Author: yt2388

After weeks of ignoring her begging, I went with my roommate to see Thor: Ragnarok. It wasn’t that I didn’t want to see the movie (Marvel films are actually my guilty pleasure), but I didn’t want to spend the ridiculous amount of money that is New York theater prices to see a film I thought I could predict in its entirety. I had a pretty strong feeling about how the movie was gonna go: we’d start with a dramatic scene where Thor’s at a low-point, then the film’s villain would inspire him to get his act together, and he’d reunite with some random Avenger to defeat whoever was threatening Asgard this time around. Interspersed would be some jokes about his abnormally attractive body, his villainous brother Loki, and of course Marvel’s typical sexual innuendos. I knew it would be entertaining, but also extremely predictable.

So when I sat down in the theater, I was surprised by the film I saw. Don’t get me wrong, I had indeed predicted the general plotline, but something about Thor: Ragnarok was different. Rather than being interspersed throughout, the jokes were continuous and quite upfront. From the very first scene (where Thor was indeed at a low-point), Chris Hemsworth’s superhero was cracking jokes left and right. His relationship with Loki took on a more humorous tone than ever before, and even the villain (Thor’s sister Hela) cracked a joke every now and again.

Even in the movie’s darkest and most serious moments, the characters were joking around. As I watched, it felt a little off-putting: why would Thor and the Hulk joke about the fate of millions of people? Why couldn’t the writers be serious for just one second? I came out of the theater feeling a bit uneasy; sure, the film was hilarious and most definitely entertaining–but what just happened? In an earlier column, I praised this summer’s Spider-Man: Homecoming for its jokes and for creating a lighter and more entertaining superhero movie than DC’s Wonder Woman. But it seems like Marvel took my feedback and dialed it up, like, five thousand percent.

Earlier this week, Marvel released its trailer for the upcoming Avengers: Infinity War, set to be released in two parts- one in 2018 and one in 2019. The trailer is typical of Marvel’s superhero universe, and only features one joke at the end of the preview–more like what I had been expecting from Thor: Ragnarok. And the trailer wasn’t released without its own drama: news that Avengers frontrunners like Chris Evans (Captain America), Robert Downey Jr. (Iron Man), Chris Hemsworth (Thor), Mark Ruffalo (Hulk), and Scarlett Johansson’s (Black Widow) contracts are up after the film releases is sending every superhero-fan into a frenzy. Is this the last Avengers film? Will Marvel try to continue the Avengers franchise without its stars?

In interviews, Marvel CEO Kevin Feige has said that Marvel intends to continue the franchise with or without its stars, but that Infinity War will definitely mark the end of a particular era in the Avengers universe. And with Thor: Ragnarok shifting so dramatically in its approach, I am left wondering: is this lighter tone Marvel’s new take? And how will that work? Will it work?

Now don’t get me wrong: the fate of the superhero genre is not in danger. People will keep paying to see attractive men and women (although far too few women admittedly) save the world while cracking a joke about it. It’s fun, it’s entertaining, and it makes us feel good. But where Marvel has succeeded (and where, I would argue, DC hasn’t) is in making these feel-good movies into films with real quality. Previous Thor, Captain America, Iron Man, and Avengers movies are all actually good movies. And that’s because they mix action and humor effortlessly, and invite the audience to feel close to their heroes. But when Marvel decided to focus solely on the humor in Thor: Ragnarok, they lost their appeal (at least to me). And if they continue on in this way, they may find themselves losing at the very genre they brought to the forefront of American cinema ten years ago.

It’s hard to see it right now, but this time next week, we’ll all be on break. It’ll be the morning of Thanksgiving, and you’ll wake to the sounds of the Macy’s Day Parade or the smell of turkey in the oven. The leaves outside will be colorful and the weather will be beautiful (don’t ask me how, but I’m telling you the weather will shape up come Thanksgiving), and whether you’re a football fan or not, you’ll feel compelled to participate in the age-old American tradition of watching the game.

But when the football game is over and you come inside for those few hours in between the morning festivities and dinner time, all you’ll want to do is curl up on your couch and watch some feel-good family television. And lucky for you, there’s plenty out there.

Here’s a definitive ranking of the best Thanksgiving TV episodes of all time.

