch the series. WATCH KIMMY SCHMIDT!

Lillian commenting on Kimmy’s clothes

Knowing Corinne Brinkerhoff

By Caio Pumputis

On September 11, 2018

In Review Topic 1, Review Topic 3, Review Topic 4

As I wrote in my Intro blog, I ended up choosing ‘No Tomorrow’ because it was my sister’s advice. Since my sister has great taste, I am enjoying it so much that I cannot wait to see what is going to happen at the end of the last episode. My first impression was not that good but it has a twist and it has been better than I thought that It was going to be. The writer of ‘No Tomorrow’ is a woman called Corinne Brinkerhoff. She began working in television in 2004 and became a writer in 2006. In 2007 she became a story editor and further on, she became executivestory editor. Before ‘No Tomorrow’ , she had previously written some other TV shows, such as ‘Boston Legal’ from 2006 to 2008, ‘The Good Wife’ from 2009 to 2012, her most recently ‘No Tomorrow,’ that is based on the 2012 Brazilian series “How to enjoy the End of the World,’ among others. In between these TV shows, her second one (The Good Wife) was nominated for the Writers Guild of America Award for the New Series in 2010.

Talking a little bit more about why this TV show stands out to me, I can say that every episode is a surprise. When I think that I know what is going to happen, the writer gives us something unexpected and completely new. I am excited to see what is going to happen at the end.

Besides all of these unexpected directions that the TV show takes, she chose to add some pauses in the middle of each episode. These pauses are a completely blackout and it happens during an interesting scene when you get excited to see what is happening. It makes you curious about the way that the scene is going to take and make you watch more and more episodes.

Jessica Jones is Living in a Dark World

By Matthew Ramberger

On September 11, 2018

In Review Topic 3

Jessica Jones stands out from every other marvel character that I’ve seen. She has no motivation in life, lives in a dumpy apartment next to a drug addict, and often spends her nights getting wasted at crappy bars. She doesn’t even try to hide her powers very well, often using them to take advantage over someone when they have something she wants. However, she does have a heart as she chooses to stay in New York City and help rescue a captured teenage girl instead of flee half way across the globe.

Jessica Jones Meme

The first episode starts with dialogue over several quick cut scenes which give the viewers a brief overview of Jessica and what she does. But moreover, it sets the precedent for the rest of the series as a dark and gloomy setting. Almost every scene in the first episode has a dark lighting to it. Even when they are walking around the city in the middle of the day it happens to be overcast and moody. This helps add to Jessica’s character portraying her life as dark and depressing.

The majority of the first episode is quick scenes of 30 seconds to a minute with a few longer scenes of up to around 3 minutes. However, at the end of the episode there is a very long 10ish minute scene with the main bulk of the drama and plot of the episode. This is mainly due to lots of different things happening before the end of the episode which help lead in to the traumatic ending. The quick scenes are necessary because there is a lot of information the viewers need to digest in order to fully understand the very intense ending scene.

This episode in particular definitely stands out from the rest of the episodes that I’ve seen so far. The episode focuses a lot of time on changing Jessica’s character of being selfish into risking her life to save a girl. They want the viewers to understand that Jessica cares about other people’s lives, and that she is willing to risk hers to stop a villain who is constantly hurting others. Furthermore, this episode in particular has more dark scenes than the rest. This is probably because her character is already developed in the future episodes, and the show doesn’t need the darkness to contribute to her character as much.

Overall, the first episode was amazing. It introduces a very complex character and horrifying villain both with lots of backstory leaving the viewers hungry to find out more. It was put together very well and makes most people excited to go on to the next episode.

Boldness leads to Backlash

By Aaqila Faizer

On September 11, 2018

In Review Topic 4

In Episode Three: “The Women Behind the Clothes.” The Bold Type tackles the backlash that often arises from being “bold” and stating your opinions.

While the show is about strength in the face of adversity, it is realistic and makes one of its strongest and confident characters, Kat Edison, break down in tears when dealing with internet trolls. It does not simply tell the viewers to be strong when faced with these barriers rather it shows how to be strong. No matter how rewarding it would have been to have Kat somehow shut down the Twitter Trolls, it would have been highly unrealistic. Rather the show gives its viewers supportive relationships and sound advice “Not to Engage” – Jacqueline. From Jane and Sutton comforting Kat in the fashion closet to Jacqueline’s sincere conversation with Kat about the haters, the episode juxtaposes the hate with these endearing interactions.

