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Watch “Masters of Sex Presents: Masters of Style”

The costume design on Masters of Sex is something that gets poured over weekly here at TV Ate My Wardrobe and so I am thrilled to see Showtime produce a behind the scenes look at this department that goes beyond the usual sub-5 minute offering. Instead what they have delivered is a tour of sorts allowing costume designer Ane Crabtree the chance to showcase her work through four very different characters. Those being discussed are some of the vibrant characters who make up the supporting cast; Dr. Austin Langham (Teddy Spears), Betty (Annaleigh Ashford), Libby Masters (Caitlin Fitzgerald) and season 2 newcomer Barbara (Betsy Brandt).

Ane Crabtree is also joined by a panel of guests including Julie Ma from The Cut as they discuss why fashion from this period is revered today and who some of the influences are that shape the costuming choices for certain characters. With Betty for example (and the above shot is one of my favorite Betty looks so far) everything she wears is bold and like Marilyn Monroe she uses big clothes to hide her inner turmoil. The outfit she is wearing in the video is stunning (plus she put a bird on it) and it was made using vintage fabric with Betty in mind as she is the only character on this show who can wear something like this. With Libby it is more fashion driven from that era (such as Dior’s New Look) and Hitchcock inspired as she is the statuesque blonde.

One recurring comment is how much these actors enjoy wearing these clothes with several of them mentioning they have borrowed items; showing how current some of these pieces with recent trends. Everything they wear underneath is also made using vintage patterns as the cut/shape of the longline underwear is essential for exhibiting the correct posture of this period (I probably need that as I am currently hunched over my keyboard).

It is a fascinating look into how period costume design comes into fruition and I hope to see more of these detailed behind the scenes costume showcases.

http://youtu.be/fWyk0WP0F9k

Tags: Ane Crabtree, costume design, Masters of Sex, vintage

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Categories Costuming, Masters of Sex
Author Emma Fraser

Masters of Sex 2.03 “Fight” Review: “Maybe it was Wednesday”

28 Jul

Searching for a meaning can sometimes prove elusive or at least a challenge if it is buried beneath multiple defensive layers; the box you keep your heart in might be reinforced and hard to crack. In this phenomenal episode of Masters of Sex we gain further insight into who both Bill and Virginia are and maybe who they would like to be through their role playing. The line between reality and fantasy are blurred and so at times it is hard to tell where one ends and the other begins; watching them alternate between the two is incredible and this is an hour of TV to be cherished with powerhouse performances from both Lizzy Caplan and Michael Sheen.

The Bill and Virginia dance is a classic one step forward two steps back embrace; one leans in as the other pulls away and this motion plays an integral part in their relationship overall, but especially in “Fight.” The backdrop for this evening of research is boxing and a fight between a seasoned pro and a relative newcomer with the advantage changing between rounds with experience winning out in the end. Like Virginia I wanted to see how it ends and playing the final moments over the end credits satisfied this urge and now we are left to wonder just who is winning between Virginia and Bill. Not that a relationship can by monitored in this point scoring way no matter how hard we try and it becomes even more apparent this week that Bill and Virginia are not prepared for the emotional ramifications of their new hotel room research setup.

Part of this relationship performance includes various states of undress with Bill’s undone bow tie and “I’m not angry, but I’ll throw you against the wall before saying hello” setting the scene and starting things off in this dominating manner. Bill is deflecting his feelings from the encounter he had at work with a man who resembles the bully his father was and who is unhappy with his son’s “ambiguous sex organs.” Bill’s compassion for his patients and especially those who don’t have their own agency is something we have seen repeatedly (including last week) and as it is a newborn baby who is at risk this week his response is amplified.

This baby has been reduced to terms of what can be defined as ‘normal’ and Bill points out that this is a wide spectrum. There are certain expectations with labels and so when Bill explains that “Erections aren’t the totality of manhood” he is met with sneers and name calling. The study they are performing is meant to challenge ideals and show there is not one set of standards to be met; for this child their study is not going to help when the father is so rigid and forthright with his opinions.

Conversations about defining gender characteristics also take place in Virginia’s kitchen with her daughter as they discuss the roles of the tooth fairies, princesses and princes. The prince is always handsome even if his face gets stomped on by a horse and as long as the princess has seen him before this accident then a kiss will heal his disfigurement. Virginia tries to challenge Tessa’s fairy tale gender stereotypes with little success as sadly the princess cannot go on adventures on her own. If Tessa were to look upon her mother in her red apron and work attire she would see that we can be more than one thing and our expectations differ from reality. Virginia realizes that Tessa likes these kinds of stories as she knows how they will end and this is something you can’t plan for in real life as challenges present themselves when we least expect. If the handsome prince got his face stomped on in real life his face would stay like that forever (well plastic surgery might help, I guess). Maybe that’s a little too bleak to tell a child.

What happens to us as at a young age plays an important role in the stories that are shared between Virginia and Bill as he reveals to Virginia the truth about his relationship with his father. Bill does so through the guise of Dr. Holden and so at first it is unclear to Virginia that he is talking about himself or the extent of the abuse he suffered. Bill likes boxing because it made him feel strong at a time when he had been repeatedly beaten by his father both emotionally and physically. The reasons behind the beatings were random and his rage could come at any time – “maybe it was Wednesday” – and not only did he subject him to this, but he also effectively abandoned him at the age of 14 when he dropped him off at boarding school to never come home again (in reality Bill went home that Christmas, but this was the last time). Libby mentioned last week how Bill has never gone into detail with what happened during his childhood emphasizing just how massive this unburdening of information is.

Virginia is also careful to protect herself and her reluctance to trust a man comes from the first time she was in love. Like Bill she shares this story through the part she is playing and so it’s not immediately apparent that it isn’t a work of fiction. Virginia had her heart broken by an army captain who wound up getting married to the fiance he mentioned once in a whole year of dating. This obviously had a profound effect on how much Virginia has since been willing to give herself over to another person and this story also serves as an analogy for what is happening with Bill as there is also a third person to consider with Libby; it is why Virginia keeps her heart out of it. The lines between reality and fantasy are repeatedly blurred as Virginia finishes this story telling a transfixed Bill that she wouldn’t marry a man (so him in this scenario) who she “didn’t both love and desire.”

Vulnerability and intimacy levels alternate throughout with both Bill and Virginia acting as the dominant and submissive one at various points. From the stories they tell to initiating the research with Bill’s bathroom domination going up against Virginia’s thigh seduction. When Bill tries to take charge once again Virginia flips the tables and refuses to beg after standing there naked at Bill’s command; instead she effectively drops her gloves and masturbates to prove that she can get all the pleasure she needs by herself. That round goes to Virginia and her protected heart.

The real moments of intimacy go far beyond these physical acts and just watching how at ease they are with each other when they’re lounging in bathrobes and their undergarments is far more telling than the unspoken power games they are playing. This is why it is important that Virginia didn’t resort to begging when Bill told her to, however Bill also took away from this night the lesson of when it is okay to get down on your knees and plead. Bill never did this when his father beat him even though he knew if he did then the beating would end, this was his own personal show of power over his father even if he ended up worse off as a result of his stubbornness. It is Bill’s patient who is now at the mercy of a bully and so Bill pushes aside his pride resorting to the position of a begging man; it’s too late and the surgery has taken place. Surgery that has been done using a text book as a resource because there isn’t someone with the necessary experience. If you weren’t already feeling horrified at the attitude of this father he chose to make his child a girl because he was told a “hole is easier than a pole” and he’d rather have a “tomboy than a sissy.” A quick fix that will lead to a lifetime of anguish.

The red apron that represents Virginia’s home role is the only real flash of costuming color this week and “Fight” operates with mostly black and white clothing with Virginia’s grey dress straddling the two. Bill’s underwear is white contrasting with Virginia’s black and the white robes keep them on level ground – they tell their most intimate secrets when both in their matching robes – when Virginia is asked to drop hers and Bill keeps his on the power dynamic shifts first to Bill and then back to Virginia as she wrestles control with her hands. The blurry world of grey comes with Virginia’s dress complete with white collar and cuffs; her work attire is neutral and can be seen as sexy when she is undressing or homely when Virginia is saying goodbye to Bill barefoot – “This is where a married couple would kiss.” Yes, I wanted them to kiss. Prior to this scene when Virginia is on the phone to her daughter she plays with Bill’s wedding ring, trying it on and briefly allowing herself to imagine what this might be like before shutting it down once again. At different points Bill and Virginia stop themselves before they enter into what they would deem to be affair territory and it’s why they have never had breakfast together; breakfast equates to commitment.