  1. “Blair Waldorf Must Pie,” Gossip Girl (Season 1, Episode 9)
    Say what you will about Gossip Girl’s later seasons, but it’s hard to deny that Gossip Girl’s pilot season came out swinging. So accurately portraying the zeitgeist of 2007 teenage life, the drama and glamour of the Upper East Side has never been so deliciously intriguing. And it all came to an emotional tipping point with the show’s first Thanksgiving episode, which featured rich-girl Serena’s family uncomfortably dining at her new Brooklyn beau’s family loft. Back on the Upper East Side, Serena’s entitled friends are reeling from the aftermath of family disentanglement and dangerous secrets. It’s oh-so-wonderfully juicy.
  2. “Happy Thanksgiving,” Parenthood (Season 2, Episode 10)
    There’s nothing like watching a feel-good family TV show on a chilly Thanksgiving morning, but Parenthood’s distinct ability to make you laugh, cry, and totally relate makes it one of the best family-driven dramas of recent television. This episode features patriarch Adam struggling with his career, his outspoken sister Sarah insisting on bringing her boyfriend (and son’s teacher) to Thanksgiving dinner, and their younger brother Crosby desperately trying to impress his fiancee’s mother. The episode has a heartwarming resolution–but it’s the Parenthood classic moments of sincerity and family devotion that make this a Thanksgiving must.
  3. “A Deep Fried Korean Thanksgiving,” Gilmore Girls (Season 3, Episode 9)
    Despite its seven-year run, Gilmore Girls only aired one Thanksgiving episode–and it’s definitely worth the watch. The episode features mother-daughter duo Lorelai and Rory trying to navigate four different Thanksgiving feasts, culminating in their annual (and dreaded) trip to the grandparents’ house. The episode ends with a revelation that fuels the rest of the season, but (save for the last five minutes) it’s an episode that you can watch on its own if you’re looking to vicariously join the rituals of a small town’s favorite holiday.
  4. “Thespis,” Sports Night (Season 1, Episode 8)
    Aaron Sorkin’s first show only ran for two seasons, but it marked fame’s beginning for not only Sorkin, but actors like Joshua Malina, Josh Charles, and Peter Krause (who would later go on to star in The West Wing, The Good Wife, and Parenthood, respectively).This particular episode highlights their unique talents. Malina’s character insists that a Greek ghost is haunting the sports-news studio and the other characters shoot him down–all while trying to prepare for Thanksgiving dinner later that night that indeed seems to be haunted by some ghostly presence. The episode is cute and fresh, and provides a nice comic relief from the more serious shows above.
  5. “The One With The Rumor,” Friends (Season 8, Episode 9)
    Speaking of comedic Thanksgiving episodes, no show did it better than Friends. Known for their plethora of Thanksgiving specials, watching Friends has become a staple of my Thanksgiving weekend (as it should for you). If you’re wondering which one to watch first, start with “The One With The Rumor,” which features Brad Pitt as an ex-enemy of Rachel’s arriving just in time to shake up her relationship with Ross. Meanwhile, Joey promises to eat an entire turkey, and everyone just has a ball of a time.
  6. “My First Thanksgiving with Josh,” Crazy Ex-Girlfriend (Season 1, Episode 6)
    Back when Crazy Ex-Girlfriend still served up delightfully-concocted spoofy musical numbers every episode and we were still rooting for protagonist Rebecca to win over her ex Josh, creator Rachel Bloom gave us a gem of a Thanksgiving episode. In this episode, Rebecca meets Josh’s parents (much to his dismay), and goes on to imagine herself becoming a part of the family. Their friend Gregg, meanwhile, sings a cliched song about his future, and Rebecca really has to pee. Don’t ask; just watch it.
  7. “Thanksgiving Orphans,” Cheers (Season 5, Episode 9)
    Still one of the greatest sitcoms of all time, Cheers aired its fair share of Thanksgiving episodes, but only one featured an elaborate food-fight and Diane in a pilgrim costume. In this episode, the gang of co-workers gathers at the ever-grumpy Carla’s for Thanksgiving dinner, and of course everything goes wrong. Suffice it to say, womanizer Sam ends up with a much-deserved pie in his face. Oh, and one of the show’s best running jokes reaches its height when we get the only glimpse of couch potato Norm’s infamous wife we’ll see throughout all eleven seasons.
  8. “Slapsgiving,” How I Met Your Mother (Season 3, Episode 9)
    “Slapsgiving” was arguably the best How I Met Your Mother episode of all time, probably because it became the impetus for so many of the jokes that would consistently resurface throughout the series. Marshall and Barney’s “slap-bet” (a bet Marshall won that gives him the power to slap Barney as hard as he wants) comes to a head in this episode, and it isn’t addressed again until the following year, in an episode aptly titled “Slapsgiving 2: Revenge of the Slap.” Robin and Ted introduce the “Major” joke that remains one of the most quoted jokes from the show, and the episode’s heartfelt ending helps catapult the season forward. It’s a masterpiece.
  9. “Shibboleth” The West Wing (Season 2, Episode 8)
    So you already know that every Thanksgiving, the President pardons a turkey. But did you know that the Press Secretary has to decide between two turkeys, essentially condemning one to die and setting the other free? Well, at least, that’s what happens in this wonderfully delightful episode of The West Wing, where Press Secretary CJ Cregg has to decide the fate of two turkeys as they run amok in the White House. Meanwhile, the President himself hazes the newbie on staff into finding him an appropriate carving knife, and the senior staff gathers to watch football. Add in some crises with immigration and education policies, some nepotism, and a hell of a lot of political maneuvering, and you’ve got one of the greatest episodes of Aaron Sorkin’s masterful show.
  10. “The One With All The Thanksgivings,” Friends (Season 5, Episode 8)
    Like I said before, Friends did Thanksgiving right, and it’s earned itself two episodes on this list. Although it’s hard for me to delegate any episode of The West Wing to the second slot, the clear winner of Thanksgiving episodes is this flashback-driven episode of Friends. Framed by cuts to Thanksgivings of the past, when the gang was awkward and stupid, this episode has everything. It will make you laugh, cry, long for sweet potato pie, and dream of a 2020 Friends reunion. The flashback focus makes this an easy episode to watch even if you’ve never seen the show (although who’s never seen Friends?) and the image of Joey’s head stuck in a turkey will definitely make it worth your while. In fact, I love this episode so much, I named my column after it.

