The Muddled Memory-Making of the 2011 Grammys
February 13th, 2011
Tonight, the Grammy Awards opened with an extended retrospective. As a collection of contemporary female vocalists paid tribute to the music of Aretha Franklin, it established that this was a night to reflect on Grammy history. It was a narrative picked up by Miranda Lambert’s performance of “The House That Built Me” later in the show, which she dedicated to those performers who came before (and who appeared on the screens behind her in a nostalgia-tinged multimedia component), and cemented with a “rare performance” from Barbra Streisand and Mick Jagger’s first ever Grammy performance.
However, earlier in the show, Lady Gaga took to the stage to perform her brand new single, “Born this Way.” Although one could claim that this too is a bit of history, given that the song borrows liberally from Madonna’s “Express Yourself,” the song premiered only last week. In another performance, a trio of young performers (Bruno Mars, Janelle Monae, and B.O.B.) were introduced by Ryan Seacrest as being the next generation of Grammy legends, albeit in a performance which had a definite tinge of nostalgia given Bruno Mars’ black-and-white, Jackson Five throwback performance of “Grenade.”
It’s no secret that the Grammys have long ago stopped being an “awards show,” having transitioned into a concert event so blatantly that everyone noticed (if you’ll forgive me the inversion of a classic Simpsons line). However, during tonight’s show (and especially given the few hours I spent half watching the non-televised portion of the awards online), I realized the degree to which this shift has seemingly been designed to disguise the fact that the Grammys, more than any other awards show, utterly fails at capturing the last year in its respective medium.
And how, despite some unquestionable success at making the show “memorable,” it sort of confounds the notion of memory altogether.
December 1st, 2010
In plotting the first season of Terriers, Shawn Ryan and Ted Griffin made two key decisions which shaped the series into one of the year’s finest.
The first was their willingness to resist creating a season-long arc: after the first four or five episodes seemed to be towards some larger conspiracy, the show risked frustrating viewers by pulling up before things became too complicated. In an age where hyper-serialization is highly valued, the decision seemed strange until we saw the result. The residual energy from the near-miss mythology lingered in the subsequent standalones, as unfinished business meant a constant threat of its return – when it did return in “Asunder,” there were more pieces to the puzzle, and the re-entry was surprisingly elegant.
The second was that, throughout the various ups and downs, the show never concretely positioned its heroes within any definitive morality. While we could argue that Hank and Britt are inherently good men, their willingness to do petty, despicable, and reckless things has been refreshing. Hank’s jealousy has never been romanticized, and Britt’s violent outbursts have never been pitched as heroic; while we understand why they do the things they do, we are never asked to agree with them, and the result is two characters who we can relate to even when we don’t want to. They’re characters we like even in their darkest moments, but characters that we don’t necessarily forgive after the fact. They are characters that feel real, and thus characters that we become connected with.
“Hail Mary,” coming off of the rollercoast that was “Quid Pro Quo,” is hopelessly hopeful. Following the earlier pattern, it concludes stories without actually concluding them, leaving threads of story that can be picked up at a later date. It provides a sense of future that it must subsequently tear away, reunions that are either years or weeks too late. While you could technically argue that this is a happy ending, a sort of scrappy P.I. Casablanca, in truth the ending is as the season was: an exercise in dynamic delay, a true marvel of narrative form.
And a show that simply cannot be allowed to ride off into the sunset.
“Dash, Flash, Crash”
November 17th, 2010
Last week I posted about concerns regarding Modern Family’s relationship with questions of race and ethnicity (albeit focused on the former), and over at TV Overmind the commenters were…well, they were angry. My point was not to say that the show is racist, but rather that there are moments when questions relating to sensitive issues are located within the production of the series rather than character actions.
Let’s take, for example, Phil’s “If you ain’t white, you ain’t right” t-shirt which angers an African American taxi cab. It’s highly offensive, sure, but it plays into his cluelessness in ways we recognize. It is the intersection of his inability to realize what his words mean with questions of race in today’s society, and its continued presence (“And this year I predict total White domination!”) makes it seem less like that single flashback is necessary in order to construct the joke. It seems like something Phil would do, makes me laugh, and happens to transition into the best episode since “Fizbo.”
In other words, next time you hear me ragging on Modern Family? Manny’s birthday.
September 28th, 2010
I will admit to loving a good ironic title, and I’d argue that “Taking Control” somewhat misrepresents the state of The Good Wife heading into its second season.
I’ve seen a lot of divergent thoughts on the premiere: some seems to think the show is still in fine form, while others felt that it was “off” in some way. I’ll admit to being slightly in the second camp, albeit with a better sense of how, and more importantly why, the show feels this way. While I do think there are a few creative missteps here, I think the general function of the premiere was a good way to enter into the season (if not necessarily conducive to a particularly strong premiere).
September 28th, 2010
A week after opening with an unquestionably meta opening, Ryan Murphy did not stray far from that example with “Britney/Brittany”: in the opening scenes, Will expresses how he wants New Directions to know when to show restraint, while Kurt and many other students express their desire to branch out into something more exciting, youthful. It picks up directly where last week’s opening left off, questioning the song choices the series makes, which I’d argue is an interesting question that this season does need to respond to.
Of course, how much you enjoy “Britney/Brittany” depends on both its framework (which has some issues in terms of balancing fantasy and reality) and how Britney Spears’ presence plays out throughout the course of the episode. As someone who admittedly enjoys Spears’ music on the level of cheesy pop fare, I thought choosing Britney was not in and of itself a mistake; however, the show was let down considerably by the way in which her music and its legacy were received by those both within and outside of New Directions.
While musically satisfying, at least for me personally, “Britney/Brittany” suffered from an inelegance which is likely to cause any future themed episodes to raise even more red flags than this hour.
“They Don’t Call the The Amazing Race For Nothin’!”
September 26th, 2010
Earlier this month, CBS gave away what I would technically consider a spoiler: they released a video of two contestants completing a Roadblock which was fairly clearly taking place towards the end of the first leg. Being generally spoiler-phobic, I resisted the video for a few hours, but then everyone and their mother were talking about it.
And when I finally watched it, I discovered why.
YouTube – The Watermelon Heard Around the World
I chose this version of the video with the highest number of viewers: while CBS’ own upload has 650,000, the copy posted has over two and a half million views. People have been watching this video for weeks, and it seems to have actually created some legitimate excitement around the season. I don’t think that the video is enough of a spoiler to ruin the episode (my usual spoiler-hating self didn’t really emerge), but I do think that it creates a very different sort of viewing experience than what we’re used to.
As a result, I want to ask (and perhaps answer) some questions about the strategy at play, which ended up helping the series to one of its most memorable premieres in quite some time.