Black attire tends to symbolize passion with black underwear taking on a more risque appearance, but I would argue that the white clothing worn in this episode drops the usual innocence tag and takes on what we would normally associate with black. This white coat is the first time we have seen Virginia wear something like this that wasn’t a medical coat and there is power in this image; it is mysterious and sexy so when she enters the crowded room of men watching the fight she instantly stands out. It’s not surprising that both the strong white pieces that Virginia wears this week are influenced by movie stars as costume designer Ane Crabtree explains on Twitter; Kim Novak’s Vertigo coat is a point of reference for this stunning look and Marilyn Monroe is the inspiration for the sexiness of the bathrobes.

It’s not all bathrobe seduction as a friendly boxing tutorial turns into a competitive battle followed by farce when Virginia’s bracelet gets caught in Bill’s hair. Virginia thinks that Bill was making fun of her and it becomes another discussion where neither one wants to back down from their point of view. It leads to another moment of intimacy, this time in the form of a haircut and more revelations from Bill about his father and the time he broke his nose (and he claims not his heart). It’s only after Bill wants Virginia to beg and she refuses that he reveals the why of his beatings from his father in that there really isn’t a specific reason he did it and Virginia counters why it would have been okay for Bill to say stop. For a brief moment Bill gets misty eyed and this subtle gesture from Michael Sheen is almost as powerful as his anguished sob last season.

Virginia is angry at Bill for how she thought he was making fun of her during their boxing tutorial as it was an unfair fight, quite the contrary according to Bill as it feels better to win when the odds are against you. Later what Virginia should say to Bill she instead tells their waiter Elliott as she explains that being taking seriously and listened to is much better than trinkets. This sentiment is also hilarious as the amount of times that both Bill and Virginia deflect the subject, when things look like they might be going down a romantic and honest road is particularly high this week. Virginia’s assessment of boxing is that “it almost looks like love” and from what we are witnessing the same could be said for what is going on in this hotel room and in the outside world there is plenty stacked against them.

Tags: "Fight", 2.03, Ane Crabtree, costume design, Lizzy Caplan, Masters of Sex, Michael Sheen, Review

Comments 9 Comments
Categories Masters of Sex
Author Emma Fraser

Masters of Sex 2.02 “Kyrie Eleison” Review: “You’re Not Your Worst Part”

21 Jul

Masters of Sex is interested in far more than the act that can lead to another life and “Kyrie Eleison” (Greek for “Lord, have mercy“) takes a look at the various life lessons that have been passed down from mother to daughter; stigma, loss and misunderstanding are all prevalent. While we already know so much about Bill’s own unhappy childhood and difficult relationship with his mother – so much more than he has ever shared with Libby – it is time to shine the spotlight on several of the other female characters. Part of this occurs through the teenage patient Rose and ethical quandary Bill finds himself in, but it’s also a lot more organic than every character interacting with Rose and spinning off this ‘case of the week.’

Bill is in a fight with Betty as she’s faking fertility treatments to keep her husband happy and Bill is not thrilled with his role in this charade. This is the second time Betty has blackmailed Bill while using the study as leverage – in season 1 she provided the brothel where Bill observed, now she holds the key to the funding – and despite threatening to tell Gene everything, Bill doesn’t want to jeopardize his new position in this manner. Betty keeps referring to his “dopey sex study” something Bill takes great offense to as this study could dramatically change how people view sex and the medical conditions that are currently referred to as “deviant behavior.”

Rose despairs because there is darkness inside her and she thinks sterilization is the only way to “fix” her problem; there are appearances to keep up as her mother wants her out and ready for cotillion. Once again the WASP way of sweeping everything under the carpet and the favors that come with a sizable donation look set to win this argument.* Greathouse already looks like he is going to be a problem as he completely misunderstands the point of the sex study and there’s clearly something going on between him and Bill’s new secretary Barbs (the amazing Betsy Brandt).

*It’s hard not to think of Dawson’s Creek and the reason Jen Lindlay was sent to live with her Grams; her parents caught her in bed with another boy at a similar age to when Rose was first caught. It’s a common tale of repressing sexuality in teens by sending them away and one that leads to far more shame. Basically don’t send your kids away for shit like this. It is not the cure.

It’s a ballsy move for Bill to go against orders this early in his job at Memorial, but Bill is not going to stand by and be told what is best for his patient just because privilege is at play. We rarely see Bill’s tender side and it often occurs when he has a patient who is being oppressed – in season 1 he helped a woman who had an abusive husband and he didn’t play by the segregation rules on a ward – here he sees what could be a hopeful future for Rose as long as she understands that “You’re not your worst part.” There is hope through understanding and this is why this sex study is so vital, so people stop calling others tramps and whores (sadly this still happens regardless of better understanding).

Betty has her own life lesson to impart on Rose and she’s been an eavesdropping bystander to the whole case; she also has her own experience when it comes to sterilization and she unsuccessfully attempted to reverse the procedure last season. Betty’s mother called her a tramp and a whore for as long as Betty could take before she snapped. Betty’s version of standing up for herself comes with dark consequences as she used the heel of her pump to strike her mother which resulted in blindness and a glass eye. Betty realizes that this might not be the best advice and she’s equally surprised when Rose mentions Bill’s words of wisdom. If only Bill would let others in beyond his patients and Virginia (on the rarest of occasions). No, Bill is more likely to let out his feelings when he is alone as we see when he emotionally reacts to what happened to Barton.

Shoe observations represent more than just a violent act for Betty as her expensive heel break when a past client bumps into her in the hospital corridor. Betty utters that $50 shoes are just as poorly made as $5 ones and despite her expensive furs (which she wears several of this week) there is always someone lurking to remind her of who she used to be. Betty mother was the first to call her these names and it is hard to escape something that ingrained, even when you’ve freed yourself from those ties.

Virginia is still facing dirty looks and unwanted attention as a result of the study and the one doctor who appeared to be different from the other multiple leery advances turns out to be the kind of guy Virginia accused him of being last week. Under the guise of finding out about their research techniques Virginia gives a detailed explanation of how Ulysses works to Dr Ditmer and he ends up getting more than just a little turned on by scientific terms like “vaginal sweating.” Yep the dude lets it all out and if it wasn’t so scuzzy then it might make for an interesting write up for the study. Instead Virginia is rightfully horrified at this encounter and then pissed when an elevator full of woman ignores her calls to hold it for her. If that sweater wasn’t so cute I would probably suggest Ginny burns her clothes to get the skeeze off.

There is one doctor who is not pursuing Virginia’s romantic attention; his horndog status is well publicized and he hits on patients and yet Dr. Austin Langham has no interest in Virginia. Austin like Virginia has had his private affairs aired publicly and the big difference here is that assumptions are being made about Gini and she’s either ostracized or leered at, whereas Austin can still hold a booze soaked party in his office and get a good attendance. Ah, those classic double standards (the Friday Night Lights season 1 episode “It’s Different for Girls” demonstrates this perfectly) and instead of refusing Austin’s offer to dance, I’m glad to see Virginia driving into the skid (to borrow Austin’s metaphor) and not hide herself away. I’m not sure I agree with his lone wolf analogy and it sounds like Austin has been getting more therapy, but this pairing as just friends is so utterly delightful.

Those who dislike Virginia extend beyond those who work there; Vivian Scully makes sure her opinions are well and truly heard by everyone within a 50 meter radius when she comes to get her broken arm checked out. Vivian is still reeling from her own family tragedy and Virginia’s attempt to act like BFFs riles her and she gets an emotional release by berating Virginia about Ethan. What this conversation does is give Virginia information, however limited that something has happened to Barton as he has taken a leave of absence, information that she imparts on Bill who in turn goes to see Vivian about what really happened. Even though Vivian doesn’t know and really doesn’t want to hear it most likely, Virginia helps her out even after she tells her that she will end up “old and ugly and alone.”

