Archive | Feminist Matters

Casting Season 2 of ‘True Detective’

Ever since the season 1 finale of True Detective, HBO’s Louisiana occult mystery series, tongues have been wagging about what season 2 will entail—even though, to date, a second season has yet to be confirmed. (Show creator Nic Pizzolatto reports he is writing one now but that HBO has yet to pick it up.) And ever since it was announced that season 1 stars Matthew McConaughey and Woody Harrelson would not be returning, even more tongues have been wagging about who should take their place.

So far, all Pizzolatto has revealed about a next season is that it would focus on “hard women, bad men, and the secret occult history of the United States transportation system.” Rumors abound that Brad Pitt will join the cast but the series creator has only said “who we cast and what their schedule is will likely determine at least some part of scheduling, and scheduling will determine at least some part of casting.” (Such labyrinthine answers makes us wonder if Pizzolatto used himself as the model for McConaughey’s philosopher-detective Rust Cohle.) If history is any predictor, chances are good that the new True Detectives will be men, but a quickly deleted tweet from the show runner suggests at least one lead might be a woman. One thing is for sure: Intriguing possibilities abound. For a breakdown of my dream team, go here.

Sparkly Pink Bows and Arrows

Divergent’s high box-office numbers, sparkly pink weaponry, Disney’s smash hit Frozen, the unprecedented role model that is Katniss Everdeen: I’m obsessed with the rise of girl-positive YA in America’s moviehouses. An excerpt from my latest Word and Film essay:

Divergent, the adaptation released last week of the bestselling dystopian YA novel, is no great shakes. It is faithful enough to the book – capturing protagonist Tris’ radicalization in a post-war Chicago divided into factions based upon personality traits – but doesn’t work well unto itself.  The big news is it performed like gangbusters anyway, especially for box office-inhospitable March. Chalk up the success partly to the power of Shailene Woodley, whose high-octane earnestness proves ideal for Tris’ evolution from wallflower to warrior. But the strong numbers may stem from something even more significant. The fact that “Divergent” received justifiably tepid reviews but is still soaring with audiences tells us female-empowering YA films have a built-in base now. We are in the dawn of a new cinema genre, one in which girls kick ass.” 

Of Apatow, Dunham, Girls, and the Godfather

In my latest Word and Film essay, I anticipate this weekend’s Girls season finale, and explore how Lena Dunham fits into Judd Apatown. An excerpt:

“The severity of the editing and swift tone changes in “Girls”–a sunny “Hard Days Night” cemetery caper followed by a darkly shot throwdown–do not cater to audiences so much as lead them, building upon a devil-may-carefulness that Apatow himself introduced in his first TV ventures. But Dunham takes it further. There’s a steeliness in her show that is inconceivable in the “family values”-laden, endearingly compensatory, slightly slobbering world of Apatow’s directorial efforts. (His confessed love for self-help books shows in good and bad ways.) She presents the denouement of Hannah’s book editor’s death but not of her grandmother’s; the abrupt evacuation of Adam’s sister; and a shakedown in which the Girls rip each other to shreds with terrifying accuracy. What’s more, none of these events are referenced again by characters otherwise well-acquainted with navel-gazing. There’s an incontinuity at hand that feels both deliberate and brutal. When coupled with all those nitpicking confessionals delivered in uptalk, it speaks of a generational callousness that is stunningly observed.”

For more, including a bevy of Godfather references, go here, Sirenaders!

"All, everything I understand, I understand only because I love."
― Leo Tolstoy