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Mare of Eastown

Here’s the story from HBO Max: As her life crumbles around her, a small-town Pennsylvania detective Mare Sheehan (Kate Winslet) investigates a local murder. The series explores the dark side of a close community and provides an authentic examination of how family and past tragedies can define our present.

NO SPOILERS in this review.

Here’s what works: Kate Winslet. We’ve never seen a character like this, and her performance is exceptional. She makes looking like a completely different person effortless.

Here’s what else works: the large cast of characters reflects a normal community and each storyline is developed so that you never know who or what are the red herrings. Some great acting all around, and some exciting young newcomers.

Here’s what doesn’t work: the large cast of characters can confuse at times, especially which kids belonged to whom.

Here’s what else doesn’t work: the ending. I mean technically it works. It’s explained well. I will tread carefully because no spoilers but I will say this: Mare treated the law like a buffet table where you can take some of one and leave the stuff you don’t want for the entire season, but then when the killer is revealed — someone who has reason to leave outside of the law — Mare is ALL about the letter of the law. I found it displeasing to me personally, but more importantly I found it inconsistent with the character we had come to know so well.

Pet Peeve No One Will Care About More Than Me: the wannabe Boston-ness. The in-your-face Philadelphia accents couldn’t distract from this wannabe Boston show. The setting looked too much like Boston. Mare actually says, “let the healing begin,” while in her therapist’s office. We all worship Good Will Hunting, but when set in Philly, using that line felt like stealing rather than homage. And then Mare’s best friend wearing a CitySports t-shirt in the last episode really pushed me over the edge. Someone wanted this show set in Boston but the studio said “Boston’s been done before, let’s do something new and exciting: Philly.” Wah-wah.

DON’T skip it if: you love family drama with murder mystery. It holds up as one of the best at what it is. It’s worth the seven hours.

DO skip it if: you only want to tune in because of peer pressure. In a month, Mare will be as forgettable as The Undoing.

This is a “sure, watch it” from me.

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Uncategorized

Made For Love

MADE FOR LOVE on HBOMax is the best show you may have missed this summer.

Here’s the story from IMDB: a young woman, on the run after 10 years in a suffocating marriage to a tech billionaire, suddenly realizes that her husband has implanted a revolutionary monitoring device in her brain that allows him to track her every move. The comedy series is a darkly absurd and cynically poignant story of love and divorce.

The HBO Max show is co-created by Alissa Nutting, author of the 2017 novel of the same name, but let me tell you, the show and the book are very different! Or the characters are the same, but the plot is perfectly tailored for TV.

NO SPOILERS in this review.

I’m going to focus on the show, which I deeply loved. It’s not really a secret that we love love on Pop Fiction Women, and this was my personal favorite flavor, that thin line between love and hate. We meet Hazel, played by the captivating Cristin Milioti (did you see the movie Palm Springs?), and Byron (played by Billy Magnussen, who I am ashamed to say I find so appealing in this show) — we meet them at a low point. He’s implanted a chip in her head, not because he’s evil, but because he wants to avoid miscommunication with the wife he adores. She is not happy about this, or anything, really, that has developed since Byron rescued Hazel from her dismal life of living in a trailer and missing her deceased mother.

Here’s what works: the exploration of marriage and the decision to divorce (or not). We get to see this couple meet and fall in love in flashback, we see the facade they keep up before the relationship breaks, and we see the awful things they do to each other to push each other away, and we see them stumble towards what might be next. The push/pull dynamic is incredibly relatable, even if their circumstances aren’t.

I don’t want to give too much away, but the epigraph at the beginning of the book fits perfectly: “The goals we pursue are always veiled. A girl who longs for marriage longs for something she knows nothing about. The boy who hankers after fame has no idea what fame is. The thing that gives our every move its meaning is always totally unknown to us.”

Here’s what also works: Ray Romano’s character as the town pervert and a shitty father. His sex doll “girlfriend”, whom he is fully committed to, feels slightly recycled from Lars and the Real Girl, but it works, particularly as his relationship damage is revealed. His role as a shitty father is hard to watch, especially when Hazel calls him out and he refuses to change, but it’s also honest and realistic. In real life most people get defensive when they are called out, they don’t plan a huge life change and write a big speech to win their slighted beloved back again. But they totally should. That’s why we love fiction.

Here’s what doesn’t work: there are two episodes (one and a half really) towards the middle/end that get a little slow. They lose the pulse of what really works: exploring the relationships that form us. Luckily they really get back on track to conclude the season.A treat that’s different from the book: the character of Fiffany (Noma Dumezweni) and the addition of Judiff (Kym Whitley). These characters are not connected in the show, and it’s never explained why names with T are replaced with F but I’m hoping the writers have planted seeds in our minds for a reveal in the second season (fingers crossed).

DON’T skip it if: you’re not a sci-fi fan. I am not, and I loved this show. The same way Wandavision isn’t just for Marvel fans, this show is not steeped in science fiction. The hook is about the extent of it.

DO skip it if: you are particularly unsympathetic towards a) people who misguidedly control things they love (Byron is controlling), and/or b) people who run away from problems they can’t confront (Hazel’s MO).

This is a STRONG RECOMMEND from me. And the show has been picked up for Season 2!

I’m fascinated to hear how she was involved in changing so much of her own story. Other adaptations that drastically depart from the source material (I’m thinking Little Fires, Handmaid’s Tale, Big Little Lies) have not included the creator in the development and the writers’ room. Does she prefer her book or the TV show? I have so many questions.

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Little Fires Everywhere

Little Fires Love Triangle: Did Pearl choose wisely?