In this episode, the show pushes the age-old message about how love always triumphs hate. The creator of the show Sarah Watson mentioned that the inspiration behind this episode was to give women hope in the face of hateful misogynist comments such as the ones Kat is facing. In an interview, she stated that “I felt like I had the opportunity to give Kat a little bit of a win. I wanted to show women that.”¹ As a result, the show writes Kat an empowering ending to the episode, with her banding together with other women to create a kindness campaign.

Jacqueline Comforting Kat

Jane and Sutton Comforting Kat

The episode highlights how one can feel powerless, in the words of Kat Edison “There is nothing [we can do]” when faced with faceless haters behind a screen. However, the show makes it clear that one kind message, such as the one Kat received from the CEO of a VR company, has a greater impact than the millions of hateful comments often circulating online.

Highfill, Samantha. “’The Bold Type’ Boss Reveals the Inspiration Behind Our Favorite Moments.” com, EW.com, 15 Aug. 2017, ew.com/tv/2017/08/15/the-bold-type-sarah-watson-story-inspiration/.

White People Lunch

By Grace Harrison

On September 11, 2018

In Review Topic 4

The theme addressed in this episode is being a minority in a community where the majority race is White. This is addressed in a few different ways. First, Louis, the father, decides that the reason his restaurant isn’t doing well is that he, a Taiwanese man, is the host and greets people rather than a White person. This is definitely relevant in a world where many people tend to see White people as safe while other races are seen for stereotypes.

Louis explaining why he hires a White host

Next, in school, Eddie is the only Asian kid in school and at lunch he is exiled because the meal his mom packed for him smells funny to the White kids. Having immigrant parents can cause children to stand out in school. Some kids can be embarrassed by not fitting in to mainstream culture. In Eddie’s case, he decides that to fit in he needs to buy Lunchables for his meal because that is what everybody else has.

White people lunch

The struggle of being a minority continues when Eddie gets called a racial slur by the only Black kid in school. The Black kid seems to have called him this because he seemed mad that Eddie would have the opportunity to fit in with the White kids before him.

Rejection

Being a minority in a majority White community definitely seems like it will be a major theme throughout Fresh Off the Boat. It seems like it will follow their struggles and triumphs within the community. Both Eddie and Louis seem like they are willing to conform to White culture in order to succeed in their fields. Jessica, however, seems like she misses living in Chinatown in DC and doesn’t want to fit in as much with the White woman in the neighborhood. At the end of the day, the whole family still is proud of who they are. They stick up for Eddie when he gets in the fight after being called a racial slur. They won’t forget their background.

Wynonna Earp: The Bad, and The Ugly

By Ryan Kretzmer

On September 11, 2018

In Review Topic 3, Uncategorized

Wynonna Earp does not put its best foot forward on the first episode, especially regarding the cinematography. If I could pick one word to define the cinematography of the show it would be “bland.” When it comes to how the show is shot and how it looks, Wynonna Earp does nothing to stand out from the crowd.

The way Wynonna Earp is shot is incredibly boring. This is illustrated best in how the show handles dialogue. There are, for the most part, two way the show shoots its dialogue. The first way is what I will call the “play method”. This is when dialogue is shown with a wide shot from the front which is basically what one would see if one was watching a play. This way of shooting dialogue is the most uninspired way possible. It’s how movies one hundred years ago were shot before people figured out how to movie. It’s also the same way High-schoolers do it for school projects. Plain and simple, the play method is incredibly lazy, even for TV standards.

The “play method” is dialogue shot as if the viewer were watching a play.

The second way the show shoots dialogue is the classic shot reverse shot. This is a film technique where the camera faces one direction towards a character and then the opposite direction towards another character. Most commonly, the character being filmed is the one speaking. In Wynonna Earp, whenever the dialogue is not the play method it is shot reverse shot, usually over the shoulder. With this method of shooting, Wynonna Earp succeeds in using an actual film technique. Congratulations! Unfortunately, this technique has become stale because it is so ubiquitous. However, that is not to say it cannot be innovated upon. For example, the Coen brothers are famous for filming the reaction of the character not speaking as the other character speaks. Unfortunately, once again Wynonna Earp makes no such innovations.

