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TV Hangover

@tvhangover / tvhangover.tumblr.com

Waking up on the couch with an empty DVR & trying to understand what the hell we watched last night. About The SiteThe WritersContact NYC Events Helpful tags: Reviews, News, Interviews, Essays, Best Shows, Worst Shows, Classic Shows, Drinking Games
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This July, TV Hangover will celebrate — and mourn — one of the best one-season shows to ever grace television: Bunheads. Sure, Amy Sherman-Palladino is best known for Gilmore Girls but this little ABC Family gem won our hearts in 2012 and we're still not over it. Come join us as we watch episodes, play drinking games, host trivia, and maybe do some ballet if we get drunk enough.  July 29 at 9:30 PM Videology Bar & Cinema 308 Bedford Ave Brooklyn, New York 11249

Tickets are only $5! Make sure to get yours in advance since tickets are limited.  http://videologybarandcinema.com/events/bunheads/

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How to Stream Your Summer Vacation

Summer is nice because it’s a lazy season so it’s easy to justify spending eighteen hours a day sprawled out in front of the air conditioner and staring at the television. Summer is awful because there isn’t much to watch aside from USA dramas with terrible titles, an unending parade of reality shows, and sitcoms that networks were too embarrassed to air during the rest of the year. Fortunately there is Netflix, Hulu, HBO GO, and a billion other streaming sites to fill the time with. If you don't know where to start, here are some suggestions from us and guest contributor Alex. And don't forget to let us know what you're watching because we still have all of August to fill up.

  Catfish (MTV.com). Ah, love in the time of Catfish. When this first premiered, I was intrigued by the premise but never gave it a shot. I eventually became addicted after getting sucked into a marathon because isn't that always how it happens with MTV shows? People posing as other people on the internet isn’t anything new--and it turns out catfishing is as old as telegrams--but now there is the added twist of getting called out on camera. Just about everyone on Catfish is a liar. The only difference is how egregious those lies are. Sometimes the catfish is ashamed of his/her appearance, sometimes they create profiles for revenge on “friends,” or sometimes they just seem bored and a little fucked up. I don't want to say that Catfish is miles above other reality shows (at times, it is certainly just as manipulated) but it is often more engaging. Sometimes I found myself rooting for the catfishee to get together with someone that I know is nothing more than a “I’m not a model, the camera just went off” picture ripped off a defunct MySpace profile. There are very few happy endings--the most you can hope for is that they remain Gchat buddies--but when there is one, such as the recent “Lauren & Derek” episode, it’s actually weirdly blissful. 

Life Unexpected (Netflix). The worst thing about checking out the Recently Watched section on Netflix is that it includes the dates of when you watched everything. I now know that I watched the entire series of Life Unexpected in just under three days. I’m obsessed with teen dramas so I don’t know how I missed this when it was on in 2010. The show centers around Lux, the result of a one night stand, who spent her life in foster care until she turned sixteen and ended up released into custody of her two birth parents (who aren’t together and often hate each other, of course). For the most part, the first season was standard but enjoyable fare: adjusting to a new life, teen relationships, high school dances, will-they-or-won’t-they bullshit. But the second season gets really stupid. It’s clear that it suffered from excessive network notes and it’s clear those notes were all about crazy soap operas. Spoiler alerts: burning buildings, an affair with a school teacher, a secret pregnancy, a guy getting hit with a shovel, an overly dramatic court room scene--all leading up to one of the worst series finales I’ve ever seen. I couldn’t stop complaining about it. I couldn’t stop watching it, either. I hated everything about this show. I loved this show and cried no less than ten times.

  Luther (Netflix). Do not watch this at night. Do not watch this alone. Do not sit down at 4pm and then mainline the first two series off Netflix, startling yourself off the couch at 4am, now afraid to sleep for fear of nightmares about being murdered, or raped, or tortured, or kidnapped, or blackmailed, or betrayed by someone you trust. Do not watch this if you like thinking your home is safe. Do not watch this if you do not want to fall in love with a red-headed homicidal narcissist. Do not make the mistakes that I have made, because I can warn you: nightmares aside, you will be obsessed with this show. Luther is a (hot) dirty cop, played by Idris Elba, who looks like he's having a blast being menacing. His wife's left him and his boss can't decide if he's a blessing or a curse to her team, but Luther knows London is full of perverted killers who can be found and stopped with some rule-breaking. The first series is a little more focused on Luther and his life; the second introduces a framing plot involving the family of an old case, and provides further evidence that Skins is some amazing acting school: Sketch, everyone's favorite stalker, nails it as a sex worker who ends up staying on Luther's couch when she's caught between a terrible job and her terrible mother. I could watch a whole extra series with she and Luther as unconventional father-daughter roommates.

