Emma Fraser

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Hack into Broad City: Cereal War

Broad City isn’t back for season 2 until January (every sad face possible), but until then feast your eyes on the latest installment of “Hack into Broad City” in which Abbi and Ilana host the first annual cereal war via video chat (or “maybe it’s just an exchange of technology and culture and everybody wins). Like all good breakfast food cereal doesn’t have to be eaten first thing in the morning and it can stand for many awesome things.

Video chat is an important part of the Ilana and Abbi friendship with Ilana going so far as doing this during sex (much to Abbi’s horror) and as “Hack into Broad City” was part of the initial web series it makes sense to throw up* some of these old videos during what feels like a lengthy hiatus. Hopefully there will be more new offerings between now and January.

*One of these chats involves actual vomit so maybe pun intended. It is below and it is gross (and also hilarious as Abbi watches through her fingers pleading her not to). It also ended up in the pilot.

In the meantime here is both the new video that first appeared on Vulture followed by a few of my favorite earlier “Hack” videos with Ilana crossing multiple boundaries. One of these actually ends up being an Abbi move in first season and as with a lot of the original content it has been adapted for the show (like the vom moment).

And in other good news…

[Source]

Broad City season 1 is now available to stream on Amazon Prime.

Tags: Abbi Jacobson, Broad City, Hack into Broad City, Ilana Glazer

Comments 2 Comments
Categories Broad City
Author Emma Fraser

Masters of Sex 2.11 “One for the Money, Two for the Show” Review: “Stake Your Claim”

22 Sep

So much on Masters of Sex takes place behind closed doors as the nature of the study dictates this course of action; the one time Bill did try to present his work it was met with such a negative reaction that he lost his high powered position that set him on this journey of finding a more permanent home for their work. The first half of season two dealt with the conflicts and difficulty of finding a new environment to work in and eventually it became clear the only option would be to start something of their own. By presenting the work on television means putting themselves out there in a much broader scope and if they are rejected from this avenue it will have a devastating impact on whatever reputation Bill has left. I only mention Bill because he is the one who is finding the whole TV aspect to be incredibly challenging, although Virginia is dealing with separate personal issues that show a crack in her normally perfect facade.

Bill repeats the assertion throughout that he isn’t a salesman, but this is far from the case as he has been selling himself and the study from day one. The difference here is that he is normally so single minded and stubborn that he doesn’t let any self-doubt come into the equation. This feeling of impotence comes with his actual medical problem and how he has no control over what he can and cannot say on television. The Bill Masters bravado has been punched out of him by his brother and now he’s just a guy sweating profusely on TV; he is the Nixon to Virginia’s John F. Kennedy twinkle.

The switching of the ties makes a big difference and while Bill only refers to the practical reasons behind his tie choice – it stays out of the way during exams – stating that it isn’t a fashion decision, it is part of his uniform and he loses part of his armor with this swap. It seems like such a small thing and even though the CBS dudes think a long tie looks less academic, by taking away the bow tie they are removing the one fun aspect of Bill’s look. Have you seen how many different patterns he wears with these ties? Bill doesn’t come across as a polka dot kind of guy, but there they are on his choice of neck wear. The long tie is alien to him and he doesn’t even think the one Libby finds at home is his; it’s not a good start to feeling confident when you are informed that your look is wrong and then end up in a tie that’s not even yours.

Bill emphasizes how awkward it makes him by quoting Henry David Thoreau “Beware of all enterprises that require new clothes” and Lester not only mentions how disappointed he is that Bill is compromising his position, but he also notes how weird the tie looks. There are multiple references to sweat starting with Nixon and ending with Bill’s drenched shirt lying on the floor; not only did he want to rip the tie off, but his shirt too.

Shep Tally keeps talking about the importance of appearance and presentation on television with the infamous sweaty Nixon debate getting referenced; on radio Nixon appealed to more voters, on television Kennedy’s smile had just as much impact as the talking points. Virginia has a spark and natural stage presence, after all she was a performer before this became her career. Virginia looks the part from her sleek simple outfit with an incredible deer broach – Virginia’s accessory choices give me similar glee filled reactions as The Good Wife’s Diane Lockhart – and there’s nothing about her style or manner of speaking that needs correcting. When Libby points out they are wearing the same color this is of no importance as they are shooting in black and white. It also ends up being of no importance because they never get around to shooting Libby, or even wondering where she is and so it is not surprising that she views herself as being invisible.

On camera Virginia is the natural one with all the magnetism and charm, however when Bill loosens up and relaxes he also possesses a spark of sorts. He talks in hushed tones and yet his explanation of why this is an important line of study is captivating and it’s like the body equivalent of how fear is what leads you to the dark side; censorship perpetuates shame which leads to ignorance and ignorance prevents change. Shep was originally drawn to Virginia and Bill as a result of their natural back and forth. When Bill becomes more comfortable in front of the camera it becomes clear just how in sync they are as they finish each other’s sentences and Bill even laughs off a word stumble. See Bill, you do smile. Libby watches all of this and her expression grows increasingly sad and I wonder if she is figuring out just how close they are or if she is just acknowledging they have a bond that she has never possessed with her husband.

Later on Libby and Virginia’s ex George are mistaken for husband and wife in the same way Virginia and Bill are often misconstrued as being a couple and the only similarity here is that Libby and George are sitting in a waiting room waiting for the couple who are married to their work. Libby refers to herself as “The woman behind the man behind the woman behind the man” noting just how insignificant she is to this whole process and subsequent fanfare. It doesn’t matter that she is “a looker” with Virginia ahead of her in ‘this race.’