Shot reverse shot: One character is filmed from one direction and the second character is filmed from the opposite direction.

Overall, Wynonna Earp lacks any creativity when it comes to how the show is shot. None of the shots are original or even cool in any way. All the shots seem the same which is terrible for the show. It makes the show boring to look at, regardless of how interesting the dialogue is. Simply put, the look of the show is totally bland.

Insight into the Writing of Grey’s Anatomy

By Caroline Turner

On September 11, 2018

In Review Topic 2

In the second episode of Grey’s Anatomy, “The First Cut is the Deepest”, the writing styles that were present in the first episode come more into play. As it is a show taking place almost entirely within the confines of a hospital, much of the dialogue is brusque and to the point, contributing to the overall atmosphere.

The writer, Shonda Rimes, obviously did her homework into medical jargon and the appropriate terms for procedures and injuries. Despite the professional terminology being a major part of all spoken interactions, this doesn’t take away the enjoyment from a viewer (like me) who has no idea what glomerulonephritis is (after Googling, it’s a kidney disease).

This is how I feel after hearing all the doctor talk.

The writing style of the episode reminds me of reading a poem where the poet chooses not to use enjambment, instead having punctuation after every thought. That being said, the chopped articulation and quick speaking matches the pace of work that goes on in a hospital, especially for interns and in the OR. The choice to use this type of language was obviously very purposeful on Rimes’s part as it evokes the feeling of being in the scene along with Meredith and the other interns on a long shift.

Along with brief and to the point language, comes many quick scene cuts. The writing style of the episode actually helps to draw a thread through the entire (relatively scattered) plotline. In this specific episode, Meredith began by contemplating lines with her voiceover saying, “it’s all about lines”. Subsequently, she went on, throughout the episode, to discuss, whether in her head or out loud, the different types of lines that must be drawn. Through the idea of drawing a line, the episode touched on her relationship with Derek, her boss who she slept with and now wants a professional relationship with, figuring out a roommate situation and even tied in her fellow intern’s duty– having to suture wounds the whole day. The episode concludes with taking the line idea in a new way: stepping through boundaries and over lines to be able to accomplish more.

After watching two full episodes of Grey’s Anatomy, I have a lot of respect for a writer like Rimes who likely spent time in a hospital to write these scripts and for also having the wherewithal to draw a cohesive “line” throughout scenes that would otherwise be at odds with one another. This level of writing is part of what’s making me want to watch the whole season in one sitting!

Unbreakable Kimmy Schmidt’s Writing is Strong as Hell!

By Hyunjin Kim

On September 11, 2018

In Review Topic 2

Me watching Unbreakable Kimmy Schmidt

The first two episodes of Unbreakable Kimmy Schmidt center on Kimmy starting her life anew in New York City after being rescued from the doomsday cult bunker of Reverend Richard Wayne Gary Wayne. Kimmy, played by Ellie Kemper, is determined to succeed in New York, approaching every situation with her optimism and childlike behavior.

The writers of the first two episodes, Tina Fey, Robert Carlock, and Sam Means, are old co-collaborators on the show 30 Rock, a show that also focuses on the struggle of a woman trying to make it in New York City. Feminist undertones are present throughout the show, probably the influence of Tina Fey. Even the theme song begins every episode with “females are strong as hell.” Kimmy’s motivation for staying in New York? To not continuously be identified as one of the “Mole Women” and give into her male oppressor by letting him continue to rule her life. Contrary to other shows, only one male character has appeared as a recurring cast, Titus, whose behavior goes against the traditional “macho” man.

The dialogue is witty and fast, playing off our expectations of the characters. For example, Kimmy misses uses old pop references like Michael Jackson because she spent time without contact to the modern world. Jacqueline’s lines usually relate to her status, citing Givenchy and her husband’s flights to London and Tokyo. This is also displayed in her actions like when she throws a full water bottle away after Kimmy rejected it. Titus’s lines are usually related to his acting career or his self-absorbance. Silences are usually reserved for times when the audience needs to learn something. In the second episode, there is silence when Xanthippe is sneaking out the house and when Jacqueline is crying. Silence is also utilized to bring attention to characters reactions to events.

