Archive | December, 2013

Festive Rewind: Boy Meets World “A Very Topanga Christmas”

23 Dec

It’s TV Ate My Wardrobe’s first festive season and to mark this occasion we are hosting a very special rewind series. What this means is that we will be featuring a whole host of guest posts and in the spirit of the holidays we have asked a variety of writers to discuss a festive episode of their choice. These will be appear on the site over the next couple of weeks and there’s an eclectic mix including teen dramas, science fiction, animation, comedy, drama and more to get you in the celebratory mood. Or to at least give you plenty of suggestions of TV to watch over the break.

More ’90s treats and Whitney McIntosh discusses Boy Meets World and “A Very Topanga Christmas.”

topanga“A Very Topanga Christmas” isn’t the worst episode of Boy Meets World by a long shot; I wouldn’t even classify it as a particularly bad episode when taken as a whole. The problems I had with the episode are few, but any fan of BMW would be able to tell immediately that a few characters seem off in their mannerisms and reactions to certain things. Which is unfortunate, because I really think this show is one of the TGIF programs that could pull off a holiday episode seamlessly and without it feeling like a “very special episode” every time.

The episode, which originally aired around halfway through Season 5, centers on Topanga spending the holidays at the Matthews’ home because her parents are away and she didn’t want to spend the holiday season alone. That is where the premise starts and end, no more details needed than that simple set up. Shenanigans are obviously bound to ensue, but the way everything unfolds is fake seeming and almost feels like someone wrote a spec script and the producers decided to film the episode without reading it first.

Instead of acclimating herself to the Matthews traditions and participating in a family Christmas, as anyone who has ever watched an episode where Topanga speaks could tell you she would be likely to do, she instead decides to be uncomfortable with other people’s traditions and pressures the Matthews to change their holiday to make her feel at home. It’s a false feeling storyline to start with, and only becomes increasingly so when this division between the way the holiday is celebrated is then used to cause a divide between Cory and Topanga and cast a shadow on Cory’s feelings for his girlfriend of many years.

Most of the episode centers on these “issues”, but still manages to be funny. Topanga making them drive all the way to Vermont from outside Philadelphia just to get a real tree may be unrealistic, yes, but the subsequent cut shots to show the passing of time were well done and Topanga not letting Cory have maple syrup on his pancakes when they just drove all that way to get it definitely made me laugh. Of course the two make up at the end of the episode and give each other the promise rings they bought for each other (cue the awwwws from the audience), but I just didn’t feel the need for manufactured drama when so much of the joys of Boy Meets World come from the way we know each character inside and out and how they interact in their tight knit group of friends and family.

The appearance of Mr. Feeny as the annual reader of A Christmas Carol to the Matthews family was a welcome one, if not exactly surprising. His annoyance at being told the tradition had changed was classic, as was the decision to have Cory dream he was in the Christmas Carol situation of being visited by a ghost. Having this only be a brief part of the episode is a nice nod to the cliché of Christmas episodes using it as a framing device, and I liked the creative decision not to suffocate the episode with it. The joke of Topanga being married to Jack in the future was there, it was funny, and they didn’t ruin it by beating it into the ground for more than 2 or 3 minutes.

The Shawn and Jack part of the episode feels a little shoehorned, but not enough that it should have been cut completely. Since most of the later seasons took place in their apartment and treated them as brothers who get along for the most part, it’s always interesting to go back to when they were first introduced and see how far the relationship came from these early days. For most of the main plot both of them served as the peanut gallery for everyone else’s issues, but what else are you going to hire a Lawrence brother for if not that reason exactly?

The best part of “A Very Topanga Christmas” is that even with all the useless drama, the story wraps up with not only Cory and Topanga recommitting to a healthy and happy relationship for many years to come but also with Alan giving Cory some fatherly advice. Once Cory grew out of the early high school years that relationship didn’t get as much screen time and the advice between father and son aspect of it was mostly phased out. Which is true to life, as fathers and sons only share so much in conversation after a certain point, and this was a nice moment between the two.  The episode ends with everyone being happy together as a family, having fallen asleep to the sound of Mr. Feeny reading Dickens aloud. Even Morgan gets some face time this episode, although I’m pretty sure she didn’t actually get a line. All in all, it isn’t the best holiday episode I’ve ever seen, but it does reinforce familial relationships (as you would expect an ABC show to do during this era) and supply a lot of laughs in what feels like a short 20 minutes.

Whitney McIntosh is a marketing professional/sports and television lover who blogs in her spare time. She is currently in the process of moving to New York after living in Boston all her life, which can only end in interesting ways. You can read more of her writing at her blog MyTVSangtoMe.

   

Best of TV Costuming 2013: Leslie Knope’s Wedding Dress

23 Dec

Continuing TV Ate My Wardrobe’s “Best of 2013″ costuming series and rather than doing a straightforward countdown we’re going to do a variety of posts that look at which costumes and shows have made a huge impact this year. From items that we want in our own wardrobe to pieces that got everyone talking, we want to look at this year’s TV through the prism of costume.

