Category: Art

  • What We Can Learn from “THE IDOL”

    (SPOLIERS but really, does it matter…)

    First of all, I’m not here to pick apart this show. IF somehow you missed it, THE IDOL is a show on HBO with a five-episode run. The show is about the music industry in Los Angles, and stars The Weeknd (Abel Tesfaye) and Lilly-Rose Depp. If you do a search, you’ll find out that it’s not good. But, depending on how you view “bad” tv, you could either find it maddingly self-indulgent with a side of pointlessness, or an entertainingly hot mess of a dumpster fire. (I’m in the dumpster fire category.) I’m not here to bemoan the quality of the show as a whole, as there are many, and I mean MANY, other and much better TV critics who have taken this show to task.

    What I am here to single out and applauded is quite possibly the greatest demonstration of Third Act Narrative Exposition I have ever seen in all of my life. I will be SPOILING episode 5 of THE IDOL. You have been warned!

    To give you the set up – Jocelyn (Lilly-Rose Depp) has kicked Tedros (Abel Tesfaye) out of her home and life, all the while stealing his cast of singers. She then asks her manager Chaim (Hank Azaria) to “pay off” Tedros and “get rid of him.” Then the scene jumps ahead six weeks, and we are at So-Fi Stadium in Los Angeles during sound check for Jocelyn’s world tour which is about to kick off with Tedros cast of singers as the opening act. High up in the empty stands, Chaim is talking to Andrew (Eli Roth) a Live Nation executive, and Nikki (Jane Adams) a record label executive. It is the dialogue between these characters, and the effort put forth by these actors that (Chef’s Kiss) needs to be taught in screenwriting, and acting classes.

    First, the dialogue; it is a train wreck. See, as the narrative has jumped ahead six weeks, a lot has happened that the audience doesn’t know about. Well, don’t worry, Chaim, Andrew, and Nikki will tell us all about it. These three characters stand there and have a “Hey, remember what happened…” conversation, which is so clunky, unnatural sounding, and utilitarian, for it only has one function; to tell us what happened to Jocelyn and especially Tedros. The dialogue feels desperate to get the information to us, like the scene was born out of frustration because no one could come up with a better way to impart the narrative developments. Now, I say this should be taught because, as this show is a visual medium, it’s better to show rather than tell. What we are given are empty words that have no dramatic weight behind them, and the scene gotten through rather than enjoyed.

    But more importantly, the effort put forth by Azaria, Roth and Adams to make this amateurish dialogue seem natural and relevant is nothing short of Herculean. I can only imagine that when these actors were handed the script for this scene, that they had to have known. All three of these actors have impressive credits in productions with great directors and writers; they know what good writing is. But they did it – just went for it. “Damn the torpedoes! I’m committing to the line!” Honestly, I’m not surprised. These are three professional actors. They are getting paid to do a job, and they did their job. And that’s why every acting teacher in America needs to pull out this scene, make their students watch it, and then say to the students, “That is how you commit to a scene!”

    Yeah… THE IDOL is not good – I don’t think I’m breaking any ground here in saying that. But even in bad art, lessons can be learned, and entertainment can be gained. The scene starts at the 50:00 mark. You know, so you can queue it up for your enjoyment, or your class.

  • Personal Review: KUDOS by Rachel Cusk

    (SPOLIERS, but I don’t think you can spoil this novel…)

    I’m a big fan of Rachel Cusk. Ever since I read a piece on her in The New Yorker a while ago, and I think the article was about the OUTLINE Trilogy, I have found her to be a huge inspiration and a fascinating author. She does a great job in fooling me in believing that we are close friends, and the conversations she shares with me, makes me feel smarter. Like all very talented writers, she’s also part magician – conjuring a relationship with the reader that never really existed, and making us feel that we are the only person she is talking to.

    I finished KUDOS, the final novel in the OUTLINE Trilogy last week. All in all, it took me the span of five years to read the three novels. I can understand how a person would argue that this delay in completing the series would be detrimental to my understanding, if not appreciation of the trilogy. Yet, I don’t believe it has. Returning to these books is like visiting an old friend from college. Things pick up right where they left off, no feeling of lost time. And this friend doesn’t try to guilt me for my absence.