This is what the Libby storyline has been building to all season and while they touched upon this aspect of the ignored wife at home in season 1 Libby was preoccupied with her desire to have children to create a family. Now she has those children and nothing has changed; there is still something missing. Libby’s story has been incredibly messy this season and at times it has been hard to feel any kind of sympathy with her. Tying her to an exploration of race issues in the late 50s/early 60s has at times made her come across as both racist and a race tourist (or a “silly fly-by-night do-gooder”). I was worried that Robert would become a prop in Libby’s journey to ‘find herself’ and she even admits that she wants Robert to kiss her to try and figure out who she is. Libby explains how she never got to be a dumb kid – maybe just dumb – and her nickname when she was younger was “The Little Grownup” and I expect this is because she had to grow up so quickly after her mother died and her father abandoned her. Libby goes on talking about how she has never made waves and how deep down she has maybe been ignorant and prejudice (everything with Coral suggests yes) and Caitlin Fitzgerald nails the little girl lost sadness when she says “So quiet that you forgot the sound of your own voice.”

With Robert his feelings of disdain towards Libby was actually a relief as she no longer felt invisible and she has found a fight that she believes in and now understands. Using Libby as an entry point to explore race this season hasn’t always worked and part of this has been because it’s been just as much as it about Libby and her experiences as it is about the civil rights movement; we have been viewing it pretty much through her prism. Having Libby admit to her shortcomings, fears and attraction to Robert while stating that she wants to do something reckless shows that Libby isn’t considering the big picture and she’s spent so long alone that she doesn’t want to contemplate just how dangerous this is (or this element of danger adds to the attraction). If a police officer reacts this aggressively just with them sitting in a car, imagine how bad things could get if they get caught. Libby wants Robert to kiss her, but he doesn’t want to make the first move so she goes ahead and kisses him first. This leads to kitchen floor sex and it’s unlike any of the sex scenes we have seen between Libby and Bill; there is passion, longing and desire. I wonder if this is the first time Libby has had an orgasm.

Going back to Bill and despite his triumph of maintaining an erection at the end of the last episode his problem still persists despite trying again. This adds to his fear of presenting results in front of a camera as he feels like an unattractive fraud. The episode ends with Virginia telling Bill that she finds him attractive and cradling him on the floor. It’s a motherly act rather than a sexual one and to get all self-help Bill has to learn to accept that he is a flawed but brilliant person, not one or the other. Plus he really needs to get out of his own head space. It is rare to see Bill in this vulnerable state and without the same self-assured confidence that has got him to where he is now. He looks out of his comfort zone in pretty much every scene he is in this week and he is out of his depth as Virginia and Shep stand tall discussing what they will be undertaking.

One person who gives a really good pep talk is Shep and considering he is in PR this is not surprising. He manages to appeal to Bill’s ego by reinforcing the notion about coming first and adds some comfort by suggesting the goal you have can be just as important as achieving it; just because they haven’t cured anyone yet, the hope and promise of doing this is part of the initial pitch. Shep tells him he needs to “Stake his claim” and by doing both this and “reaching for it” then he will be able to connect with people in their homes. Does Bill want to be a Kennedy or a Nixon? So on one hand there is Shep telling Bill that it is okay to make a compromise with his work so he can reach people and then there is Lester who is disappointed that Bill is sacrificing his integrity. What “One for the Money, Two for the Show” doesn’t do is tell you which version is the right one, instead it shows the various ways these characters are being challenged as they reach for the moon whether it is Libby wanting to be noticed, Bill feeling attractive or Virginia realizing that she has been so focused on work that she knew nothing about the type of woman George’s new wife is.

Virginia’s ex George wants to take the kids to Europe for 6 weeks while he is on tour and this concerns Virginia deeply. George has remarried and his new wife Audrey has become a big presence in Tessa and Henry’s life without Virginia even noticing. Audrey helped Tessa pick out her project subject and is very much part of their life, plus she’s not a flake like George; there is now stability in her ex-husband’s house and he won’t forget to feed them until late. This all takes Virginia by surprise as she’s been so busy at work. Thankfully there isn’t any ‘you’re a bad mother’ judgement, just an acknowledgement that this trip could actually be a really positive thing for Tessa and Henry. What it does mean is that Virginia will be spending the holidays (both Thanksgiving and Christmas) alone and I wonder if she will receive an invite to the Masters’ house?

Elsewhere the Austin/Flo sexual harassment continues and even though they work in the same building this story feels very much out on its own island. Flo is upset that Clark Gable is dying as he’s her dream dude and Gone with the Wind is her dream fantasy; she wants to be ravished against her will (this worryingly comes across as a rape fantasy and I’m not sure they are quite hitting the mark in this gender role swap as it is still coming across as slightly comedic in tone). By questioning Austin’s manhood she gets her unwilling participant and he’s continued to sleep with her since the last episode. Instead Austin is the one who reluctantly takes part in this role play and Flo ends up being the Clark Gable. Despite wanting to change roles it doesn’t end up that way and they are still stuck with who they have always been.

So how much can we adjust and evolve? This goes much further than just sex and the work as Bill and Virginia have entered a co-dependence of sorts that didn’t exist at the start of this season despite the grand rom-com like rain gesture at the end of last year. With only one episode left it is unclear just where these characters will end up, but it is clear that far too much has happened overall to return to where they were, not just for Virginia and Bill, but for Libby as well. It’s been a bumpy season that has attempted to cover a wide range of storylines and this ambition is commendable; however Masters of Sex is at its best when examining the deeply personal and intimate nature of relationships. Bill and Virginia are at the heart of this and with each episode they are nearing a real definition of what they really mean to one another as they dance around the notion of love. Is this a declaration we can expect to see in the finale?

Tags: 2.11, Ane Crabtree, Caitlin Fitzgerald, costume design, Lizzy Caplan, Masters of Sex, Michael Sheen, Review

Comments 1 Comment
Categories Masters of Sex, Review
Author Emma Fraser

The Good Wife and the Saint Alicia Brand

22 Sep

The Good Wife kicks off the new season with yet another surprising move and while it might not elicit the same heart getting ripped out of your chest feelings as the Will twist did, it still packs a punch. Diane moving from her old firm to Alicia and Cary’s was what I expected to be number one on the agenda, instead this moves into the background as Cary ends up in prison as a result of some advice he may or may not have given – there is allegedly a recording which we don’t hear and Cary insists that he didn’t do the crime he is accused of – and what’s great is how equally disorientated both Cary and us as an audience are at Cary’s initial arrest and subsequent incarceration.