Kimmy’s advice from episode two

Something I’ve noticed is that the writers seem to have written every episode like a parable, relying on familiar archetypal characters. Kimmy is the naïve girl trying to escape her past and reinvent herself in New York; Titus is a struggling actor; Jacqueline is the privileged, upper-class second wife. The writers offset Kimmy’s naivety with her experience in the Bunker with Reverend Richard Wayne Gary Wayne. Both episodes end with Kimmy resolving conflicts with a combination of her optimism and her experiences in the Bunker, leading to a believable and funny narrative. In the first episode “Kimmy Goes Outside,” Kimmy’s naivety causes her to want to return to New York, but her optimism convinces her to stay and push Titus back into his acting career. In the second episode, Kimmy tells Jacqueline and subsequently, the audience to get through troubles by taking it 10 seconds at time, a rule I’ll be keeping in mind from now on.

The Huangs vs the World

By Frank Ketchum

On September 11, 2018

In Review Topic 4

Season 1, episode 2 of Fresh Off the Boat is very rich thematically. The theme of the episode, however cheesy and overdone it is, is that family is important. This episode is very early on in the series, so it makes sense that the Huang family dynamic would be explored in such an episode. This exposition of the family dynamic may also set the stage for further developments in the series.

This family dynamic is extremely relatable, serving to give the episode some pathos when communicating the theme. The Huang parents each make members of the family do things for their own good, which they don’t want to do. Jessica forces her kids to practice math and reading outside of school, something I know I wouldn’t have liked in the moment, but that I would appreciate now. Louis eventually tells his wife to stay out of his business concerning the restaurant to make it a more inviting environment for customers in the future, improving business. Throughout the episode, the Huangs tell each other “I love you” when they’re hiding something. This in itself isn’t a problem, as everyone has a different means of showing love, but it, too, serves to have the audience identify more with the main characters. In my case at least, this is something I can identify with. I actually texted my mom the other day to tell her I missed her, and she replied with, “What’s wrong?”

The Huangs say “I love you” when they’re hiding things.

In this episode, the Huangs stand up for each other in many ways. Eddie’s parents defend him when the school tries to get him in trouble for fighting another kid after being called a racial slur. Additionally, Jessica deals with customers who dine and dash at Louis’s restaurant and she takes on teaching all of the sons outside of school.

Jessica dealing with customers who dine and dash

The Huang family is repeatedly juxtaposed with that of their neighbor, whose dad is not around. This underscores that despite its dysfunction, the Huang family is always there for one another. This dysfunction manifests itself when Louis gets irritated with his wife at the restaurant. He half-tricks her into staying home and tutoring their sons. However, he eventually has to come clean to her. This reveals an important subtheme of this episode; that openness is important, especially through the lens of family concerns. Your family is meant to be there for you, but they can’t help unless you are open with them.

The episode ends with Louis playing basketball with his kids. This scene serves to drive home the theme, as everything is resolved because the family stuck together. This theme will likely be referenced again when members the Huangs go through hardship. They’ll turn to each other for help. As we’ve already seen, there is going to be a lot of conflict involving their cultural identity in the future, and they’re the only people they know with the same experiences.

‘I really am going crazy’

By Sierra Villarreal

On September 11, 2018

In Review Topic 3

Sense8 is an American science fiction drama series that has an incredibly multinational cast. The beginning episodes take place in 8 different parts of the world. Amazingly, the show is filmed almost entirely on location which means that it was filmed all across the world. This is an incredible feat for the crew of the show, and it makes me appreciate it a lot more.

The show has 8 main characters are all linked together emotionally and physically. This means that each character has to share a lot of screen time and there are many subplots within the main one. Filming this in such a way that the audience does not get lost must have been very challenging, but they did a great job. They made this show very enjoyable to watch and very captivating so I don’t have to go crazy.

Longer takes with more dialogue give background into each of the respective characters lives. Contrastingly, many shorter shots are used to instill a sense of curiosity and confusion into the viewer to resonate with the confusion of the characters as they try to understand their experiences while we do. These shorter shots also tend to have a darker color scheme to symbolize the distress of the characters while portraying the thematic topic of magical realism.