This brings me to my favorite relationship of the show; Virginia and Lillian. Masters of Sex creator Michelle Ashford spoke to Time last week and this quote really resonates:

“I think sometimes female friendships tend to be portrayed as either ‘We’re best friends and tell each other everything’ or ‘I did like you but now we want the same man, so I hate you.’ But the truth of female friendships is they are often as complicated as romantic relationships, sibling relationships, mother/daughter relationships — there’s competition between women, and envy, women can be both very judgmental and incredibly selfless in the love and support they offer one another. There are a million emotions under the sun that play out in female friendships, and I think we’re just committed to making the women (and their friendships) that we portray on our show as very specific.”

The Lillian/Virginia relationship is incredibly complicated and we see it in yet another light in “Kyrie Eleison” as Virginia takes on a motherly role with her boss. Lillian’s getting more and more words mixed up and Virginia is concerned this has something to do with her cancer (my booze theory was way off). Virginia takes charge and books an appointment with Lillian’s oncologist and the prognosis is not great; they are both fighters and so Virginia refuses to see this as a defeat. Virginia takes Lillian’s “every good fight begins with pizza” as another word mix up, far from it and I’m totally with Lillian.

Prior to this the pair have a bathroom chat (and anyone who read my My So-Called Life discussions knows how much I adore a TV bathroom chat) to do with the film Virginia wants Lillian to make rather than plain old pamphlets. Virginia goes a bit stage mom as she insists Lillian wears makeup to reduce the shine – “What does makeup have to do with medicine?” – with Lillian playing the part of reluctant daughter (this is good advice and something Richard Nixon will regret not knowing very soon in this timeline). It brings up their own mothers with Virginia describing a woman who had big dreams for herself and her daughter (and it sounds like mother did not get her own) and Lillian’s had a passion for bridge, or rather she killed herself off a bridge and it suddenly becomes clear why she is so guarded and driven. Hugely different experiences, but they are drawn together in this incredibly tender friendship that started in a combative place.

Bonding over tales of childhood occurs in the Masters house too; not between Libby and Bill (which really would be a shocking moment), but with the nanny Libby has hired to help with baby Johnny after Bill sent his mother packing. Coral lost her mother at a young age like Libby and Libby shares a whole lot about her fears regarding Bill’s distance and discomfort with the baby. There is a sisterly vibe as Libby takes Coral’s hand and what fun things they have planned. The atmosphere changes when Libby can’t find a solution to Johnny’s crying in her Dr. Benjamin Spock book and starts to fret. It’s compounded further by Bill’s arrival home and his inability to hide his annoyance at the loud crying. Swaddling is the solution, something Coral does and Bill is all “well, duh, I did tell you that.” Not helping, Bill.

The atmosphere changes and what started as gal pals shifts to a more traditional employer/employee definition in the most cringy way possible. Libby feels scolded and stupid for the swaddling incident and so she lashes out in an extremely passive aggressive manner as she patronizes Coral by pointing out how she pronounces things incorrectly. Libby uses the guise of being a team and having to present themselves in the same way, but no this is her exerting her power through her privilege and it’s pretty ugly. One other shift is that Libby is wearing a whole lot of pants – something she barely did last season – and there is still a strong feminine style with the choice of capri pants and soft color sweaters. Coral’s attire reflects her young age and has a school girl innocence to it, particularly the white ankle socks in the first photo. Race was briefly addressed last season, though in no kind of depth and while Libby has liberal views her jealousy and insecurities could provide their own conflicts in this area.

Bill has already started using his new job as an excuse to avoid home and the affair they say isn’t an affair continues as the episode is bookended with trips to the hotel. The research is now taking a more psychological direction which will have implications on both a personal level and on a grand scale that could change how people see certain types of behavior. Bill still stands in the shadows making his excuses to his wife even as he tries to shine a light on what some consider to be a sinful act. You can still be your own worst enemy even when dishing out great advice like “you’re not your worst part.”

Tags: 2.02, Ane Crabtree, costume design, Kyrie Eleison, Lizzy Caplan, Masters of Sex, Michael Sheen

Comments 3 Comments
Categories Masters of Sex
Author Emma Fraser

Masters of Sex 2.01 “Parallax” Review: Going off Book

14 Jul

The big rain soaked grand gesture that ended season 1 of Masters of Sex is revisited in the form of flashback from both Bill and Virginia’s perspective throughout this premiere – the different points of view give the episode its title – and it is even followed by an equally rom-com like “What do we do now?” This question is incredibly loaded and neither Bill nor Virginia is very good at saying what they really mean; there is no scientific instrument than can speak for the (metaphorical) heart. Everything has been displaced and in this excellent first outing back we see pretty much every character clinging to the past while being deluded about the present. As with last year these reviews will be looking at Masters of Sex through the prism of costume design and how this plays a part in the overall narrative, as well as exploring other broader themes this show is addressing. Starting at the end of the episode, which in a sense is the beginning of this seasons time line as Bill and Virginia discuss the finer points of Freud’s “there are no accidents” philosophy – this is one occasion where they agree with Freud after debunking his female orgasm theory – and end up in their standard stalemate relationship position. Bill and Virginia work incredibly well together and are both rather intuitive when it comes to the work, not so much with saying how they really feel as one of them is always erecting walls to protect their heart. Bill was the one to lay it all out this time and then pulled the classic “oh you misunderstood what I was saying” after Virginia use word “affair” and how amazing he is for getting that she choose work over love. They can barely look at each other in this scene and they’re wearing their standard armor; Virginia’s high neckline/dark palette is her serious person wear and Bill’s immaculate suit and bow tie reflects his stiff exterior. Their versions of armor do get stripped away in the bedroom and this is the first time they have been intimate outside of a controlled environment and it is jarring seeing them engaging like this outside of blue robes and medical instruments. The quick cuts as they go from doorstep to bedroom and finally a longer sequence of them naked enhances how impulsive this moment is and they are both laid out bare both physically and emotionally. Bill’s inquisitive side comes into play as he checks Virginia’s pulse and the first mention of no medical equipment is uttered; it’s impossible for this pair to separate the study from intimacy. This is the barrier they have used in the past to justify what they are doing as science. Now comes the psychological side of sex and Virginia ponders how they will measure this kind of data. Ah the study and its ability to provide an excuse for ignoring what is really going on while confronting these feelings in equal measures; Virginia even refers to it as “like nuclear rain falling on us all.” That is some stark imagery. Virginia barely wears any color in this episode and the ones she does are relatively muted aside from the celadon scarf that gets commented on at the hotel (“you can call it green”) and this incredible floral kimono. Again this is a much different look to the blue robes worn during Virginia’s previous sexual encounters with Bill and while they have of course been intimate with each other prior to this, the different setting and personal details like this kimono show how this relationship enters a new phase only to be back where they started by the end of the premiere. The different versions of the phone call, one in which we see Bill with a post-sex hopeful glow as Virginia turns down Ethan and the other as we hear Ethan’s side and see Virginia choosing work over love (even if she was never really in love with Ethan) earn an “it’s complicated” relationship status update. If this episode had a sponsor it would be denial and the result of what denial can do is helpfully demonstrated by Dr. Austin Langham as he hides from his scorned wife in Dr. Lillian DePaul’s office – he interrupts Lillian and Virginia having their own conversation about denial – as she roams the halls with her kids in tow yelling about her unfaithful husband. I have to admit that I totally bought into Austin’s sincere sounding declaration that he was a changed man and was no longer the cheating hound dog he was last season. Instead he has actually been sleeping with his sister-in-law and his fear of the study being like a mummy’s curse wasn’t his downfall, his inability to keep it in his pants did that just fine. Virginia getting to hold yet another baby reluctantly combined with Lillian’s admonishing of Austin made this the comic relief this episode craved. It also raised the question of whether Virginia should have ratted out where Austin was as a sign of solidarity even though Austin is the one who is her friend, not his wife and this situation is even more problematic as Virginia is also currently sleeping with the husband of a friend (no I am never buying the “it’s for science” defense which is why the Bill/Libby/Virginia love triangle is so fascinating). In one other moment of hilarity Lizzy Caplan did get to show off her fantastic comic timing as she attempts to use the script given to her to sell the diet pills, improv is definitely more Virginia’s speed. While I’m on the subject of the Libby/Virginia friendship it is a good time to point out the stunning outfit Libby wears while on her trip to the hospital – inspired by Dior’s New Look – and there’s a couple of things that stand out to me here. First there’s light and dark; Virginia is in her standard dark tones and it’s not surprising considering the reaction from hospital employees that Virginia is doing all she can to not stand out. Libby is facing similar stares when out at functions and I’m not sure if she is aware of these disapproving looks or is she is using standard WASP protocol and pretending everything is fine, I suspect the latter. The color of this dress matches her son’s attire and it instantly made me think of how the Virgin Mary is often depicted wearing light blue and white. This is reflected later when Bill scoffs that their baby isn’t Jesus despite being a ‘miracle,’ no to Bill he is like a crying monster to be drowned out by records and thoughts of Virginia. If only he could see the above shot to make things even more jumbled in Bill’s mind. Pure horror movie POV as Bill contemplates entering dear, sweet Johnny’s room before opting for the record player. Libby later calls Bill a “baby magician” before realizing that his mother is the one with the baby skills beyond the hospital. Bill’s baby fear stems from his own troubled family history and he banishes his mother back to Ohio after spitting at her how he is sleeping with Virginia and that he has become both his father and her. Bill really needs therapy as these issues are not going away and it is unfortunate that Libby has to deal with both their crying child and her repressive husband. Libby asks for advice from Virginia with how to deal with Bill’s work situation and Virginia’s words of wisdom focus on Libby “most of all I would take care of myself, it’s all you can do” as Bill is not great when being pushed in a certain direction. Libby does some of the former, but really more of the latter and this calls for more stunning vintage garments including this blue alpaca coat. Libby is all poise at this event showing off what is under the above alpaca coat – a spectacular necklace and pale blue dress -as she tries to make things work, all while Bill is polishing off multiple martinis and snarking about her attempts to talk to Greathouse. Bill has his own chance meeting that helps him secure a new job and outlet for the study (more on that below). Tying Virginia and Libby together through floral print is not something I would have necessarily expected; Libby wears hers to maintain her social standing and to help Bill’s career through the only way she knows how and Virginia’s comes as personal and professional intersect in a new location. Libby and Virginia are of course linked through Bill and as their friendship developed prior to any Bill/Virginia sexy times it makes everything even more complicated. Libby is a sympathetic figure – which a lot of other shows with a difficult/brilliant man storyline have struggled with – and at the same time she isn’t painted as a weak 1950s housewife. There is real steely determination here and I worried when Masters of Sex first started that Libby would end up as nothing more than a pretty face with a nagging disposition so that you would will Bill and Virginia to be together. Instead we have a character who has strength and isn’t afraid to go against her husband’s wishes if she thinks it will help her family. That Bill has two women like this in his life who want to go to bat for him, despite his prickly and difficult nature is pretty astounding.