The amount of world building The Good Wife has achieved in the previous five seasons is showcased in “The Line” as old faces resurface from family members to former love interests and perceptions that were established in the very first episode are still very much on point.

Take Saint Alicia and the brand that is making Eli pull out his big guns to get Alicia on board the State’s Attorney campaign ship. Eli is convinced Alicia should run despite her lack of interest in this political position and the polling numbers support his belief that she can win. Alicia’s brand is enticing to both women on the left and right as she stayed with her husband and set up her own business; she is both fiercely loyal and independent striking that rare balance.

Skeletons lurk in Alicia’s closet when it comes to her relationship with Peter, not only her past affair with Will but also the current ‘faking it’ marriage status. Add in the slight flirtation with Finn and the photos Castro already has of Finn leaving Alicia’s apartment which he planned to use against Finn, but could easily double for Alicia smearing (no matter how innocent this visit was) and there is a reputation to be besmirched. Calling someone a saint is a rather high pedestal to put someone on and Alicia could be knocked off this perch in quick fashion if someone was to stumble on hotel room records or CCTV footage. Will might be dead, but he could easily come back to haunt Eli if he goes ahead with this.

Eli is excellent at his job even while his daughter mocks him (I’m beyond thrilled to have Sarah Steele show up once again as Marissa, more from her please) and he expertly manipulates Peter into getting on board with his Alicia plan by using Castro to rile him up. Eli has another issue to consider with the Florricks as he is still concerned about the intern Peter has been flirting with, an intern who doesn’t wear underwear (they said the word ‘panties’ far too much for my liking in this episode) and will happily show the office that she isn’t when confronted about it. Lauren is the intern Eli was told he couldn’t fire last season and while the vagina flashing is maybe a stretch, she represents everything Eli worries about when it comes to Peter’s brand.

P.S. Lauren, your dress is super cute, but underwear should be a given in a work place like this.

I’m not sure how much Alicia would actually care if Peter did sleep with Lauren as she really has severed those kinds of ties with her husband in the wake of Will’s death; I expect there would be an exasperated eye roll followed by a ‘because, of course’ reaction. The voters would definitely care as Eli’s polling suggested and Eli is pulling out all the stops to ensure Peter doesn’t resort to old habits.

There are far more pressing matters than Eli’s latest attempt to get his doomed ship back together as bail for Cary has been set to the crazy high $1.3 million (to match the street value of the heroin in question) and Alicia has to work several angles to obtain this money. Despite the current fractured state of her relationship with Cary as a result of wanting to bring Diane on board, Alicia is even willing to get a second mortgage on her house to get Cary out. Cary has already faced a test in prison regarding his loyalty to Bishop and while he didn’t lose a finger, he did receive a rather nasty hand gash which he then had to pretend he got from falling on the bars. Cary is a target in lock up in part because he used to be an ASA and because he poses a risk to Bishop. He passed the test and that should afford him some protection even if he’s received the wrath of a guard for not following certain rules like crossing lines and keeping his eyes to the ground.

When Cary enters prison his suit has a disheveled appearance, but with his pocket square still neatly in place he looks like a rich dude who has been done for a DUI or some kind of drug possession – so grateful they mentioned the last time he did drugs was the hilarious season 1 mushroom incident – and when Cary changes into the beige prison uniform he looks small and vulnerable. The puffed up chest lawyer confidence is all but gone.

Diane is having to maintain appearances with Louis Canning and David Lee as they try and figure out her next move; David Lee doesn’t think Diane will move to Florrick, Agos as it is “too small potatoes” with Canning accurately acknowledging that it appeals to “Diane’s romantic soul.” It matches Diane’s brand and her client roster is worth an impressive and significant $30 million. This is in part what Diane is selling herself on to Alicia, that and the prestige her name brings; a name that could counterbalance the damage to this fledgling firm from Cary’s arrest and the Lemond Bishop connection.

Costume wise both Alicia and Diane are on top of their power game despite the tidal wave of shit that has hit them both from last season and in this episode. Alicia is all Hugo Boss suits and Emilio Pucci puffed sleeve blouses. Alicia’s color palette sticks to darker tones and neutrals like grey; however as the ensemble below shows this isn’t about becoming a wallflower and she still stands out thanks to precision tailoring and flourishes like those sleeves.

Diane is also not someone to fade into the background even with the fake retirement story she is serving up. This means an exquisite raspberry colored St. John Collection draped dress and Pono statement necklace. The shot below gives me shivers and with Diane representing Cary (as Alicia has been removed) he has yet another excellent and very vocal advocate. Perhaps this will get him on board with Diane as a new partner.

Cary is but a pawn in the quest to bring down Lemond Bishop and no matter how hard Bishop tries to convey an appearance of being nothing more than a business his reputation precedes him and after all this is a pretty accurate assessment of how Bishop makes his money. Bishop can use intimidation to get Cary to keep his mouth shut, steer Kalinda away from her line of questioning and get the bail money. The latter is an issue now that Finn has requested a source of funds hearing as the funds are not from a legitimate source and were originally delivered in a duffle bag with $200,000 more than they needed (the removal of this extra money was hilarious). Does this mean Cary is going to languish in prison for even longer? Maybe they should tap up Colin Sweeney instead.

When Alicia suggests Finn is going hard after Cary because of his sister’s overdose she crosses a line by using her personal knowledge to suggest an ulterior motive. Instead he just wants to get one of the biggest drug dealers behind bars which seems like a perfectly valid reason and they shake on it not ruining their friendship.