In the Parks and Recreation two-parter “Emergency Response” and “Leslie and Ben” the group throws an impromptu park fundraiser followed by an even more spontaneous wedding. Unconventional wedding ceremonies and huge group projects give Parks and Rec the chance to show off their most heartwarming and hilarious material. On this occasion it also led to one of my favorite pieces of costume design from 2013.

Parks and Recreation - Season 5Leslie’s wedding dress is only half made as their wedding has been moved up by three months and it’s down to Ann to turn it into something that Leslie can wear. Eight years of Project Runway watching and five years of being Leslie’s BFF leads to a surprisingly unflustered Ann and the end result is stunning. Ann has collected all the meaningful bills, pictures, documents, newspaper clippings and memos from Leslie’s life and created a tiered full skirt to finish off the dress. Some suspension of disbelief is required, for me this is easy to do because it’s such a beautiful moment and Parks and Rec excels at triumph in the face of adversity (time being the problem, later followed by Jamm).

Parks and Recreation - Season 5For Leslie this gown is the most beautiful thing she has seen – it’s the “Ann Perkins of dresses.” The Leslie/Ann friendship is something I addressed earlier this year after it was announced that both Rashida Jones and Rob Lowe would be leaving the show; it’s one of the strongest female friendships on TV (Snake Juice aside) and Ann’s role in the wedding prep underscores how vital their relationship is. Change is an important aspect of challenging character dynamics and of course I will miss this pairing and yet I’m also excited to see how they will respond to losing two regular cast members.

A wedding is a sitcom staple (hell How I Met Your Mother is using a wedding as the basis for their entire final season) and it gives an opportunity for sentimentality among all of the characters, even the ones who reject this.

Parks and Recreation - Season 5Yep I’m looking at you Ron Swanson as he tells Leslie in the scene above “You are a wonderful person, you’re friendship means a lot to me and you look very beautiful.” This is also a great time to point out the pop of red from Leslie’s shoes and the flower hair accessory – she did say that she wanted “the sensuality of Eleanor Roosevelt and the animal magnetism of Lesley Stahl” and I’m going to go ahead and say she got both of those things, just because. It’s a very unique and distinctive wedding gown; it’s perfectly Leslie Knope.

Parks and Recreation - Season 5This is a picture heavy post even though I’m talking about one dress and the shot above is here mostly because they are the most adorable couple on TV; no they’re not particularly edgy and there’s little to no conflict and this is why they win the adorable title. My favorite TV marriage of all time is Eric and Tami Taylor (of course) and I can see a lot of them in Leslie and Ben. Yes the two shows are in very different genres, however at their heart both are about community and lean towards a more optimistic outlook. For Leslie and Ben the reason why they appeal so much can be summed up by this “You’re all I need. I love you and I like you.”

For more photos head over to the NBC created Pinterest board.

Festive Rewind: “A Mom for Christmas”

23 Dec

It’s TV Ate My Wardrobe’s first festive season and to mark this occasion we are hosting a very special rewind series. What this means is that we will be featuring a whole host of guest posts and in the spirit of the holidays we have asked a variety of writers to discuss a festive episode of their choice. These will be appear on the site over the next couple of weeks and there’s an eclectic mix including teen dramas, science fiction, animation, comedy, drama and more to get you in the celebratory mood. Or to at least give you plenty of suggestions of TV to watch over the break.

Kerensa Cadenas is treating us to something a little different for the Festive Rewind series with the 1990 TV movie “A Mom for Christmas” (I’ll be wrapping my gifts while watching this beauty later).

A Mom for ChristmasI don’t remember exactly how old I was when I first watched A Mom For Christmas but I do remember that it was via the free preview of the Disney Channel–me and my sister’s favorite tri-annual happening. For whatever reason, the made for TV movie starring Olivia Newton-John  became a holiday staple for Jillian and I, although there was a dark period while teens/early adults where our favorite couldn’t be found.

Made in 1990, A Mom For Christmas falls into the grand tradition of made for TV Christmas movies–formulaic, cheesy, weirdly lit and completely and terribly enjoyable. Jess is an angsty 11 year old who haunts the aisles of Milliman’s–a local department store. Unlike other girls her age, she’s not there to pour over sterling handled brushes, scrunchies, leggings or other 90s fashion staples–she’s there to people watch–mainly the mother/daughter pairs holiday shopping. Jess’s mom died at three, so it’s just her and her workaholic but SUPER hot dad. Jess has fixated on a pair of mannequins–a little girl and Olivia Newton-John esque looking woman–mainly because they represent what she’s been longing for. With a little holiday magic and early 90s sorcery (which seemed to permeate kids/teen things), her favorite mannequin comes to life! The bond between Amy and Jess is immediate–as Jess gets to experience life/holidays with a mother figure and learns about the secret lives of mannequins (I know). Amy has to acclimate to being a human beyond what she can read in books and deal with falling for Jess’s foxy dad.

It’s an absurd premise (and one directly stolen from Mannequin) but it’s packed with mannequin hijinks, tween angst, hazy montages, and the BEST 90s fashions–including many off the shoulder silk blouses. Did I mention there’s music? There’s definitely a montage set to a tearful Olivia Newton-John ballad. In case you are worried, things work out pretty well for all involved. Objectively, it’s a terrible mess–steeped in equal parts holiday loneliness and 90s cheesiness with a hint of a movie of the week. But it’s a relic of that nostalgia–laughing over Olivia Newton-John’s long lace skirt paired with a baggy sweater or Jess’s pink hued nightstand lamp. As an adult, I’ll watch and catch all the mistakes or weird references: the cop who has been investigating the missing mannequin is trying to establish himself as a hard-nosed noir types cop, Amy says she’s 28, my current age, which seemed so grown up and now feels anything but. And even after seeing it so many times the ending will never make any sense.