We know that when Bill lets his guard down there is a very caring side as he shows when he accompanies Barton to his electroshock therapy. When Barton pukes on him he barely blinks “it’s just a suit.” Bill can’t hide his disgust at this barbaric course of treatment and he uses science to try and convince Barton that he shouldn’t continue down this path.

I’ve talked about how the theme of this episode is denial and Barton has this is droves as he tries to convince himself and Margaret that he can be ‘cured.’ Margaret sees through his sexual advances as soon as he wants to do it from behind pleading with him “there’s only a shred of me left that feels like a woman.” Margaret and Barton break my heart on every level in this episode – and have all but guaranteed repeat Emmy nominations for this time next year – as they both struggle with the reality of Barton’s sexuality. He so desperately wants to feel another way that his last resort is suicide and he is saved by his wife and daughter who have just returned from a shopping spree. Mother and daughter discuss the color of Vivian’s new top – she’s moving away from the pinks of last season as she has grown up and is talking about moving away – when they hear what they think is a thud from the basement window. Instead it is Barton’s hanging attempt and thankfully they reach him in time to save his life. Where the Scullys go from here is unclear, but they aren’t letting even those nearest to them in as Margaret makes excuses to Bill; a long distance phone call is the 50s version of a video call I guess. What dish of denial is Lillian cooking up with her medicine cabinet story? Am I wrong in inferring that alcohol might be behind this shiner? One thing that I love about Masters of Sex is that it doesn’t have just one great lady friendship, there are currently three – though Jane will be departing soon sadly – and each brings out a different richness. Lillian and Virginia call each other out on their BS, Lillian disapproves of the diet pills Virginia is hawking and Virginia quickly flips the tables when Lillian blames her black eye on an object and not a person. Lillian has trouble getting her words out which might add to my booze theory or it could be down to her illness which I fear will take this incredible character away from us. It’s all about being careful and not reckless, a position that sends Virginia down Bill Masters memory lane for the final time in “Parallax” (this title also sounds like a diet pill to be honest) as their guarded nature could be seen as being careful, but it is probably going to be far more detrimental in the long run. Lillian as ever is buttoned up and muted in her costuming. Yellow bag, coat, dress and jewelry is what I wanted from Jane’s brief appearance this season (Heléne Yorke is switching with Annaleigh Ashford as the actress with Broadway commitments this year) and I’m really going to miss this character’s ability to be honest without being hurtful. Jane wants Virginia to move to California as she thinks Virginia is deluding herself with the study and Bill. It’s colorful versus muted tones once again (Virginia’s collar is making me think of vicars and how she is trying to reject the sexual image people associate with her after the presentation) and Virginia also uses this opportunity to convince her friend that maybe she isn’t making the right choice either. Jane is following her dream and in a way Virginia is doing the same by putting her faith in Bill and their work. Betty is back! Welcome to another installment of denial as she still hasn’t told her husband that a) she is gay and b) she can’t have kids. Masters knows about both of these things and is pissed that he has been drawn into this mess again, but hey he also gets to restart the study and get a new job out of this association so let’s play nice Bill. Betty is also not thrilled to see Bill and the Pretzel King is oblivious to all of this. Oh, Greg Grunberg (and another Felicity alum getting discussed on both his former and current show). Betty wears red, which was a staple color during her brief, but memorable stint last season and her relationship with Bill is one of the many conflicts I am looking forward to them exploring this year. An excellent first episode back propelling the story forward while characters try to adjust to big changes while denying that anything is different despite the obvious shifts and upheavals. Incredible work from Ane Crabtree and her costume design team as they add another layer to the text through what the characters wear and how they wear it.

Tags: Ane Crabtree, Annaleigh Ashford, Caitlin Fitzgerald, costume design, Greg Grunberg, Helen Yorke, Julianne Nicholson, Lizzy Caplan, Masters of Sex, Michael Sheen, Teddy Sears

Comments 7 Comments
Categories Masters of Sex, Review
Author Emma Fraser

Fantasy Costuming Masters of Sex: Vintage Inspired

7 Jul

As Masters of Sex is a period drama the costume design relies on vintage pieces and new garments that have been inspired/adapted by Ane Crabtree and her team (Crabtree’s Instagram has some great behind the scenes videos) to keep in line with the look of the late 1950s.* This edition of Fantasy Costuming is going to be a bit different from previous outings as I have selected garments from a variety of stores ranging from affordable to ‘one month’s rent’ and everything chosen is available to buy right now. Both 1950s and 1960s silhouettes (and especially the latter) have refused to be relegated to the past and each season seems to have a hint of these decades on the runway (much to my delight).

*Updated to include this behind the scenes video from Showtime and one revelation is how Crabtree makes everything.

http://youtu.be/NuOC9x5MMCU

The garments featured are reflections rather than something one of these characters might wear; an homage using current collections and inspired by the costuming from the first season. Virginia, Libby and Jane are the three women I will be looking at for wardrobe ideas as all three represent different aspects of this period.