At this point in the show the color scheme during the times that the characters interlink seems to remain stark and dull. I don’t know if this is because they seem to become connected during times of distress. If it is because they are confused and scared by the physical and emotional connections between them because it’s purpose is unknown? Or if it is simply because their connection is something bad. I don’t think it is because their connection means darkness or foreshadowing of bad events because their respective connections seems to make them stronger, more insightful, and may even represent inclusion as a whole. Regardless, the show has captivated me the whole time. Can’t wait to keep watching. 10/10 recommend so far!

-Sierra Villarreal

The Writing of Crazy Ex Girlfriend

By Alexandra Jungreis

On September 11, 2018

In Review Topic 1

One of the most interesting things about Crazy Ex Girlfriend is that Rachel Bloom, aside from starring in the show, is also it’s co creator and co head writer along with Aline Brosh McKenna. I cannot even imagine the hours Rachel Bloom must log writing lines, memorizing those lines, and then performing take after take. Rachel Bloom, interestingly enough, does not have a background in script writing. Before Crazy Ex Girlfriend, her main output in regards to writing were her comedy music albums (If you’re Jewish, and you haven’t yet listened to Chanukah Honey, do yourself a favor and google it. Seriously, it has the line “Chanukah Honey, at the JCC you play basketball! So tall. You must be 5’8″”) of which she wrote two. However, her creation of Crazy Ex Girlfriend does make logistical sense because of Rebecca’s (the main character) tendency to burst into song in fully choreographed musical fantasy sequences. Bloom’s particular brand of off kilter, brutally honest humor displayed in her earlier albums is easily found in Crazy Ex Girlfriend, particularly in the Sexy Getting Ready Song, where Rebecca ironically demonstrates how unsexy the typical woman’s preparations for a date night are.

Aline Brosh McKenna’s writing background, however, is a little harder to detect in Crazy Ex Girlfriend. She is most notable for her movie adaptation of the book The Devil Wears Prada, a story which does deconstruct some of the “perfect woman” myths we see surrounding models and businesswomen, but still features an effortless makeover and consistently stunning women. In one horrifyingly memorable moment, Emily Blunt’s character announces that her new diet is to eat nothing, except for a cube of cheese whenever she feels like she is about to faint. McKenna’s second most notable writing credit, the 2014 musical movie Annie, is even more difficult to detect amongst the adult themes of Crazy Ex Girlfriend. Where Annie is overwhelmingly sweet with a central father-daughter relationship, Rebecca’s most impactful relationship is with her neglectful, spiteful, and emotionally/verbally abusive mother. Where Annie focuses on a brave, morally pure girl, Rebecca in cowardice takes advantage of her friends and hurts many characters around her (read: leaving her date with Greg to sleep with a guy she met while on the date with Greg). True, Annie and Crazy Ex Girlfriend were made for vastly different audiences, but there is almost zero overlap in the writing styles of the two. As I watch the rest of the show, I will be keeping my eye out for any similarities to The Devil Wears Prada and Annie.

Overall, I do love the writing style. The dialogue is fumbling in a natural way, with enough ums, uhs, and likes to make me feel like those conversations could be happening in real life. This realism injects a much needed dose of the mundane into a show that has a sometimes larger than life plot (not to mention the musical numbers).

Me whenever another musical number plays on CEG

“Aline Brosh McKenna.” IMDb, IMDb.com, www.imdb.com/name/nm0112459/.

“Rachel Bloom.” IMDb, IMDb.com, www.imdb.com/name/nm3417385/?ref_=fn_al_nm_1.

Let’s Go to the Beach, Beach!! (while simultaneously denying our problems and elevating our anxiety)

By Carson Hulsey

On September 11, 2018

In Review Topic 2

Rebecca and Valencia feud on the party bus on the way to the beach.

In Crazy Ex-Girlfriend Rebecca Bunch is prone to getting herself into, wait for it, crazy situations. In season 1 episode 9, “I’m Going to the Beach with Josh and His Friends!”, Bunch gets herself into one of those situations when Valencia invites her to go to the beach with the “crew” that consists of Josh, Greg, White Josh, Hector and Valencia. The writing in the episode is quite unique, as it usually is in the series. This episode was written by Dan Gregor, known for How I Met Your Mother (2011-2014), and Doug Mand, known for How I Met Your Mother (2011-2014).