There is an ease to Alicia and Finn in their playful back and forth even as Finn gets her disqualified – in an aside he notes how he didn’t want to go against her – that is free from the meaningful looks and complicated history that Alicia shared with Will. Not that I’m advocating a hook up just yet (this thing has to build) and gifs of Will and Alicia over on Tumblr still feel like a punch to the gut, but I have to admit that seeing the shoulder squeeze of thanks and the friendship declaration handshake makes me more than glad to have Finn Polmar as a an opponent and Matthew Goode retaining his regular status. Is he going to become the latest thorn in Eli’s side if he messes up the Saint Alicia brand?

Tags: "The Line", 6.01, Alicia Florrick, Christine Baranski, costume design, Daniel Lawson, Diane Lockhart, Julianna Margulies, Matt Czuchry, Matthew Goode, Sarah Steele, The Good Wife

Comments 4 Comments
Categories The Good Wife
Author Emma Fraser

Out of the Box: Look of the Week

19 Sep

Fall TV is back and after the Fox celebration last week, NBC are showing off talent from their current and new shows. Some of these are more likely to be on for longer than others, though none of the new offerings are all that enticing at the moment. Talk show appearances and Netflix launching in France are all on the menu today.

Julianna Margulies tends to make all the right style choices and here she is killing it once again on The Tonight Show in a stunning Pamella Roland frock (yes there are pockets). You don’t get the full effect from this sitting down shot, but the print is a fun take on a traditional silhouette that would have me twirling in the aisles. A good dramatic injection of red lip color and I am so excited about the return of The Good Wife this weekend Sunday. Look out for our costuming/story reactions to the premiere.

I am charmed by both Cristin Milioti and Ben Feldman which is enough to guarantee I will watch the first six episodes of A to Z and I just hope the material will end up matching (or at the very least not wasting) their talents. Milioti has played it cool in the ultimate safe LBD, but she has snazzed the whole think up with a pair of metallic stilettos.

This is a very cute outfit that could double for stylish office wear as well as going out material for a relaxed affair like this one. It’s definitely more daytime than evening and the splash of pink lipstick stops this from looking so much like work attire.

Thankfully someone is injecting bold color at this NBC event and Retta’s yellow and turquoise dress is just what this red carpet needs. It is fun, summery outfit and maybe it’s not quite the time to ditch bright tones for the fall season.

Netflix launched in France this week and some of the Orange is the New Black cast were on hand to promote the streaming service. Taylor Schilling looks incredible in a cobalt-blue Elie Saab. This is when sheer detail really works with just a hint of it near the hemline.

Uzo Aduba is on a style high at the moment after several NYFW hits and she joins co-star Taylor Schilling in France to promote both Netflix and OITNB. This is a very pretty floral frock (even as it smooshes her boobs up high) and Aduba is working a whole range of looks at the moment from 70s secretary chic to shimmery art deco goodness and now a 50s inspired gown (with added cleav).

Tags: A to Z, Cristin Milioti, Julianna Margulies, OITNB, Orange is the New Black, Parks and Recreation, Rashida Jones, Retta, Taylor Schilling, The Good Wife, The Tonight, Uzo Aduba

Comments 1 Comment
Categories Out of the Box: Look of the Week
Author Emma Fraser

The Mindy Project and the Rom-Com Narrative Part 5

18 Sep

A year has passed since the first Mindy Project and the Rom-Com Narrative column and what started as a standalone piece has produced multiple parts and spinoffs (incorporating New Girl and the “What Next?”). The Mindy Project plays with the rom-com formula with direct references to Nora Ephron classics like When Harry Met Sally while using traditional rom-com devices such as voiceover and subverting the genre through a strong awareness of the common tropes. In the first episode of season 3 big steps have been made as Danny and Mindy have progressed from friends, to lovers to exes and now to a couple who are not hiding their relationship from their co-workers. Smooth sailing from here then, right?

Well that wouldn’t be interesting would it? There are plenty of obstacles and conflicts ahead for this new couple; the biggest one being how diametrically opposite they are about pretty much everything besides how they feel about each other. Last season Danny went through a stage of not wanting anyone to know about their relationship and then he tried to use the ‘you’re my best friend and I don’t want to lose you’ excuse as a reason to split up. Mindy saw through Danny’s scared BS and she didn’t just take him back when he simply tried to kiss her. This was one heartbreak that really hurt and so it required a little more than Danny simply responding in a possessive manner to the new dude in Mindy’s life.

They are a couple now, haters (bitches) and as I have mentioned throughout this rom-com series the “will they/won’t they” then turns into a “What next?” as they have to deal with what normally comes after the credits of a movie. The story doesn’t just end with smooching at the top of the Empire State Building.

The new season opens with Danny as the narrator mentioning the unlikelihood of this coupling when the show started and his assertion that they are very different is backed up with Mindy’s portion of the voiceover. Mindy likes to share and this is what lies at the heart of their first fight this season; it doesn’t matter that Mindy is very complimentary about Danny’s technique as it still makes him incredibly uncomfortable. Throw in a secret stripping past plus a piece of office gossip and we’ve got our first Mindy and Danny raging argument of season 3 as Danny tells Mindy that he can’t trust her. Trust is a relationship dealbreaker so are things looking precarious already?

[Source]

Far from it and while I am sure that somewhere down the line there will be a string of misunderstandings that might lead to something more contentious, this disagreement ends up with Danny spilling a lot more about himself including his Diamond Dan stripping past (which not only paid for medical school, but also allowed him to pay the mortgage on his mother’s house) and that he does have a middle name. His middle name is Alan after his dad and last season we found out more about his fractured relationship with his father with Mindy getting to witness Danny’s emotionally vulnerable side. The first time Danny kissed Mindy was on the plane ride home after this trip to see Danny’s father; boundaries got dropped all over the place.

Part of the appeal of this couple is the back and forth banter, which on occasion crosses the line with a derogatory remark about appearance such as Danny telling Mindy “get your big ass in there now” in the season 3 premiere. Comments like this cause much furrowing of the brow; Danny does refer to himself “as kind of a dick back then” in his opening narration and these moments do still slip in and on this occasion his annoyance at Mindy’s inability to keep secrets causes this unpleasant outburst. Danny is rough around the edges – not an excuse for his behavior, but an observation – and yet those edges have softened.