Virginia’s wardrobe is dominated by subdued colors as she wants to be taken seriously and this means there’s a whole lot of black and grey. Color does slip in with red and green, plus bows and buttons are very much part of her look. One of my favorite aspects of 1950s style is how detailed necklines are and they often feature added embellishments/intricate collars.

The Rockabilly Your World top is one of several items from the vintage inspired ModCloth and the rounded collar/bow detail is so on point for Virginia.

Sticking with black and a similar neckline with a Carven dress that sits a lot higher (mid-thigh) than something Virginia would wear, but definitely shares in the essence of her serious work attire.

Grey is Virginia’s backup work power suit color (just throw a white coat over the top for extra Virginia Johnson confidence) and this knee-length Lanvin wool dress is all nipped in waist, keyhole detail and shoulder embellishment.

Time to inject some color and red is rather symbolical for a number of reasons; it reflects the passion that both Virginia and Bill are having a hard time reconciling with as each pushes the other away at various points during season 1. Red is a dominant color on the artwork for season 2 and it holds significance when Virginia wears it. Plus Lizzy Caplan looks stunning in any form of crimson (lip color included). This frock is from ModCloth and is appropriately called the Dance Floor Date dress.

One more Virginia item and Masters of Sex had me coveting all the coats last season. Coming from RED Valentino this stunning and super chic black woven coat has a hint of bowed femininity and an enduring quality. Virginia is both fashion forward for the time period and at the same time maintains a timeless look as a woman in the workplace.

Moving on with a couple of items that make me think of Jane. Jane’s dominant color matched her sunny disposition with a whole lot of yellow. Both the You Got the Upbeat blouse and Member of the Board heels are from ModCloth and are well suited to those who wear this shade all of the time and those who want to give it a go for the first time. Regulars to the site know I am a slight yellow clothes obsessive and so I’m always happy to have a reason to shop this color.

Libby is the most classically feminine of the women on Masters of Sex as she plays the traditional role of housewife and now mother. In season 1 Libby’s costuming reflects a wealthy lifestyle and even her loungewear/cooking/cleaning clothes are beautiful. This might see a shift in season 2 as she’s now dealing with a baby and their financial situation is far from secure. This beautiful cornflower jacquard skirt is from Topshop and matches the pastels and patterns Libby wears.

More soft color from Alice + Olivia and this works for both a Libby influence and her younger counterpart Vivian Scully (pink dominates her costuming). The floral lace detail is stunning and the classic A-line cut is perfectly Libby with a modern twist.

Libby doesn’t really do the whole monochrome thing; if she did this Tory Burch ‘Wilda‘ polka dot affair would be her speed as those dots aren’t actually white but rose pink.

Masters of Sex returns Sunday, July 13 so be sure to join us next week for all the costuming and narrative analysis.

Tags: Alice + Olivia, Ane Crabtree, Carven, costume design, Lanvin, Lizzy Caplan, Masters of Sex, ModCloth, pretty dresses, RED Valentino, Topshop, Tory Burch, Virginia Johnson

Comments 1 Comment
Categories Fantasy Costuming, Masters of Sex
Author Emma Fraser

Masters of Sex Season 2 Promo: “Keep Your Heart Out Of It”

30 Jun

Experiencing upheaval aplenty in the new Masters of Sex season 2 promo as Virginia and Bill commit to something that goes way beyond the study. “No strings” gets a whole new meaning after an encounter that doesn’t involve their usual wire setup. At the end of season 1 Bill lost his position at the hospital after his grand presentation was received in an extremely negative light – the dudes didn’t seem to mind the ‘size doesn’t matter’ assertion, just everything else to do with women that came after. Now Bill has no job, a newborn baby at home and a wife who is frazzled and trying to encourage him to find work outside of his obsession.

Rendezvous in hotels and Virginia’s apartment means the clinical blue robes from the hospital are ditched for terrycloth and floral ones (the latter I am coveting pretty hard) and things are getting far more intimate after Bill’s rom-com like rain soaked declaration at the end of season 1. Virginia is indispensable to both Bill and the study, but there are obstacles aplenty including Libby and I feel just as invested in her as I do Bill and Virginia. Familiar faces return including Dr. Lillian DePaul, Dr. Austin Langham and Betty with her husband Gene the Pretzel King (who we last saw in episode 3) offering Bill a solution.

Leaving your heart out of it is advice that Virginia and Bill probably won’t stick to as emotions seem fraught and heightened in this new promo, which has me clamoring for this new season of Masters of Sex (back Sunday, July 13).

http://youtu.be/BQHU3hB0oEw

Tags: Lizzy Caplan, Masters of Sex, Michael Sheen, preview, Showtime

Comments 1 Comment
Categories Masters of Sex
Author Emma Fraser

Masters of Sex 1.12 “Manhigh” Costume Review: Reaching for the Stars

16 Dec

The first season of Masters of Sex uses space exploration as mirror to the pioneering research occurring in exam room 5; Bill and Virginia want to know everything about the act that can create life, whereas the notion of space travel is looking at life beyond Earth. Both include scary prospects and the potential to reveal things that could change the way we live, but only one of these is on prime time while the grand unveiling of the other is met with horror and aversion.

Ane Crabtree’s costume design for the whole of the first season has been tremendous and adds another layer to the storytelling as well as influencing my own sweater purchases. Each character has their own signature style and this reflects not only their attitudes towards sex, but also shows there is a lot more to this era than being buttoned up.

The look of Bill Masters has been consistent throughout and there have only been a few occasions where he hasn’t been in his standard bow tie, suspenders and jacket attire. This is Bill’s uniform and it gives the impression of tradition, but the small polka dot detail on his bow tie hints at something slightly less repressed. Over the season we have seen Bill loosen up in private; his public demeanor is still pretty much the uptight dude that we met in the pilot. In the final scene Bill doesn’t cover Virginia’s eyes as he did last time he choked up and he openly admits that he needs her; I don’t think Bill has ever admitted that he needs someone other than himself. Bill is making that all important grand gesture.

A slightly different bow tie/shirt combo (polka dots and check) and he’s pulling his best incredulous face. Bill throws himself under the bus to protect Barton’s job and says “Fuck them” in the process. The one thing he remains blind to is Libby, despite her attempts to be part of the project he is so passionate about.

The Masters home has never looked more lonely and cramped all at once as not a single person turns up to the post lecture dinner party celebration. Libby asks Bill who the woman in the video is and tells him other people think it is Virginia. Bill denies this without ever saying that it isn’t Virginia, he simply leads Libby’s questioning to get her to come to that conclusion.

In an ugly exchange one of the male doctors (the same doctor who raised his Martini glass to the notion that size doesn’t matter) tells Virginia that it was more of her than he needed to see in the presentation. Both Jane and Virginia are appalled at this accusation and it doesn’t matter that we know it was Virginia, what matters is that as soon as it turned to female sexuality the attitude changed from frat house to nunnery. Jane is in the bold yellow we have come to associate her with and despite the reception to the study, she isn’t going to change who she is nor fade into the background in muted tones. Virginia has favored dark colors throughout the season, but color has all but disappeared since the time she started sleeping with Bill (except in his fantasy version of her last week).

This close up comes after the presentation has been shut down during the provocative Virginia film. Virginia marches to the elevator and as with The Good Wife, Masters of Sex has used this space for moments of escape (as with Margaret Scully in “Brave New World“), to show the disconnect between Bill and Virginia last week and as a place where Lillian attempted to get more money for her study. Here it looks like Virginia has been punched in the stomach or as if she’s going to throw up.

Here’s another shot from the same scene as I want to highlight the collar detail and the bold white lapels of this dress as they cross over each other on the back. Pretty much all of Virginia’s work clothes are smart and chic; embellished collars are incredibly popular during this time period and Virginia always appears to be one step ahead of the other ladies who work at the hospital. Virginia’s time working as a singer in a variety of music halls definitely impacts her costuming choices.

