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The Good Wife and the Saint Alicia Brand

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

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

Fall Rewind: Pushing Daisies

2 Sep

In the small gap before the onslaught of every show ever returning and a new roster of soon to be canceled/revered offerings (most likely the former) it seemed like a good idea to start something old, but new to me. Seasons 1 and 2 of Pushing Daisies have been sitting on the ever growing bedroom DVD pile (I should say piles as it’s currently topping 3 stacks) and so the time has come to fill that Hannibal hole with more Bryan Fuller infused whimsy.

My journey through Bryan Fuller’s oeuvre has taken a non-chronological direction starting with Hannibal when it premiered last year followed by Wonderfalls last summer, the Dead Like Me pilot a few months ago and now Pushing Daisies. The preoccupation with death and explorations of our mortality are a Fuller signature; he tells these kinds of stories in an unexpected and weirdly delightful manner. Okay the operatic death tableaus of Hannibal don’t necessarily fall into the delightful camp, but they are projected using a nightmare lens of wonder through the actions of Hannibal and the other killers on this show. From what I have seen in these first three episodes Hannibal and Pushing Daisies are at the opposite ends of the same spectrum as the protagonist deals with the way they can manipulate events.

As with Will Graham and Wonderfalls’ Jaye Tyler, Ned the Pie Maker is trapped by circumstance; Will’s empathy disorder is his crutch and curse, for Jaye her ennui coupled with her new ‘gift’ to right wrongs through the vague advice from inanimate objects sets her down a path of reluctantly helping other people. Like Will and Jaye, Ned’s ability comes with a whole host of caveats and when you bring someone back to life there are always loopholes and drawbacks (or so TV/movies/books have taught me).

Here’s a list of quick observations of why Pushing Daisies has pulled me in:

1). There is a Winston

The pilot opens with the death of Ned’s dog Digby, but wait this is Bryan Fuller and he’s not going to kill a dog (right?! You promised me Bryan that none of Will’s dogs are getting it next season). Ned revives his pet with his magic touch and Digby is still here in the present, the only thing is that Ned can’t touch him otherwise he will die all over again. He still gets stroked, just in an unconventional manner.

2). Pies and Cheese

Ned’s business is pies. Pies would be in my top 5 foods. Chuck’s aunts love cheese (Chuck called the refrigerator a cheese box until she was 17). Cheese would be in my top 5 foods. This show makes me hungry for cheese infused pie crusts.

3). A Very Different Romance

Childhood sweethearts who shared their first kiss with the other. This isn’t so much “will they/won’t they” as “how can they?” If Ned touches Chuck she will be dead all over again, solutions to the lack of contact include separate beds, kissing through different forms of plastic like the body bags above (sounds/looks way creepier than it is) and touching hands with a wall occupying the space between. I am looking forward to seeing what inventive methods they will discover as way to experience closeness without physical contact.

4). The Color Palette

The skies are a little bluer, the yellows look like sunflowers and reds leap out of the screen. While it might sound like the screen has been dipped in a box of Crayola crayons, the bold and stylized color palette doesn’t feature throughout. In some scenes like the one above with Chuck’s aunts color draws the two figures out of their crowded living room (along with the stuffed peacock as the background centerpiece). As with Hannibal, color is saturated and highlighted to draw attention to a specific aspect of a scene and it’s one of the many reasons why Bryan Fuller shows are so visually arresting. Color also acts as way to show the variety of genre influences from noir to screwball comedies as Fuller plays with these aspects through the production design.

5). Chuck’s ’50s Inspired Costuming

Chuck is meant to be dead so there’s a whole host of hats, sunglasses and headscarves employed to conceal her true identity and there’s a strong ’50s influence to her costume design.

From bold red frocks, cute trench coats to floral patterns; Chuck’s attire is super feminine with full skirts, nipped in waists and the odd cleav enhancing neckline.

6). Ned’s Henley

While the show itself is ultra colorful, Ned’s costume palette is rather muted as he alternates between black tees, suits (for funeral homes) and this Henley. All of which are timeless pieces that reveal Ned’s closed off nature. Plus Lee Pace looks really good in all of these things.

7). Spot the Fuller Regular

Dr.Chilton! It’s Raúl Esparza playing the espresso machine fixing Alfredo. Hoping he gets to share a song and dance number with Kristin Chenoweth – the musical interlude in the second episode is fantastic. I am looking forward to what other Bryan Fuller show regulars will pop up and I will take this moment to once again suggest Lee Pace for either Francis Dolarhyde or Alana Bloom’s psychiatrist (if she survives she’s going to need one) on the next season of Hannibal.