    If one were to look up reviews for these books, almost all of them will make references to how these books are a new form, even an experimental version, of what an autobiographical novel can be. Some will even compare the books to Karl Ove Knausgaard’s My Struggle series, which might be applicable. I don’t agree with the comparison, as Karl is overtly autobiographical, while Rachel only hints at autobiography, but clearly has kept her protagonist a fictional version of herself.  Which lead me to start to believe that all the “new form of a novel” was more marketing hype than actual reality.

    Don’t get me wrong. I loved KUDOS, and the other books in the trilogy, OUTLINE and TRANSIT. As I settled in on reading this book, I found the familiar style that Cusk has; this very easy, yet highly intelligent way of writing. She doesn’t speak down to the reader, but it feels that I am being included in the conversations. This time around the author/protagonist is at a writers conference, talking to other writers and people. Again, the persons who occupy this world have no issue, and are very adept at opening up and sharing events, observations and experiences with her. At one point, another writer does point out how odd it is that all the characters in the author/protagonist’s novels have no problem confessing all their sins without much prompting – a sly mete joke Cusk put in her own novel.

    It’s true, people do not speak the way Cusk’s characters do. But, Tennessee Williams’ characters speak in a way that can only exist in the worlds that Williams creates, and as such, I believe that Cusk is casting that same spell. It’s not reality, but it is a world I would like to live in. To speak to a person on a plane about the family dog of theirs that just died, or the tour guide who loves to walk the city, or the other women writers that still have to deal with ex-husbands that intend to do them harm, both physically and emotionally. It’s an unburdening that has no expectations to it. The reader isn’t asked to act, or pass judgment, but just hear and witness that these lives exist. It’s an environment that becomes very comfortable, and enjoyable.

    And in the end, without a climax or even rising action, the book concludes, leaving the feeling of conclusion. That to me is the trick, and an impressive one at that. I have been given a journey, but I am not sure where I have gone, or what, if anything was accomplished. But I know I went some place, I learned, and that must be what is accomplished. And as I ponder on that, maybe it isn’t a gimmick to call these books a new form of novel. There is a different way to tell a story after all.

  • Personal Review: Ted Lasso Season 3 and The Whole Thing

    (SPOILERS! You shouldn’t have to ask…)

    I finished it. Over the weekend, I finally got around to watching the final episode of the 3rd season of Ted Lasso. I had a complicated relationship with the 3rd season. I was watching in three-episode chunks over a two-week period, and then I would get off the wagon for a week or two, only then return. In fact, I waited two and a half weeks before I was able to see the last episode. And that, in a nutshell, gives you an idea of my dedication to this final season; It was on and off.

    Sadly, the third season of Ted Lasso was uneven, made all the worse by my deep desire for the final twelve episodes to be amazing. That was my fault, and my mistake. I didn’t let the show just be what it is, but went in with expectations that were pretty hard to live up to. That affected my experience, and when an episode wasn’t “perfect”, it made me hesitate to come back to the show. Perhaps I need to watch the third season again – just marathon through it, and not think too hard. Maybe.

    As of now, I have to say that the third season of Ted Lasso was the “Return of the Jedi” of the group. It wasn’t as good as “Star Wars” (Season One) or “Empire” (Season Two) but if you compare it to other shows, it was a pretty good season.

    There were things that I did like; the episode in Amsterdam was great, Colin’s story was a nice addition, Trent being added full time to the cast was another nice touch, and I will say that each of the endings that the characters were given felt satisfying and true to who they were, and who they became. The show was about being positive, and it ended that way.

    But, there were also some glaring issues – Keeley was totally wasted which was a real shame as she was such an important part of the show. She was left floundering with a storyline that never meshed with the rest of the show. Also, Nate’s redemption arch seemed rushed. We all knew he was coming back into the fold, but it just felt a little off. And then there was that Zava thing, which felt half baked, and was only there to get the team to a competitive place for the season end. For a show that was about slow burn realizations, trusting the process, and putting in the work, it didn’t feel like the team earned their place in the League – it was just handed to them.

