Slap Happy Larry

picturebooks, apps, eBooks, short stories

Tag: ideology (page 1 of 2)

Nice Does Not Equal Good

A lesson we must all learn at some point: ‘nice’ person does not equal ‘good’ person. I use these words as shorthand for ‘outwardly amenable’ and ‘morally generous’. Defining morality is a mammoth task in its own right and a nihilist might argue there’s no such thing as morality. I take the view that there is a shared cultural view of morality. Stories for children conform to that shared view. Banned books are usually at the vanguard of social change, which is why they are banned in the first place. Most banned books are tomorrow’s classics, their authors upheld as yesterday’s soothsayers.

WHAT DOES IT MEAN TO BE NICE?

naughty is not the opposite of nice

Classic fairytales explore the difference between niceness and goodness, though with problems: In fairytales, if a character was good-looking they were also unquestionably good. However, they did get into duplicitous behaviour, and the way people conceal their true motivations by acting in a friendly way. In classic fairytales the characters are archetypes, so there is no possibility of starting out nasty and later becoming nice.

In Snow White, the wicked stepmother dresses as a door-to-door pedlar woman. She is ‘nice’ to Snow White, offering to sell her a shiny, red apple. Snow White falls for the niceness. The audience learns she should have looked harder. Significantly, in most versions the step mother is illustrated as an ugly old woman with missing teeth and a face of wrinkles. This is her ‘true nature’, using the visual fairytale shortcut that ugliness equals bad character. The stepmother is most ugly at the moment her ugliness comes out.

WHAT DOES IT MEAN TO BE GOOD?

Even after centuries of fairytales, we must all learn at some point that

  1. Looking good doesn’t mean being good
  2. Behaving nicely also does not mean being good.

The first is the easier lesson. The #metoo movement is highlighting the extent to which contemporary adults are still wrestling with the distinction between nice and good.

monsters nice not good

It’s hard to deal with the fact that nice people can be sexual predators or, rather, that sexual predators are most often very nice.  A boss who is nice to you may be very not nice to someone else, in private. An unwillingness to believe victims when they speak out is partly an unwillingness to believe women (because abuse is gendered), but is also an unwillingness to acknowledge that we are not as good at discerning character as we previously believed. Once you learn, really learn, that nice does not equal good, that skilled people with good jobs and families of their own can be terrible, you must embark upon the lifelong work of not turning into a complete misanthropist.

In adult literature, Liane Moriarty’s Big Little Lies does a great job of portraying an abuser who is also ‘nice’. But during promotion of the American TV adaptation, various commentators showed a fundamental misunderstanding of how abuse works by saying it was really interesting to see a successful family man also be an abuser, as if those things don’t usually go together.

But when is it developmentally appropriate for children learn this lesson? That’s another question altogether. If we teach children too early that the nice people in their lives might just as easily be terrible behind closed doors, are they able to deal with that in their vulnerable positions?

Only parents can decide. If you would prefer your children to learn this sooner rather than later, there are children’s books which touch on big issues in a gentle way.

NICE DOES NOT EQUAL GOOD: HOW TO WRITE IT

CREATE NICE BUT NASTY CHARACTERS AND CONTRAST USING ‘SHADOW IN THE HERO’

Terry Pratchett writes for an adult/YA crossover audience. His Tiffany Aching series (starting with Wee Free Men) features elves who are beautiful and magical and give children candy, but they are incapable of compassion or caring. The witches who watch over the people are petty, argumentative, difficult and always have a sharp word on the tip of their tongue. However, they do what’s right even when it’s the harder choice. Pratchett uses various ways of approaching this message,  but overall, Tiffany isn’t learning to be nice. She’s learning to do what’s right. Via the viewpoint of Tiffany, the reader is also asked to consider appearance vs morality.

Different in voice but similar in theme we have The Girl Who Drank The Moon. The characters are complex and our understanding of them evolves as the story progresses, with the character initially perceived to be evil/not nice (Witch) ultimately being revealed as good, while the character initially perceived as good/nice (Grand Elder) is ultimately revealed to be evil. Perception and deception are emphasised.  Superficial judgements may not accurately reflect true character. This makes it a more modern fairytale — in traditional tales, nice and nasty are inherent, immutable traits.