8). The Pie Hole

Playing with words and double meanings (some with more eyebrow raising definitions) have featured throughout the first three episodes – the beaver tee for a start – and my favorite so far is the name of Ned’s business. Plus the pie top roof is genius. Pushing Daisies is genre bending and part of this is the retro styling from the narration to the costuming. It’s wonderfully old fashioned with an element of innocence and in a way feels like an extended Twilight Zone premise. It goes way beyond this and like the other Bryan Fuller shows I have discussed there is something very special about the way it defies time and genre.

I know what I’m going to be doing until the new TV season starts and with only 22 episodes (*sob*) this is a more than doable TV Rewind project.

Tags: Anna Friel, Bryan Fuller, costume design, Hannibal, Lee Pace, Pushing Daisies

Comments 1 Comment
Categories Fall Rewind, Pushing Daisies
Author Emma Fraser

Masters of Sex 2.08 “Mirror, Mirror” Review: Beneath the Veil

1 Sep

Observation is no longer enough on Masters of Sex as the study broadens its scope through a variety of methods with Bill and Virginia both experiencing variations of crossing the line. There is a lot going on below the surface in “Mirror, Mirror” as the traumas of past relationships come to light and another part of the Bill Masters jigsaw falls into place as he deals with his own psychological block.

At times Masters of Sex takes a slightly heavy handed approach with its use of symbolism and this is one of those occasions as veils are used to suggest that which is hidden in plain sight. Not everything is related to sex, although past and present encounters are used to highlight trauma and Betsy Brandt delivers a powerful performance when she realizes what transpired during her childhood. This episode does grind the forward momentum on display last week to a halt; however it is still remains a compelling hour of television while also highlighting some of the narrative issues this season is having.

“You think it’s enough to fix the outside. That’s the easy part.”

Bill’s brother Francis stops by to imbue some wisdom on his older brother and to tell him to stop ignoring him – this final scene gave me all the Dick/Adam Whitman feelings – and we spend the whole episode thinking that Francis is just an old college friend* until the final reveal. Francis is similar to Bill from his chosen profession and his low sperm count. Bill is extra cagey when questioned about whom Francis is and even Betty’s snooping doesn’t reveal his true identity. On the surface it looked like Bill has made all the family reconciliations that he needed to last week after he let his mother back into his life, but this is far from the truth.

*In real life Bill did have a college roommate called Francis Baker as well as his brother Francis.

Bill is also withholding other important information from Virginia and he uses the three drink excuse as to why he can’t perform. The decision to include the participants they initially rejected due to sexual dysfunctions is beneficial to Bill and the stack with the highest number affected happens to be the problem he is suffering from. Bill’s issue came directly after he discovered that Virginia had been seeing another man and his physical problems are almost certainly caused by the psychological. The correlation between mental and physical feelings has been floating in the background since the first episode with love and feelings as the eternal elephant in the room. First it was transference as a reason for initial attraction, now it is the mental block Bill is having as a result of the complicated relationship he has with Virginia.

Using all the resources at hand also includes asking Betty about her previous profession and the techniques they used at the brothel with performance problems. Betty notes that generally if you could get the head to believe then the rest would follow suit. Sometimes this involved a magical potion – rum and cayenne peppers – to work as a placebo and it has the not so subtle name “punch for suckers.” There are many reasons why someone might experience impotence, but in her experience it is generally more mental than physical. This would seem to be the case with Bill as he didn’t experience anything like this before his other man encounter at Virginia’s and what looked like a panic attack in the rain. Bill is of course keeping all of this information to himself. Standard Bill Masters shutting down protocol.

Bill has a hard time with empathy, it’s not that he doesn’t and can’t empathize; it’s just not his emotional wheelhouse. When he spots a fellow sufferer in Lester, who is feeling both personally and professionally impotent after his time in Hollywood with Jane, Bill turns the camera on him and makes him more than just an observer. Lester’s father has died and after Virginia suggests using his talents to make a slideshow of his father’s life as part of his eulogy; Lester realizes he is only present in two photos out of over a hundred. Bill sees this opportunity to make Lester part of the project he is documenting and it is an act of kindness that shows Bill is far more than the brusque standoffish figure we have come to expect.

Later in the episode Bill doesn’t show the same level of understanding with Libby as she also wants to be part of something. Unfortunately for Libby, Bill thinks she is already part of the study even though she is more on the outside than anyone. So while the study is Lester’s biggest inspiration as every day brings something brand new, for Libby it is the same old cycle.

For a week she gets to show off her sales skills as she raises money for the Veiled Prophet Ball and makes $300 using a whole host of persuasion to get businesses to sign off; we see her hone her skills with Flo. In fact Libby is just as much of an asset as Virginia is at the initial dinner, as she uses her knowledge of society events to get their foot in the door by targeting the police chief’s wife (oh hey! Peri Gilpin). Libby might not have been a debutante, but she knows how to work this angle.