It’s been weeks since Kate and I recorded our Little Fires Everywhere episode, and it’s one I can’t stop turning over in my mind. Actually, “turning over” is the wrong phrase to describe it. Thoughts of that episode pierce my thoughts, swirl around my mind like a hurricane, cloud my brain like steam from a laundromat vent. 

Specifically, these disruptive thoughts revolve around our conversation about the Little Fires Love Triangle of Pearl, Moody and Trip.

Kate wondered if Pearl and Trip were keeping the intimate relationship a secret because Trip was ashamed of having sex with Pearl. Kate seemed to suggest that Pearl would have no reason to want to keep it a secret. Or she might even want people to know, because Trip is a catch. But she was mainly focused on the hardest gray area — that because the result of them wanting to keep the relationship a secret, that the lying that came from it was unequivocally wrong no matter the reasons behind it.

In our debate, Kate was firmly #teamMoody (over #teamTrip) but I saw it differently. I was all in for #teamPearl. I saw her agency and I understood the unstated rationale behind her actions. I vehemently defended Pearl’s right to keep the secret with Trip, even if it meant lying to Moody.

But my defense didn’t sit well with me, like a raspberry seed in between two molars. So I spent time unpacking why we — or really, I — had relationships or encounters that I wanted kept secret. Well, there’s probably too many reasons to mention, but the ones I want to explore deeply come around what it means to be a high school girl.

Is there anything wrong with a young girl (Pearl is 15, a sophomore in high school) wanting intimate experience? Kate and I would agree that there isn’t, but in reality society is uncomfortable with a young girl exploring her growing sexuality. And that begins at puberty, an age which terrifies people. 

Is there anything wrong with a young girl wanting intimate experience without telling everyone

Of course I would say no, right? That’s what I said about Pearl in our Little Fires episode. And I said that because I have kept secrets without there being any internal shame. I wasn’t embarrassed about what I was doing, and neither was my partner.

A girl with instincts, openness and interest in intimacy, should be allowed to safely and wisely explore those feelings. But doing it in the open? That’s so much more complicated. I don’t think I realized how much shame was coming from the outside — that I’d learned that it was easier, and had better results, if I kept it a secret. That’s how to avoid what I called high school, but is now referred to as “slut shaming.”

Here was a high school scenario for me: I hook up with a guy — at a party, after school, in private. It is assumed we have sex, because why else would you be discreet about it? What other reason do you go “find a room”? If you lock yourself in the bathroom, it’s because you’re having sex. If you meet up with no one around and don’t tell anyone, it’s because you’re having sex. 

It seems a high school girl can’t do anything besides make-out in front of a crowd and have sex. 

That’s because there’s very little articulated in between. Not in movies, TV shows, even on social media where there are tons of overt and cliched “sexy” pictures with no reference to what one might do with that sexiness, or how it might feel. No mention of touching breasts, of finding erogenous zones around ears or behind knees, of skin to skin, of writhing around with your clothes on (the health class 101 “dry humping” thanks for the reminder, Lady Bird). These were all such normal parts of my high school experiences, but they are rarely portrayed or discussed. I wonder if it’s because adults lose sight of these “in between” phases or whether it’s because in high school not everyone feels free to explore them. I understand why. 

I did explore these feelings and as a result was on more than one occasion excluded from parties, the focus of some nasty gossip, the target of hurled insults. One night, our school did a charity “fashion show” and I wore the borrowed dress of an upperclassman. First of all, I had been specifically forbidden to wear anything she donated for the show because she thought I was a slut. I did it anyway, and she confronted me, made a huge scene about it. Apparently, now the dress was ruined because it had touched my disgusting used body. I was a fifteen year old virgin. 

Thankfully, this is where I really developed my “give zero f*cks” muscle. I had no choice but to learn how to move forward with labels like slut and tease (yes, both). Part of the lesson I learned was not caring about what other people said about me. But also, part of the lesson was learning to keep things a secret. All secrets require lying.

I suppose there will still be people who say instead of lying I should have changed my behavior. What I wished I could have changed was other people’s interest in the things I did in private. But I couldn’t. And not exploring physical intimacy felt more wrong than lying to protect myself. 

It was in those encounters that I learned what felt good to me and what didn’t feel good. In fact, I learned how to FEEL good, and I learned it in a way that didn’t come from how I looked or how I acted. In intimate acts I was trying to please no one but myself. I learned to direct my partners. I learned to be fully in my body. I learned to let go. 

I also learned how to say no. I learned to say stop. To say stop for now, to say stop forever, to say stop for today, even if another day we went farther. To the same extent that I wasn’t trusted and believed outside of intimacy, my partners were the opposite. They respected my word and accepted it. Some people might be able to get all those experiences with one partner. I’m okay if you call me a slow learner. It’s better than the alternatives.

But this WAS about Pearl, Moody and Trip. And I still have questions. 

How much do you think Pearl was motivated to keep the secret knowing that other girls in school would call her a slut or a gold digger or a social climber? 

Does Moody deserve the truth in a way that would force Pearl to tell him about the relationship against her desire? If Pearl felt she could not break the secret of her intimate relationship with Trip, should she have ended her friendship with Moody rather than lie about her whereabouts when she was with Trip? Should she have told and suffered the consequences? What if the consequences were cruel or unfair retaliation?

As the premiere of the TV adaptation of Little Fires Everywhere approaches, I am nervous about how this love triangle will be portrayed. I desperately hope they will give Pearl even more agency and empowerment rather than stepping into cliches and out-dated tropes.