Happy Binge-giving!

After twenty-one years of a beautifully reciprocal relationship, Television and I have hit a rough patch. What have I done to deserve this? For years, I have given him every spare minute of my time, turned to him in my hour of need, loved him unconditionally and completely. Our relationship was always new and refreshing, and every time I thought he began to take me for granted, he’d surprise me with an incredible new show and remind me why I loved him. But, things have changed. The enormous lack of fall television has left me brokenhearted, alone, and rebounding with not-so-good-for-me-but-incredibly-enticing Netflix.

Network television’s fall TV premiere line-up seemed promising. There were the obvious shoe-ins in the shape of returning series: Season Two of This Is Us, more Brooklyn Nine-Nine, and cult favorites like Empire, Scandal, and Supernatural. Personally, I couldn’t wait to find out more about This is Us’s Pearson family and Brooklyn Nine-Nine’s Andy Samberg’s stint in jail, and I eagerly counted down the days until The CW’s Jane the Virgin and Crazy Ex-Girlfriend returned to prime time. I was excited to return to the ins and outs of Firehouse 51 in Chicago Fire and even willing to give Designated Survivor’s sophomore season a chance. But they all let me down.

This Is Us has gotten so predictable that even the background music seems cliché. Rachel Bloom’s strong feminist character in Crazy Ex-Girlfriend is suddenly acting like an immature child. Jane the no-longer virgin has a boring new love interest (I told you that Michael was the heart and soul of that show), and nobody significant has been killed off of Chicago Fire since Season Two (it’s now entering its sixth season), which makes the whole “will they survive?” vibe kind of ridiculous. To top it all off, Designated Survivor is no longer focused on the survivor, and Andy Samberg turns out to make a horrible convict.

Desperate to salvage my relationship, I turned to new premieres. ABC’s The Good Doctor had a fascinating premise (it’s about an autistic surgeon), but after the first episode I was already bored with every character other than the main one. Adam Scott and Craig Robinson’s new comedy Ghosted felt like an even less-funny version of Men In Black (and MIB isn’t even a comedy…), and Daveed Digg’s The Mayor is cute, but nothing to write home about.

So here I am: bored with TV, hoping for a better mid-season lineup, and watching Gossip Girl on Netflix to pass the time.  

So… it’s up to you now, Television: Woo me. Here’s to hoping we’ll rekindle our love in the winter.

Image made by Laura Elizabeth Hand, CC’19

Content Warning: sexual assault

As everyone reels from the news about Harvey Weinstein, the question of inequality for women in Hollywood finds itself once again at the forefront of conversation. Behind the camera, women are coming forward with stories of sexual assault, and we’re finally engaging in a conversation that should have begun years ago. But… what about in front of the camera?