CREATE A MAIN CHARACTER WHO IS ASKED TO DO THE RIGHT THING EVEN IF IT MEANS SACRIFICING SOCIAL CAPITAL

Joyce Carol Oates creates such a character in her YA novel Big Mouth and Ugly Girl. ‘Ugly’ refers to the way the heroine is seen, and how people in general (particularly girls?) are perceived by others whenever they stand up for what’s right. There’s no way of standing against the status quo without facing criticism from peers who are too afraid to stand up themselves.

I suspect female characters are more commonly used in these types of stories. We’re moving through a social period in which girls — for the first time ever — are properly taught to respect their own feelings and to reject social conditioning which teaches female people to prioritise others’ feelings over their own.

Similarly, witches have been used in many ways throughout the history of storytelling but the witch has turned — modern fictional witches may look nasty but their warts and hooked noses belie upright morals. Who’s in a better position to recognise injustice than witches, after all?

See also Gregory Maguire’s reimagining of the Wicked Witch Of The West in his novel Wicked.

CREATE A FAKE-OPPONENT WHO TURNS OUT TO BE AN ALLY

J.K. Rowling used this trick in her characterisation of Snape. The message?  Teachers who are the most scary are sometimes also the most ‘good’. Appearances can be deceptive. Not just how someone looks, but their lack of social graces or unwillingness to ingratiate.

It’s impossible to give further examples of this technique without also spoiling stories, because the true intent of the ‘villain ally’ is utilised as a major reveal.

In any case, this ‘villain who’s actually an ally’ plot encourages readers to reconsider who are the real opponents and who are the real allies in their own life. At their best, these stories ask readers not to judge others too soon.

The inverse ideology would be: Trust your gut about people. This is also an ideology worth exploring.

The Ideology Of Persistence In Children’s Literature

If you work hard you will find success. Persistence leads to success is a comforting truism, because we feel the future is under our own control. Work hard, you win.

An episode of a Freakonomics podcast provides a strong, economically sound argument for sometimes giving up.  But you’ll be hard pressed to find a book for which encourages quitting. When a child character quits a sports team or skips out on piano, it will probably be because they’ve replaced their parents’ dream with another hobby of their own. Quitting to hang out on the corner? Hard to find that in a non-tragic story.

persistence Continue reading

Read Boss Baby by Marla Frazee. Don’t watch the film.

Boss Baby, written and illustrated by Marla Frazee, is an award-winning 2010 American picture book released by Dreamworks in 2017 as a film. Boss Baby was adapted for screen by Michael McCullers, who also gave us Austin Powers and Mr Peabody and Sherman, which will give you some idea of the tone.

Notice the label ‘inspiration’ for the major motion picture. While book and film begin in similar fashion, a film is much longer and needs much more plot.

Boss Baby is a perfect example of a picture book that appeals to a dual audience. Later adoptions and foster care situations excepted, almost every adult reading this book to their child has been through the newborn phase with the little person they’re currently reading the book to. The humour in this story is — to use this taxonomy — predominantly Reference Humour, layered with Character Humour (adults will also recognise the Tyrannical Boss character trope, and enjoy seeing it made fun of. Adults, and slightly older children, will recognise the extent to which Frazee has turned ordinary baby gear into office equipment — the high-chair table becomes a desk; the baby monitor is now a phone. A baby bath is now a luxurious spa; the swing at the park is a private jet. I am confident in saying there is some Character Humour that only adult co-readers will get — when the baby decides to think ‘outside the box’, the child see the ‘box’ is his playpen, but adults will recognise this as cliched corporate jargon.

What will children find funny? Plenty… and this is where the illustrations really shine. As shown a few years later when BJ Novak’s The Book With No Pictures became an instant bestseller, children LOVE the idea that they run the show. For them, the humour comes from a simple Juxtaposition (called ‘Analogy’ by the guy who runs The Onion). Boss Baby is basically a Status Flip story.

The illustrations are full of ‘Hyperbole’ humour. Boss Baby doesn’t just hand over a folder of instructions — he hands over so many papers it literally fills the living room. The parents aren’t just tired; they’re so exhausted they literally keel over.

