English 1102: Television and Feminism

Dr. Casey Alane Wilson • Georgia Institute of Technology

Tag: love

A sense of empathy

Sense 8 is written by Lana and Lilly Wachowski. They are both trans women, formally known as the Wachowski brothers. They were the writers of The Matrix (1999) an iconic movie. After discovering this the show Sense8 now makes a lot of sense. They are both elaborate, reality questioning works of science fictions.

 

Particularly, Sense8’s writing is very unique- unlike anything I have seen before. This is a serious science fiction drama. Unlike many TV shows, including those of science fiction, there is no comedic relief. Everything every character says is deliberate and includes a specific meaning or message. This deliberate style is used intentionally to captivate the viewer. This is not the show to put on in the background while you are eating dinner or doing homework. You have to pay attention. You want to pay attention.

 

Not only is the deliberacy of the timing- when dialogue is used- captivating, but the diction picked out is used so beautifully to convey the deeper elements of human emotion that people often have trouble describing for themselves.

 

We all struggle to understand our emotions. The premise of this show is to make ourselves question our understanding of ourselves and the relationships within our lives. By having the eight main character be connected by something so much stronger than normal human connection. Something so strong that they can feel what each other is feeling emotionally allows for the greater exploration of human empathy.

 

The writing as seen through the dialogue of this show can demonstrate how this message is portrayed. After Lito has gotten his world rocked by the end of his relationship with Hernando, now his ex-boyfriend, he sits in the Diego Rivera Museum contemplating love and his fear of coming out. Lito describes his first kiss with Hernando to Nomi as a ‘religious experience’, but he is still afraid that he will ‘lose everything’ he has worked for in his career by coming out. Even though it is clear that he has already lost so much from losing Hernando. Nomi helps him evaluate his life by describing that at some point she learned that there is ‘a huge difference between what we work for and what we live for’.

 

This dialogue between Lito and Nomi helps everyone contemplate their priorities in life and where the love in their life stems from. For every viewer the reaction to this scene is different, but I felt grateful for the people in my life and reminded that school is not the end all be all.

“The Wachowskis.” Wikipedia, Wikimedia Foundation, 25 Nov. 2018, en.wikipedia.org/wiki/The_Wachowskis

Is Everyone Gay or Just Lonely?

Sexuality and love are two things that permeate every aspect of Orange is the New Black, and they are portrayed in often conflicting yet also related ways. For many characters, feeling alone in prison leads them to seek physical intimacy without a romantic attachment yet while continuing to hold on to outside feelings; this makes their sexuality, often convoluted on its own, both something they seek for the physical connection to others as well as a point of its own identity, even when it interferes with romantic feelings.

The best example of this is in Piper herself. Once Alex, her former girlfriend who got Piper sent to prison in the first place, arrives at Litchfield, the two begin a sexual relationship that hints at potential romantic feelings but never directly are mentioned. However, Piper’s attempts to also cling on to her feelings for her fiancé create a point of contention between all three, and Piper eventually loses both of them for her lack of commitment to either. As Piper’s family struggles to deal with this new turn – just as they struggled to deal with Piper having dated a woman in the first place – they try to put a label on her, asking questions like, “Are you a lesbian now? Were you straight when you got engaged to Larry?” Piper eventually tells her best friend that you cannot be “either straight or gay” and that there is a spectrum, leading viewers to infer that Piper knows her sexuality is something that defines her, although she is not sure how to define it.

Other examples of sexuality as an identity yet using it for comfort are clear in many other characters. Morello, a prisoner who is obsessed with a man that has filed a restraining order against her, has an ongoing same-sex physical relationship for much of the first season but eventually ends it because she “wants to be loyal to Christopher”, leaving viewers to assume that she is heteroromantic but questioning sexually.