Above all else, for me, it’s a family relic. Something my sister and I would watch while shaking presents and as we got older laugh about how awful it was. The best thing about A Mom For Christmas is that it is my holiday constant–it never changes. As everything else around me changes–my age, who I watch the movie with (2013: Crafting aunt and napping grandmother) and where what holiday sadness lies (2013: a grandfather shaped gap) it’ll remain my holiday comfort. Olivia’s wide eyed gaze, Jess’s messy braid and the hot dad’s graying temples never change.

Kerensa Cadenas is a writer living in Los Angeles. She is a staff writer for Women and Hollywood. She also writes for This Was TelevisionForever Young Adult, and Bitch magazine. She was the Research Editor for Tomorrow magazine. You can follow her on Twitter and read her ridiculous thoughts about teen television at her website.

Festive Rewind: Buffy the Vampire Slayer “Amends”

21 Dec

It’s TV Ate My Wardrobe’s first festive season and to mark this occasion we are hosting a very special rewind series. What this means is that we will be featuring a whole host of guest posts and in the spirit of the holidays we have asked a variety of writers to discuss a festive episode of their choice. These will be appear on the site over the next couple of weeks and there’s an eclectic mix including teen dramas, science fiction, animation, comedy, drama and more to get you in the celebratory mood. Or to at least give you plenty of suggestions of TV to watch over the break.

In today’s guest post Ian Austin talks about the season 3 episode of Buffy the Vampire Slayer “Amends.”

amends-pic-21So when I heard this site was doing Christmas rewinds, it took me less than a second to figure out the show I’d focus on. And the episode took a half-second less. Buffy The Vampire Slayer brought the world in the season 3 episode “Amends” and like every truly memorable Buffy episode decided to do something different from the norm. Instead of a happy, fun Christmas episode, they gave us an episode that is among the saddest and most adult episodes that the show ever produced. Which is fascinating, given the same show brought us “The Gift,” “Lie to Me,” and something called “Passion” which I can’t even get started from…

The basic gist of the episode is that when Angel died in S2, he spent a near-eternity in a Hell dimension suffering for his sins. His re-emergence from Hell wasn’t explained, and the show did a (sometimes subtle, sometimes not so) decent job of bringing him back into the fold while ensuring that there were lasting repercussions. Prior to this episode there was tension between Buffy and Angel, and the sense that Angel didn’t come back quite right. When the Scooby Gang find out Angel is alive they, remembering he went evil in Season 2, were suspicious. After all, Angel (as Angelus) did have a tendency to go for the hurt rather than the pain; who’s to say he wasn’t pulling a long-con to destroy Buffy mentally and physically.

And that wasn’t a basic gist at all, and didn’t even get to this episode. I’ll try again.

So “Amends” focuses on Angel’s psyche, presenting us with flashbacks to his days as an evil, drunken, lecherous vampire through to his present as a broody, sober, striving to be asexual and failing vampire. He’s taunted by The First, a Dickensian concept if ever there was one in the form of an ancient being who – like the ghosts in A Christmas Carol – taunts Angel with his past, present (and future) failings, forcing him to relive the terrible things he’s done, is doing in the present, and wants to do in the future; the last being ‘bite Buffy.’ Buffy never strived away from pointing out the correlation between Angel’s soul and a rehab mindset, and in this episode they go for the jugular in the ‘Christmas is a horrible time for addicts’ sweepstakes.

After all, Christmas is a time for excess. Which is hard enough for anyone, but for someone like Angel who is constantly teetering on the wagon it’s torture. In this context, pig’s blood can be seen as an allusion to non-alcoholic beer; the cravings have to be transferred, they can’t be removed entirely. At this point it’s worth noting that The First appearing as Jenny isn’t a clever twist on the work of Dickens, as Scrooge is shown the importance of family via Tiny Tim, a being who will die because of greed, while Angel is shown that Jenny died because of him and – as a result – Giles is never going to have the family. The concept of a stolen life resonates with Angel, tying in with how Darla turning him into a vampire removed his potential for rising above his laddish attitude.

Incidentally, the Christmas Carol contrast is fascinating in regards to Darla. Belle left Scrooge and broke his heart; Darla chose Liam and stole his humanity. In retrospect that flashback would work brilliantly here, but that’s hindsight for you.

Back to the episode… and we see Angel’s passivity (it’s clear The First is using the truth, or Angel’s perceived truth, as a weapon) is rooted in his desire to die. Not showing us what happened to him in Hell is a clever way of getting around some of the logic flaws here; the show can play the post traumatic stress disorder angle without it feeling patronising. The combination of his addiction and PTSD combine to make Angel suicidal, which is a brave concept for a Christmas episode now, but back then was pretty damn huge. Events build until a fantastic scene between Angel and Giles, where Giles raises the obvious question of whether Angel thinks he deserves to be saved.