Another standout feature of the illustrations is the perspective, which makes a really interesting case study because the general rule of thumb is: Powerful characters look down on weak characters. From the reader’s perspective, when we look down on a character they seem weak; when we look up to a character they seem formidable.

But in Boss Baby, the reader looks down onto the small baby — emphasising his smallness — yet it is very clear from the framing, lighting and body language that he is the boss. Standing in the front doorway, the light from outside casts a massive shadow of the parents. The juxtaposition between the baby’s actual size (tiny next to the briefcase) and the shadow he casts, adds to the humour.

 

STORY STRUCTURE OF BOSS BABY

Who is the narrator of Boss Baby? The Dreamworks screenwriters decided to create an embodiment of the narrator, in the form of a big brother. This does make perfect sense, because there is an entire category of picture books about ‘bringing the baby home’., and those are designed to be read to the ‘big’ sibling. Also, the parents are referred to as ‘Mom’ and ‘Dad’, capitalised, but then when you become a parent you’re quite often referred to as the ‘Mom’ or ‘Dad’, so this doesn’t in itself mean there’s an older sibling watching on. (Alternatively, the narrator could in fact be the slightly older Boss Baby himself. There is something a little retro about this book, suggesting it’s older than 2010 — the mother is wearing a dress that seems to hail from the 1950s.)

Most bringing-baby-home picture books espouse an idealistic ideology — this new baby is gonna be great! (Just as soon as you get used to sharing him with your parents!) Some little-sibling stories are more emotionally honest. Feelings of uncertainty and jealousy are real when you’re the eldest sibling, and stories which acknowledge the disruption are my favourite kind. Boss Baby is the emotionally honest kind. (Chatterbox is another.)

The picture book is a good example of an ensemble cast. Another story with an ensemble cast is Little Miss Sunshine.

Ensemble casts aren’t quite as easy to break down, because the different ‘functions’ of story are divvied up. While it’s the baby who has the ‘plan’ in this story, it’s the parents who have the ‘problem’.

WEAKNESS/NEED/PROBLEM

The ‘main character’ is the family of three. For the purposes of story analysis I will consider the narrator omniscient rather than an older brother.

The problem this family has: When a new baby arrives in the house he absolutely runs the show. The parents have no choice but to obey his every command.

DESIRE

The baby wants his every need met, including constant company. We assume the parents want some of their freedom back, or at least some sleep.

OPPONENT

The members of this family are their own opponents.

PLAN

Babies, of course, do not make plans. They do not have the executive functioning to do so. That’s why Marla Frazee’s decision to turn the baby into a tyrannical corporate boss works so well. Now the baby’s plan is to dominate his family, deliberately running them ragged for the pleasure of it.

boss baby middle of the night

There’s a slightly noir feel to the lighting in this illustration, with the light on outside the bedroom. It’s almost like they’ve been called to a dark alley by a mob boss. Notice how well Frazee depicts exhaustion. The parents’ regular eyes are dots, but here she gives them larger, more detailed eyes.

BATTLE

The Boss Baby continues to give his parents the absolute runaround — we can see the pace pick up when there are more mini-scenes on a single spread. In a picture book, this is a sure sign of the Battle Sequence. The baby wins. We know the baby wins because the parents are literally flat out on the couch, almost like they’ve been defeated in a boxing match.

boss baby battle

SELF-REVELATION

Sure enough, the Battle Sequence is followed swiftly by not one but two separate self-revelations:

He called a meeting.

His staff did not respond.

He called and called and called. Nothing.

The boss’s usual demands were not getting their usual results.

it was time to try something completely out of the box.

In other words, the baby’s MO is no longer serving him well, so he realises he’s going to have to get his needs met some other way. This is where he says his first words.

For their part, the parents are delighted that all their hard work seems to be paying off. Not only that, but suddenly in their eyes, the little tyrant in their house seems like a baby rather than a boss.

NEW EQUILIBRIUM

When the parents hug their baby this marks a turning point in the family — the really hard newborn phase is over, and now they’re all moving forward into a slightly easier time.

 

I hope I’ve managed to persuade you that this picture book is among the best of the best. I would encourage parents to avoid the Dreamworks film. Mostly for this reason, but also because sometimes the short version of a story is far more powerful than a fleshed out, colourful, noisy plot.