The list he has prepared is a big step, as is Mindy’s confession explaining why she has been so vocal about their relationship “I want it to be real and the more real it seems, the less likely it is that it could all get taken away from me.” Mindy wears her romantic temperament on her sleeve, but this level of honesty and vulnerability is rare from this character too. This statement solidifies their commitment to each other and it also signifies to the audience that we shouldn’t expect a break up in the next few episodes; they are at least in this for some sort of long haul. It is a welcome gesture as sometimes with a “will they/won’t they” couple it is easy to feel emotionally manipulated if there is a constant stream of “oh we’re almost a couple, now we’re not, now we are, oops broken up again” shenanigans. You know what else is a welcome gesture? This.

[Source – includes whole sequence]

As I said at the start of this piece conflict and obstacles should continue, but there has to be a reason for it. Danny and Mindy as an opposites attract coupling should provide plenty of material for this, however scenes like the one on the fire escape are important and still offer opportunity for absurdist/dark humor such as the kitchen knife Mindy accidentally drops followed by the sound of sirens. This first episode back is promising and this pairing is the strongest/most consistent on The Mindy Project; now they are a couple there are a new series of challenges and I am hopeful that this creative team will blast any Moonlighting curse nonsense out of the water so we can stop citing this a reason why a “will they/won’t they” shouldn’t progress to “What next?”

Tags: "We're a Couple Now, "What next?", 3.01, 30 Rock, Chris Messina, gifs, Haters", Liz Lemon, Mindy Kaling, Nora Ephron, rom-com narrative, The Mindy Project, will they/won't they

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Categories The Mindy Project
Author Emma Fraser

New Girl 4.01 “The Last Wedding” Review: Fist of Fun

16 Sep

A quick note before discussing the season 4 premiere as last year was uneven and disappointing after the highs of the previous season. I was a bit of a New Girl defender insisting that Nick and Jess weren’t the problem, even with episodes like “The Box” which had the pair yelling at each other for things they knew about each other prior to getting together (Nick not having a bank account was a bit of a stretch) and for me at times they were the only thing working. Well them and crazy Winston. Now they are not together and despite being a staunch Nick and Jess fan I’m excited to see how this will impact the dynamic of not just them, but of the group overall as the group is what suffered when they we’re together. So how is the first outing back?

“Wedding” was the first episode of New Girl which felt like a fully formed thing and as this was relatively early in the life of a sitcom (the general rule is the first 6 episodes are a bit wonky and this was only episode 3) it was a really positive sign. It was the first wedding Jess was attending with her roommates which a signaled an acceptance until they told her to “repress the Jess,” but by the end the chicken dance happened (still one of my favorite scenes) and they became more than just three friends and their new quirky roommate. Flash forward to now as the New Girl writers hit refresh and try to get back the spark which was absent for a lot of last season. As with the first wedding they attended together, the twelfth wedding of their summer of weddings has a lot going for it.

Taking place 4 months after Nick and Jess broke up means the wounds aren’t fresh; it might still be a stretch that they are living together the apartment is the central location of the show and without Jess living there it would lose the heart so I’m willing to suspend my disbelief here. Plus Nick and Jess are both total weirdos when it comes to their relationship that it’s actually not really that hard to buy. The aim of the episode is for everyone to hook up with someone at this wedding as only Coach and Schmidt have had any success all summer (Nick’s claim of a bridesmaid smooch is negated by her hospital bracelet and goldfish accessory). This leads to an ongoing joke about the five of them being a sex fist and the smut levels are at an impressive high. Maybe the Fox Standards and Practices people were taking it easy on their first episode back. See also the salt/pepper hole gag.

The problem with this many weddings – I’m not even going to question how all five of them are getting invited to this many – is they run into a lot of the same people, for Coach this is the biggest issue as he hasn’t called anyone back plus he maybe also stole the photographers charger as well as not calling her back. Coach deserves all the drinks he gets poured on him and the blurred flash induced vision. There are a lot of people who are already together narrowing the options so when the bridesmaids suggest a four-way with Nick and Schmidt one of them is far more into the idea than the other. Winston can’t summon the strength to move as he is in pain from the police academy training and Jess is encouraged to go big targeting the best man.

One of the best pairings on New Girl is Schmidt and Nick so when season 3 ended up with the two of them in a disagreement and in their own romantic subplots it meant there was far too little Schmidt/Nick interaction and it was contentious when there was. They’re still sparring of course, but in that grumpy old man Nick/over eager Schmidt manner and this storyline includes all the elements I love about this unlikely friendship. Nick is excited about one thing and that’s his tap shoes; they don’t get mentioned outside of the opening scene, but they provide the sound effects for my favorite running gag of the episode whenever Nick leaves. This happens often as Schmidt tries to convince Nick the four-way is a great idea and Nick only relents when he finds out Cece is single to stop his friend from doing something stupid. Nick’s hoof hands are the thing that throws Schmidt and Nick reveals Cece’s new romantic status prompting potential weirdness and drama down the line.

The ongoing saga of Schmidt and Cece is something I have been reticent of in the past; however they have such good chemistry together that if it happens then I won’t be annoyed. I would like Hannah Simone to get something to do and while it would be preferable if it was a storyline of her own, as the only non-apartment 4D dweller she is isolated and this makes it hard to achieve this.

Jess ends up competing with guest star Jessica Biel for the affections of Ted, the best man (a wedding celebrity no less) and this involves “being there” or “Bidening” – this gag didn’t really work for me beyond the association with guest star Reid Scott’s main gig Veep – and she spends most of the time hovering awkwardly. Jess takes a drastic measure that backfires “and at wedding 12 I sat on a men’s toilet seat” which leads to a sweet and not all that uncomfortable heart to heart with Nick considering both the location and the ex factor. This is the Nick and Jess that I love, not the arguing about bank accounts version, but the pep talk go get ’em kind. What’s great is this episode is reminding me of a whole lot of previous strong moments with this toilet conversation harking back to the season 2 premiere sitting atop a car as Nick consoles Jess about her career situation. This time it is about love and Nick reinforces the idea that she can be a fridge person (a fridge person being a big life event, usually a wedding invite person) too. It’s also a little like the photo booth scene from “Wedding” just without the drunken sadness and Nick tells Jess to be herself, even if she automatically takes this to a Tina Turner place. It’s sweet and supports my belief that the best conversations on TV take place in the bathroom.