One of the flaws of Buffy’s second season was that, after “Passion,” they mostly dropped the Angel-Giles issues. I mean it makes sense conceptually, with Buffy punching Giles and begging her to let it go after “Passion,” but at the same time it cuts back on dramatic material for Anthony Stewart Head. In this episode, we get some great and subtle acting from him, as you can visibly see his demeanor go from ‘I don’t trust you and would kill you if you turned evil, regardless of Buffy’ to ‘I trust Buffy.’ The show doesn’t make a big thing of it, it’s just that the narrative complexity fascinates me; Giles isn’t offering holiday cheer, he’s choosing to believe in Buffy generally and this is heartwarming.

Indeed, there’s only three bits of holiday cheer in the episode. The first is Xander helping research The First using Christmas as an excuse and… well, we won’t get into the horribleness of Xander’s ‘camp out at Christmas’ tradition because the show has never established whether vampires inability to enter a home means they can’t climb a fence, and it’s unpleasant to think of how abusive the Harris household is.

The second bit is more a subversion than anything as Buffy tackles the ‘virginity’ concept with Willow. She’s just gotten back with Oz after the events of “Lovers Walk,” where she cheated on him with Xander. It was a thing. Anyway, the episode triumphs because Oz – who has had sex before – and Willow don’t have sex because he’s not ready. Yeah, ‘HE’S NOT READY.’ Again, it’s a pretty big thing for a show nowadays to point out that guys don’t want sex 24/7, and this was another sweet moment in one of the nicest relationships in TV history. You could read the scene as Oz sensing Willow wasn’t ready and taking the pressure off of her, but I think an equally valid reading is that Oz just wasn’t used to the idea of sex with someone he cared about. Which gives the scene a slightly more intense undertone, book-ending “Lovers Walk” nicely as that episode was about how obsessive love can be bad, whereas here it’s more selfless: love where characters don’t take advantage of each other just because they can. I think Willow realising Oz wasn’t that guy was probably the best Christmas gift she could have ever gotten. Even if she’s Jewish and doesn’t celebrate Christmas.

Which brings us to the third and final ‘Christmas Spirit’ moment. Namely the end of the episode, where Angel’s given up and has walked out in the throes of a rising sun to end it all. It’s a very powerful moment and a very sad moment; the idea of this character feeling he has nothing to live for, and is a bane on the existence of everyone around him. Buffy’s pleas with him to not do this don’t work because, sadly, suicidal people already know all of the ‘don’t do it’ arguments. They think about them constantly, and the disease can still win. Seeing Buffy breakdown is brutal stuff for a Christmas episode, knowing that in the end she’s powerless to stop this. And then, a miracle happens…

It starts to snow.

Now lots of people have debated the meaning of this, as to whether some sentient force brings the snow to spare Angel’s life. And maybe there is an explanation there (given the prophecy from Angel’s self-named TV show), but for me I think in the end it’s just snow. The importance is not the event, rather what it does for Angel. It doesn’t solve his problems (indeed, those continue into his own show, and are the reason he leaves Sunnydale), they just give him a stay of execution. And he walks off with Buffy into the unknown, a Christmas Day where – for once – while there isn’t a happy ending, there’s a moment where things can’t possibly get any worse for the characters.

I know this wasn’t the most cheerful episode to do a Christmas retrospective on, but I think it’s important to note during the holidays that lots of people are in real-life situations of pain and suffering. And while they can’t be fixed easily, or in some cases at all, to me the true meaning of Christmas should be letting people know they’re not alone. Whether it’s donating to charity, sending a ‘merry Christmas’ message to someone you used to know, or just letting your loved ones know you care about them, stepping outside of presents and commercialization sometimes brings more joy than anything else.

Oh, and go watch “Amends” again. It’s a tough episode to sit through, but one of the true underrated gems from Buffy the Vampire Slayer.

Having written in the past for TV OvermindCult Den and Haddonfield Horror, Ian Austin will soon be debuting on Inter-comics with an article on Firestorm (of DC Comics infamy.) Until this occurs, his fan-fiction scripts for a Daredevil series can be found on BZN. If you want to tell him The Avengers is a good film and get into a long-winded debate, you can follow him on twitter @https://twitter.com/I_A_Austin.

Out of the Box: Look of the Week

20 Dec

‘Tis the season to wear sparkly frocks and after the LBD heavy edition a couple of weeks ago we’re injecting a bit of color and bold patterns into this column.

Kate MaraAfter seeing the new Hobbit movie this week Kate Mara’s J. Mendel dress is giving off elf vibes thanks to two tiered metallic green and ivory leaf detail. Festive feelings are enhanced by the beautiful gold clutch and yet it doesn’t come across as attempting to be all that Christmassy. I still haven’t seen House of Cards (or OITNB, or Arrested Development even though I have Netflix *sigh*) and considering how divisive it has been it’s on my long list of catch-up projects.

Premiere Of Open Road Films' "Justin Bieber's Believe" - ArrivalsKiernan Shipka’s red carpet style has been consistent in its excellence this year (and yes I’m fine that a 14 year-old has way better clothes than me) and this week she looks delightful in RED Valentino. The floral/polka dot crossover is something I raved about with Oscar de la Renta’s Spring 2014 collection and this take on it is super cute. One reason why Shipka’s red carpet style is so good is because she dresses for her age and I hope this continues in 2014.