Morello and Nicky

Daya begins a physical relationship with Bennett, a prison guard, initially to be able to ask for things from him, and eventually she experiences conflicting feelings of romantic interest and desire for her situation to go away. Although her sexuality is less obviously convoluted, her use of it and then subsequent questioning of why she chose to use it falls clearly into a similar category. Countless other prison hookups, especially amongst friends, are depicted as “experimental”, hinting that they are being done simply because they can and because the prisoners are missing their traditional intimacy. And, most glaringly, Sophia’s wife remains with her former husband after she transitions to female, despite the fact that she is heterosexual, out of a desire for comfort and support. In this way, viewers of OITNB can see clearly that the fluid, often unlabellable sexualities of the prisoners stem mainly from loneliness and a desire to be connected with someone, even at the expense of outside, “more real” connections.

New Girl: Seriously Awkward Silence

New Girl is a show that thrives on awkwardness (as anyone who has read my previous posts knows I love). The show will often build up to dramatic moments of silence where the air becomes stiff and viewers are left thinking how they would respond in such a situation. The genius of New Girl is how this awkward silence is broken by the ridiculousness of the characters’ actions. This is used perfectly in the finale of New Girl, Elaine’s Big Day, during [Spoiler] Cece’s failed marriage, while Jess and Nick’s dysfunctional relationship is falling apart.

Silence can be used in a comedy as a way of changing the mood of the scene to be serious and awkward. This focuses the audience on the careful words or actions of the characters, allowing for the crafting of serious moments in an otherwise light-hearted show. In Se2Ep25, Jess and Nick are in conflict due to their relationship. In a mere 20 minutes, the two begin by having an adorable relationship, which quickly falls right apart and is built immediately back up in 5 minutes without any unbelievable leaps of logic: all thanks to the writer’s use of silence in a particular scene.

Specifically, Jess and Nick are discussing how their relationship is clearly not functioning, and Nick decides to break it off, informing Jess that it was never going to be anything serious anyway and that they should just end it. This strong emotional shock to an otherwise fun show is left in several seconds of silence, where the audience is recoiling from the shock that Jess must be going through. The silence is used to display the thoughts going through Jess’ head as she is being broken up with, being told that her relationship was never meant to be serious in the first place.

Se2Ep25 Some awkward silence

This episode uses silence perfectly at this moment to display a serious moment, where Jess’ emotional struggles are in plain view as there is no comedy to cover it. It then does nothing to break the tension of this silence. Rather than saying something, Jess just awkwardly nods and walks away, leaving Nick in silence as he and the audience must think about the consequences of the episode.

New Girl usually uses silence to indicate a more serious moment, but ultimately breaks it with some awkward comedic moment, such as later in the episode when Schmidt is presented with two girls who love him and ask him to choose, he just stands in silence and after a moment starts running off, breaking silence with comedy. However, in the case of Jess and Nick, the silence is never broken. It is left perpetually as Jess just walks away from Nick. In a comedic show, the silence was written in to create a serious moment that leaves the audience in a real feeling of tension and regret for Nick.

Long Takes and Heartaches

CINEMATOGRAPHY in Scandal

Camera Crew with Kerry Washington on the set of ScandalS


Season 1, Episode 6, of Scandal dives into the story of how Olivia and Fitz’s notorious affair began on the campaign trail. The episode is the most fitting to study cinematography within the show because very distinct cinematic strategies and elements are used to tell the backstory and current status of the relationship.

The show is shot very methodically and has a few captivating cinematic characteristics I would like to specifically point out. For example, opening scenes and occasional transitions are shot with pans through the background setting or behind an unfocused blocking object before focusing on characters. In addition, Scandal is filmed with extremely close-up shots. A large majority of the scenes in this episode and others are purely facial. Scenes with two or fewer people hardly ever show below the shoulders of the actors.