Both Jess and Jessica Biel move from subtle attempts to laying it all out there with Jessica Biel doing this in the naked phone picture sense (Jess shows a photo she took with a dude who looks like Larry King). Ted can’t choose and ends up with neither; Jessica Biel goes home with her plan B (the vicar) and Jess goes home with her friends. They might have failed in their original mission, but none of them are going home alone. It’s this sentiment that suggests the writers know the group aspect is what the audience wants even more than will they/won’t they tension. There are still those aspects of course, but the friends come first and as they tear down the invites on the fridge with some of them going to dark places about these weddings (Nick’s comment is dark, but hilarious) it reminded me that this is the New Girl I love.

One episode doesn’t mean we can start yelling from the rooftops how the show is back on top form, however it is a step in the right direction and it gives me hope for the rest of the season. As far as the ensemble goes there wasn’t a whole lot for Coach, Winston or Cece but it also didn’t feel like they were off on their own either and I’m pretty excited about the prospect of Winston as a cop. A solid season opener and I’m glad to have these guys back.

Tags: "The Last Wedding", 4.01, Damon Wayans Jr., Hannah Simone, Jake Johnson, Lamorne Morris, Max Greenfield, New Girl, Wish List, Zooey Deschanel

Comments 3 Comments
Categories New Girl, Review
Author Emma Fraser

Dressing Elementary’s Joan Watson with Spring 2015 London Fashion Week Collections

16 Sep

Fashion Week continues in London as more RTW Spring 2015 collections are unveiled and so it must be time for more Fantasy Costuming. Joan Watson on Elementary manages to look casual, stylish and professional all while putting up with Sherlock and whatever crime they are tasked with solving. Shift dresses, a-line skirts paired with tights, boots and an endless stream of incredible coats to protect against the New York City elements are all Joan staples; now she won’t have Sherlock throwing outfits at her when she wakes up as she’ll be in her own place.

Joan’s costuming tends to be on the white/grey/black scale, but it doesn’t mean this is a bold color free zone and Joan does wear color and especially print on many occasion. Hemlines tend to be short and so most of these choices reflect that and as always the Fantasy Costuming selections are inspired by the costume design from the show in question and are in no way suggesting this character should wear a specific item mentioned.

Casual cool from Topshop Unique with a mustard yellow coat, leather skirt and white sweater. Throw on some tights and boots and it’s Joan (as these are Spring collections replace all the sandals with the kind of footwear we typically see Joan in).

From J. JS Lee here is the first of several shift dresses. Going to start with the more muted palette and work our way up to the bolder entries.

McQ Alexander McQueen; simple and effective.

Dropped waist, slightly longer and in navy from Jasper Conran.

Here comes the color; pink and textured from Orla Kiely. I’d like to think that is one big pocket, but alas it’s probably just seam detail.

Color and pattern with this Mulberry dress (plus an all nature backdrop). Love the slightly longer sleeves.

So here is the color apex and I might have been swung by two of my favorite things – yellow and pockets – but the silhouette on this Paul Costelloe frock is all Joan.

This is more for Joan going on a date (and yes she will be getting a love interest in season 3) and Lucy Liu would look fantastic in this retro-futuristic Tom Ford.

Pockets, patterns and texture from Saloni in another super cute casual frock for Joan.

When I think of peplum on TV I think of Alicia Florrick long before Joan Watson, but this Giles ensemble is far more Joan than Alicia playing with peplum, pockets and pattern in a funky manner.

A lighter looking coat (this is a Spring collection after all) and an all Joan outfit from Antipodium (as long as we ditch the sandals).

For more on Joan Watson’s costuming head here and here.

Elementary returns Thursday, October 30.

Tags: Elementary, Joan Watson, London Fashion Week, Lucy Liu, Rebecca Hofherr, Spring 2015 RTW

Comments 2 Comments
Categories Elementary, Fantasy Costuming
Author Emma Fraser

Masters of Sex 2.10 “Below the Belt” Review: “What is Wrong with Me?”

15 Sep

On Masters of Sex Bill Masters spends so long trying to ignore the past and listing off the things he either refuses to do (beg) or acknowledge as a potential reason behind his current condition (rejection) so even when he does admit there is a problem it is hard to feel sympathetic. There is something about Bill that draws Virginia to him even when he is pushing her away and it’s this push/pull that is compelling both to us an audience and the PR man who thinks Bill and Virginia would be great on TV. The back and forth between them continues to shift the power dynamic and Virginia is remarkably similar to Bill in how little of herself she gives up; even in the therapy session where she is admits deceit, she is still holding back anything that resembles her true feelings. Only giving snippets here and there when she is pressed and the psychologist can see through her defense mechanisms.

“Below the Belt” explores both those things physically below this item of clothing and confrontations that take things to an uncomfortable level; the success of these different storylines varies and it’s another case of an episode trying to address too much in one hour.

Starting where we left off last week with Bill and we get to see the rest of the post-confession conversation between Bill and Virginia while at her therapy/coming clean session. Virginia explains this isn’t an affair as an affair is primarily about sex and this isn’t happening right now (although Virginia doesn’t include those times Bill has recently ‘taken care of her,’ how very Bill Clinton of her). The doctor doesn’t not buy this for a second and neither do I; Virginia and Bill both recoil from the word ‘affair’ as it taints what they are doing, but it is clear that this goes way beyond the work even if curing Bill’s impotence is work related. In this scene we see Bill reiterate once again the importance of finding a cure without looking at the why, despite the fact that they are probably intrinsically linked. This would involve too much soul searching and as we know Bill is not so good at looking inward. Bill admits to being “broken” so this is something I guess and then explains how Virginia is the only one who can help him.