In her acceptance speech at last month’s Emmys, Best Actress winner Nicole Kidman explained that she and Reese Witherspoon produced Big Little Lies to create “more great roles for women.” She was met with thunderous applause acknowledging her role in Lies as “great.” But I was lost.

Over the summer, I binged-watched probably hundreds of episodes of television and saw every movie in theaters. And there were, indeed, great female roles. Elisabeth Moss’s Offred was a strong feminist, Kimmy Schmidt made her way to college, Wonder Woman dominated at the box office, Anne of Green Gables made a triumphant return to television, and the women of This Is Us, Veep, The Crown, and so much more were complex and inspiring.

But when I turned to Kidman’s Big Little Lies, I couldn’t help but gasp at the tireless repetition of sexist tropes and same old plotlines. For those who don’t know, Big Little Lies follows four different mothers in an upper-middle class suburban town. Madeline, played by Reese Witherspoon, is the town gossip and an overbearing and self-centered mother. Jane, played by Shailene Woodley, is a single mom, new in town, with a troubled past. Her son, Ziggy, gets into trouble with Renata Klein, the hard-working businesswoman whose daughter claims Ziggy hurt her. And Kidman’s character, Celeste, is a stay-at-home mom who’s hidden the truth about her abusive husband for years.

If you look at the logline, you may buy Kidman’s claim about “great roles for women.” Save for perhaps Witherspoon’s one-dimensional character (who’s literally portrayed as if Elle Woods just grew up a tiny bit), the rest of the women indeed seem complex. But rather than focusing on the crux of the women’s troubled stories, the show spends the bulk of its time rehashing the fight  fight between Jane and Renata’s children. While the fight begins with a serious accusation, before long it becomes clear that Ziggy didn’t hurt Renata’s daughter, and that the fight has spiraled into an all-out war over who works harder: the working moms or the stay-at-home moms. By the end of the first episode, everyone in town has taken sides, and suddenly it’s like you’re watching a glorified version of a middle-school cat fight, but with birkin bags instead of friendship bracelets.

The subplots are equally uncompelling, and wouldn’t pass the Bechdel Test if you gave them all the leeway possible. Madeline can’t seem to get her new husband to get along with her old one, or convince the town to let her put on a production of Avenue Q. These are ridiculously privileged problems, yet the show makes them out to be as dramatic as the abuse Celeste is experiencing at home. Madeline finally connects with her teenage daughter by admitting that she cheated on her new husband. Oh great, isn’t that wonderful motherly guidance? Meanwhile, Renata doesn’t have sex often enough with her husband, and her poor daughter can’t get enough kids to come to her million-dollar birthday party.

But while all this is happening, the only two characters with the possibility for a compelling subplot also fall short. A few episodes into the series, we learn that Jane was raped and she fears that Ziggy will inherit his father’s violent tendencies, but this intriguing storyline barely gets any airtime. Celeste finally works up the nerve to go to a therapist, and the show’s only truly “great” female moments are in Kidman’s painfully accurate portrayal of a woman struggling to come forward about abuse. When Celeste finally decides to leave her husband, the depiction of women on the show finally feels empowered.

But within one episode, everything swings back again. In the final scene, at a ridiculously over-the-top school function, Celeste’s husband discovers she’s leaving and starts to hit her. Coming to her defense, Madeline, Jane, Renata, and one other woman hit him back, and we learn that Celeste’s abusive husband was the man who raped Jane all those years ago. Finally, the women accidentally push him over a cliff and kill him. It was an act of self-defense, and the audience breathes a sigh of genuine relief and hope for Celeste’s brighter future.

But then, they deny the murder. In talking to the police, not one woman comes forward with the truth. He simply fell, they say. In talking to the police, not one woman comes forward with the truth. Why? I’m not sure. In their silence, the women of Big Little Lies end their show not with a message of the importance of speaking out for victims of abuse, but of the harmlessness of staying silent. Suddenly, everything about the showKidman’s character and even Jane’s intriguing subplotseems far too convenient. For Jane, the question of her own PTSD and her son’s violent tendencies are suddenly resolved. And true, it seems like Celeste was about to finally stand up and leave, but by choosing to kill off the abuser, the writers eliminate the incredibly difficult period abused women struggle through, physically and emotionally, to take that step away. If this were a real woman, Jane’s and Celeste’s  struggles would not be over with a timely shove off of a cliff and a promise to never speak of it again. Abuse lives with people forever.