Another factor in the cinematography and filming direction of the show is the length of takes. The most notable length of cuts are the very long scenes of just Olivia and Fitz. This episode, in particular, emphasizes their alone time through lengthy takes with only their faces in the frame. For example, twice in the episode, Fitz asks for just “one minute” of silence with Olivia and the cameras grant him both of those moments in full. The only short takes with these two characters are during sensual scenes. During the sex scene, the camera spends very little time on each frame and there are nearly a hundred different takes within the two-minute scene. The intro itself is a flash of multiple images within two seconds with a clicking noise, which imitates the paparazzi cameras.  I believe the directors wanted to stay true to the theme of the theme of the show, its namesake, scandal. The longer scenes with Olivia and Fitz are more romantic and pure. Meanwhile, the sex scene being more inappropriate (since Fitz is married) is much shorter and filmed like the intro, insinuating the scandal that it is.

In regards to lighting, the show uses it to reveal mood and dictate morality. Olivia and Fitz’s scenes are always dark with a few warm colors, indicating romance and a sensual tone.  During interviews, debates, and other campaign events, the scenes are very bright. I believe this is to show how the darkness attempts to hide the affair, but the lights used during the campaign events follow the old narrative that where there is light, there is truth. Thus, a brightly lit campaign demonstrates a candidate of truth. However, the darkness tries to hide reality.

The use or lack of color may be the most distinguished cinematic element in the episode.  The directors choose to desaturate the frames in order to reveal flashback moments. This specific episode, “The Trail” explores the Grant campaign trail of two years prior and details the evolution of Olivia and Fitz’s affair. Therefore, the lack of color in certain scenes is what tells viewers that this happened previously.

If All the World’s a Stage then Identity is a Costume

The issue of gender and identity is one that we discuss often in this class, and few shows are as diverse in their depictions of people and their identities as Sense8. Season 2 Episode 10: If All the World’s a Stage then Identity is a Costume begins with an intro reflective of the episode’s title. The intro includes many more clips of people than normal- gay, straight, young, old, male, female -people from all over the world going about their everyday lives. This set the scene for an episode focused on identity. We see Kala in her element reproducing the blocker drug, showing a smart woman doing science. Kala and Riley have a long conversation in which they discuss their fears for the future and the road ahead of them. This is significant because it passes the Bechdel test, showing two women in a non-male-oriented context. Even when the scene shifts and the characters do discuss Will, the conversation does not play into a fantasy, but rather feels like two real women sharing their experiences with sex, loss, and pain; Will was merely a catalyst for this conversation to occur. The episode then takes us to Kala’s complicated relationship with Wolfgang. The two speak very frankly about their needs and their individual situations. Power is clearly shared evenly in their relationship. As the episode progresses, we begin to see gender and the concept of masculinity intersect with homosexuality. During his audition, Lito’s producer describes Lito’s previous strong-man ‘macho’ roles as ‘typical male apery’, a sentiment that supports the notion that Lito’s more sensitive natural masculinity is greater than the narrowly-defined masculine roles that he has been shut out of. The producer does not ask him for strength, or any traditionally masculine traits, but rather to ‘break his heart’ during his audition. Speaking with his homosexual romantic lead, Lito is encouraged to be vulnerable. While Hernando and Lito’s Co-Star view some of Lito’s previous work as ‘offering insight into the interdependence of identity by rejecting the narrative of male sovereignty’, the producer is focused more on the sexy aspect of film, repeatedly making gay sexual references and affirming the reality that sex sells. The final significant moment of the episode is when Lito and Hernando talk about Lito’s insecurity about his acting on the beach, and the two make out romantically in the surf. There is no pan-away, and the moment is captured beautifully in its entirety with the same level of romance and attention that would be given to a similar heterosexual scene. This is just one more example of how Sense8 seeks to show people’s lives as they are, and not to limit the experience of the viewer to traditional patriarchal and heteronormative lenses.

Lito and Hernando share a romantic moment in the surf celebrating Lito’s dream role.

Makin’ Babies: A New Girl Story

First comes love, then comes marriage, then comes a little Schmidt in a baby carriage. Have I scared you New Girl watchers off yet? No? Good, New Girl‘s S1E21 “Kids” addresses the reality of the relationships of the characters on the show, following the Theme of the complications in love, pregnancy, and the general relationships in the show.

