Season 4, Episode 7
June 2, 2017
In the transmedia elements for this week’s episode of Skam, the show laid the groundwork for an epic Friday showdown. Today is Eva’s birthday, and plans were made for a party at Chris’ house. It is the type of situation that has resulted in some of Skam’s most dramatic situations, and fans naturally brainstormed how the various story points could have converged in such a setting.
The party at Chris’ house never happened. [Edit: Saturday’s episode suggests it’s happening next week instead.] The suggested “climax” of this week’s episode was derailed by the chain reaction from Sana’s decision to share her screenshots of Sara’s Facebook conversations with Isak, which spiraled into a hate campaign against Vilde and eventually Isak being identified as the perpetrator and choosing to accept blame knowing Sana was the true culprit. The week was deeply invested in actions and consequences, beginning with Sana’s decision to post the screenshots to Instagram and then watching as she lost control of the resulting fallout. She thought that Sara’s friends were all going to collectively realize that she was a bad person: in truth, turning Sara into a victim only inspired sympathy, and then a quest for revenge, and in the end several (relatively) innocent people getting hurt.
There are a range of conflicts that still needed to be resolved heading into this week, but outside of some throwaway exposition—which I’ll address below—those are mostly delayed in favor of a deep investigation into why and how Sana gets herself into conflicts to begin with. At the end of last week’s episode, Sana had to decide the type of person she was when she decided to go through Isak’s Facebook; this week, the show uses multiple situations and characters to force Sana into a state of self-reflection, a crucial step in the season’s overall arc if also a messy one at the point in the season where some might seek greater clarity.
The Construction of Race in Modern Family’s Second Season
November 10th, 2010
ABC’s Modern Family has always been concerned with questions of race: that Gloria and Manny are Colombian, and that Lily is Vietnamese, were prominent factors in the series’ pilot, so questions of race (and racism) have been evident throughout the series.
And yet, something seems different in the second season. While nothing has been fundamentally changed in terms of questions of race, the show is going to racial humor more often and in a few instances from a different perspective. I would never go so far as to say that the series is racist, but in its desire to increase the amount of racial humor it seems to have forced the issue without allowing it to flow naturally from its characters or even its storylines.
While it is not enough to condemn the series, I would argue that the way race has been presented so far this season shifts ownership of these dynamics to the people behind the scenes as opposed to the characters within the series, creating problematic questions of authorship that threaten both the series’ realism and its complexity.
“The Beautiful Girls”
September 19th, 2010
Based on its title and a number of the discussions which emerged within the episode, “The Beautiful Girls” feels like a particular gesture towards the women who are often central to the series. And yet, because the episode was so fractured, it doesn’t present itself as a sustained glimpse into any of the female characters central to this story. While Joan, Peggy, Faye, and Sally all face down challenges put before them, all of them end up back where they began: trapped in a loveless marriage, apolitical in a political world, face-to-face with tough choices, and a sad little girl living a life she no longer wants to live.
Regardless of the episode’s argument regarding each character’s struggles, the fact remains that the female characters are the heart of this series, and “The Beautiful Girls” comes together as a sustained statement on their centrality if not a substantial step forward in their individual storylines.
“The Chrysanthemum and the Sword”
August 22nd, 2010
Ted, the Don Draper-equivalent over at rival agency CGC, is not in Don Draper’s league: he is neither visionary nor genius, and yet by virtue of his insistence that he is a competitor he has been elevated to Don’s level. It’s the ultimate example of self-definition, of putting something out there (in this case, to the New York Times) and then turning it into reality. It doesn’t matter that Jai Alai went with another agency because its owner is delusional, or that Clearasil was a conflict rather than business lost: as it would appear to the outside world, Sterling Cooper Draper Pryce lost two accounts and CGC (under Ted’s leadership) gained both of them.
“The Chrysanthemum and the Sword” is filled with various examples of situations where appearance becomes reality, to the point where it even becomes a meta-narrative when the series’ positioning of Betty as a child-like figure becomes rendered in three-dimensions. It’s not the most pleasant or subtle of episodes, but it ends up making some fairly interesting observations regarding Sterling Cooper Draper Pryce as an agency, as well as the series’ general approach to simulating the past.
“In the Skin of a Lion”
November 11th, 2009
It isn’t precisely a dud, but “In the Skin of a Lion” is certainly the weakest episode of the fourth season thus far. It’s really an issue of premise more than it is of execution: every scene and storyline that they ask these actors to portray is effective and hitting the right notes, but there are some underlying imbalances to be found within them.
It’s a problem that the show had, to some degree in its third season, but which felt overcome by an intense emotional centre that kept the show balanced. Part of what the episode is about is how that emotional core is absent in East Dillon, and while the episode works to bring it back the vacuum at the centre of the East Dillon Lions makes this episode distinctly less enjoyable or empowering than the episodes which came before it.