Photo: Helen Sloan/HBO
“The Last Of The Starks”
May 5, 2019
[As you hopefully noticed, I’m still writing about Game Of Thrones at The A.V. Club for its final season, but I was out of town this past week (Caitlyn PenzeyMoog filled in), and so here are some belated thoughts on the antepenultimate episode of the series.]
For much of the back half of its run, Game Of Thrones has derived its tension from the Night King, and the question of whether the seven Kingdoms of Westeros could come together in order to stop this monumental threat. And so when the first half of the show’s final season ended with the Night King and his army completely erased, it raised the question of where the tension would come from for the rest of the story.
Photo: Jon Hall/Netflix
An Assemblage of Words in Response to is a new, probably ongoing project in which I give myself a limited time period to write words about things.
Sex Education is a surprisingly deep show, in terms of its ensemble.
Otis, the sex therapist’s son turned high school sex therapist, is undoubtedly the show’s lead. And his relationships with his mother, his best friend Eric, and his business partner/romantic interest Maeve are the most important relationships in the show. But as the show introduced other characters, it becomes more and more invested in their lives: while some “clients” appear and disappear in the episode where their problem emerges as an episodic point, others like Adam, Aimee, and Lily become part of the fabric of the show. It adds richness to a show that could have become tired amidst the tropes it deploys in order to stake its claim to ’80s teen movie nostalgia.
But when it comes to its finale, the writers’ interest in their supporting characters couple of hiccups for Sex Education, wherein story developments didn’t necessarily have the effect the writers desired.
When American Vandal debuted last fall, it was a surprise: the show launched with little fanfare, and read as a sketch concept more than a television series. But if there were any questions about whether a satire of true crime documentaries focused on phallic high school vandalism could sustain a season of television, American Vandal answered them with an affirmative yes. Not only did the series find plenty of humor in the spray-painted dicks and the lead suspect Dylan Maxwell, but it also wove a complex story about the students who were documenting the attempts to exonerate him, eventually landing on some really honestly quite profound observations about both the ethics of true crime investigations and the daily challenge of existing as a high school student in our contemporary moment. That it did so while committing to the verisimilitude of its diegetic social media posts may have been what burrowed it straight into my heart, but the way the series unraveled into a quite meaningful study of adolescence made it one of my favorite shows of last year, and earned it a Peabody Award this Spring.
The idea of a second season came with a new set of questions, however. Although some (wrongly) insist that the first season came to an ambiguous ending, the story of Dylan Maxwell and “Who Drew The Dicks?” ultimately did end, meaning that the show moving forward would need to approach itself as a seasonal anthology series, wherein each season focuses on a different crime. Given that the true crime documentary genre remains incredibly successful, and has various iterations and formats that can be used to fuel further satire, I can see why all parties—Netflix with a successful series with young demos, CBS looking to leverage that success to increase their license fees as the show’s production studio, the producers thinking about ideas and styles they wanted to explore—would be willing to move forward with a second season.
Photo: Scott Patrick Green / Netflix
American Vandal season two taps into the same ideas that made the first season so surprisingly profound, telling another story about the minefield of modern high school existence told through a juvenile (in this case scatological) criminal act, this time at a Catholic high school in Washington. But in its efforts to try to replicate the success of the first season, the producers decided to retain a key piece of continuity: the men behind the camera, Peter Maldonado and Sam Ecklund, who travel to Saint Bernardine High School to produce the second season of American Vandal as their senior project. Given how critical Peter’s choices were in the consequences of the production of the documentary in season one, and how much Peter and Sam’s relationship fueled the later drama in that season, I saw the choice to retain the two filmmakers as an effort to tap into the interconnectivity that made the first season resonate the way it did.
Which is why it was so disappointing when I reached the end of the second season and realized that Peter and Sam might as well have not even been involved.
To All The Boys I’ve Loved Before is neither the first nor the last teen romantic comedy launched by Netflix this year: it was preceded by The Kissing Booth, and it will be followed next weekend by Sierra Burgess Is A Loser, with all three films sharing an interest in reclaiming a genre that has been increasingly marginalized by major studios.
But whereas The Kissing Booth is an ideological garbage fire that was rightfully criticized for its wonky gender politics (and, on a personal note, a distinct lack of quality control beyond that), To All The Boys I’ve Loved Before has elevated Netflix’s “Teen Rom-Com Renaissance” while still replicating the “viral” success of The Kissing Booth that signaled the demand for the genre. By the metric of views of “Cast Content” on YouTube—generated by various magazines and websites that pivoted to video in recent years, along with Netflix itself—the story of Lara Jean Song Covey’s letters and her fake relationship with Peter Kavinsky is generating just as much social chatter as its predecessor, but with closer attention to cinematic style and a far less problematic take on teenage romance. The result has been an almost overwhelming response to the film across social media, as Peter Kavinsky (and by extension actor Noah Centineo) became the internet’s boyfriend, and Netflix has the watercooler media that the film’s target demos will carry with them into the school year.