The dialogue begins after Rebecca goes and sees a movie by herself. She walks out of the movie theater and sings about how she “totally has friends”. This dialogue shows how lonely Rebecca is because she’s dealing with the fact that she actually has no friends and can only talk to herself about the situation. Throughout the episode there is also a lot of dialogue attempting to directly address the issues that Rebecca are facing. Much of the current conflict is that Rebecca won’t admit that she’s in love with Josh Chan and hiding that truth is affecting her social life and her mental health. Paula calls Rebecca out in the episode and states that Rebecca is in love with Josh Chan and that by going to the beach she is going to be humiliated by Valencia and it’s going to be “another one of her disasters”. This dialogue is significant because it’s saying what we’re all thinking and the direct format presents reality right in front of Rebecca, which, probably, along with the fact that Paula gets mad at Rebecca for being in denial, heightens her anxiety about the situation. There isn’t a voice over which doesn’t really matter because most of the situations in the show are presented by the characters directly.

There isn’t much intentional silence in the episode, but there is a little bit at the beginning. When Rebecca is walking out of the movie theater alone there is muffled chatter between the friend groups outside of the theater. This muffled speaking accentuates how alone Rebecca feels. There are several external references about Seinfeld, Magnum P.I., and The Butterfly Effect. Most of these references are for comedic purposes within the small jokes and jabs and don’t have a huge bearing on the plot. Despite this, the use of these references in creative and makes references to some niche humor.

The writing in this episode was very direct, as it is a lot of the time during the show. However, the episode dives deeper into Rebecca’s insecurities and anxieties and shows how the move to West Covina has affected her. Josh Chan’s cluelessness about Rebecca’s feelings for him and the reasons why she moved to West Covina is a recurring detail that stands out to me in the writing, especially instances where the characters indirectly reference it and it goes over Josh’s head.

Flying Over the Writing in The Middle

By Landon Eisenhut

On September 11, 2018

In Review Topic 1

According to the Rodney Richey’s article, “DeAnn Heline Writes, Produces ‘The Middle,’” the executive producers of The Middle are Eileen Heister and DeAnn Heline. Heister of Chicago and Heline, born in Muncie, IN, were no strangers to the central Indiana environment depicted by The Middle. These two producers were roommates at Indiana University and had the idea to pitch the series to Warner Bros in California. Heiseter and Heline, who won The Humanitas Prize for their success with The Middle, brought a lot to the table. Not only did the two demonstrate great personal experience, but also professional work as writers for Roseanne (Richey).

Writers Eileen Heisler and DeAnn Heline.

The dialogue in The Middle is structured to be authentic to the theme and setting of the show. Often times the main character illustrated in the sitcom, Frankie Hess, utilizes voiceovers to inform readers of ongoing or past events and personal thoughts or struggles. In my opinion, this tool makes the show much more effective at presenting its message and keeps the audience entertained. The Middle thrives on viewers that can sympathize with the events and characters portrayed in the story. When the voiceovers are used, relating to the main character becomes effortless.

Silence is rarely used in The Middle, but when it is, often it is to express the quiet nature of the Midwest, or as it is described in the show, Flyover country. The title sequence generally includes corn fields and a blue sky shown in the frame with a jet plane flying over. This is to signify the desolate surroundings. I believe this contrasts the emptiness associated with the Midwest with the strong relationships, loving families, and hospitality lying further within.

The scene depicted by The Middle is pretty accurate.

The Middle also uses many flashbacks to show how each character has evolved and how Frankie has fought the struggles of raising a middle-class family over time. The references to a typical Indiana environment are profound in the show. I feel more connected with the overall picture when I see these allusions. For example, the occasional Colts apparel, basketball references, and camaraderie of small neighborhoods remind me of my former home. It honestly makes me homesick when I realize I haven’t witnessed these elements in quite some time.

The number one factor that stands out to me concerning the writing is authenticity. As I’ve stated, I pick up on the small details that allow the audience to feel immersed in the show. Even if one has never stepped foot in the Midwest, it’s easy to watch the middle-class family events unfold and exclaim, “I’ve been there.” I see this as the most powerful component of The Middle. Also, when the plot is detailed through the mother of the family, it is more engaging for the observer. A mother’s perspective into the traditional middle-class family is unique in the television world, and The Middle prospers because of it.