This is the Libby from season 1 that was sympathetic and proactive who wasn’t reduced to a paranoid racist mess; while it doesn’t excuse her behavior from earlier this year and I still think it was a huge misstep making Libby the villain she does go some way to rectify her past actions. Last week they mentioned that CORE (Congress of Racial Equality) had moved into the same building and this continues Masters of Sex engaging in stories that explore racial tension from this period in a way that goes beyond the passivity of Mad Men in this area. Libby is a witness to the aftermath of an attack that is blamed in the press as a drug deal gone bad, when really it is a horrific racially provoked assault. One person who comes to the aid of the beaten man is Robert, Coral’s brother and he clocks Libby driving by. Later Robert visits Libby at home imploring her to speak up in a manner in which the other white witnesses are too afraid to.

When Libby mentions this interaction to Bill her rhetoric is far different from how she previously discussed Robert with her husband as she’s no longer painting Robert as a threat and it’s Bill’s turn to come across as narrow minded telling Libby “This is not our issue.” Libby has been a witness to a crime and it is disappointing to hear him tell her that she shouldn’t do anything about it. Seeing the veiled man and Robert mentioning other men who wear hoods is the prompt Libby needs to act on the injustice she saw and later she visits Robert to tell him that she did see the truck.

This scene builds on the last time Libby went to see Robert at home and it suggests there is an attraction here; are we going to see Libby embark on an affair? Libby taking on the role of white women savior is going to be made even more complicated and problematic if sex is thrown into the mix; while this version of Libby is far more preferable to the one on display earlier this season, they need to tread carefully and not just use this as a reason for Libby to fill the emptiness that she is feeling. A further exploration of Libby’s loneliness is appreciated, just don’t let it become a prop in a story exploring race.

The person who prompted Virginia’s desire to include those with sexual dysfunctions in the study is Barbs and after tracking her down Virginia opens up a trauma so deep that Barbs has buried it for what sounds like her entire adult life. Barbs explains the horror story of the pregnant girl who bled to death when she was younger as a potential reason for her condition. Virginia comments that it is curious that Barbs can’t remember the name of the first boy she had a sexual encounter with and a night time house call reveals the true horror of what occurred to Barbs. Betsy Brandt gives an incredible and heartbreaking performance as she recounts the childhood games with her brother that changed with time and how she believes God is punishing her for what she did with her brother. It is a devastating scene and having it take place away from the clinical landscape with Virginia in her home and in her nightclothes increases the desperation from Barbs, while highlighting Virginia’s lack of experience with handling something of this magnitude. This is something so traumatic that it can’t wait until the following day when there are no children sleeping upstairs.

Bill thinks a line has been crossed with this interaction taking place in Virginia’s home and while he could serve to be more compassionate what Virginia does next is a cause for concern. Barbs doesn’t want to talk to a man about this and she refuses the referral to a psychologist so Virginia goes in her place retelling the story she heard in her living room. Virginia’s intentions are honorable as there’s no way she can get qualified in time to help Barbs and yet there are flashing warning signs that this is a terrible idea. Despite the cool exterior Virginia projects she also has a lot buried beneath the surface as she protects herself far too much. The few times she has let her guard down with Lillian and Bill have been brief and her heart remains locked up; will these therapy sessions end up unlocking that box?

Masters of Sex went to some dark places this week and so I am incredibly thankful for Flo and her no BS, cigar smoking ways. Flo was introduced as a means for Virginia to make some more money and having her as one of the building tenants is a fantastic move for injecting some fun. It also brings Austin back in and even though this is a tad convenient to keep him relevant on the show, I also believe his character would leap at an opportunity to be adored by a large group of women and revive his flailing confidence. Austin has been rejected by his wife for the final time and he is seen as a joke at work; by becoming the spokesperson for Cal-o-Metric he gets adulation and a fancy title (even if those in the medical community would see this as an inferior position).

When Flo mentioned her original spokesman was going to be staying at a hotel outside of town I was convinced she was going to spot Bill and Virginia together and use this as a reason to not pay rent, instead the only crossover is that Bill was called upon by Elliott as the doctor on call when a man had pretty much eaten himself to death. The connection here being that this man was Flo’s spokesman, but Flo never crossed paths with either Bill or Virginia.