Bunheads (Amazon Instant Video). I started rewatching Bunheads just a few hours before news broke of its cancelation. Great timing, huh? I love Bunheads. Sometimes I feel as if I were tricked into loving Bunheads (I was never a Gilmore Girls fan and I have some latent anger re my own ballet years) but that’s okay. It’s a good show. It had its flaws: it was so overwhelmed with characters that it sometimes couldn’t find the best balance between the teens and the adults, people complain that there wasn't enough happening, the pop culture references could get a little tiring, etc. But it was fun, smart, and often seemed to really understand the minds of teen girls. I’m not a television pessimist but I knew it would get canceled. Even aside from the network’s zipped lips and news of torn-down sets, it was clear this show wouldn’t last. ABC Family has been doing a worthy job at reviving the teen drama but Bunheads isn’t exactly their personal brand of the genre. The bunheads weren't switched at birth, they're not pregnant in high school, and none of them, to my knowledge, murdered a family member with a jump rope. It didn't have a strong enough dramatic hook for ABC Family to hang their hat on. Plus, if there's one thing I've learned about television in recent years, there is apparently an age limit on females being fucked up. It’s okay to be a girl (ahem, a Girl) trying to get your shit together but once you hit your thirties, you’re canceled. (I suppose it goes without saying that I’ve also been rewatching Enlightened).

My Mad Fat Diary (Channel4.com). As a kid, I fantasized about my teenager summers, and imagined I would spent lots of time driving around aimlessly with my friends, or making out at campfires, or drinking at house parties. Then I became a teenager and spent the entire summer after graduating high school... in a park, playing Mafia. My Mad Fat Diary's become my way of living vicariously after the fact. Rae's just as uncool as I was, but when she comes home in the summer of 1996 from a four-month stay in a mental hospital, her old friend Chloe manages to get her in with the "cool people" of Lincolnshire, and she starts living the ideal TV teen life, full of drinking and parties and falling in love. It's not a picnic--she's keeps sneaking back to the hospital to see her therapist while pretending she's returned from a French vacation, leaving her friends none the wiser that she cut and binged nearly to death--but even keeping secrets, she's still having the time of her life. Rae and Chloe love each other, but always manage to fight and accidentally hurt each other, which makes their friendship all the more real. AVOID AT ALL COSTS IF: you suffer a Britpop allergy.

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"You've got big balls, Betty Suarez" - Wilhemina Slater, Ugly Betty (2010)

I've been watching a lot of Ugly Betty reruns as of late. And I realized that the best moments in the entire series occur when Betty (America Ferrera) and Wilhemina (Vanessa Williams) are pitted against one another. Both are women of color navigating the very racist world of fashion editorial and despite how stridently she treats Betty, there is part of her that beams when Betty is able to leave the fashion world with confidence. It's one of the most powerful moments in the series--and it has nothing to do with Betty's ongoing relationship with her boss Daniel (which frequently plays into the problematic stereotype of a person of color helping a white person get ahead.) 

This made me want to take a closer look at some of my favorite shows this season--all female-driven--and gauge them. Ugly Betty was by no means perfect when it cames to representations of gender or ethnicity, but it got a lot of things right that I think more ambitious shows are letting slip through the cracks.

Last night, I happened across Anita Sarkeesian's Feminist Frequency installment about The Bechdel Test and perhaps I've been under a rock, but I loved how simply it measured the representations of women in popular culture, but also minorities. For the uninitiated:

• The Bechdel Test was originally created to address the lack of female representation in popular culture; the rubric is simple. There has to be two women who communicate with one another about something that isn't a man.
• Later on, a variation of this test was created to gauge the representation of people of color in popular culture: Are there two people of color and are they communicating about something besides a white person?

What was wonderful about Ugly Betty was that even if it was creatively uneven at times, it represented a world where characters like Betty and Wilhemina could talk about their careers. It's a show that frequently passed both variations of this test.

I wanted to apply both tests to four of the most compelling series I've been following through the current TV season. It's odd, but none of these series--which I think represents the TV's top creative tier--are able to pass both tests. Keep in mind all four of these shows are helmed by, and prominently star, women. 

