TV: Mad Men season 3 finale

Wow, just wow. This show constantly amazes me just by existing. When it comes to the scope of the writing, plotting, thematic depth, all done within the breakneck pace that is the TV production schedule, I can not believe it's possible to execute a show like this. This was especially true of the season 3 finale, where everything was turned around 180 degrees to set up for a completely different show for season 4.

I don't think I can do a better job of summarizing then the amazing posts by Alan Sepinwall, which I've enjoyed immensely this entire season.

One thing I do want to mention is that this episode is all about breaking free from the daily injustice of being undervalued, whether it's at the work place or at home. Peggy and Betty provide a beautiful parallel as the two women that have suffered because Don always underestimated their true worth. It's certainly not everyday that people get a chance to stand up to the people who constantly dismiss them, and earn respect in their eyes. This episode gives such a chance to so many of our beloved characters, and while it's sad to see Betty and Don finally reach a breaking point, it's also uplifting to see so many get a chance to start over.

Uplifting was not a word I was expecting to use to describe this final episode of a season that was so utterly bleak, and heading down a path where it seemed the world was truly about to end epitomized by the JFK assassination in the penultimate episode. But I guess that's the circular nature of life, that with death comes rebirth. Sterling Cooper dies, and Sterling Cooper Draper & Price is born.

Words: The over use of the term "minstrel"

Those of who know me well, know that I tend to be militantly anti-PC politics, especially the way it's practiced in the good old U.S. of A. Lately, I spy a very disturbing trend of critics being too quick to judge movies and sketch comedy as offensive and derogatory, when most likely, they're probably just underdevloped and lazily written. The over use of the word "minstrel" and "minsterelsy" in particular is very disturbing to me. I've seen particularly egregious uses of these words in otherwise thoughtful and insightful articles and by writers that I admire. For instance in a recent issue of New York Magazine, a writer described Neil Patrick Harris's character in How I Met Your Mother as being "fratboy minstrels." I JUST read an article by the Onion A.V. Club's Nathan Rabin, who I LOVE, use the phrase "Stoner minstrelsy."

Let's think about the origins of the term "minstrels." We associate this word as a derogatory representation of black people on stage during the post-civil war era. "Frat Boys" and "Stoners" are not a race, they're not even legitimate groups of people. These are descriptive titles for existing stereotypes, and it's impossible for a stereotype to be misrepresented or simplified, right??

Tangentially related to this, I've read a lot of comments about homophobic undertones in various Saturday Night Live sketches. One mentioned in particular was one where Justin Timberlake and other dressed up in unitards and heels to be Beyonce's backup dancers. Are we serious? Men dressing up as women have been a comedic inspiration ever since humans discovered the art of the stage. You can tell me I'm the biggest homophobe in the world, but I'll never back down from the opinion that, yes, men dressing up and acting like women is really really hillarious.

At the end of the day, it is very important for us to reflect on ourselves and our works of art, and be certain that we make progress in terms of presenting an accurate reflection of humanity. But it's also important that we must not be hasty and self flagellating in this attempt, and seriously, if you don't think a man dancing in heels is not funny, you do not have a pulse.

Assault On My Senses: The hunt for "Juno of 2009"

Earier this summer, I went through a rather horrendous back to back sickness- which I'm convinced was some mutated strain of the pork flu. I had been confined to my bed for so long and so bored out of my mind that I actually watched Juno on HBO. I had successfully avoided watching this movie for over a year, because based on the trailer, reviews, video clips, and feedback from acquaintances, I fully confirmed to myself that I would hate this movie. And boy was I right! I really disliked this movie for exactly all the reasons I already knew I'd hate it for. Out of the many things I could point out that's bad about this movie, I will just point out one thing- two thirds of any movie's characters should not talk exactly like Diablo Cody.

Juno, ah Juno, the little indie movie that could! How I scoff at your Hal Ashby by way of Wes Anderson wannabe 70s asthetic, and your "witty" dialogue, and your obnoxiously lethargic Moldy Peaches filled soundtrack! But this is not just a year late backlash against Juno- rather I am on the lookout for the next cutesy indie that explodes in popularity, and proceeds to annoy me as I silently suffer conversations taking next to me on the subway about how "quirky" and "touching" it is, and how good the soundtrack is.