Amy Poehler Alice and OliviaMaybe it’s the time of year and if Amy Poehler wore this in April it would look like a regular dress, as it’s December I’m seeing ‘an angel at the top of the tree’ frock. Now that I’ve written this it sounds bad, far from it and the puff sleeves/A-line design is what’s reading angel to me. It’s icy looking and the black pattern adds to the winter wonderland feel of this Alice + Oliva dress. The bold lipstick is the pop of color this outfit needs.

Cristin MiliotiThe series finale date has been set for How I Met Your Mother (March 31) and I soured on this show long before Cristin Milioti was revealed to be the mother. That doesn’t mean I can’t appreciate this Peter Pilotto creation and I might have to include it in the superhero couture that began with Olivia Pope’s Rubin Singer gown on Scandal earlier this season. This might have something to do with Milioti’s red carpet pose and it’s definitely one of the most visually arresting dresses I have seen this year. As a very tenuous link and because we said goodbye to 30 Rock this year here is Milioti in one of my favorite episodes (“TGS Hates Women”).

Hannibal Season 2 Poster and Premiere Date Revealed

20 Dec

Hannibal showrunner Bryan Fuller gave fans an early Christmas gift as he unveiled the new season 2 key art and the premiere date on Twitter last night and it’s a doozy. While the first season artwork concentrated on Hannibal himself (eating of course), Will Graham is getting his chance to shine in an image that plays on the idea that Will and Hannibal have switched places; the face mask is something associated with Hannibal Lecter and it’s disconcerting seeing Will wearing it instead.

Hannibal S2Embracing the madness is something I am more than prepared for as Will Graham is now aware of Hannibal’s role in his incarceration and the series of copycat murders. The Friday night time slot is slightly concerning in the way a Friday night spot is, but other shows like Fringe have shown this can work. Like HannibalFringe had relatively low ratings and a fervent fanbase; it lasted 5 seasons and at this point having this much Hannibal would be a huge victory. Let’s not worry ourselves with viewing figures yet and just take in Will Graham looking unhinged on this excellent promo poster.

Hannibal returns Friday, February 28 and for our look at season 1 in our Best of 2013 series head here.

Festive Rewind: Frasier “Merry Christmas Mrs. Moskowitz”

20 Dec

It’s TV Ate My Wardrobe’s first festive season and to mark this occasion we are hosting a very special rewind series. What this means is that we will be featuring a whole host of guest posts and in the spirit of the holidays we have asked a variety of writers to discuss a festive episode of their choice. These will be appear on the site over the next couple of weeks and there’s an eclectic mix including teen dramas, science fiction, animation, comedy, drama and more to get you in the celebratory mood. Or to at least give you plenty of suggestions of TV to watch over the break.

Today’s guest post comes from Noel Kirkpatrick as he discusses Frasier’s take on different faiths celebrating the holidays.

FrasierMoskowitzIt’s a Chanukah miracle! Andrew Rabin discussed Rugats and its lackluster take on Chanukah earlier in the feature, and now I present you with “Merry Christmas, Mrs. Moskowitz” from Frasier. If Andrew “A Rugats Chanukah” credited with at least exposing kids to a non-mainstream holiday even while still sort of abandoning it, then “Merry Christmas, Mrs. Moskowitz” demonstrates why it might’ve been helpful for those who celebrate in Christmas — even if it’s in a more secular than religious way (something else this episode touches on) — to be aware of other religions and traditions other than our own. The episode is classic Frasier farce, complete with mistaken identities, hiding people and things from unsuspecting guests, near-constant lying, and it all culminates in the big reveal that brings all the chaos down a single big punchline. In this case, it’s Niles dressed up as Jesus, hiding in the bathroom with a Christmas tree.

You see, Frasier was buying his son, Freddie, a menorah (Lilith, Frasier ex-wife, is Jewish, which makes Freddie Jewish) and a woman overhears him. After helping Frasier pick out an appropriate sweater for Roz, Helen, the woman, asks Frasier to do a favor for her daughter: “A date with a nice, unattached doctor.” Frasier and Faye actually hit it off very well, but as Faye and Helen are about to head off to Florida, they decided to stop by Frasier’s apartment, which is in the processed of being decked out with a tasteful (horrid) Christmas, and here we learn that Faye and Helen are Jewish, and that Frasier not being Jewish may be a point of concern for Helen. So Frasier, Niles, and Martin pretend to be Jewish until Helen and Faye finally leave. Oh, and Niles is helping Daphne put on a Christmas revue that’s a combination of religious and secular songs.

As farcical episodes of the show go, “Merry Christmas, Mrs. Moskowtiz” isn’t their best, though David Hyde Pierce dressed up as Jesus is still a total hoot. Much of the humor of the episode derives from the fact that for all their supposed learning and culture, Frasier and Niles are largely clueless about Judaism. When questioned about his bar mitzvah, Frasier mentions that the mohel was there, so not to show there were any hard feelings. Niles’s toast is a string of Jewish platitudes — “L’Chaim! Mazel tov! Next year in Jerusalem!” — and when Martin asks Niles “how to be Jewish,” Niles advises him to answer questions with a question.