As Bill and Virginia move from a position of observation to intervention it looks like there will be further development of the inner lives of these characters; while we had one episode this season that did just this, there are ways to go to understand just who Bill and Virginia are in relation to each other, themselves and the study. There is a lot going on in Masters of Sex juggling multiple characters and plot points and it’s all feeling rather scattered at the moment. The ambition of this season is commendable, however the best episode of the season was the most stripped down (punnage ahoy) and the Bill/Virginia anchor is important. Let’s hope the show remembers this.

Tags: "Mirror, 2.09, Ane Crabtree, Betsy Bradt, costume design, Lizzy Caplan, Martin Sheen, Masters of Sex, Review

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Categories Masters of Sex, Review
Author Emma Fraser

Masters of Sex and the Betty Fashion Parade

25 Aug

Masters of Sex did something different this week in “Asterion” and while I do want to take the opportunity to explore the episode as a whole this is the perfect opportunity to discuss how costume is used as part of the overall narrative structure with the Betty fashion parade. The passage of time covered this week is huge and so far this season has only covered a relatively short period of time in the vast landscape of Masters and Johnson.

We open with a title card telling us it is 5 months after the events of last week (which I noted felt like the end of a chapter) and in total the episode covers 3 years of time starting in October 1958. Lester’s clapperboards are a significant tool in noting these dates and are a more organic form than the title card that is used only at the start of the episode. Betty is another source of addressing the time shift and presenting it to the audience in an arresting manner.

No longer Betty Moretti and without the financial security of that relationship, Betty DiMello seeks work at the new Masters & Johnson clinic; after doing the books at the brothel Betty is a dab hand at finances. Betty is characteristically late, but wearing an outfit that is darker and less flamboyant than her usual attire. This is serious Betty demonstrating her desire for this job through her clothes (even if she is a terrible time keeper). The muted tones might also represent her recent heartbreak and we don’t find out whether Helen is still in the picture.

Betty has always worn a lot red (and she continues to do so in this episode) and this isn’t the only primary color in her wheelhouse. As a color and pattern aficionado Betty covers the spectrum of designs including a Jane-like yellow polka dot dress while she gives Libby the grand tour.

Transitioning from one baby to two as Johnny gets a little sister in the first of several big leaps cutting out the fertility drama we have already witnessed. This is one year gone and now it’s 1959; Betty is a geometric pattern beauty in this brown and white frock. The kids are equally adorable in traditional pink and baby blue because of course Libby would dress them like this. That flat cap is to die for.

More walk and talks with Betty as she tries to sell space and collect rent; she’s not just a dab hand at the books thanks to her previous career as she is now studying for her accounting degree. Betty asks Bill why he took a chance on her considering how contentious their relationship has been and he is simply repaying her for the help she has given the study not once, but twice.

Betty’s style continues to make a bold statement and while she has ditched the furs (because she probably can’t afford them), she still manages to stand out in this office. Over the course of the episode we see multiple costume changes from a range of characters; however Betty is the anchor as she is the visual cue and the one who acts as the title card denoting the passing of time. Annaleigh Ashford has been a terrific regular addition this season and I am so glad to have her back in the main storyline.

While Virginia makes her position clear by wearing the white coat, Betty isn’t reduced to a simpering secretary and even though Virginia wasn’t thrilled by Betty’s initial arrival (Bill hadn’t consulted her so this is likely the reason for the animosity, although Betty did have some choice words for Virginia about her relationship with Bill at the start of season 1). This final outfit from Betty had me howling with delight, the shirt by itself deserves the spotlight.

It’s Betty blue Capri pants and there is a slight shift in office style as we head into a new decade. This is of course a period still very much influenced by the previous decade and hats are still on point, but the overall look is changing and pants are suitable work attire. They are for Betty anyway and while we haven’t seen Virginia in pants at work, she is wearing them in her spare time as the final scene in the episode shows.

Tags: "Asterion", 2.07, Ane Crabtree, Annaleigh Ashford, costume design, Masters of Sex

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Categories Masters of Sex
Author Emma Fraser

Masters of Sex 2.06 “Blackbird” Review: “Lilantha”

18 Aug

Intimacy comes in a variety of ways far beyond the study at the center of Masters of Sex and in “Blackbird” we see multiple characters wrestling with the truth behind certain relationships. This takes place in both a personal and professional setting as the two overlap in several cases; new lows are hit and life changing acknowledgements are proclaimed. Change is coming and there is of course resistance, particularly when there are different agendas at play. While Bill claims he will let the facts speak for themselves, when his own personal space is penetrated by the press he pushes back in the most abhorrent way and he’s not the only one who goes to extreme lengths this week.*

*While watching this episode and seeing the depiction of racial tension in 1950s St. Louis, Missouri it is incredibly bleak spotting similarities and the lack of progress with what is happening right now in 2014 in Ferguson, Missouri.