Cece being asked if she used birth control after missing her period S1E21

This episode runs through some relationship issues of the characters of the show. Jess has to babysit her older boyfriend’s preteen daughter, Sarah, who happens to be her student in school as well. Meanwhile, Nick is figuring out his insecurity with having a long-lasting relationship with a mature adult, and Cece must deal with the troubling thought of whether or not she is pregnant with Schmidt’s child. Of course, there is plenty of cringy drama through the episode to ruin every character’s plans, as it also serves to further the topic of the episode.

While at the beginning of the episode everything seems to be working straightforward, as Nick’s current fling girlfriend seems smarter than he is, Jess’ boyfriend’s daughter is the average curious and rude preteen, Cece is the normal rambling mess when it regards her relationship with Schmidt, and Schmidt is his average douchy self. However, this quickly changes as the complicated nature of relationships is revealed. Nick’s girlfriend is 19 and just graduated highschool, as Jess was once even her teacher. The girl that Jess is babysitting has a confusing crush on Nick. And Cece has a total emotional breakdown about possibly being pregnant with a mini-Schmidt.

Cece got her period! Yay!

The episode as a whole serves to explain the fact that relationships are beautiful but confusing by nature. Love is not simple, and it is an emotion that needs processing. Sarah thinks that she is immediately in love with Nick, while despite having a several month long relationship, Schmidt and Cece still will not acknowledge their feelings for each other, while Nick, in general, does not understand his own feelings about what he is seeking in his life in a relationship. The show is arguing throughout this entire chapter of episodes, but specifically, in S1E21 that relationships are difficult, and knowing what someone wants in life regarding love is confusing.

However, at the end of the episode, every character understands themselves and what they want better, as Sarah stops heavily crushing on Nick, Nick realises that he cannot date a 19-year-old out of highschool, and Cece is content with not being pregnant. Though even in the conclusion, Cece and Schmidt’s relationship is not secured, demonstrating again that relationships are never logical or straight, as they depend on the emotions of two people who need to work through what they want themselves. This episode is arguing that no one ever truly knows what they want, but by making mistakes, they can work through and figure out at least what they may want.

Expecting the Unexpected

The episode I have chosen to write about this time is episode eleven in the first season of Orange is the New Black: Tall Men with Feelings. In this episode, lots of dynamic changes occur in the plot, ones that drastically shift the situation of various characters and leave the viewers shocked. The main theme presented in this episode is that no matter how deep one may be committed to something, one should always be prepared to experience change. Not only will that person face unexpected adversaries, but he/she will learn more about themselves that they will realize.

An example is present when Piper did not realize Larry her fiance, knew that Alex her old lover was in the prison indeed and that Piper was having an affair with this woman who she previously loved. Piper found out when Larry appeared on the radio talk show and the whole prison tuned in. Larry made oblivious side comments about Piper’s secret personal situation in the prison, and when Piper realized, she confronted Larry over the phone about this unexpected situation. Ultimately, this led to them to temporarily breaking up at the end of the episode and Piper realizing that her anger towards Larry should be instead directed towards herself, as she let Alex intrude in their relationship and ruin the dynamics of everything.

Another example is when Dayanara, a fellow inmate of the prison, had an affair with John Bennett, a guard who had mad feelings for her. Dayanara loved him too, and accidentally got pregnant, in turn trying to have sex with the creepy hated prison guard in order to place the blame on him instead of officer Bennett. However, unexpectedly, other people in the prison found out about the situation and attempted to intervene, making Dayanara’s relations much more complicated than it originally was.

The point is, the theme conveyed in this episode is to expect the unexpected. The show writer does a superb job of creating these dramatic life-like events that are so relatable yet deep so that the audience is able to connect with the show on a deeper level.

The Unexpected Couple of Dayanara and Officer Bennett

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.

 

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