 

The Ideology Of Wealth In Children’s Literature

Where there is wealth there are assholes. This is the overriding message we get from stories in general, be they for children or adults. However, sometimes by working hard a hero can become rich. In a Cinderella story goodness leads naturally to riches, in a Rhonda Byrne The Secret sort of bullshit idea. Characters in other stories are eventually revealed to be nice people despite being rich. Sometimes in children’s books an adult reader can see perfectly well that there is a discrepancy in income between the parents of the children, but child readers themselves won’t necessarily pick up all the clues on that. Kids are kids in the end.

cinderella before wealth

This 1919 illustration of Cinderella by Arthur Rackham shows Cinderella literally in rags.

The Pursuit Of Wealth As A Story Goal

Of the three principal preoccupations of adult fiction — sex, money and death — the first is absent from classic children’s literature and the other two either absent or much muted. Love in these stories may be intense but it is romantic rather than sensual, at least overtly. […] Money is a motive in children’s literature, in the sense that many stories deal with a search for treasure of some sort. These quests, unlike real ones, are almost always successful, though occasionally what is found in the end is some form of family happiness, which is declared by the author and the characters to be a “real treasure.” Simple economic survival, however, is almost never the problem; what is sought, rather, is a magical (sometimes literally magical) surplus of wealth.

— Alison Lurie, The Subversive Power Of Children’s Literature

A lot of children’s literature is set in a kind of utopia where the characters never have to worry about money. Food is always there. A classic example of that is The Wind In The Willows.

Storytelling Technique: Rich and Poor Together

One technique writers use to add interest and conflict to a story is to put wealthy and poor people in the same place. You’ll find this is done at some point in almost every TV show. Movies do it too.  Continue reading

The Ideology Of Fatness In Children’s Stories

FATPHOBIA AND THE DEPICTION OF FAT KIDS AS BULLIES

A fat bully character in a book implies that fatness is connected to bullying—because our culture already has that stereotype entrenched. A fat bully character in an individual book invokes the culture in which it exists, and brings all that to bear. Can’t help but.

diceytillerman

fatness blubber fatphobia Continue reading

Secret-Keeping And Lies In Children’s Literature

Many books for children explore the ideas of truth, lies and secret-keeping. Young characters commonly keep secrets from adults. Often (especially in portal fantasy) it’s because the adults simply wouldn’t believe the children (that there’s a world on the other side of the wardrobe; that there’s a creature who grants wishes that last for a day). This is a ‘plot level’ secret, and serves to keep adults out of the story. That’s one of the main challenges for children’s authors — keeping adults from solving all the kids’ problems.

In other stories, secrets are thematically and didactically explored.

secret-keeping pig the fibber

Pig the Pug tries to keep a fart secret but when everyone can smell it he blames it on Trevor.

 

 