The episode should be horrible since it trades in tired Jewish stereotypes — meddlesome mothers, massive amounts of guilt — but it trades more heavily in the fact that non-Jewish people know next to nothing about the traditions of Judaism. Not only are there the above examples, but Roz doesn’t know what a menorah is, and Frasier isn’t aware of how kosher wine is supposed to taste (apparently kosher wine has gotten tastier). The episode is funny because a) because people who don’t know anything about Judaism see their own cluelessness on display, and in a safe way and, more importantly, b) Jewish viewers get their experiences of dealing with gentiles distilled into one 22-minute episode, and, hopefully, get a good laugh at reliving the conversations when people ask about their faith and traditions.

Of course, if we were all a little more aware, then this wouldn’t have been a problem in the first place! This idea is complemented by Frasier and Martin’s battle over Christmas decorations in the apartment. Being aware of others’ needs and lifestyles is an important aspect of our lives, and it’s a one that is very much a part of the season.

Noel Kirkpatrick is the co-founder of Monsters of Television and This Was Television and he writes episodic criticism for TV.com. You can follow him on Twitter, if you like, as well.

Best of TV Costuming 2013: The Many Looks of Orphan Black and Tatiana Maslany

19 Dec

Continuing TV Ate My Wardrobe’s “Best of 2013″ costuming series and rather than doing a straightforward countdown we’re going to do a variety of posts that look at which costumes and shows have made a huge impact this year. From items that we want in our own wardrobe to pieces that got everyone talking, we want to look at this year’s TV through the prism of costume.

I came late to Orphan Black this year and an article discussing the incredible performance(s) of Tatiana Maslany is long overdue. Same applies to the costume design work, as this plays a part in defining each clone and how we perceive them.

Sarah Orphan Black We could do a Spice Girls categorization of each character boiling them down to one part of their personality through their clothes and hair styling:

  • Rock Chick Clone
  • Hippy Science Clone
  • Suburban Clone
  • Crazy Clone
  • Fashionista Clone
  • Serious Cop Clone

Reducing these characters to broad categorizations could be viewed as either a disservice or high praise; each individual clone has a distinctive look and on the surface level this reveals a certain amount of information about who they are. Of course their inner world might not be reflected by these outward characteristics which is why this might seem too reductive.

Tatiana Maslany plays each version and for practical reasons having a variety of strong looks helps when they share the same face. Hair, makeup and costume all help with this process, but without an actress as gifted as Maslany it would be a hard task to pull off. Luckily, Maslany produces a variety of performances that often makes me forget that I’m watching the same person play all of these roles and it takes a special talent to do this. Costuming does play an important role and while each character can be broken down into a ‘type’ it doesn’t come across as contrived or like they’ve gone through a lookbook of archetypes.

Sarah Orphan Black pilotColor isn’t a big part of Sarah Manning’s wardrobe and black leather is a staple. Sarah begins the season on the outside when it comes to her clone origins and her demeanor is a reflection of her difficult upbringing. It’s a look that projects an “I don’t give a shit” attitude and it’s Sarah’s way of protecting herself from the world. Posing as Beth requires a wardrobe change and Beth’s style is far more traditional and functional.

Orphan Black clash t-shirtClothes are part of how we reveal who we are to the world and Sarah slips up by not letting go of part of herself with her “London Calling” tee, prompting Paul to question why Beth is wearing something so un-Beth like. Sarah is browsing through Beth’s Ann Taylor/J. Crew looking wardrobe in her Clash shirt instantly reflecting how different these characters are. It’s hard for Sarah to completely lose herself to this new persona even if the initial endgame is to get a buttload of cash. By wearing Beth’s clothes it helps fool people on a surface level and in cases where those questions become too much there are other methods; she uses sex to disarm and distract Paul.

Alison and Sarah Orphan BLackThroughout the first season of Orphan Black we see a variety of impersonating combos; Helena as Sarah as Beth, Alison as Sarah and Sarah as Alison. On each occasion one wears the clothes of the other (and Helena hides her mass of her under a beanie) and they fool most people because external factors like clothing is something we use to identify who someone is. This is why Sarah’s Clash shirt arouses suspicion in Paul.

Helena as BethHelena’s trip into the police station in this attire should have triggered more questions as the red around Helena’s eyes is pretty distinctive. It helps both Sarah and Helena that Beth has been going through some things and her general behavior has been different lately; certain character ticks don’t register as particularly odd.

Switching coats is a quick way to temporarily look like someone else and each character’s style can be summed up in their outerwear.

HelenaHelena’s oversized parka conceals her gender at first and a Helena/Sarah coat switch later in the season is part of a grand plan to gain the upper hand, but it also reveals Kira’s identity to Helena and this sets off a chain of events that almost ends in tragedy.

KatiaThe clone we barely knew and Katia is all about a flamboyant statement in her oversized sunglasses and fur coat.

CosimaCosima’s red funnel neck coat is my personal favorite and would feature high on the coat covet list. Cosima’s look is heavy on the accessories with chunky jewelry and scarves. Dreadlocks and tattoos also point to her free spirit and she’s the only one of the clones who hasn’t been impersonated by another so far.