Richey, Rodney. “DeAnn Heline Writes, Produces ‘The Middle.’” The Herald Bulletin, 20 Oct. 2009, http://www.heraldbulletin.com/community/deann-heline-writes-produces-the-middle/article_2dd38b0a-7e53-56e1-ae44-665b630b91fb.html. Accessed 8 Sep. 2018.

Killjoys Experiences with a New Theme – Non-Sexual Relationships

By Man Wo Lui

On September 11, 2018

In Review Topic 4

Today, we’ll be exploring the themes present in “Killjoys”. Since you’re back, I expect that you have a genuine interest in “Killjoys” and have already watched it. I’ll try to minimize the number of spoilers, but if you are still worried you may consider watching the first 5 episodes before reading on.

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Michelle Lovretta

In August 2015, the showrunner of the Killjoys series Michelle Lovretta interviewed with Veronica Scott of USA Today – Happy Ever After. In the interview, Michelle points out one of the major themes that ran through season 1 of Killjoys – a “non-sexual relationship” between characters of different genders. In fact, the sexual relationship of main characters with others of opposite sex have become somewhat defining of television shows since the 2000s. This includes major hits such as Jane the Virgin, Game of Thrones and The Good Place, which have featured sexual relationships between characters of opposite gender (or sometimes the same) as one of the storylines, for some being the entire driving force of the show.

Hannah John-Kamen as Dutch and Luke Macfarlane as D'avin on Killjoys. (Photo: Syfy.com)

Main Characters Dutch and D’avin of Killjoys

Michelle’s Killjoys certainly proves that sexual relationship between characters within a TV show isn’t the key to a successful series. Adopting a non-sexual relationship theme, the relationship between Dutch and Johnny, as well as D’avin who joins later on, is more of a brother and sister relationship. They certainly do not have any sexual affection towards each other (please don’t argue the relationship between Johnny and Lucy is), and none of their action and the decisions they make can be attributed it. Instead, the whole season is progressed by the values of each character, both similar and different, such as families, friends and loyalty. The departure from using sexual relationships as a storyline and adopting a non-sexual relationship theme brings out the brotherhood and sisterhood in the series together with the added benefit of making the motives of characters appear much brighter. At the same time, this usage of the theme of non-sexual relationship criticises the overgeneralisation of sexual relationship in pop culture while providing an alternative for the audience.

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Lucy in Killjoys

Furthermore, the successful adoption of a non-sexual relationship theme demonstrates romance isn’t essential for TV shows to grasp the attention of its audience. Instead, one without could still have the same elements of action, sympathy and arguments while being more easily understandable and relatable. This provides the audience with a completely different experience, probably one that the general population would easily connect and relate to. After all, not everyone has experienced or like romance, while on the contrary, everyone has experienced some kind of brotherhood/sisterhood.

This brings us to what this theme of non-sexual relationship contributes. While it certainly makes us reflect how pop culture has been overusing sexual-relationship to capture audiences’ attention, it also brings out the decisions we as human beings often must make; what is more important? Family? Friend? Loyalty? Responsibilities …… In case you need a reminder, life is not always a choice between who do you love or choosing between a sexual relationship or something else.

Liszewski, Bridget. “KILLJOYS’ MICHELLE LOVRETTA WRITES WHAT SHE LOVES”. Thetvjunkies.Com, 2016, https://www.thetvjunkies.com/killjoys-michelle-lovretta-writes-what-she-loves/. Accessed 11 Sept 2018.

Sara-goodwin. “Interview: Killjoys’ Tamsen McDonough Talks Fan Experiences, Playing a Spaceship & Being Part of the MCU.” The Mary Sue, The Mary Sue, 1 Nov. 2016, www.themarysue.com/interview-killjoys-tamsen-mcdonough/. Accessed 12 Sept 2018.

Scott, Veronica. “Interview: Michelle Lovretta, Creator of SyFy’s ‘Killjoys’.” USA Today, Gannett Satellite Information Network, 29 June 2016, happyeverafter.usatoday.com/2015/08/20/veronica-scott-killjoys-michelle-lovretta-interview/. Accessed 11 Sept 2018.

Dr. Casey Alane Wilson • Georgia Institute of Technology

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Killjoys Experiences with a New Theme – Non-Sexual Relationships

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