Examples of secret-keeping in children’s stories

  1. Secrets are dangerous and should be shared with a trusted individual such as a parent, teacher or friend. This is a non-controversial message about secrets and a safe one to put in a book. No parent likes to think that their young child is keeping secrets from us. Parents are terrified of grooming and we no longer automatically trust teachers, coaches and bus-drivers. We like to think our children will tell us everything. Gatekeepers of children’s books therefore like books with this message.
  2. However, sometimes secrets are even more dangerous to share than to keep, and this danger can affect others as well as the secret-keeper.
  3. Even though it’s best to share your own secrets with friends, your friends‘ secrets should never be shared with others even if you feel you yourself need psychological support. Once you pass on a ‘secret’, it’s no longer a secret.
  4. Among groups of friends, secrets are swapped (even complete fabrications) as a mode of toxic bonding. Mean Girls features a Burn Book, for example, started by Regina George for two reasons: First it establishes a social hierarchy with herself at the top and second it bonds a small group of insiders together, using shared ‘knowledge’ as currency. People (mostly female characters) who use secrets and lies as social currency deserve every horrible thing that comes to them, and readers should never imitate this behaviour in real life. These stories exist to show readers that it happens, why it happens, and asks them to criticize the practice. There is also that wish-fulfilment of retribution in Mean Girls, when Regina George finds she’s met her match in the down-to-earth newcomer whose social gullibility turns out to be her strength. Machiavelli agreed that lies always hurt the teller, and Aesop agreed.
  5. Is lying by omission to help someone else a good secret or a bad secret? Not all secrets are the same. They come in different colours — black, white and grey. Wolf Hollow by Lauren Wolk does a good job of exploring this line of thought. The Case For Teaching Kids To Lie, Just Like Adults, from Fatherly.
  6. If you try to keep some horrible deed secret then get caught out, don’t deflect blame. Lying for your own gain and only your own gain means you deserve retribution. Pig The Fibber by Aaron Blabey is a humorous picture book example of this message.
  7. If you have suicidal thoughts or have been abused then you should never, ever keep that secret. That’s the message of 13 Reasons Why. The TV adaptation comes with messages about the existence of Lifeline, a mental health helpline.
  8. Perhaps the most famous liar in children’s literature is Pinocchio, whose nose grows longer whenever he tells a lie. The image of a growing nose has entered the public consciousness and idiomatic language, regardless of whether we’ve ever read the story or not. The messages about lying are complex in this classic. Pinocchio is not the only liar. Gepetto sells his winter coat (which he needs) in order to buy Pinocchio a school book but he tells Pinocchio the coat was too hot anyway. Presumably this lie is okay, because it’s a ‘white lie’, designed to avoid a child feeling bad and help him in the noble goal of getting an education. For more on lying in Pinocchio, see here: “Lies that have short legs are those that carry you a little distance but cannot outrun the truth. The truthful consequences always catch up with someone who tells a lie with short legs. Lies that have long noses are those that are obvious to everyone except the person who told the lie, lies that make the liar look ridiculous.”
  9. While children should never lie to parents, if (good) parents lie if it’s to protect children. 
  10. Beware ‘tricky’ adults. An example of a nasty-nice stranger who reels a child in with lies is the White Witch, who reels him in with Turkish delight than tells him to keep a secret. The secret-keeping leads to Edmond being ostricised by his family when they find out he’s been lying about the existence of Narnia. The message in C.S. Lewis’s Christian works is that lying is always bad and will always be found out. We are often told that lies will always be outed. This stems from the monotheistic view of the omniscient eye watching our every move, reinforced by the idea that all our bad deeds will be judged upon our death. But not everyone holds these views. Do lies really always come out? Is there some law of ‘physics’ which makes that happen? Or perhaps this is far, far from reality — many secrets and lies die everyday around the world, along with the people who’ve been keeping them. And were they right to keep them?

Dietrich Bonhoeffer’s Notion of The Living Truth

Bonhoeffer argues that it is naive and misleading, perhaps even dangerous to suppose that the literal truth always or even typically conveys what we mean when we talk about telling the truth. Of course we often tell a straightforward lie, and for morally blameworthy reasons. But we also often make statements that are not literally true—that are in fact literal lies—while conveying a deeper truth that an honest statement of the facts could not communicate. So, for example, if Geppetto told Pinocchio, “I sold my coat in order to buy you a schoolbook,” he would be speaking the literal truth, but his meaning might well be (or be understood by Pinocchio as) “Look what sacrifices I make for you!” By telling Pinocchio that he sold his coat because it was too hot—a lie—he communicates to Pinocchio something like “My coat doesn’t really matter to me, and your schoolbook does, and I don’t want you to feel bad about the fact that I sold my coat.” This is a very nice example of what Bonhoeffer means by the living truth, the more important meanings in communication that may not, and sometimes cannot, be conveyed by strict reportage. So many of the stories we tell our children are of this kind—Santa Claus is the obvious example—and we should ask ourselves, as parents and also as lovers: How many stories might my child, or my boyfriend, or my partner, or my mom be telling me, not in order to mislead me but rather to tell me something that, if said outright, might be misunderstood or cause me harm?

The New Yorker

Apart from Pinocchio, can you think of some children’s stories which play with the concept of ‘the living truth’?

At what age can (neurotypical) children understand this concept? For many autistic children development is atypical when it comes to social lying, which is a definite thing. When you live with an autistic child you realise the extent to which everyday communication runs on secrets, lies, omissions and short-cuts as social niceties. Autistic readers in particular can benefit hugely from children’s literature which explores the full gamut of ideologies around secret-keeping and lying.

What does the field of psychology tell us about the toll of secret-keeping?