I’ve already mentioned the yellow of Jane’s post presentation outfit and even though she isn’t going to lose her golden glow because of the reaction to the study she’s still embarrassed by how much of her has been aired in public, particularly as everyone is calling it dirty. Jane has been instrumental throughout the study and she thinks that her vaginal walls have brought down the whole kingdom. Lester does a good job of reassuring this isn’t the case and she should also remember her words to Bill earlier “It was just the insecure men who didn’t want to hear about how women are you know, sexually superior.” This statement really gets the heart and hypocrisy of the matter and it looks likes the Chancellor et al are similar to the MPAA.

The Lester/Jane relationship is very sweet and Lester’s earthy tones compliment the sunny disposition of Jane’s predominantly yellow wardrobe. Lester’s concern for how much masturbation is too much leads to one of the funniest lines of the season with Bill telling him “I can spot a statistically average masturbator from a mile away.” That’s a special skill to put on your resume now you’re out of a job Bill.

Austin propositions Jane as they discuss how the study started with them. Austin comes across as confident (even though we know he has had performance issues in the past) and he’s suave whereas Lester is awkward. Costume wise they are incredibly different with Lester’s sweater vests and glasses and Austin’s well tailored expensive suits. Lester is the one who ends up getting a smooch and he’s definitely more relationship material as I can see Austin coasting from woman to woman without ever being truly satisfied.

The Libby/Jane working partnership continues as they sort out handouts, Martinis and canapés. Libby is dressed predominantly in baby blue this week and this is yet another beautiful maternity dress. As I have previously mentioned, Libby’s character progression from housewife to now has been exciting to watch as she has become so much more than the lazy option of the nagging housewife.

In an even lighter baby blue ensemble Libby is boxing up supplies for the Urban League and this points again to Libby as non-prejudicial. Libby goes into labor in this scene, as they can’t get hold of Bill and the baby is coming fast there’s no option but to take Libby to a different and predominantly African American hospital. This the second time this season in which Libby has gone to a different hospital accompanied by an African American and the main thing this is suggesting is that Libby is not a racist; the pilot episode touched on racial prejudice in Bill’s hospital and I wonder if season 2 is going to deal more with Civil Rights beyond this surface level next year. The giant white lapels on this woman’s dress mirror Virginia’s, showing that it’s a popular style, just not necessarily one that Virginia’s co-workers share.

Libby is perfectly content after giving birth to a baby boy (as the blue blanket suggests) and she turns down the offer to call Bill right away; the conception was a solo effort (with the aid of Ethan) and the birth mirrors Bill’s absent role so far. The writers have altered the timeline of the Masters’ children for dramatic purposes and as we go forward the relationship between Bill and Libby is going to shift; will Libby fight for their marriage or is this child enough for her?

What is enough for Lillian with her research? She attempts a different strategy to try and get more funding; this time there’s no awkward flirty banter and instead Lillian goes in hard. The result is still the same and she comes away empty handed. Lillian’s clothes are still rigid and functional and most women don’t want to be seen by a female OB/GYN despite Lillian’s attempts to keep her gender out of her performance as a doctor.

On two separate occasions we see Lillian taking off her lab coat – the first is prior to the lunch where she gets no funding and the second comes as Virginia suggests a different approach. Virginia thinks that Lillian needs to look beyond Pap smears; she needs to aim big to get the money she requires. At first Virginia suggests breast cancer, followed by the contraceptive pill. Virginia does her homework (it’s how she knew about the Pap smear when she first met Lillian) and the contraceptive pill is going to revolutionize medicine for women. Spoiler alert it doesn’t go on the market until 1960 and yet I can see this linking into Lillian’s work next season. This is if Lillian is still around and I really hope she is as Julianne Nicholson has brought something special to this season.

Allison Janney is another Masters of Sex MVP and in the season finale she confronts Barton regarding his sexuality and later visits the doctor who is going to ‘cure’ him. There are similarities between Margaret Scully and Libby Masters in their marital situations – Bill isn’t gay, but he doesn’t love his wife in a sexual way – and this is reflected in their costuming as Margaret also wears baby blue this week. This is yet another beautiful and ornate broach in the Margaret Scully collection, rivaling The Good Wife’s Diane Lockhart.

Barton essentially steps out of his closet when Margaret confronts him about his sexual preference by using a headline in the paper as a segue. It’s a frank and honest chat; this surprised me considering how long Barton has been keeping it a secret (around 40 years) and it’s pretty calm and collected at first. Margaret explodes due to how long Barton has known he has feelings for men and she accuses him of stealing time from her. It’s an incredibly complex and heartbreaking scenario, even more so when Margaret hears what options are available to stop Barton feeling this way towards men.

The shot above comes from the moment where Margaret tells Barton to not have electro shock therapy as the risks far outweigh what it might do. The memories that she mentions are not grand life altering ones, but small moments that add to their 30 years together and she doesn’t want to lose that. Barton tells her he won’t go through with it and this is yet another lie. It’s a stunning composition as Margaret is in the light of the bedside lamp and Baton is in darkness as they embrace on the bed they haven’t shared for years.

This is another moment that uses a bold light to enhance the framing of a character; this time from a natural source as Bill prepares to go out and make his presentation. In this moment he is still in darkness and he’s about to unleash his work on the world.

Ethan spends most of the episode away in California where he is having a job interview. It’s all going well between Virginia and Ethan and he even proposes to her in this scene while he is staring at the ocean in sun kissed California. This is in contrast to the rain soaked St. Louis, Missouri and the declaration that Bill makes in person. Ethan has definitely changed from the jerk we met in the pilot and he is great with Virginia’s kids and yet he can’t offer the stars in the same way Bill can.

Like the heroes of Project Manhigh who have reached new heights, so have Bill and Virginia and they have done so together. The envelope full of money was Bill’s ill judged reaction to his guilt induced by Libby’s pregnancy and in this final scene of season 1, Bill emotionally undresses and lays out the truth. It’s not the work Bill can’t live without, it’s Virginia. So that’s not one but two propositions for Virginia as we end season 1 and while it’s easy to guess which way she will lean, the episode overall is a very satisfactory resolution to an excellent first season.

Tags: "Manhigh", Allison Janney, Caitlin Fitzgerald, costume design, Helen Yorke, Julianne Nicholson, Lizzy Caplan, Masters of Sex, Micheal Sheen

Comments 5 Comments
Categories Costuming, Masters of Sex
Author Emma Fraser

Masters of Sex 1.11 “Phallic Victories” Costume Review: Are You Good Enough?

9 Dec

Virginia Johnson pulls many people into her orbit; some describe her as being like “Technicolor” and with others there is a rapport through a conflicting personality type. Bill Masters and Lillian DePaul are part of the latter group and Virginia enhances their work by focusing on personal aspects beyond just science. It’s perhaps fitting then, that the episode closes with Virginia singing you “Don’t Know Me” (and yes that is Lizzy Caplan singing) as we still have barely scratched the surface with who Virginia really is, while closed off characters have revealed their innermost secrets and fears. We know what other people think of her and yet the inner life of Virginia Johnson is still a mystery.

Bill has his own fantasy version of Virginia in this episode, as he no longer has the real one to talk to after she quit last week and Bill is not the kind of person who will make the first move towards a reconciliation. Instead he has these imaginary chats where ‘Virginia’ points out the missteps that he is taking with this new presentation idea. She also reminds him that she was more than just a secretary; this is his projection of guilt. The lighting is dimmer in these moments and in the scene above her posture is emphasizing her chest and there’s a sultry, but disdainful quality to this look.

In reality this is how Virginia looks in the same attire, in Lillian’s office instead and it’s a lot less pouty and perky. There’s a relaxed quality to the Johnson/DePaul relationship even if Lillian is just as prickly as Bill ever was; it helps that there is no sexual tension.

Bill’s version of Virginia works on several levels; she acts as the voice of reason and she imparts a much needed confidence boost. ‘Virginia’ challenges his new presentation idea as he’s going to make a bold statement that he can’t back up with sufficient evidence and it’s a big claim; he’s going to state that size doesn’t matter. Bill’s reasoning is that he needs to keep people in the room so they hear the actual discoveries they have made and he’s afraid that if the work isn’t a success then he will have lost everything. ‘Virginia’ tells him that he is a “bigger man” than all of this and the real fear isn’t to do with size, “the fear is are you good enough?” Bill doesn’t think he is a bigger man and this loops back to his earlier comment to Libby that there is always something to prove.