The show ends with a reconciliation. Like they’re in middle school again, Madeline, Jane, Celeste, and Renata are suddenly friends, joined together with a secret. But let me put it plainly: abuse is not a cute little secret you share with your friends. Abuse is not a problem that deserves less screen time and the same dramatic emphasis as does the question of whether to put on Avenue Q. Abuse is real, abuse is terrible, and abuse doesn’t resolve itself that easily.

Big Little Lies took home five Emmys this year. In her acceptance speech, Nicole Kidman said that the show helped “shine a light” on abuse. Maybe, but the small light the show shines is not enough. The women in the show aren’t “great”: they’re simple, naive, entitled, and don’t reflect the true complexities that women like Celeste and Jane (or even real-life Madelines) face every day. And in an industry where actresses experience sexual harassment every day and a world where men like Harvey Weinstein find success, Hollywood needs to do better.

So yes, Ms. Kidman: you’re right. Hollywood does need more great roles for women. But I’m afraid this wasn’t it.

Photo Courtesy of the Vanishing Point Chronicles

Mid-October marks many things in a college student’s life. It’s the beginning of midterms, the end of the beginning-of-semester haze, the hangover from homecoming, the warm weather’s slow abandonment. We desperately begin to count down to Fall Break, but the wait seems impossible. In this hour of need, you ask, what else but film can lift our spirits? What films and shows can we turn to?

Fall TV premieres are slowly trickling in, but for immediate therapy, check out this summer’s best premieres and releases:

  1. Dunkirk

Only Christopher Nolan can write a 70 page screenplay, cast Harry Styles as the most talkative character, and then insist that his film be shown in 70mm across all theaters in the US. And only Christopher Nolan can turn all of that into a smashing success. Based on a true story, Dunkirk is not only the most visually stunning film you’ll see this year, but also the most enthralling. Commonly mislabeled as a typical war movie, there’s really no way to describe Dunkirk to someone who hasn’t seen it. What Nolan has created is a plot line with twists and characters unlike those you may be familiar with. And that’s precisely what makes it so great.

  1. The Big Sick

I don’t think I’d be able to count the number of times I burst out laughing while watching Kumail Nanjiani’s debut feature film. A movie based on Nunjari’s own love story, The Big Sick was the romantic comedy version of Dunkirk. Nanjiani refuses to conform to the tropes that often plague this genre and instead infuses this story that isn’t really about romance at all with an incredible sense of humor and relevant social commentary . This innovative story, combined with Ray Romano’s adorably dopey performance as the girlfriend’s dad, catapults The Big Sick to the top of romantic comedies.

  1. Spider-Man: Homecoming

If you’re only planning on watching one of this summer’s blockbuster superhero hits, skip Gal Gadot’s overrated Wonder Woman for Tom Holland’s stellar performance in Spider-Man. Sure, Wonder Woman broke a glass ceiling and it’s great that a woman superhero is getting her chance to shine, but amidst the massive boost of superhero movies, Spider-Man returns to the genre’s roots. Unlike Wonder Woman and other recent films in the genre, Spider-Man is light and funny, and it finally feels like the movie-for-all-ages superhero films promise to be. Holland’s character is indeed “super,” but he’s also relatable, and I found myself rooting more genuinely for him than I had for any Marvel or DC character in a long time.

  1. The Handmaid’s Tale

If you don’t want something dark, don’t watch The Handmaid’s Tale. But if you want to experience television’s most thrilling and thought-provoking series of the summer, it may be worth it. Based on the novel by Margaret Atwood, The Handmaid’s Tale follows a dystopian futuristic America in which women are forced to return to domesticity. Our protagonist, played by Elisabeth Moss, is chosen as a breeder– and while her performance is outstanding, nothing could prepare you for the chills that will run up your spine when Yvonne Strahovski’s and Ann Dowd’s characters come on screen. In fact, nothing really could prepare you for the whole show at all, so I guess you’ll just have to watch it yourself.

  1. Unbreakable Kimmy Schmidt

I know I’ve spoken about this show before, but in this season Kimmy attends Columbia, and her observations are so spot on that it should probably be required viewing for incoming first-years. Although they filmed at UTS and not Columbia, the Kimmy Schmidt showmakers somehow found a way to harness the culture of Columbia– stress levels and all– in a wonderfully concocted season of puns, social commentaries, and Hamilton’s Daveed Diggs. Even if you haven’t watched the first couple of seasons, season three is worth your time. Maybe use it as a study break when you’re up late in Butler– and perhaps take Kimmy’s advice when she tells you there’s more to life than studying.