Traditionally, scientists have studied secrecy as a social act, as the willful hiding of information from others. According to this view, it’s the suppression of the secret—the keeping it in, the self-monitoring, and the tactical contortions that go with it—that exact a cost on the keeper. But Slepian argues that secrets cause suffering in other ways, too. Yes, there are occasions when you have to actively steer a conversation away from the rocks, like when you’re attempting to disguise from your office mates the fact that you’re looking for another job. But most of the time you’re by yourself with your secret, thinking about the many ways in which it could be discovered or you might accidentally let it slip. […]

It is established that keeping a secret can take a toll:

Secrecy, as they see it, is less an activity than a state of being. We don’t keep secrets; we have them. And what’s harmful about a secret isn’t the content so much as the mind’s need to keep revisiting it and turning it over—not the murder itself but the incessant beating of the telltale heart. […]

However, if the secret-keeper is able to avoid ‘dwelling’ on it — if the secret isn’t actually bothering them — well, no problem? We shouldn’t assume that keeping secrets is always going to be harmful for the keeper. It depends on the secret and on the person:

By a margin of two-to-one or more, people dwelled on their secrets on their own time far more than in social situations. And the dwelling, more than the concealing, hurt their sense of well-being. By constantly chewing over a secret, Slepian suggested, people remind themselves of their own deceptiveness; they feel “inauthentic, disingenuous.” […]

Other people, or the same people in different situations, might be better off sharing secrets to avoid letting it harm their sense of integrity. This may apply in particular to sharing with others who we really are. For example, living one’s whole life concealing sexual orientation/identity is going to take a very real emotional toll on a person:

Secrets are largely solitary creatures and can be tamed with company. “Talking about it with another person will really go a long way,” he said. Melissa Ferguson, the Cornell psychologist who studied the cognitive and physical effects of concealing one’s sexual orientation, added that we shouldn’t lose sight of the costs of social secrets.

The New Yorker 

On the other hand, for many young gay and transgender people around the world, coming out to their families and communities is more physically dangerous than the secret-keeping is emotionally dangerous. In which case, what is the answer for those readers looking for similar lives within books? Dan Savage, well-known gay sex columnist, often advises young people from bigoted communities be very careful about coming out, as it can lead to loss of educational opportunities, homelessness and physical harm. The time for coming out can occasionally be postponed a few years.

Alongside all those stories about unburdening, stories about secret-keeping — at least for a while — are also needed.

 

 

Job History by Annie Proulx Story Technique

Reading “Job History” in 2017, I propose an updated subtitle: “The Life and Times of a Trump Voter”.

Job History Wyoming

A gas station in Wyoming, taken 1984.

 

Annie Proulx doesn’t seem to go public with her voting decisions but her interest in the environment and the ideas in her fiction suggest she’s probably not on board with what’s going on in the USA this year:

[Annie Proulx’s] voice rises: “Nobody can visit the big trees again; the huge forests do not exist. The understorey has gone, and the smaller plants and animals – the ecosystem has been damaged. Change is right with us, and you can get frightened.” I ask if the thought of Donald Trump, a denier of manmade climate change, in the White House frightens her. “I think the country has more or less brought this on themselves,” she says. “I don’t have personal feelings about it because that’s not who I am, but I am watching.”

The Guardian

Whatever the author’s political thoughts, I’m 100% certain Proulx would’ve seen the era of President Trump coming a mile off. Having lived most of her live in rural Wyoming, the story of Leeland Lee, who in 2017 would be about the same age as Donald Trump himself, is a portrait of a Trump Voting Everyman. It’s well worth a read for that reason alone, if you can stomach it. Continue reading

Storytelling Tips from Northern Lights by Phillip Pullman

Northern Lights is a YA story with broad appeal for adults. It follows mythic structure.

The story has been adapted into a film (2007) and also into an action/adventure puzzle game (by Sega). While in some cases films can be just as enjoyable — or even more enjoyable — than the books upon which they are based, that is nowhere near true in this case. There are many reasons for this which resulted from too many cooks spoiling the broth. Not least: Continue reading

Desperate Housewives Storytelling Tips

Desperate Housewives ran for eight seasons from 2004 to 2012. This show is a great example of a ‘cozy mystery’.