Fantasy Virginia wears a variety of outfits including the grey that matches what the actual Virginia is wearing, the blue bathrobe of their most intimate moments and the green that Virginia wore a lot at the start of the season and then stopped doing so once they started sleeping together. The green sweater in the scene above was last worn in episode 3 “Standard Deviation,” the first episode Virginia wore a lab coat in. This was also the first time Virginia met Lillian and Lillian essentially gave her the brush off.

The only shared scene between the real Virginia and Bill happens in the last sequence of the episode as Virginia is singing “You Don’t Know Me” and the pair share an elevator ride as if they are strangers. Both make sly glances at the other while waiting in a big crowd, but other than that there is nothing.

Bill is isolated in all aspects of his life and this is no more apparent than at home. The shot prior to this one made it seem like Libby and Bill are in the same bed together as Libby asks questions about the mystery 23 times couple, a couple who we know to be Bill and Virginia. As with Margaret and Barton’s secret all the clues are there for Libby to work out who this really is and yet she seems blissfully unaware at this point as she poses the question of whether this couple fell in love. Bill’s only response is that this is outside the area of inquiry. We don’t do emotions here, even though we do really. Bill and Libby are worlds apart despite their close-ish proximity and Libby is trying to do everything in her power to make herself a valued part of Bill’s life.

This includes an offer of help at work and she can be his new “Virginia.” There is so much awkwardness in this episode between Libby and Bill as Libby tries everything to reach out to him. Libby tells him that he takes care of me followed by the super cringe line of “you feel good inside me.” Yep, that happens and I really feel for her. As with Margaret there’s only so much she can do for her husband as he’s thinking about someone else. The whole pregnancy is still not sitting well between them and they trade passive aggressive statements back and forth.

Libby’s character trajectory has been impressive; at first it seemed like she was going to be a simpering housewife who called her husband ‘Daddy’ and instead she has become so much more than that. Ultimately is it a fool’s errand that she keeps attempting to crack Bill? Possibly, but at least she isn’t passive. This episode also produced yet another female friendship to warm my heart with Jane and Libby hitting it off instantly.

The maternity wear is beautiful once again and while the peach attire is new, the outfit above is a repeat costume. Libby is luminescent in these scenes and it might be a kiss ass comment from the new wannabe Ethan, but she does have a smile in her voice. If I was Tyra I would call this ‘smalking.’

More maternity wear and as with a lot of the late 50s/early 60s women’s clothes a detailed collar is everything. Libby’s choice of office wear is less colorful than what we usually see her in (the peach was intended for a lunch date, not work) as if she is trying to tone down her look and not stand out.

Jane or VirJane as she is now known whenever Bill yells for her (and it’s a lot) is still rocking her ever present sunny shade of yellow.

And more yellow. Jane’s disposition is still upbeat despite Bill’s constant yelling and put downs because she doesn’t have every single one of his medical filing terms remembered. Jane is still seeking out Virginia’s advice in secret and while she’s not Virginia, Bill has lucked out getting Jane as his secretary and she has also been so vital to his study. Bill wants to show some of the film they shot, a factor that Jane isn’t all that comfortable with and she refers to as the “mine shaft footage.” The other film has of course been destroyed so there is no way Bill could use that.

This is the first episode in which Libby and Jane have shared a scene and I hope we will get to see this friendship blossom; both Caitlin Fitzgerald and Helén Yorke have been standouts this season so I’m glad to see them together. The pair go through the files to find viable candidates and it’s here they unknowingly stumble upon the Bill and Virginia’s data – it’s lucky that no names are included, but personal details like how many children they have and marital status could hint at who it was if they dug deep enough. Jane’s not all about yellow, her other color is blue and she tends to wear something with a darker hue when the stakes are higher and Bill’s presentation is incredibly important. It’s a dress with little to distract except for the collar detail and Jane’s costuming tends to have a feminine flourish even when it’s a slightly more reserved outfit.

“Well, having a dick doesn’t hurt.” Lillian utters this declaration after a disastrous 17-hour trip and a conference that is over by the time she arrives with Virginia. Lillian rails against the system and the Bill Masters of the world and believes she would be in a much better position if she had the right anatomy. Virginia argues that Bill only has the “rainmaker prerogative” not because he is a man, but because he is excellent at his job and has learned how to work the system. I mean it’s hard to argue that his gender hasn’t opened doors for him, and yet what I think Virginia is trying to tell Lillian is she has to work the angles and not look at the things that are holding her research back. Lillian has softened her appearance for the conference with her hair down, but her suit is still the stiff grey and it’s important on occasions like this to be comfortable in personal presentation.

So while they can’t schmooze out on the golf course there is an entirely different set of influential ears they can bend. Virginia knows how to work a room, she’s been in plenty of different social situations and her time on stage gives her confidence and presence. Virginia is essentially Lillian’s hype man, she does the intro and knows which buttons to press in terms of ego stroking and lets Lillian do the science part. This is Virginia’s “size doesn’t matter” speech, but instead of using false data she uses life experience. White gloves, pretty dresses and pearls give off an air of ‘ladies who lunch’ and yet their influence gives Lillian six advocates in six states, probably more than her presentation would have garnered. Especially if she opened with her gags.

Unlike the instant friendships between any of the Libby/Jane/Virginia combinations, the road to Virginia and Lillian has almost been as long as their 17-hour trip. It’s now hit a point where Lillian shares her deepest, darkest secret – she has cancer. Julianne Nicholson is devastating in her performance as she tells Virginia in a rather matter of fact way about her cancer history and the end that is closer than it should be at this age. Virginia at first mistakes Lillian’s wonder at the doctor’s wives as sadness that she hasn’t her own family; it’s quite the opposite as she ponders what could be achieved if all of those women pursued careers instead. Lillian is desperate for someone to continue her work and while this work is just hers, she needs someone who can take the reins from her when she falls. Lillian has been going at it alone and now she has a partner of sorts, Virginia has already been part of a team but her name will no longer be on that work. I wonder if this is sly nod to the title of this show which thanks to the pun only references one half of the partnership, but it is Virginia who is on everyone’s mind.

This includes the metaphorical dick measuring contest between Virginia’s current beau Ethan and her former husband George, who shows up just when it’s only Ethan looking after the kids. Like Libby, Ethan is a character that I dismissed in the first episode and his violent actions and jealous streak made him incredibly unappealing and he felt like another version of Joan’s husband Greg in Mad Men. I’m still wary of him and even though Virginia is making a go of it this time, I’m worried that if/when it goes sour he will lash out again. Ethan does handle himself with George though, he plays the doctor card and yes he does shave. We measure ourselves in a variety of ways and this competitive banter between George and Ethan is just another version of that. It’s not just the ladies that get fancy neck details and Ethan’s casual wear features a rather bold red, white and blue collar.

All George has is this past version of Virginia that he can brag about knowing and yet he has no access to her, yes he has memories but how much can memories get you? He brags about her singing and how she never does it anymore, as the last sequence proves this isn’t the case. It’s just a singing booth at the fair, but to Ethan and her kids it’s the world. This is a different version of Virginia and once again it does feel like we don’t know her. Lizzy Caplan is excellent in this role but it still feels like we are getting Virginia through the eyes of everyone else. Virginia is essentially the Masters of Sex hype man, she gets us in the tent and we get to learn about the inner lives of everyone else. What happens when we get to see who Virginia really is?

Tags: "Phallic Victories", 1.11, Ane Crabtree, Caitlin Fitzgerald, Helen Yorke, Julianne Nicholson, Lizzy Caplan, Masters of Sex, Michael Sheen

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

Masters of Sex 1.10 “Fallout” Costume Review: Floating or Falling?

2 Dec

As with Mad Men, Masters of Sex has barely touched upon the political climate of the time period unless it directly impacts the characters. In “Fallout” there is no escaping it as a huge Civil Defense simulation is taking place across Missouri with their hospital being one of the practice staging areas. [We’ve now entered 1960 and these events occur a few weeks after the last episode, from what I can gather it is this exercise they are depicting – choice quote from that newspaper article “To many housewives it meant they had to miss part of their noontime television and radio broadcasts.”]*

In terms of the personal relationships, the threat of annihilation could apply to many of their own situations and while some of the imagery in “Fallout” is less than subtle, the backdrop of this test allows these characters to address many of their problems that have been simmering below the surface.