    With the series now over, and it is over, I have to say that they, the whole Ted Lasso team, did a very good job. It was a show in the mold of a work place comedy which never lost sight of a very simple message – be kind. It arrived at a perfect time – in the middle of Covid and they final year of Trump’s administration. Because of those factors, I think we collectively wanted to believe that being around good people was worth it. It was the type of show that was needed at a specific moment, and it delivered. This is a show that I know I will re-watch, whenever I need to laugh, or just remember that people can change for the better.

  • Personal Review: Let Me Think by J. Robert Lennon

    I am embarrassed to say that I have no idea how Let Me Think by J Robert Lennon made it on my reading list. And my reading list is actually a wish list on my Amazon account. This was the book that was next up. I knew it was a collection of short stories, but other than that, I knew nothing about the author or any previous works. I was going in blind, but sometimes it’s good to be surprised.

    The collection is made up of flash pieces and short stories, broken up into five sections. There are two reoccurring stories; one about a marriage, and another about a cottage in the woods. The other thing that reoccurs in the collection is the theme of unhappy marriages. And I can’t prove it, but with the book being broken into five parts, I had the weird feeling that each section was to represent one of the five stages of grief. Again, no proof of that, but I couldn’t shake that idea.

    I liked Lennon’s writing right from the beginning of the collection. The first two pieces, “Girls” followed by “Boys” showed that Lennon has a sense of humor, and likes to play with the form of a short story. Witty, this guy’s witty, and the sense of playfulness and fun comes right through. That’s not to say that the none of the stories take on a serious tone, as some do, but experimentation is happening here as well. The “cottage” stories do take on an adult tone, but they also lean into a slight thread of absurdism, or maybe fanciful is the better word to use. Yet, the best example of this tone is the story “Subject Verb” which is told in that very simple sentence structure; just a subject and a verb. It is a format that is brutal in its simplicity, but Lennon makes it an effective tool for storytelling.

    In the end, the collection was enjoyable and entertaining, but what I was left with, and made me the happiest, was that this was a book by a writer who is trying to find new ways to tell a story. The pieces don’t follow the hero cycle, or have a hook in the first line, or even try to tie up the narrative with a button. Now, some of the stories do the afore mentioned things, but the ones that don’t, the stories that try, and poke and prod at what a narrative can be – how short can a story be – how many words are needed to create an emotional pay off? THAT was the excitement of reading this collection – it was different, and it was refreshing without feeling labored to be different.

  • ODDS and ENDS: Robot Overlords, Who Are These People, and Working on My 100

    (I just want what’s coming to me, I just want my fair share…)

    I had a thought this morning; how long until all online customer service chats with retailors are run by AI? I know to a degree the start of most chats are a prompt system – you answer some basic questions, and then you start talking to a human. But if I understand how things are going, then it’s just a matter of time before AI will take over this aspect. And if that did happen, would retailors tell us it’s AI that is assisting us, or would they try to hide it by telling us we are talking to “Kevin”? If they try to hide the AI, then I had another thought; could one do a type of Turning Test on customer service AI? Now thinking of it, is it more like Blade Runner, because the Turning Test requires two people and a machine. Either way, it sounds like a challenge. You know, make the AI question its existence, you get free shipping.

    I know of no one who is excited about the Coronation of King Charles. That might be due to the fact that I’m an American, and we don’t like kings, which is kind of our thing, you know. (I also live in a city that famously tore down a statue of a king at the start of The Revolution.) But from what I keep seeing on tv, the Coronation is a big deal that people want to see. I have to believe that the major networks must have some demographic research backing up this decision. That they know this coverage will bring in viewers and they can sell ads. It’s the only reason they do anything. So, who are these people that want to see this? Who?

    I sent out a big batch of submissions this week. I’m still working my way to 100 no’s. I’m closing in on the number, which is a very strange way is putting me in a good mood. It’s not great progress, but it is progress; Getting out there, trying stuff out, getting my stuff in front of people’s eyes. I don’t like hearing no, but I understand it’s part of the process.