As far as I can see, Juno is actually not the first sitcommy indie that burst on to the scene- though I'm sure many other examples are out there, in my memory the first cutest indie to annoy me, the patient zero, if you will is My Big Fat Greek Wedding of 2002, which was followed by Little Miss Sunshine in 2006. But neither these movies have fostered the kind of ire I bear against Juno, and and its specific brand of preciousness.

Earlier, I feared that Away We Go would be the Juno of 2009. Fortunately, no one went to go see it.

Yesterday I went to go see (500) Days of Summer, and carefully examined it for symptoms of Juno-itis, and was relieved to find that it was a legitimately likeable movie.

So, next on the look out list is Paper Heart, a documentary/fiction hybrid starring Juno-ite Michael Cera, and the stoner Asian girl from Knocked Up. I may not actually watch the movie to make my assessment, but you can be sure I will be closely examining the trailers, the vid clips, and subway conversations for Juno-itis.

Movie: (500) Days of Summer

In the interest of full disclosure, let me just state that I could never dislike any movie that prominently features Patrick Swayze's "She's Like the Wind" as a leitmotif.

Anyhoo, I read a negative review of the movie, where the reviewer says this in reference to a scene where the film's two lovers bond over their love of The Smiths: "I mean, my Mom likes The Smiths. ...the relationship between Tom and Summer is full of meaningless signifiers." While I agree with this statement, the reviewer completely misses the point that the movie intentionally highlights the shallowness of shared interests that often bring two people together, in movies and in real life.

On the other hand, I really can't blame the reviewer for being confused. I myself was truly puzzled to see that this movie, whilst being a sincere and thoughtful critique of youthful passivity and romantic projections, also embraced some of the worst rom com archetypes, such as:

1) Sassy Precocious kid: this one goes hand in hand with the infamous Manic Pixie Girl character as defined by the Onion A.V. Club. Please, no more with the little kid who is wise beyond her years and is the voice of reason, barfffff!!!!!!!

2) Unnecessary omniscient narration by a suspiciously Morgan Freeman like voice, who spells everything out for the audience! Please stop explaining shit to me!

3) Unrealistic but metaphorically convenient work places: Tom works as a copywriter for a greeting card company, but is an aspiring architect. The architect thing is a little cliched, but I can forgive that much. But a greeting card company, how sitcommy can you get?? Also, if Tom is an aspiring architect, isn't he more likely be designing the greeting cards, instead of writing them? All in all, a very uninspired, unimaginative choice.

But, inspite of these missteps, I really liked and enjoyed (500) Days of Summer. It's a nuanced look at a modern relationship, and an effective illustration of how our perceptions can fool our emotions. It's also a valiant mea culpa of a man who learns from a love that was plenty on lust & shared pop culture tastes, and not enough on true insight of his partner.

Also, let me not forget to mention, how deliriously fun this movie is. I got my money's worth just from the two scenes featuring: 1) spontaneous street dancing, and 2) hillarious send up of Godard/Bergman/Fellini in which Joseph Gordon-Levitt gets slapped by a French mime.

Speaking of Gordon-Levitt, please let's forever more stop referring to him as that kid from 3rd Rock from the Sun. Gordon-Levitt has turned in many memorable performances in many decent indies since then, and here he truly proves himself to be an exciting up and coming talent, and an excellent dancer to boot. Not to mention he also became the latest #1 celeb crush of myself and all three ladies I watched the movie with.

The reviews had me worried that Zoey Deschanel's character would be two dimensional and a symbolic blank slate, but I am happy to report that is not the case. Summer definitely remains elusive to the end, but there's shades & hints of emotions she keeps hidden from Tom, which we see more of as Tom emerges from the fog of blind devotion and re-examines the relationship with a clear head.

My friend Julia joked before going into the theatre "So, we're going to see The Ugly Truth, right?" And I think that about sums it all up.