AlisonBIOOn the other end of the spectrum lives Alison and on the outside she is pure suburban soccer mom. It’s all Lululemon, gillets and pastels as Alison projects this image of modern day Stepford Wife. Ah suburbia, you have many secrets and Alison is so tightly wound that she starts to question which parts of her life are fake and which are real.

Alison pjsThis includes torture by glue gun in a matching pair of gingham pajamas. Alison is definitely resourceful in an almost Jason Bourne use your surroundings kind of way.

FelixIt’s not just all the Tatiana Maslany’s that can pull off multiple looks and Jordan Gavaris’ Felix plays multiple roles throughout Orphan Black’s first season. His regular style mirrors Sarah’s as black is a defining feature and considering how close these two characters are it makes sense that they mimic each other in this way.

Felix Orphan BlackWhen required he can play a part and whenever he interacted with Alison and her family it produced some truly memorable moments. From playing dress up with her kids to his role as suburban bartender – the jumper draped over the shoulders is everything – to saving Alison from the intervention in her living room Felix livened things up. Felix is an important emotional tether for Sarah and a grounding point for the clone dramaz; Felix is part of the emotional core without being sentimental and he doesn’t sugar coat his feelings telling Sarah “Is every man in your life a complete wanker besides me?!”

Orphan Black is one of the most thrilling shows I have watched in 2013 and Tatiana Maslany’s is exceptional throughout. It’s also a testament to her as an actress that her Parks and Recreation guest star stint delivered yet another style of performance and a completely different look. Set those calendars to April 19 when Orphan Black returns for season 2.

Photos courtesy of BBC America

Festive Rewind: Rugrats “A Rugrats Chanukah”

18 Dec

It’s TV Ate My Wardrobe’s first festive season and to mark this occasion we are hosting a very special rewind series. What this means is that we will be featuring a whole host of guest posts and in the spirit of the holidays we have asked a variety of writers to discuss a festive episode of their choice. These will be appear on the site over the next couple of weeks and there’s an eclectic mix including teen dramas, science fiction, animation, comedy, drama and more to get you in the celebratory mood. Or to at least give you plenty of suggestions of TV to watch over the break.

Andrew Rabin talks about “A Rugrats Chanukah” in today’s festive guest post.

Rugrats

If you Google “list of Chanukah episodes,” a surprising 16.8 million results pop up (interestingly, if you Google it with any other spelling of the holiday, only 520,000 results appear). The first link is a list of “The Top 8 Chanukah TV Episodes of All Time.” I do not know who wrote this list, but it is notable in two ways- only five of the eight listings are actually episodes of television, and only three of those five are actually Chanukah episodes.

The second link is the Wikipedia page for “A Rugrats Chanukah.”

Between June, 1994 and May, 1997, nearly a three year span, Nickelodeon aired only two new episodes of Rugrats; “Passover,” on April 15, 1995, and “A Rugrats Chanukah” on December 6, 1996. Most kids, me included, certainly did not realize that the episodes airing in between were all reruns. But I certainly noticed that these two episodes existed.

“A Rugrats Chanukah,” like its predecessor, does away with the two cartoon-per-episode format that existed for most of Rugrats run. It starts, again echoing the Passover episode, with Tommy and the babies playing the roles of the Chanukah story. Tommy even alters his catchphrase, pronouncing that “a Maccababy’s gotta do what a Maccababy’s gotta do.”

The episode quickly shifts, however, to a modern day story centered on Grandpa Boris putting on a play at the local synagogue telling the meaning of Chanukah. When Tommy, Chuckie, Phil, and Lil hear this as the “meanie of Chanukah,” they decide he must be defeated. This leads to their entertaining, if standard, shenanigans, and a strange confrontation between Boris and his friend Shlomo, which concludes in the revelation that Shlomo could not have children. Even the most Chanukah-heavy episode gets derailed.

Perhaps the most interesting part of the episode is Angelica’s storyline. All Angelica wants to do is watch the Cynthia Christmas Special. Angelica is, as always the antagonist to Tommy’s protagonist. This puts the show in the position as having the one character who is interested in celebrating Christmas, even if it is just because of her love of Cynthia rather than some deep religious beliefs, on the “bad” side. It comes off, at least at some level, as portraying Christmas as less important than Chanukah, if not flat out worse.

“A Rugrats Chanukah” is not a great episode of television, or even a great episode of Rugrats. Heck, it’s not even the best Jewish-holiday themed Rugrats episode (and I’ll be happy to come back in the spring when you ask everyone to write about their favorite Easter episodes). But Rugrats was also willing to teach kids about the non-mainstream holiday, something even most adult shows avoid. It serves its purpose. And it’s what we’ve got.

Andrew Rabin is very nearly, but not officially, a lawyer. If you want to read more from him, check him out on Twitter @arrabin56. If you want to read less from him, his blog is almost never updated, so that seems like a good bet.

 

Best of TV Costuming 2013: Pattern and Color on Hannibal

18 Dec

Continuing TV Ate My Wardrobe’s “Best of 2013″ costuming series and rather than doing a straightforward countdown we’re going to do a variety of posts that look at which costumes and shows have made a huge impact this year. From items that we want in our own wardrobe to pieces that got everyone talking, we want to look at this year’s TV through the prism of costume.