Strained is one way you could describe the current state of the Virginia/Bill relationship and it’s pretty much nuclear at this point (sorry I will try and refrain from more lame puns). It’s pretty apt that one of their several heated discussions in this episode is interrupted by a drill and they’re plunged into darkness. At this point Virginia doesn’t know about Libby’s pregnancy; it’s clear to the audience that Bill is taking out all of his frustrations on her. Bill uses Austin’s baby daddy predicament as a cipher for his own lack of agency in the conception of his child; he states that Austin can’t simply forget what Virginia has told him and thinks that she isn’t the one who should be making these kinds of life altering decisions. It’s a sticky situation as Virginia has broken their anonymity clause and she is seeing it from her perspective as a single mother. Virginia takes to finding out the identity of the male like a spy, as she waits for Bill to leave before she ‘cracks’ his safe and her all black attire adds to this notion in the shot below.

Our personal experiences inform how we respond to these situations and Virginia confronts Masters later regarding the news that Libby is pregnant. The envelope full of money felt like a giant slap in the face and their working rhythm has been shattered, Virginia has been trying to figure out why Bill would do this and the Libby revelation holds all the answers. It’s been clear that there is more to their participation than just science and Virginia realizes that the money came from a place of guilt as they had formed an emotional attachment. The only option that Virginia sees is to quit and while we have already been on this part of the Bill/Virginia carousel at the start of the season, Virginia is the one making the break this time. We get another staring at a reflection scene to close out the episode and it’s reversed with Bill gazing at Virginia’s empty desk. Bill the guy who claims he doesn’t get emotional is clearly letting Virginia reach some previously uncharted territory.

What this decision leads to is a pairing that has been growing over the past few weeks. In one of the simulated bomb warnings Dr. Lillian DePaul and Virginia share a desk shelter. As with the Virginia/Bill relationship, this one started out frosty and has been slowing thawing as Lillian comes to understand that Virginia isn’t the person she first perceived. Lillian is the one with the biggest ticking time bomb inside her; as with the threat of nuclear war she has her own condition that could kill her at any time. The research Lillian wants to do is incredibly important for the future of women’s health and the measly check of $600 is going to do nothing to advance her program. Virginia tends to be a glass half full kind of woman and she suggests charm as a way to obtain more funds and even though there are many similarities between Lillian and Bill, he has his gender to give him a boost when his terrible bedside manner fails.

Lillian attempts the Virginia school of getting things done; she puts on crimson lipstick and lets down her hair but instead it comes across like she is hitting on a married man. It’s so awkward and clearly something she is not good at nor feels comfortable doing – when asking about his tie “What would you call that color?” she gets the deadpan response of “Red.” As soon as Virginia mentions how nice Lillian looks, Lillian ties back her hair and claims she looks like “a rodeo clown.” Lillian is not one to take a compliment, but she is willing to accept Virginia’s assistance with her funding issue. Virginia is taking a step back with her position as she returns to a secretarial role and yet it could have a huge impact to both Lillian as a friend and the future of women’s healthcare funding. Despite her friendly and outgoing persona we haven’t seen any friends of Virginia’s aside from Jane or Libby, so no one that is connected to the hospital. This relationship could be just as beneficial to Virginia and she widens her circle even if this is another connection through work.

Margaret has plenty of friends and yet she is still incredibly isolated as she can’t share any of her Barton fears with this group. They discuss another friend who has just got a divorce and this woman has now pretty much been exiled. Divorce was still rare at this time and there was a fear that it might spread if you associate with the woman in question – this reminds me of the Helen Bishop story in Mad Men and how none of the women wanted to befriend a divorcee. As one of Margaret’s friends puts it “The man strays, the wife pays.” Put this on a slogan tee. Margaret’s looking rather delicate in this white lace top, though the hint of red with the gorgeous crescent shaped clip (which looks a tad like the USSR sickle symbol) shows the burning passion that has been awoken in her.

Switching it up later Margaret wears pastel blue with a double broach (Margaret’s broach collection is beginning to rival Diane Lockhart’s) for her trip to the bar to find out from a prostitute how she can please Barton in the bedroom. While Margaret hasn’t connected the dots about Barton’s sexuality the prostitute figures it out pretty quickly thanks to Margaret’s description of their sex positions, his disinterest in topless women in Tahiti and the young man who Margaret mistook for his pimp. Margaret laughs about this at first and seems briefly relived until devastation sets in. It goes without saying that once again Allison Janney is a revelation as she plays a wide variety of emotions. Margaret’s costuming alternates between red and blue within this episode; the hint of red, to the baby blue, followed by the deep red of Margaret’s bathing suit and cap. There is also a shot of Margaret in her stunning scarlet dress with Barton at their anniversary party and the use of this color in the pool scene feels like a reference to her freedom in finding out this truth. Knowledge is a powerful thing and now she knows she isn’t to blame for Barton’s lack of sexual interest she can finally relax.

It concludes with this beautifully shot swimming pool sequence as Margaret and Austin reconnect, not in a sexual manner but on the level just prior to when they first hooked up. Austin is in a tailspin after the revelation that he got one of his study partners pregnant (the diaphragm has a 6% chance of failing) and up until now he hasn’t felt like he has had much responsibility (hopefully he feels some toward his wife). Austin is a big fan of metaphors and on this occasion he starts talking about his situation as if he is like one of the new fangled satellites that isn’t tethered to anything and is just floating. Margaret corrects him and explains that they’re actually in a constant falling state as gravity pulls them towards Earth and as Earth curves away it holds them in place. The juxtaposition of this conversation while they are both floating in the pool is mesmerizing and it’s clear why these two characters are drawn to each other. It once again comes down to space imagery and thanks to the time period and how important space exploration was at this time it’s going to be a repeated theme.

Jane is one of the few people wearing color this week and it’s her standard yellow. Jane has acted with kindness and openness throughout the series so it is a big surprise to see her go all mean girls on Lester and humiliating him in front of the other secretaries. This is a reaction to his knowledge of her participation in the study and she later apologizes to Lester for the harsh words telling him “you can only be accountable for yourself.” In these moments of heightened panic (even the simulated kind) people tend to look inward and in this moment Lester demonstrates a streak of confidence we haven’t seen before as he tells her that if this was his last night on earth then he’d kiss her and then he does. Yes, I’m totally shipping this pair.

Bill isn’t taking this drill seriously as he has too much work to do and lots of other things on his mind, he yells at Jane for not being in the office, but as she is one of the hall monitors (hence the helmet at a jaunty angle) she has other things she’s meant to be organizing. Bill continues to get exasperated by the whole thing and he can’t believe how everyone is reacting.

It reaches new heights of absurdity when he enters the OR and everyone is crouched down around a patient. It also means that Bill has to work with Ethan as the other surgeon is part of the overall drill and this leads to a huge confrontation and a sucker punch all while in their surgical gear. Bill is mostly mad at Ethan because of Libby, however Virginia also factors into the scenario as Bill is clearly jealous of their intimacy and ability to have some semblance of PDA. Libby doesn’t appear this week but her presence is felt.

Here is a better look at one of the posters that is dotted around the hospital, a poster that was designed in 1941 and uses red, white and blue to evoke patriotism. It’s a simple design and focuses on a personal responsibility as part of the wider effort. While tactics like this probably wouldn’t work on someone like Bill, it definitely appeals to people like Jane and she has shown she is just as vital to the grand scheme as an innovator like Bill.

*Correction it’s not 1960 yet, it’s still only 1958 though the simulation I’ve linked to sounds a lot like the one in this episode. The time covered during season hasn’t always been clear and so I apologize for leaping ahead too far in time.

Tags: "Fallout", 1.10, Allison Janney, Lizzy Caplan, Masters of Sex, Michael Sheen

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Categories Costuming, Masters of Sex
Author Emma Fraser

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