TAGLINES

Taglines are for the marketing copy. 

Season One: Everyone has a little dirty laundry…/Secrets. Romance. Murder. All On One Street.

 

THE LOGLINE/PREMISE

For maximum narrative drive the premise should be all about the plot. A premise that works will contain some sort of contrast.

“Secrets and truths unfold through the lives of female friends in one suburban neighborhood, after the mysterious suicide of a neighbor.”

The contrast in this logline is that ‘friends’ have ‘secrets’ in the ‘suburbs’, an arena we generally associate with ‘knowing everybody’s business’ and ‘nothing interesting ever happens’.

GENRE BLEND OF DESPERATE HOUSEWIVES

drama, mystery, satire

When Desperate Housewives first aired in 2004 it was the tone which drew me in. I hadn’t seen anything with quite that balance of 1950s housewife satire, comedy and mystery. It’s easy to forget that now because we’ve since seen a number of TV dramas with a similar vibe: Pretty Little Liars for one was pitched as ‘Desperate Housewives For Teens’. Like Desperate Housewives, there is a cast of four distinct female archetypes who are friends. There is also a slight supernatural overtone to the story, with a dead person pulling strings/narrating omnisciently.

The women on this show aren’t real women — nothing like it. An excellent example of the ‘unreality’ of the characters can be heard in the audio commentary to episode 15, season one. Marc Cherry is especially proud of his writing of this episode (and it was the first time they shifted to their new, more expansive set), so he guides DVD owners through the episode they called Impossible.  In this one, John’s roommate Justin blackmails Gabrielle into having sex with him by becoming their new gardener. Gabrielle turns the gardener down, both for sex and for free garden work with obvious strings attached, but her husband lets him in and he surprises her while she’s in her own bathroom upstairs. The male writer and producer tell us on the audio commentary that actress Eva Longoria did an excellent job of ‘taking control of the situation’ but was ‘rooted to the spot’ for the first few takes, terrified at the prospect of finding a well-muscled young man confronting her for sex in her own space. The scene is meant to be played as comedy. Longoria’s acting made it somewhere there, but I did watch this episode the first time thinking that it’s not good comedy material, and a ‘real woman’ would not react with Gabrielle’s bravado — not with genuine bravado — in that particular situation. From my perspective, the male writer on this occasion simply did not understand how terrifying this scenario would be for a woman, and seemed a bit mystified about why Eva Longoria had trouble acting her part in it.

The men are archetypes, too. Even the children are preternaturally scheming/mature/creepy, harking back to a time before the concept of childhood existed. In this ways and many others, Desperate Housewives is a series of fairytales.

The show was originally pitched with ‘comedy’ in its genre blend but none of the networks were interested. When it was re-pitched as ‘satire’ suddenly it found a home. Networks had assumed it was just another soap. But they realised the audience was ready for a ‘self-aware’ version of the daytime soap, and changing the genre from ‘comedy’ to ‘satire’ did the trick.

OTHER SHOWS SIMILAR TO DESPERATE HOUSEWIVES

Continue reading

Storytelling Tips From The Edge Of Seventeen

The Edge Of Seventeen movie poster

This is a coming-of-age movie about an American girl called Nadine who struggles to fit in. That could describe many of us in our teen years, but with Nadine there’s a bit more to it.

STORY STRUCTURE

The film opens to a witty, high stakes dialogue scene in which Nadine rushes to her history teacher and tells him she’s going to kill herself. Mr Bruner is an excellent contrast to Nadine because he is calm and ironic and on the face of it, cruel. Nothing is a drama to him, not even suicide threats from students.

Next we have Nadine as storyteller narrator guiding us through her early life. This ends with her father dying two years back, and she sums this period up as ‘it was shit’ so she doesn’t bore us with the details. The father is grounded while the mother is not. Basically, the writers are taking a girl and doing the worst possible thing to her — taking away her father just as she enters the adult world. We’ve seen just enough of the father to fall in love with him ourselves, too.

When we’re in ‘the present’ the story starts in earnest, with Nadine talking to her best friend under a tree at lunch break, announcing her desire to have sex.

Continue reading

Older posts

© 2018 Slap Happy Larry

Theme by Anders NorenUp ↑