But for any of this to happen, the film itself needs to create moments that fans want to GIF, and a story that leaves them with an emotional reaction that convinces them to take to social media to change their profile pictures, post their edits, and reorient their online existence around this story and the people involved. And that story owes a lot to the Jenny Han book on which the movie is based, and I do think that the film would be generating a significant response even if it would have just taken the story as it was told and brought these characters to life in the capable and charming hands of Centineo and Lana Condor, who doesn’t get enough credit for her work as Lara Jean. But as I discovered when I dove down the To All The Boys I’ve Loved Before rabbit hole over the past two weeks, writer Sofia Alvarez and the film’s producers made a series of conscious choices when adapting the book that engineered the story to maximize this type of response.
They’re also choices that I’d argue make it almost impossible to adapt the rest of the series as it was written.
I’m Canadian, and thus compelled to use this promotional still of Henry playing hockey, which I remain deeply entertained they released before the finale. Bless you, FX.
I have written about The Americans a single solitary time here at Cultural Learnings, and it was in a review that was more or less about Mad Men.
That’s bizarre to me, but not unexpected: the show debuted in the midst of graduate school, when reviews became more scarce and the blog in general became less of a priority. It was also a show that I, for various reasons, found myself always falling behind on within a given season, such that I often wasn’t current enough to write something even if I had found time or the inclination to say something. And while I’ve been more vocal about my appreciation for the show on my Twitter feed, it still feels weird to have never really tried to grapple with my relationship with the show in this setting.
I’m not going to try to encapsulate the entire series in this review, or else I’d be up all night. But I did want to briefly capture why “START” is such a compelling entry into the pantheon of serialized drama finales, despite in some ways departing from tradition. While far from the cut-to-black ending of The Sopranos, The Americans still works against many of the instincts of contemporary drama storytelling, and in doing so managed to reinforce and strengthen my connection to these characters that’s existed even if I’ve never quite put it into words.
When Taylor Swift debuted her new single, “Look What You Made Me Do,” it came with an intriguing link to “ticket info.” And so while I was listening to the single, I started digging around on Swift’s website looking for information about a tour that logically won’t be starting until sometime next year. And then I stumbled across this video, which explained why there was such an early mention of tickets.
At first, I presumed the video was simply a way for Taylor to announce that she was following the lead of other artists and using Ticketmaster Verified Fan, a new service designed to help combat ticket bots that keep real human beings from seeing shows at face value. But as the video continued beyond the explanation about the evils of ticket bots, the video takes a turn.
A “new way of buying tickets?” Perfect!
A “better way of buying tickets?” Wonderful!
A “fun way of buying tickets?” Uhhhh…what?
And then it’s made clear that “Taylor Swift Tix” is not just about making sure that bots don’t buy all of the tickets: instead, it allows you to login and “have the opportunity to participate in unique activities that advance your spot in line.” And these activities are not just fun games that help you kill the time: as evidenced in the video, they are inherently commercial ativities, including pre-ordering her album, buying merchandise from the record, and streaming the single’s lyric video.
These are all things that the most devoted Taylor Swift fans would likely do anyway. But by “game-ifying” the concert ticket purchasing process by way of the transactional economies of the music industry, Swift is doing something she was fundamentally not “made” to do: while the move to a Verified system is a positive one, the other choices create clear incentives for her wealthiest fans, and sacrifice any type of egalitarian system in favor of a shrewd financial gambit that is 100% gross and 1000% genius.
Beginning in 2010 with Speak Now, Taylor Swift album releases have been an “event”: in an age where prominent artists often struggle to clear 200,000 units in their opening weeks, Swift’s last three albums have all sold over one million copies in their first week. When Red released in 2012, it came with Papa John’s tie-ins and intense cross-branding with Target, the latter of which continued with the launch of 1989 two years later. Although Swift’s sound would change over the course of these records, gradually phasing out her country roots, the calculus of the album launches largely remained the same.
However, while these albums have undoubtedly been major music industry events supported by robust and organized marketing campaigns, they’ve never actually been positioned as such by Swift herself when they were first announced. Instead, they were debuted with a conscious effort to frame these albums as gifts to her fans as opposed to gifts to music retailers, utilizing the power of the internet to create intimacy between artists and their audience.
And so it was striking that when Swift’s most recent album cycle—delayed by a year—started this week, it began with the erasure of her social media history, a symbolic act reflective of the focus implied by the album’s title—Reputation—but also fundamentally at odds with the way she has launched three mega-successful albums in the past. And so even before she releases her first single, she’s announcing a marked departure over the way she understands her mediated presence, giving up the form of control she had previously but replacing it with another type of control that may mark a fundamental shift in the way she connects to her audience.