The first season of Hannibal premiered in April and from the outset it produced some of the most visually stunning episodes on TV this year. As with the character, Hannibal’s costuming is rich, textured and multilayered. Hannibal is also the only show to appear as part of “Look of the Week” as a piece of set design, rather than just costuming.

Hannibal 1.01 HannibalStarting with the titular character everything that Hannibal wears is meticulous and well tailored. Costume designer Christopher Hargadon predominantly dresses Hannibal in three piece suits (often in plaid) and the elaborate quality reflects Hannibal’s desire to have only the finer things in life. There is an element of control with everything that Hannibal does and yet he also likes to play with his environment and this includes his wardrobe. 

Hannibal 1.11 HannibalPattern clashing is in abundance and this style choice is featured in pretty much every episode. There is nothing accidental about the pocket square matching the teal shirt and the colors of Hannibal’s suits are incredibly rich, even in their darkness. On this occasion Hannibal is wearing paisley with plaid; it’s bold and distinctive much like Hannibal. Dark earth tones are a signature and you won’t see him in bright primary colors. As the season progresses, his suits get even darker to mirror just how far Hannibal is pushing Will’s mental state.

Hannibal 1.08 dishevelledEven when he has been in a full on dirty fight to the death, as he has in “Fromage” he still looks relatively well put together. His pocket square has been ruffled and his tie is at an angle, however this all plays into his act of being in shock. If he wasn’t playing this role there is no doubt that he would have straightened these up and fixed his hair.

Hannibal 1.13 HannibalThe use of shadow with bold patterns means there are moments like this one in the season 1 finale where the only detail visible is Hannibal’s striking tie and grey shirt. He kind of looks like a floating head coming out of the darkness.

Hannibal 1.13 BurberryThis moment also comes from the finale as Hannibal visits Will in his new ‘home’ and the brown Burberry London coat (thanks Wear the Rude for the heads up) is part of the rich brown trend that Hannibal wears throughout the first season. Hannibal is littered with out of the shadows moments and this shot is framed as if Hannibal is the emerging victor.

Hannibal 1.10 kill suitHannibal even has what looks like a custom kill suit and when you have clothes as luxurious as Hannibal you don’t want them getting ruined by a spot of blood. There’s also the evidence factor of course.

Hannibal 1.09 Alana and AbigailThe color scheme on Hannibal is as precise as Hannibal’s suits and there’s one character who wears both bold tones and a whole lot of pattern and that’s Alana Bloom. I’d argue that Alana is the heart of the show as she is the only person who is looking out for Will’s best interests all of the time – in the pilot she talks about the dangers of putting Will in the field as he might get too close and this is exactly what happens.

Hannibal 1.09 AlanaThe variety of prints Alana wears could represent her confused romantic feelings towards Will; she wants to be honest with him and lets him know in the scene above that she can’t have an affair with him while he is this unstable. Whereas both Hannibal and Jack will manipulate Will to get what they desire, Alana is suppressing her desires for the good of Will.

Hannibal 1.08 Will and AlanaThis is the nearest Will gets to rom-com set up and for once his demeanor is only reading at 30% troubled. Part of this is the company and Will takes the step in “Fromage” to get the girl. While this doesn’t entirely pan out – this is Hannibal and not a sitcom after all – if Will does get better there’s a chance these two kids could give it a go. While a lot of their interactions are bathed in darkness in lecture halls and interrogation rooms, the lighting in this open field scene gives a glow of hope. Will is dressed in his outdoor wear and he’s far removed from his usual work attire, the beanie is a win for him. Alana’s wine colored coat and patterned scarf maintain both her signature style and palette.

Hannibal 1.13 orange jumpsuitFrom light to dark and all color has been saturated from this scene except for Will’s jumpsuit and Alana’s multicolored Diane von Furstenberg wrap dress. This scene contains one of my favorite exchanges as Will tells Alana “I could use a good scream. I can feel one perched under my chin… I’m afraid that if I started, I wouldn’t be able to stop.” Control is a big element of Hannibal; Will thinks he losing all of his whereas characters like Hannibal and Alana have a full sense of who they are and their working boundaries. This is why they are the two characters who wear pattern and prints throughout the first season. Alana gets bonus bright colors because she wears her emotions on her sleeve.

Hannibal 1.01 Will GrahamWill wears red and plaid in the pilot but as the season progresses all color drains from his wardrobe and it’s pretty much all grey. At a push some earthy tones pop up, but Will’s costuming is all for practical and functional reasons. There’s nothing flamboyant and he even uses his glasses as prop to hide his eyes from the world.

Hannibal 1.02 FreddieNot afraid to make an impression is Freddie Lounds and this all scarlet ensemble dares to clash with her red hair and the walls of Hannibal’s waiting room. Freddie is essentially one of the many devils of Hannibal and like Hannibal himself she likes to manipulate dangerous situations to see how it impacts the outcome.

Hannibal is far more than just another antihero/murder venture and it is elevated beyond these stale factors thanks to the meticulous details in the writing, acting and all facets of the production design including the incredible costuming.

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