Circling back to this point at the end of the episode and after a huge blowout with his brother, Bill comes to the hotel room and admits everything to Virginia that he should have said to his brother and it appears that this unburdening has possibly solved the problem at hand (pun intended). Not sure how enticing the blood face marking and generally pulpiness of his face is, but I guess Virginia doesn’t have an issue with this. He really should clean up first, but bearing the outward signs of this fight is maybe Bill’s way of exhibiting manliness. That’s what a lot of this has to do with really and Bill considers not begging for pain to stop to be an exhibitor of being strong. It is incredibly fuzzy logic and a sign that Bill probably really needs to be in therapy to get beyond this particular sticking point. He taunts his brother into beating him by calling him weak and a coward in response to Frank’s assertion that the reason their family is broken can be traced back to alcohol.

Frank believes alcohol is why their father was a monster, Bill recollects things different stating that Frank Sr. only had one drink a night (like their mother’s one Tom Collins) and his despicable treatment of his family had nothing to do with alcohol. So who is right? Well Bill doesn’t know what the drink intake was after he left so they could both be right as Frank Sr. could have drank more in those later years. Bill is so convinced that his brother is stealing his story that he can’t admit his guilt in his presence, even if they had a variation of this conversation last week that didn’t end in a fist fight. Essie’s assertion earlier when she’s talking about Frank with Bill is an accurate take on this scenario “Everyone has their own version of everything that’s ever happened.”

The precarious financial situation continues as the power is shut off for a brief moment and Betty reinforces the point that they need to rent out more office space. The lobby looks majestic and with ice rinks and roller skating jokingly mentioned – Michael Sheen’s reaction to the roller skating question is hilarious and I’m glad we got to see a hint of his comedic side – but really it ends up as a boxing ring. Frank and Bill spar first with words and then with fists as Bill ignores Libby’s plea to “summon your better nature.”

Only in the safe haven of the hotel room can Bill admit that he is at fault; it’s not Bill’s fault for leaving home as he was forced out, but it is for pushing him in this manner. Bill asks “What is wrong with me?” and rather than getting an actual answer it is in this moment where things appear to be working for him. This could turn into a whole Freudian thing, but really what it comes down to is acknowledging how he feels complicit in abandoning his brother and this weight being lifted even if his question doesn’t come with an answer. Rejection played into the origin of his problem and this could easily go beyond what he saw as Virginia’s abandonment. It might also be a post fight adrenaline thing and I worry that Bill hasn’t really come to terms with anything as he’s only saying these things to Virginia.

Frank’s return has helped repair one family connection, though he might not be happy with the how as Bill and his mother bond over their disdain for the 12-step program mocking certain aspects suggesting that accusations are dressed up as an apology. They refer to it as being like “policeman” and “amateur psychiatrists” using it to spin the past in the way that benefits them. There’s a clear divide here with Essie and Bill on one side and Frank on the other with an argument erupting while Frank is giving their mother stitches after she got involved in a car accident after having one drink. There is an element of projecting here and while I think Frank’s got a very real problem with alcohol, he might also be looking too hard for a solution as to why their family is so broken and landing at a shared alcoholism. Through his prism this is the answer; Bill and Essie feel very differently and while they both do drink I can’t see it being to the degree that Frank fears. Bill’s secrecy and impulsive decision making comes from a whole other place and that is this one of trying to do great things and make his mark on the scientific community as a whole.

Hubris is a strength for Bill as much as it is a weakness when it comes to their work and he feels challenged by Dr. Kaufman’s published study of which they are simply a footnote. Bill wants to be much more than this, he wants to be first and so he sets about doing this by seeking the advice of a PR guy. Shep Tally (played by episode director Adam Arkin) sees potential in Bill and Virginia for television throwing Bill completely. Virginia is very much into this idea of showing off their work to the world in this manner, for Bill TV does not have the same gravitas as a medical journal even if they would be reaching a much more substantial amount of people.

Elsewhere Libby continues to volunteer for CORE despite Bill’s reservations – Bill is put out as he has lost the stability of knowing Libby is at home preparing his dinner, instead she is getting lunch for other dudes, ugh Bill – and she’s striving to make a difference. She complains to Virginia that people think she’s just a bored housewife and she wants to show she is more than that. In a way she is just this and yet her desire for purpose makes so much sense, I just still get the sense that she would have picked any cause and this just happened to be the one in the building her husband works in.

Robert’s initial concerns about her coming to help with flyering seem genuine and I can understand why her presence could be an issue, but she’s just as stubborn as her husband can be and she goes regardless. Libby ends up being a help and so Robert doesn’t dissuade her from coming next time. Libby asks Virginia to lie to Bill for her (while fixing her tights with the classic clear nail polish trick) and Virginia agrees to this. Feelings of guilt are probably why and Virginia also notes potential flirting between Robert and Libby; if Libby has an affair this will surely ease her conscience of the ‘non-affair’ she is having with Bill.

One theme that runs through this episode is the notion of giving up and Betty* tells the story of a former customer and impotence sufferer who she ended up avoiding through a variety of excuses because she couldn’t stand the look of agony on his face coupled with a plea of why aren’t you fixing this? There is a similar expression on Bill’s face when an attempt at arousal almost hits the mark through a technique of withholding as he can look, but not touch. Virginia has tied Bill’s hands behind his back – her dress embellishment doubles as seduction tool – putting him in a submissive position, but as soon as she stops talking he loses what he had.

*In this scene Betty is wearing the stunning dress that is featured on the Masters of Style feature and I’ve been waiting all season to see this frock. It looks just as good on screen as it did in the behind the scenes segment.