I’ve talked a lot about Virginia and Lillian as the best female friendship on television and “Blackbird” cements this assertion (and I’m pretty sure I’m going to end up crying while I type this). Lillian references Virginia’s inability to take no for an answer – I realized while watching this that there is a slightly Leslie Knope steamroller like quality to Virginia – and by the end of the episode Virginia has learned that there is a point where you stop pushing someone. Lillian decides to end her treatment, which is met with resistance by Virginia as she believes there is still plenty to fight for. At this point Lillian is performing this fighter charade for Virginia “I can’t do this for you. I tried, but I’m done” (aaaaand the screen just went blurry as I typed that).

Between Lillian and Bill, Virginia has opened herself up emotionally in a way that she can’t quite comprehend and she tearfully explains to Bill that she never lets anyone in the way she has done with Lillian emphasizing “She knows me.” Virginia doesn’t do close emotional relationships (remember she locked up her heart a long time ago) and Bill points out that the reason Virginia didn’t see it coming is because Lillian is a woman. Yes we have seen Virginia with other female friends, well Jane, but none this intimate. They are of course complete opposites and yet they provide that something the other has been missing.

Like Virginia, Lillian has erected walls and she tells Virginia over wine that she has missed out on being loved. Lillian tells a story of her cotillion, the cruel name she was called – giraffe as she was both tall and spotty – and how a little piece of us is the girl we were at 13 (which I kind of agree with). So while Lillian hasn’t experienced romantic love, this here on this sofa and later when Virginia tucks her in bed is love. Lillian is also the only one who can get Virginia to accept that Bill loves her, even if this comes with a feigned shocked expression followed by eye acknowledgement. If this episode was just these two women sitting on the sofa drinking and telling stories I would be more than happy. Alas, the end is here and Virginia puts Lillian to bed in the same way she does her children; by drawing words on her forehead. What really slays me in this scene is Virginia telling Lillian she sees “constellations in these freckles” including the previously undiscovered “Lilantha” a “Warrior princess, strong and brave” and if I wasn’t already a wreck then this line would tip me over the edge “But she knew who she was. And that is why she burns so brightly, you can always spot her in the sky.”

Earlier Virginia has told Lillian she will take care of the letter to her family and that she will ensure that her body goes to science so she can maybe help with the cause she has spent so long on beyond her death. Virginia returns to Lillian’s house to pick up the letter and finds her in bed struggling to breathe after she has taken a bottle of sleeping pills. Virginia’s natural reaction is to call 911 and halfway through the call as she looks at her friend she hangs up, recognizing this isn’t her fight. Instead she lies down next to Lillian and makes sure she isn’t alone in her final moments.

When Bill and Virginia have sex they don’t kiss, if they did then they might have to admit to themselves and each other that there is something here that goes far beyond research. This point is emphasized in the opening scene and while it might seem like a bit too on the nose for them to reference this in such an overt way, I’m glad they did as I haven’t actually noticed before that they don’t kiss (I’m not sure if this makes me horribly unobservant or if my brain is filling in the gap). So when this moment takes place it’s not while they are sleeping together, instead it comes in at a point of vulnerability as Virginia is opening herself up rather than closing herself off. We don’t see anything beyond the kiss so it’s unclear if it leads to anything else, the way I read it is that it is just the kiss and nothing more.

This is a strong and effective scene; the “I know you” and everything that comes before and after really underlines everything this relationship is about. One aspect that works incredibly well is how the camera pushes in so slowly starting at a distance and ending in a close up. It’s like we are Bill and Lillian sneaking past Virginia’s carefully constructed walls.

The red of Virginia’s blouse in this scene is in contrast to the blue in her later scenes with Lillian; one suggests passion while the other is nurturing and both represent the two sides of Virginia we see in her relationships with these two characters.

Bill’s being all Mr Sensitive with Virginia, however when things get a little too personal with the story reporter Morgan Hogue is writing he ends up in a scenario he has never found himself in. Morgan wants to talk about Bill’s past and his recent estrangement from the white medical community; this is not the angle Bill wants as it reveals far too much about whom he is and is a narrative he finds uncomfortable. To kill the story Bill threatens the editor of this newspaper with made up research findings that will paint black people in a negative light. It’s repugnant and so unlike the Bill we have seen admonishing Libby for her recent racist actions. Bill is for what it is worth disgusted at himself for stooping to this tactic telling Hendricks that he has never misrepresented his work like this. Hendricks refers to Bill’s methods as coming from a desperate place, but it still leaves a nasty taste behind and Hendricks fires him as this pairing is not going to bring the change that either of them is striving for; Bill needs to go out on his own as Hendricks did.

These last few weeks I have been pretty much watching Libby scenes through my fingers as she continues her descent into obsession and paranoia going from watching Coral and Robert to getting a police check on Robert. Banning Robert from picking Coral up leads to following them to their home and Robert confronts Libby as she’s figuring out where Coral lives. Robert tells Libby that he’s Coral’s brother (they haven’t different surnames) revealing Coral’s ruse for getting under Libby’s skin (which Libby deserved in that moment). Libby has cut her leg, something Robert notices and asks if he can help her. Libby accepts this aid for a moment and then things get too personal for her and she overreacts by firing Coral and fleeing the scene. Later she caresses that cut and smokes in the darkness; this act of care and intimacy has stirred something in Libby. Part of her obsession with Coral and Robert is from this factor of closeness that is absent in her own relationship and while this doesn’t excuse Libby behavior and prejudice, it goes some of the way to explain her actions. I worry they have pushed Libby too far into this corner and as I mentioned last week it comes across as an attempt to make Libby unlikeable so as an audience we feel less sympathy for her and her loveless marriage.

While I’m on the subject of loveless marriages “Care is what you have for a stray dog you find in the road. Love is what you have with someone you share your bed with.” These words by Gene to Betty suggest that this relationship has come to an end as Gene finds out the biggest secret Betty has been keeping. Gene’s friend Al is beyond clueless as even though he witnessed the kiss between Helen and Betty last week he doesn’t connect that this is romantic as his only experience of lesbians is a stereotype; neither Betty or Helen look like this so they can’t possibly be. This also goes back to what Betty said about them not being accepted by this community as they don’t fit this description. Gene figures it out and while he thought Betty’s outburst was because she was into Al – he tells a sad story about what it’s been like to double date with Al in the past – when Al mentions the kiss he instantly knows who Betty’s heart belongs to. Betty thinks that she can make it work with both Helen and Gene as they have money now and “money means options.” They already live an unconventional life and they can maintain afternoon hookups as long as Helen is willing to go along with this. Helen isn’t content with being the mistress in this set up and plays Betty at her game with an impromptu proposal to Al.

While Betty is okay with performing this charade and she really does care for Gene as she suggests, it’s not enough. For Gene he could get passed the kids lie and he doesn’t want to adopt, he tells Betty “You’re enough.” The problem is that Gene is not enough for Betty and he never will be. An unconventional set up yes, but one that isn’t fair to anyone involved. Helen pushed her point with the Al proposal and Gene confrontation with Betty about truth shows that he can’t play this game. Ultimately I don’t think Betty can either and while she has got used to comfortable living and an incredible wardrobe she owes it to Gene, Helen , Al and herself to own her truth.

As I’m on the subject of Betty frocks here is another incredible one. There is nothing quiet or subdued about either Betty or Helen’s clothing choices. They clash at times in both color and pattern as they clash in their methods of continuing their relationship. Even their underwear is in stark contrast as Betty wears the white of innocence and Helen’s strapless basque is in super sexy black. Now that Betty is no longer getting ‘fertility’ treatments from Bill this story is now rather separate to the overall narrative and I wonder how they will converge again in the future. Sarah Silverman has been a terrific addition and I hope we get to see more of this relationship as we move forward.

This episode marks the halfway point of season 2 and it has an end of chapter like feel to it as Bill realizes that he can no longer work in a hospital if he wants to continue his work. Other characters hit low points (Libby I’m looking at you), relationships hit their natural breaking point as secrets are revealed and walls are broken down exposing a whole new set of raw emotions. Bill discovers at the end of the episode that maybe he doesn’t know Virginia as well as the thought he did as when he turns to her first after yet another sacking he finds her ‘beau’ on the doorstep. This is a guy Virginia has been dating for a couple of months and like Bill we are only just finding out about this relationship. Bill stumbles away having what appears to be a panic attack and the Virginia/Bill merry-go-round continues to spin.

Tags: 1950s, Ane Crabtree, costume design, Julianne Nicholson, lady friendship, Lizzy Caplan, Masters of Sex, Michael Sheen, Review, Sarah Silverman

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Categories Masters of Sex
Author Emma Fraser

Masters of Sex 2.05 “Giants” Review: Taking the Plunge

11 Aug

So much of Masters of Sex deals with public and private battles for progression as these characters navigate a reluctant and repressive landscape; from the sex study itself to gender and most recently race issues. This is a period of fundamental change and as Bill’s new boss Dr. Charles Hendricks (played by the always excellent Courtney B. Vance) points out the actions of pioneers like Bill (and Virginia) are important when it comes to ensuring monumental change; someone needs to take the plunge.

Once again there are multiple power dynamics at play with the Virginia and Bill continuing their push/pull dance and home life at the Masters’ takes another turn for the awful. These aren’t the only relationships that are under strain as Virginia and Lillian continue to argue and Betty receives a blast from the past that threatens to disrupt her already precarious marital situation.

Bill’s new place of work is a lot more amenable with who he wants to hire as part of his work requirements as well as being fully behind the study – well to a certain extent as it turns out that Dr. Hendricks is the one sabotaging the recruitment of new participants and isn’t as in favor of the sex study as he is projecting – on the surface Bill is getting what he wants. To Bill, his new office is tiny and yet he is being accommodated in a manner that is at a disadvantage to the other doctors, one of whom is now in an even smaller thanks to the arrival of Bill. Bill also manages to secure a contract for Virginia, something she insists upon and isn’t the norm for support staff at Buell Green. For Virginia job security is a condition of her moving hospitals as she has her family to think about and even though her working relationship with Lillian is in tatters she also needs to ensure that she can provide for her children. So while Bill might refer to the diet pills in a fanciful derogatory sense, Virginia is only selling them as a means to an end.

Financial security is one thing, but she also has another issue to work through with Bill and their participation in the study. After Virginia’s huge blowout with Lillian where Lillian accuses her of sleeping her way to her new position and scoffing at the scientific nature of her work with Bill, Virginia now has other stipulations. As with season 1, Virginia asks Bill if she has to participate in the study to get the job. Back then he said no and this is his initial response here too and then he changes his mind; it is indeed mandatory. Virginia finds a way to assert her dominance and agency when they venture to the hotel as she tells Bill to strip and pleasure himself. This is a twist on what happened in “Fight” when Bill told Virginia to strip and beg for it and instead she showed she has control over her body. Bill complies with Virginia’s demands from the Q&A – why he closes his eyes and who he is thinking about – to when she tells him to stop.

The Bill/Virginia relationship is in a state of flux as both are trying so hard to deny any actual feelings and the intimacy of their work can result in moments like this. When Virginia tells him to stop before completion this is another moment where she is fully in control and Bill continues to meet Virginia’s demands; it’s a banner week for lady pleasure as Bill follows the Outlander lead and goes down on Virginia. It’s also worth noting that as the camera pulls away we see the very naked Bill and the still fully dressed Virginia. Bill is later propositioned in “Giants” by Libby (more on the reasons why below) and the sex between this pair is stale and kinda awkward looking (plus Bill keeps his t-shirt firmly on). Having established a new power balance and one that is sure to ebb and flow as they continue to view these activities as research only, Virginia takes the position at Buell Green.

The return of the white coat! Virginia might not be an actual doctor, but the symbolism behind this garment is incredibly important. This indicates her experience, expertise and equal standing with Bill when it comes to their work on the study so while she doesn’t come with Dr. before her name she shouldn’t get overlooked. The dress Virginia is wearing is one of her super professional and very Lillian looking outfits thanks to the grey tone and high collar. We first saw this piece of costuming in the episode where Lillian was introduced and it also happens to be the first dress Virginia wore the lab coat with and this is significant. Inner strength is something Virginia possesses in droves and yet she has the same insecurities regarding her self-worth and how she is perceived as everyone else. The white coat is like armor and it sends out a message that Virginia is not here as a play thing for Bill. After her argument with Lillian it is understandable that she embraces this coat and dresses conservatively to portray a certain version of herself.

When Virginia fights with Lillian several home truths come out from both parties; Lillian gave her work away to secure its future as she always suspected that she was Virginia’s second choice and Austin’s revelation confirmed her fears. As with Bill, Virginia references money and supporting her family to explain her actions and tells Lillian that she “had it easier.” This is one of those bitter arguments where every single fear and resentment is laid out and when Lillian first met Virginia she believed that she was using her looks to get by; in one respect Lillian believes her initial assessment has been confirmed, however it is far more complex than that. In a hurtful argument it is all the ammo Lillian needs to push Virginia further away. It is not the end of my favorite lady friendship on TV, although I suspect there isn’t much time left for Lillian and she is now done with work after she collapsed in the bathroom.

“I am scared though for what’s ahead, which means I can’t really afford to be upset with you, can I?” The line that caused my screen to go blurry and despite their big fight this friendship has not been broken and there is no need to say sorry for the things they said to each other; the hand holding is more than enough. This has been a sublime representation of a female friendship and I’m really not ready for it to be done. I know it’s not that kind of show, but I really want them to find a miracle cure.

Moving on from an interaction that is tear inducing to one that causes another emotional reaction – of the “Shut up, Libby!” variety – and Libby continues down the path of self-righteous destruction. Libby’s relationship with Coral reaches new lows of patronizing after she receives a visit from Coral’s boyfriend Robert regarding the degrading shampoo incident. Libby can’t understand that what she did was completely inappropriate until Bill points out just how horrific these actions were. Libby is being painted in a very unfortunate light and her attempts to do the ‘right thing’ like impart life lessons as she “knows a thing or two about the world” lead to further humiliation and anger. With Coral when she tells her to dump Robert, Coral uses her knowledge of the separate beds in the Masters’ bedroom to poke at Libby’s insecurities (and it prompts Libby’s ‘seduction’ of Bill later on) and Robert points out how she should be apologizing to Coral not him. Libby is shocked that Robert is calling her racist and while we saw some liberal attitudes from Libby last season there is still inherent snobbery that translates at racism with how she is treating Coral and Bill’s new workplace location.

Libby doesn’t apologize to Coral most likely because she thinks it will undermine her position and because she is already feeling inferior to her employee. This is the original reason why Libby corrected Coral’s grammar in the first place and a lot of Libby’s insecurities are bringing out this ugly side of her in the same it does with Betty Draper on Mad Men. Feeling powerless is not a reason to be awful and I worry that Libby is being portrayed in this way to make her less sympathetic when it comes to her marriage.

One thing we know about Libby’s past is that she did have it pretty hard as a child with her mother dying young quickly followed by her father walking out and never coming back. This makes her comment about knowing things about the world believable, but this is not how she presents herself so she comes across as spoiled and sheltered.

Embracing the past is something Betty has to do when ex-girlfriend Helen (oh hey Sarah Silverman) turns up unannounced and threatens to disrupt the marriage Betty is in the middle of trying to save. Gene is still upset with Betty, not because she can’t have children, but because she lied about it in the first place. The scene where she tries to serenade Gene with a cute song and dance doesn’t work (he compares her voice to “migrating geese” and Annaleigh Ashford is really a Broadway star, Betty not so much) and it adds depth to the Pretzel King and shows there is genuine affection here, even if it will never be that kind of love. In the same way Barton Scully is limited to how he can love in the eyes of society this is another version of this heartbreaking story. Betty married Gene as a way to secure herself a future away from the brothel and while she sees this as another form of prostitution in this version she gets a hat for each day of the week and gold facets. When Libby says she knows the world it sounds ridiculous, with Betty it’s totally believable when she states she “has seen things.” Gene isn’t a bad guy either, but this kind of settling is only going to lead to further misery for all concerned. This is clear during the double date when a story about how much Helen cares for Betty goes from hysterical laughter to teary bathroom kisses.

Betty reinforces why she chose Gene as there is no future for them; pretending to be sisters so they can live together is not enough and they don’t fit in with the style of the lesbian scene. For Betty it broke her heart, but she wanted a future for herself even if that future is built on lies.

Style wise like Betty, Helen wears colorful and bold attire refusing to blend in. They are an explosive pair and the chemistry between Annaleigh Ashford and Sarah Silverman supports this notion that they have been in love for years.

I also really want to include this shot as there is so much going on in this scene costume and set wise; there is a clashing quality between Betty’s colorful stripped skirt, Helen’s floral teal dress and Gene’s camel suit. The opulence of the room (haunted by the ghost of a 93-year old) adds to the busy looking frame underpinning the conflict at play. There are ghosts in this room of course, but not the one Gene thinks there is.

This whole episode is full of vibrant colors with strong blues dominating scenes; Coral is in blue when Libby attempts to give her advice and Libby is in a similar shade when she tells Coral she can take care of the master Masters bedroom. Betty wears electric blue when she confronts Helen and Helen in turn wears this to dinner. It’s like there is a power struggle between the women who wear this color. Virginia reverts back to red after her initial grey power dress and it’s the Capri blue car that gets referenced as a way to show the neighborhood isn’t so bad; this car is also the location for the Virginia/Lillian reconciliation. In the final scene Virginia is wearing a beautiful darker blue outfit when Bill pays her the ultimate compliment by referring to something she does way better than he does and I’m not sure if I’m reading too much into it, but this color plays an important part in the power struggles between some of these relationships. Now Bill and Virginia are in a better place she is wearing less black around him. The overall challenge is far from over and this is not a conflict free situation, however it does appear that Bill and Virginia are on the same page in the same hospital once again.

Tags: "Giants", 2.05, Ane Crabtree, Annaleigh Ashford, costume design, Lizzy Caplan, Masters of Sex, Michael Sheen, Sarah Silverman

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Categories Masters of Sex, Review
Author Emma Fraser

Watch “Masters of Sex Presents: Masters of Style”

3 Aug

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.

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

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