  • The Mindy ProjectAt its core, this comedy is about Mindy Lahiri--an Indian-American doctor who tries to juggles the demands of her job with her pursuit of love. The writing and acting is solid. However, we do learn that this show--as funny as it is--falls short. Because she dates only white guys in the show (the lawyer, the midwife, that guy played by Ed Helms, and maybe even Danny Castellano) and because most of her conversations tend to be about her dating life--whether she's speaking to a man or a woman--I don't think this show really passes either test. This is all with the exception of her brother--who appears only a couple times so far. But it's a good show! And as it starts to wrap up its first season--I have hopes that perhaps this comedy will start to get out of its comfort zone. 
  • Scandal.  Kerry Washington's turn as Olivia Pope, a Capitol Hill crisis fixer, is electrifying. And showrunner Shonda Rimes does a pretty good job of trying to keep women and people of color from falling into boxes on this show. That said, there is always a nascent fear that due to the nature of the beast--Olivia Pope is fixing the problems of mostly white people, after all--this sometimes fails to pass the second test. I think Scandal's probably at its best in those too rare moments when Harrison and Olivia talk about Olivia for a moment--not about the President, or about their latest hot mess client. I think finding a way to mine that relationship is going to be what keeps the soap's longevity in tact--long after viewers have bored of her on-off relationship with President Grant.
  •  Bunheads. This was one of the biggest surprises of 2012--a soap about female friendships that (1) didn't oversexualize its leads; (2) presented a soap driven by women of all ages; and (3) allowed its female leads to mentor one another. Of all the examples herein, Bunheads is the only one that passes the The Bechdel Test with flying colors--talking about boys comes with the turf of being a show about girls who are coming of age. Unfortunately, this show fails spectacularly when it comes to representations of minorities. I think there are two instances where a black girl is literally trotted out to ask, "Hey guys, what'cha talking out?" and then has no further lines. Again, I see a lot of promise and room for growth--and I think that showing the kind of issues a young black girl might deal with in a primarily white community like Paradise, CA could give AS-P some excellent fodder to transform Bunheads into captivating TV.
  • Girls. From my vantage point, it's hard to see Girls as a feminist serial. Its leads--who are in their mid-twenties--spend much of their time worrying about boys and their relationship to boys. This might be realistic, but I know a lot of young women who spent the same--if not more--worrying about how to be good daughters, how to get the job of their dreams, and how to be happy alone. We do see Hannah and Marnie struggle through jobs--in the time that their friendship is functional, they're able to talk about non-relationship-related things, too, but in the second season, the show basically collapses into a motif of men fixing everything (Charlie chases after Marnie; Adam comes to the rescue for Hannah following a breakdown; an anonymous blond man is quick to console Shoshanna after she dumps Ray). There's one scene--where Jessa and Hannah are in the bathtub together--and it possesses the potential to pack a punch. But instead Jessa laments her short-lived marriage to the wealthy finance guy. The needle could go either way on this soap and second opinions are welcomed--I'm not convinced that this is the kind of serial that feminists should champion. Its portrayal of female relationships depicts women as unhinged and broken. And the race question? We've debated that to death and a few-episode guest arc by Donald Glover isn't enough to make us second-guess our reservations.

I mean, these are all exemplary shows. They represent compelling characterizations and story lines  But also consider, these are all shows conceived by women--in some cases, women of color--and their ability to pass either variation of the Bechdel Test is...well, specious.    Rohin Guha is a writer who can be found here and here.

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We tend to make fun of ABC Family a lot, though it's mostly because their half-hour shows are always pretty awful. Melissa & Joey is a rip-off of Who's The Boss that is somehow even less funny, State of Georgia was only acceptable to hate-watch, and I'm still baffled that a 10 Things I Hate About You sitcom existed. Their upcoming show, Baby Daddy, has the very unique premise of a guy who is unfit to be a parent suddenly becoming a parent! Give me two minutes and I can list every single crazy hijink that will ensue in the first season. 

But, in ABC Family's defense, they do occasionally succeed with their comedy-dramas. Greek is still one of the very few shows that got college right and had the sort of clever, relatable, pop-culture laced writing that you would never expect from the network. And I'm still crying about the finale. Secret Life of the American Teenager is a huge success, Pretty Little Liars found its audience on the internet (and makes for some great annotations), Switched at Birth took a laugh-out-loud worthy premise and turned it into a surprisingly affecting drama (with, okay, a lot of ridiculous sign language arguments), and even both Jane by Design and The Lying Game have some fun episodes for lazy summer television watching. 

Their newest show is Bunheads, created by Amy Sherman-Palladino of Gilmore Girls fame, and starring the crazy talented Sutton Foster. I was fully prepared to be bored to tears by the story of showgirl turned ballet teacher, but the pilot was actually great. It has a unique voice that really makes it stick out from the rest of the network's programs -- witty, fast dialogue that flows effortlessly -- and the characters are likable, even when they're bratty. There is the requisite gut-punch twist in the pilot that continues on through the second episode but even the melancholy that surrounds those two hours is lightened by the characters' zany conversations. Plus, there is a scene where everyone dances out their feelings to a Tom Waits song! More of that, please. If Bunheads keeps going this way it could easily become, like Greek, a show that you can admit is good without adding the "y'know, for being on ABC Family" qualifier. 

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