There’s another submissive/dominant relationship going on and it is one that might not be quite hitting the mark. Austin is now working full time for Cal-o-Metric and after turning down Flo’s advances in the past she is now telling him that if he doesn’t do as she says then he will be fired. This is of course sexual harassment and while I get what they are going for the tone of these scenes is off. Quite often Austin has been the comic relief and so these scenes, particularly with the cat still have what seems like a light and jokey edge for something that shouldn’t be funny at all. Maybe I’m reading into it too much, but for me there is something troubling about this storyline.

A different kind of connection is made elsewhere between Lester and Barb with an overt discussion about giving as they talk about their dysfunctions. This meet cute doesn’t get off to a good start as Lester accidentally insults Barb regarding her religious beliefs. Later Lester apologizes and they acknowledge they both share in despair and giving up; maybe they should not give up together? It’s a little neat bringing these two characters together in this way, however I am all for them finding happiness and if it is with each other then I can’t argue with that.

The breakthrough at the end of “Below the Belt” could be temporary or if Bill is willing to look deeper beyond just the desire to find a cure, then perhaps he will be prepared to respond to his own “what is wrong with me?” conundrum. When Masters of Sex focuses on Bill and Virginia the narrative feels like there is a strong narrative, as soon as it goes elsewhere it becomes a bit of sprawling mess and I hope in the last two episodes these elements are reconciled. Performances remain as strong as ever, as do the costumes which I continue to draw inspiration from.

Tags: "Below the Belt", 2.10, Ane Crabtree, costume design, Lizzy Caplan, Masters of Sex, Michael Sheen

Comments 2 Comments
Categories Masters of Sex, Review
Author Emma Fraser

Out of the Box: Look of the Week

12 Sep

A busy week with a whole host of events such as the Toronto International Film Festival, New York Fashion Week, the US Open and fall TV shindigs. We’ve got the best looks from these events – except for NYFW runway watching style which has separate posts here and here – and there’s been a lot of game stepping up fashion wise. It’s not surprising then that this is TV Ate My Wardrobe’s biggest “Out of the Box” post since we started over a year ago.

Starting with Tina Fey at TIFF in a gorgeous midnight-blue Temperley London frock at the This is Where I Leave You press conference and she is serving up a whole lot of confidence and glam. A pretty dress is a pretty dress, however one thing a lot of these dresses have in common this week is fabric that is textured in a manner that makes them stand out beyond the print or cut of the silhouette.

I couldn’t choose between the two Tina Fey TIFF dresses and this Christian Siriano number is doing the play on texture in an even more striking and overt manner. As with the Temperley London this is very much in the Tina Fey wheelhouse, but it stands out thanks to the embossing. Both the hair up retro style and the more relaxed hair down approach work for their respective outfits.

The dude in the background seems like he is way into this Suno dress Kristen Wiig is wearing at the Welcome to Me premiere at TIFF and so am I. The mixture of stripes and florals is not something everyone can pull off and Wiig is hitting the mark on this occasion (I can also picture it on Diane Kruger, because Diane Kruger). The print is giving off an impression of pleating on the skirt and this is one of my current clothing obsessions.

So How I Met Your Dad didn’t happen and while I would have loved to see Greta Gerwig on TV in a way I am glad it isn’t this particular project, I hope it doesn’t make her run from future TV ventures. Appearing at the While We Were Young TIFF premiere Gerwig looks super cute in a swirly metallic patterned Prabal Gurung frock.

Moving on to the Fox Fall Eco-Casino party and first up Chelsea Peretti in charcoal grey. I really love this and I’m extra excited that I will get to talk about Gina’s top notch sweater game on Brooklyn Nine-Nine very soon.

Pockets! Hannah Simone has had a busy week so while this dress is not setting the world on fire, it’s perfectly lovely and the pockets give it an extra edge.

It is after Labor Day and Zooey Deschanel continues to wear white *gasp* Eh, I don’t know if anyone really pays attention to that ‘rule’ anymore and this is another example of casual, but cute attire from the New Girl star. I especially like the black waist detail – though I really want to see what it looks like from the back – and I applaud the kitten heel choice. A bold lip color would really set the whole thing off.

InStyle celebrated 20 years with a lavish and appropriately stylish bash including Jess Weixler in a beautiful silk gown (plus pockets) with contrasting prints. This is also the ideal time to mention The Good Wife returns in a week (Sunday, 21) and Robyn is another character who makes me want all the sweaters.

In textured dress trend triumph is Yvonne Strahovski; I love how unique this with the leather accents and the blue ring detail. Strahovski also had one of my favorite runway watching looks earlier this week at the Naeem Khan show.

It’s been a big week for Keke Palmer as she became the first African-American Cinderella on Broadway and here she is at the InStyle party looking super chic in a Etre Cécile tank top paired with a beautiful icy (and you guessed it textured/pocketed) Mantu skirt.

After all that glitz and glam we will leave you with the best relaxed look of the week with Lizzy Caplan at the US Open in jeans and a stripy tank with a grey jumper tied around her waist. Red lip color really is the best way to make even the most chilled outfit pop.

Tags: Chelsea Peretti, fall TV, Greta Gerwig, Hannah Simone, Jess Weixler, Keke Palmer, Kristen Wiig, Lizzy Caplan, NYFW, TIFF, Tina Fey, Yvonne Strahovski, Zooey Deschanel

Comments 2 Comments
Categories Out of the Box: Look of the Week
Author Emma Fraser

The Most Angela Chase Dress at NYFW

11 Sep

The ’90s inspired fashion cycle continues and while the crop top explosion is something I’m enjoying just as much now as I did back then (and there continued to be a lot of stomach slivers on the Spring 2015 NYFW runway); the happiness I get from relating something back to My So-Called Life far outweighs my fear of showing my midriff. And you know Rayanne Graff could rock a bralette like no other, particularly when layered with multiple shirts and jackets.

Scrolling through endless shots and what leaps out? That’s right a dress from the Creatures of the Wind collection that is a combination of every Angela Chase plaid shirt/dress ever worn with a black plunging vest underneath.

Here is some Angela in plaid examples just in case you don’t spot the connection: