Category Archives: politics

Two books try to figure out why Hillary Clinton lost the presidential election

It’s been over a hundred days into President Donald Trump’s administration, and liberals are still in reeling in shock over his surprise victory. By all reasonable accounts, Clinton – a former first lady, senator, secretary of state, and a one-time leading presidential candidate should’ve bested Trump, whose main claims to fame were reality TV and real estate. But on November 8th, Trump won a decisive victory with the electoral college (though Clinton won almost 3 million more popular votes). Right after Clinton’s high-profile loss, people were asking “What happened?”

The 2016 election will undoubtedly inspire a library of books trying to figure out how Trump succeeded and Clinton failed. Two of the earliest entries in this topic is Susan Bordo’s The Destruction of Hillary Clinton and Shattered: Inside Hillary Clinton’s Doomed Campaign by Jonathan Allen and Amie Parnes. Bordo’s book is a personal response to  Clinton’s loss – she is biased toward Clinton, and creates a long list of factors that contributed to Clinton’s loss including James Comey and the FBI, Putin and Russia, Bernie Sanders and the Bernie Bros, sexism, and misogyny. There is one major person that seems to be completely blameless: Clinton herself.

Thankfully, Allen and Parnes have written a far more nuanced and fair representation of the 2016 election. Though sympathetic and fair toward Clinton, the two writers present an alarming picture of a behemoth of a campaign that is in disarray. Though the writers understand that Comey’s repeated interference in the election made a difference, the duo also look at Clinton’s role in the demise of her presidential aspirations.


Bordo’s point of view is highly skewed, but that wouldn’t necessarily be such a bad thing, if she was a little more honest about Clinton. It seems as if Clinton could do no wrong, and it appears as if everybody in the world had a hand in the campaign’s failure, except for Clinton. She’s not wrong in that the factors she list did have negative consequences on Clinton’s fortune. But what about the candidate herself?

According to Allen and Parnes, Clinton was a figurehead of a sprawling and disorganized campaign that was split into various factions, each competing with each other for the candidate’s ear. Clinton also guarded herself with an inner circle that was made up of sycophants, all acting as yes people to Clinton to protect their jobs and their proximity to her. And Clinton herself at times appears to be self-serving, self-defeating, and unable to successfully communicate her message to the voters. Her ineptitude and mercurial temper makes Shattered feel like a script for Veep.  The research that Allen and Parnes did – including extensive interviews – means that the book is chockfull of testimonials from insiders who worked in the doomed campaign.

Bordo has done her homework, too, but most of it works as a book-length essay than a work of investigative writing. That doesn’t mean Bordo’s book isn’t worthy or valid; but it does mean that if one reads The Destruction of Hillary Clinton, one should manage the expectations. To Bordo’s credit, she never claims that her book is a definitive and journalistic take on the elections. Instead, it works more as a theoretical interpretation.

For Hillary Clinton supporters, Shattered will be a sometimes hard read. Though they ultimately paint Clinton as a decent, if flawed, candidate, they do not hold back. The Clinton in Shattered can be tempestuous, temperamental, paranoid, defensive, and at times, lacking in self-awareness. Her qualifications and her intellect is never in question, nor is her patriotism or her desire to do good. But the writers also put those positive qualities in context; they don’t allow for her estimable pluses to negate her unequivocal negatives.

As much as these books are on Hillary Clinton, they’re also about a DNC that needs serious evaluation and a reset button. That is the ultimate takeaway from both: the DNC cannot operate business as usual anymore because even with a supremely talented and qualified candidate like Hillary Clinton, it can still lose to a patently unsuitable candidate.

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‘Veep’ predicts the horror that was the 2016 presidential election in its 5th season

Veep‘s 5th season aired from April to June in 2016, three months before the horrifying election day that turned our political landscape into one long, unending Saturday Night Live sketch. In its fifth season, Veep managed to survive the departure of its showrunner, creator Armando Iannucci, intact and deliver 10 satisfying and hilarious episodes. Watching the show after the election takes on added irony, poignancy, and just sheer feelings of the uncanny and just how prescient the show would prove to be.

In the fourth season, President Selina Meyer (Julia Louis-Dreyfus) found herself in a strange situation on election night. She was tied with her rival (though she won the popular vote – the Electoral College screws over pioneering female presidential candidates even in fiction), which set forth an obscure and arcane set of rules that meant congress would vote for the next president of the United States. Much of season five concerns itself with Selina’s campaign in wooing members of congress to back her.

Throughout the season, Selina is not only trying to hold on to her position as president, she’s also trying to enact legislation that would leave a legacy (she even wants to push forward talks between Tibet and China in hopes of a Nobel Peace Prize). The problem is, as always, Selina and her band of misfits are incapable of not screwing up. In the reality of Veep, a narcissistic nincompoop like Selina Meyer can be president, which is a hilarious conceit. While she has drive and ambition, she’s also lazy, distracted, and extremely self-serving. And it doesn’t help that she’s assembled what is probably the most inefficient team in presidential history. While all of this politicking is going on, Selina’s daughter Catherine is filming Selina’s annus horribilis for a student film.

While Selina’s story takes center stage,  supporting characters have minor arcs, as well. Mike (Matt Walsh) is in the process of adopting a baby from China; Amy (Anna Chlumsky) and Dan (Reid Scott) are going through a will-they/won’t they; and Jonah (Timothy Simons, brilliant and deserving of some serious Emmy love) runs for congress. These stories provide background and often act as white noise for the main plot, which focuses on Selina’s desperate and oft-foiled fight to stay president.

I imagine that the writers of Veep had a field day creating outlandish and ridiculous scenarios to put their characters in – whether it’s in Camp David, where Selina tricks Catherine into thinking they’re sharing a family Christmas (when really, she’s hosting the Chinese president); or in a hospital bed, cheering over her mother’s deathbed because she got good news about her campaign – but watching Veep now feels scary in its accuracy. Selina is not meant to be president and doesn’t want the position out of patriotism or sense of duty. She sees it as a source of power, influence, and wealth. None of that would be so terrible if Selina was good at her job, but she’s a series of blunders and fuck ups, one more catastrophic than the next. And like any seasoned politician, Selina lacks empathy and self-awareness and cannot acknowledge her role in her downfall.

But despite her many flaws and faults, Selina remains a compelling anti-heroine that viewers will want to watch (though I’m not sure how many would root for her). She’s not a stupid woman, nor is she without any political instinct or know how. The problem is she doesn’t have an internal filter – she merely works off her id. And when her blunders result in some devastating loss or setback, her instinct isn’t to have a postmortem to figure out where she went wrong; instead, she lashes out at those around her.

Part of what makes Selina so interesting and fascinating to watch is the furious comedic energy Julia Louis-Dreyfus brings to the role. Veep is a wonderful opportunity for the comedienne to show off not only her genius for savage one liners, but also her estimable skills as a physical comic. Selina Meyer is a monster and there’s something subversive and awesome in watching a female sitcom lead not be likable or adorable. Even in moments when we are naturally drawn toward sympathy, like during the moments when Selina’s mother is dying, Selina still manages to reward our momentary lapses of judgement by doing something heinous and awful, thereby restoring order.

The sixth season started with Selina humbled and bruised. She’s a mere private citizen now, being buried underneath the shadow of the second female president of the United States, Laura Montez, who quickly swallowed up any lasting imprint that Selina left in Washington. The show has taken on unintended shading, given the state of world politics at the moment. It’s satire, but it’s satire that hits uncomfortably close to home. Veep has evolved over its six seasons into a gallows, whistling past the graveyard kind of show. It’s no longer just funny ha-ha, but also funny OhMyGodWhatIsGoingOn. And right now, we could all use some laughs.

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Theresa May triggers Article 50 – the divorce proceedings begin…

Image resultToday, British PM Theresa May signed Article 50 and the letter was hand delivered to EU council president Donald Tusk. And so it begins. After June 23rd, in what was a long and sometimes ridiculous period of time, the United Kingdom has finally decided to leave the EU.

It’s been a rough and ugly nine months, marked by recriminations, hurt feelings, and worst of all, hate crimes. EU nationals who made their lives in the UK suddenly felt like hostages or bargaining chips. Many didn’t know how to move forward and what to do: some put off school, new jobs, new homes, all in fear that their basic rights were taken away.

Future expats are now worried about what’s going to happen. Many of us have invested time and money into a dream that now seems wobbly and just out of reach.

I wish I could be gracious in defeat. I wish I didn’t resent Theresa May, Nigel Farage, Jeremy Corbyn, and Boris Johnson so much. I wish I didn’t resent the people who voted for Leave. Who got snookered into the lies and deceit that the Leave Campaign fed them.

The strength of the UK – of any country, really – is its diversity. Diversity makes a country stronger. It’s simple. The more people you bring in from different backgrounds, the better. Ideas and innovations are always moving forward and staying dynamic.

While trying to make my way through the mess that is Brexit, I found a community of EU nationals who live in the UK. Their stories are heartbreaking. I wish May, Farage, Corbyn, and Johnson read those stories. People lose sleep, lose family members, lose friends, lose hope living in a country that has validated xenophobia and racism through a non-binding referendum.

The UK that I see now isn’t the UK that I fell in love with. For all of May’s talks of “generosity” towards EU nationals, it’s become more insular and isolated as it shifts away from the global community.

The UK I remember is one that was cosmopolitan. It was messy. It was loud. It was undefinable. It was similar to the US that I fell in love with.

It sucks. It sucks out loud.

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Emma Stone makes a triumphant return to ‘SNL’

Emma Stone and Shawn Mendes Bumper Photos

Along with Justin Timberlake, Melissa McCarthy, Tom Hanks, and John Goodman, Emma Stone is a cast member that is so good at sketch comedy and hosting Saturday Night Live, that it’s curious that she didn’t pay her dues as a sketch comedienne before becoming an Oscar-nominated superstar.

Stone is funny, beautiful, and smart – a killer combination, and she got to show off all sides of her hilarious persona on last week’s show. Unlike a lot of gorgeous hosts, she doesn’t get marginalized by being shunted off into straight man roles (i.e. the exasperated mom, the exasperated girlfriend, the exasperated wife).

During her cute monologue, Stone informed her audience that it’s her third time hosting, and she called herself a vet of the show – I found it interesting that it was only her third time. Her monologue looked like it was going to be a musical – so I braced myself, but instead it was a funny riff on how SNL is like a high school. As she wandered the halls of the studio, she ran into cast mates who played the roles of high school archetypes (Vanessa Bayer was a mean girl, Kenan Thompson was a stoner, Bobby Moynihan was the brooding hunk).

Before, the monologue, we were treated to an Alec Baldwin as Trump sketch. I like his impression, and the sketch’s joke – that Trump will retweet anything – is salient and funny, but there needs to be more to the joke than what the writers are doing so far. Baldwin’s performance is brilliant and savage, but the writing is still weirdly soft. McKinnon’s wonderful Kellyanne Conway is great – and just like her Hillary Clinton, McKinnon is able to create a real, three-dimensional character instead of an accurate imitation (truth be told, McKinnon’s a virtuoso at characters, but not really all that great a mimic). The opener was funny, and I laughed (the Stephen Bannon as Grim Reaper sight gag was good), but it’s pointing to a future of softball lobs at the President-Elect.

The show’s first sketch was the recurring high school theater show. Lots of people are down on this sketch,and when it first came out, I didn’t like it much, either, but have since warmed up to it. The strident, myopic views of these supposedly progressive high school kids is a great parody of the dangers of forming one’s opinion in an echo chamber. Armed only with memes, Facebook posts, and buzz words, these kids are putting together a serious show, but undo any of their good intentions by being woefully misinformed (the kids think protesters at Standing Rock want the pipeline) or grossly inept at proving their point (shaming the audience into not being bilingual, the kids spoke Mandarin, but of course, it wasn’t really Mandarin). Aidy Bryant’s student then gets a monologue about HIV/AIDS in which her character starts off with an empowering message about the importance of destigmatizing AIDS (so far, so good), before her message gets away with her, and she urges everyone in the world to have AIDS before she announces  that “AIDS rocks!” (with triumphant fist in the air). As always, Kenan Thompson and Vanessa Bryant as two disgusted parents do some great, understated work.

Another great recurring tradition is to fit the hosts into funny music videos. Cameron Diaz, Anna Kendrick, and Elizabeth Banks starred in some memorable music video parodies during their stints, and Stone this time stars in a 90’s Christian Contemporary music video with Aidy Bryant and Kate McKinnon. As per usual, the visuals are spot-on: the big hair, the oversized dress shirts, the vests – the faux snow scene (check out Vanessa Williams’ “Save the Best for Last”). The song is about regifting a lame-ass candle from one coworker to another. McKinnon, Bryant, and Strong are great and sell the song despite the inanity of the lyrics.

Another Stone-heavy sketch has Pete Davidson as a high school kid having trouble with his math homework, and being inspired by the people in his posters, including McKinnon’s video game heroine, Mikey Day’s snowboarder, Thompson’s stand-up comic, and Stone’s bikini babe, all who lecture him about the importance of school and math. She dominates the sketch with a comically-porn squeal of a voice, as her character undermines the efforts of the other posters, who are sincerely trying to help Davidson.

As far as political sketches go, aside from the cold opener, we have a nothing sketch about a reality show that is looking to catch Hillary Clinton, as if she were Big Foot. Social media after the election has been peppered with stories of hikers and passersby spotting Clinton in the woods. It’s a pretty old joke that Twitter users already made, and the sketch – probably the bummer of the evening – didn’t do anything new with the joke (still, it was nice to see McKinnon as Clinton, even if all she did was stalk the forest).

I don’t like Weekend Update anymore – I just watch it for the correspondents. Leslie Jones didn’t disappoint, using her time to encourage men to be okay with the size of their endowments. She’s an ebullient, smart, and joyful presence and she’s a fantastic storyteller. The other correspondent was Bayer pulling out her great Jennifer-Aniston-as-Rachel-from-Friends impression, which was interrupted by the real Jennifer Aniston, who’s promoting a movie (in which Bayer is a costar). It’s a silly thing when the real person pops up next to the impressionist, but it was funny to see both Aniston and Bayer to a Rachel-off in which both descend into that high-pitched squawk of disbelief (at one point, Bayer seems to have some sort of Rachel meltdown as she sputters).

The rest of the show breezed through on the strength of the solid material and Stone’s great hosting skills. As a singing office cleaner with Jones and Cecily Strong (absent for most of the evening), Stone shone as the three cleaners guilted the office drones in their building to listen to their Christmas tunes, only to unveil a repertoire of holiday ditties that cast Santa as a big ole lech. The songs get dirtier and dirtier as the office workers get more confused and appalled as our trio belt out songs about how their chimneys only gone one way or that a line of elves are waiting for their turn after Old Saint Nick is done with them. A great bonus as Bayer’s clueless worker call the cleaners “Miss Thing” in a transparent attempt to hide that she doesn’t know their names.

From that winner comes one of the strongest of the evening – McKinnon’s return as Debette Goldry, an old Hollywood vet who recounts horror tales of Hollywood of yesteryear when women were treated as little more than objects (in fact, according to Debette, women were part of the prop budget and she sat on a table, labeled “woman). Stone, Jones, and Aniston appear as themselves and Zamata is the moderator of a panel of women in Hollywood, and while the three actresses talk about the challenges of being women in Hollywood, Debette trumps them with wretched tales of abuse at the hands of old time Hollywood studio execs, such as taking arsenic to keep her skin beautiful, or having pancake batter injected into her skin instead of Botox. Because she’s such a relic, Debette’s amazed when Aniston talks about sitting in the director’s chair – I loved Debette’s awed shock at this bit of news, which means a lot to her because she comes from a time when women were “just lying on a track waiting to get run over.” It would be nice if the stakes were heightened in the case of Stones, Aniston, and especially Jones, who actually did suffer from sexism and misogyny (her true experiences would give the scripted stuff thrown at Debette a run for its money). For many, the sketch feels like a way to say “Hey, actresses of today – you don’t have it so bad. Just look at how bad it was long ago.” And in a sense, that sentiment is correct: we rarely hear stories like that of Marilyn Monroe or Judy Garland, thank god, and these sketches are a nice way to bring some much-needed perspective, especially when we hear Patricia Arquette talk about the wage gap in Hollywood (though, again, to counter any of that, the writers should’ve just let Jones talk about her summer, and Debette would’ve probably been like, “Yeah, you’re right…you win, I fold”).

The other pre-taped segment was a funny fake toy commercial. SNL has a long history of great fake ads – it’s one of the show’s highlights (back in the day, there was even a compilation show of the program’s greatest fake commercial hits). In this one, Fisher-Price has a new toy out for the holidays, a plastic well for sensitive little boys. While girls are playing with Barbies and other boys are playing with toy guns, what are the sensitive, melancholy boys supposed to do? Play with their plastic well, which gives them hours of fun, leaning against its side, running their fingers through the water, and being thoughtful. The kid who plays the pensive little tyke in the sketch is funny, as is his fiercely protective – and let’s just say it, awesome – mother, Stone is a hoot (“Everything is for you!” she rages at a little bully. “This one thing is for him!”)

And it’s fitting that a December episode would have a nativity sketch, with Stone playing Mary, who’s understandably irritated, tired, and undone by all of the guests marching into her manger to visit the baby. It’s not a funny ha-ha sketch – it makes total sense that’s shoved way at the end – but it’s very well-played by Stone and the message is pretty cool. For all eternity, we get the story of Mary being perfect, luminescent, meek, and compliant, and it’s great that in this sketch, Mary’s kind of a badass and totally relatable and sympathetic. It’s also funny that Kyle Mooney gets to be Joseph, but a total bro-ey Joseph, who doesn’t get why Mary may not want kings and wise men to traipse around her just after she gave birth (he even asks her to get them some drinks). Even if we’re meant to see Mary as “difficult” and a touch bratty, it’s a surprisingly feminist sketch, with Stone aces, conveying both the frustration of having to hold her shit together as well as the exhaustion of just giving birth and being a new mom. And the ending is fantastic with the Angel Gabriel’s condescending insensitivity when he asks, “Are you okay?  You look tired,” to which Mary fumes perfectly.

Following Dave Chappelle’s near-perfect episode and Kristen Wiig’s excellent outing, this is the third great show in a row. The next episode features John Cena, the wrestler-turned action star who has proven that he has decent comic chops (Sisters), and SNL has a history of doing right by these kinds of performers (The Rock has had a solid turn at hosting).

A random thought:

I love Cecily Strong’s Planned Parenthood t-shirt at the goodbyes – speaking of Strong, usually a heavy hitter, was quite absent

 

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Megyn Kelly’s ‘Settle for More’ is a jumbled but admirable effort

Megyn Kelly’s public persona is a study in contradiction: on the one hand, many see her as simply one of a giant roster of beautiful blonde talking heads on Fox News. On the hand, she’s a feminist hero, bravely standing up to the bullying tactics of Donald Trump. The truth is a messy in-between, which Kelly tries to present as an authentic human being instead of a two-dimensional figure concocted by a team of TV producers, image experts, managers, and hair and makeup people. In Settle for More, Kelly works to humanize the glossy image she presents so successfully on her various appearances, by sharing anecdotes of her childhood, her frailties and vulnerabilities, as well as her ambition and drive. She makes a convincing case for herself as a complex and complicated person with many sides to her. But often her rather stark limitations as a writer fail her, muddying the impact of her words.

Some of why Settle for More fails in part is because Kelly seems unsure of what kind of book she’s writing. As a straight-up memoir it doesn’t work because Kelly’s childhood and upbringing isn’t that interesting, and she doesn’t have the literary flair of a Sarah Vowell or a David Sedaris to inject her storytelling with anything amounting to interesting yarn spinning. She grew up in a solidly middle class New York State family, and went through a hellish year of bullying in junior high and suffered through the unexpected death of her father. To be sure, these are traumatic events, and Kelly’s perseverance is to be admired. But these experiences aren’t enough to warrant a book, at least not the one that Kelly’s written.

It’s when she writes about her professional life that Settle for More becomes far more interesting. Her career is fascinating in that she started off as a lawyer, but disaffected and unsatisfied, she decided to shift gears in mid-career and jump over to broadcast journalism. When she writes of her time as a female attorney dealing with condescension and sexism, Kelly’s work shows much more promise. Here we see the assemblage of the public persona and image of Megyn Kelly, and she does a solid job of showing the real person underneath. She shares anecdotes of sparring with politicians and fellow journalists (including an amusing bit about a terse tete-a-tete she shared with Daily Show‘s Jon Stewart), and she highlights some of the misogyny and sexism that she faced.

Unfortunately, because she’s part of the Fox News brand, she cannot indulge in any semblance of feminism – and she even indulges in some stupid and simply untrue characterizations of feminism – and hedges her bets continuously throughout the book by stressing just how much gender doesn’t matter. This theme becomes tiresome and feels a little bit like overcompensation, as if she was worried that if she sounded too much like Gloria Steinem (whom she dings for wearing a “I had an abortion” t-shirt), her fan base may abandon her. In her quest to downplay gender, she comes off a bit desperate to be “one of the guys.”

But despite her ambivalence toward gender issues, they are major themes throughout Settle for More. And why shouldn’t they? After all, as a lawyer and then a journalist, Kelly has succeeded in male-dominated industries that still operate in large part, on the boys club mentality. Throughout her career, she has faced obstacles that will be relatable to female readers, including sexual harassment and unwelcomed advances by colleagues and superiors. The most notable – and high profile – passages in the book involve Kelly’s interactions with Donald Trump and Roger Ailes.

Trump’s fights with Kelly were well-publicized. The now president-elect took to Twitter to slam Kelly’s questions during the debate, using typically boorish and sexist language (referencing her menstrual cycle). Kelly tells a riveting tale of rabid Trump supporters who take to social media with sexist and misogynistic threats and slurs. Surrounding herself with security detail, Kelly would become haunted and hunted by Trump’s supporters, and became an unlikely hero of the left, while the right thought of her as a turncoat. What’s important about Kelly’s account is that she is taking control of the narrative, instead of allowing for the media to shape it, and her writing does a solid job in complicating the reductive assumptions people came to, when the Trump fracas was dominating the media.

Her disclosure of her experience with sexual harassment at the hands of Roger Ailes is also important in that highlights an important issue that too many people disregard, minimize, or trivialize. Many question Kelly’s timing and motives for her candor – some will go the predictable route of victim-blaming, victim-shaming, misogyny, and dismissal, which is why it’s so vital that we continue to hear stories like Kelly’s, and that we continue to encourage victims to speak. Our job as readers isn’t to question why or how Kelly dealt with her experience of harassment, because there is no one right or ideal way of responding to sexual harassment. Our job is to hear Kelly’s story and listen.

If Kelly had focused on her career when writing Settle for More, she would’ve had an above-average book. If she focused on gender issues, and stopped hedging her bets when it comes to gender identity and gender politics in law and journalism, she’d have a great book. Unfortunately, Kelly chose the traditional memoir, and as a result, she merely has produced a competent book, with flashes of great potential.

 

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Dave Chappelle and Kate McKinnon work out their post-Election blues on ‘Saturday Night Live’

Dave Chappelle and A Tribe Called Quest Bumper Photos

Whew. What a week. Saturday Night Live had a pretty rough assignment: follow up the awful of Donald Trump’s victory and remind shell-shocked Americans that shit can still be funny. Host Dave Chappelle was in a strange position because he’s a performer that is too electric for the mainstream trappings of SNL, and when booking the comic, one runs the risk of either pushing SNL to an area it’s just not prepared for, or shoving him into an anodyne TV-friendly personality (just review Chris Rock’s disappointing hosting turn a couple years ago as evidence).

But last week’s episode managed to overcome these difficulties with grace, style, and compassion. As a host, Chappelle unsurprisingly dominated. His sketch show is legendary and he is a dynamic presence in the different sketches. And thankfully, as with most stand-up hosts, Chappelle devotes his monologue to a bit of stand-up work. A couple weeks ago, Chappelle seemingly defended Trump in a concert, drawing ire and anger from fans. In his monologue, Chappelle took the opportunity to highlight the absurdity of the election as well as pinpointing how white liberals’ shock over the election is just a repercussion of their privilege. Black voters, female voters, queer voters all know just how tenuous progress can be – and how vulnerable it can be to backlash. Chappelle points out that white people aren’t as surprising as we think – an important point because disenfranchised groups are used to being royally screwed over on a grand scale. Chappelle – not the most sympathetic voice in comedy, isn’t cruel in his assessment, just brutally honest. Towards the end of his monologue, he talks about approaching Trump’s impending presidency with hope – and uses a poignant anecdote of a White House party he attended, in which all of the guests were Black (with the exception of Bradley Cooper). He mentions seeing the portraits of the presidents, and notes that when Frederick Douglass was invited to the White House, he had to be escorted by Abraham Lincoln; he also shared how Franklin Roosevelt kowtowed to public pressure and never invited a black guest to the White House again after feeling a backlash.

From the Set: Dave Chappelle and A Tribe Called Quest

And as potent as Chappelle’s monologue is, it’s Kate McKinnon’s cold open that not only outshines this episode, but possibly anything SNL did since having 9/11 first responders stand on the stage with Mayor Rudy Giuliani and Lorne Michaels. McKinnon – dressed as Hillary Clinton, maybe for the last time – sits at the piano and performs a stirring – and truly heartbreaking – rendition of Leonard Cohen’s “Hallelujah.” Two things are happening here: McKinnon is paying tribute to the late Cohen who died earlier this week, and she’s paying tribute to Hillary Clinton who lost a very bruising and important presidential election. The song is an apt choice because it’s a melancholic tribute to regret. When McKinnon-as-Clinton sings “I tried my best/it wasn’t much” it takes on even more poignancy as one remembers just how hard Clinton worked throughout the primaries and the general election, and it’s a sad follow-up to Clinton’s apology to her supporters during her beautiful concession speech. It’s a heartbreaking moment – McKinnon, an openly queer woman and feminist embodying a woman who for many represented progress for queer folks and women – and it’s a rare moment when the show knocks it out of the park.

The Election Night sketch – with guest star Chris Rock – was a fantastic sketch, too. And scarily accurate of the tiny dinner party that I was at on election night. White liberals played by Cecily Strong, Aidy Bryant, Vanessa Bayer, and Beck Bennett, spoon fed with  happy talk about Clinton’s chances of winning the election – are slowly realizing throughout the evening something that Chappelle and Rock  have known since forever: America is often very racist. As the evening begins, the party is jubilant and the white guests settle in comfortably for what they think is going to be a great evening (Bennett’s character even predicts that we’ll never have a Republican president again – we can dream, can’t we). As the evening progresses, though, and Trump starts to pile on one victory after another, the party goers start to get desperate (Bryant is great as she concocts an impossibly convoluted path to victory for Clinton – again, I did the same thing). Meanwhile, Rock and Chappelle – playing a Greek chorus of sorts – remind their friends that this isn’t a huge shocker. When Strong gasps in disbelief that she thinks “America is  racist”  Chappelle responds with a sarcastic, “Oh my god, I remember my great-grandfather telling me something about that…but he was a slave or something.”

The sketch is exactly the kind of thing that SNL needs more of: it can get very smug, particularly when it comes to liberal vs. conservative politics. Though the show is often very toothless, it does hit slightly harder against conservative politicians (at least in the last 10 years or so – the awful early 1990s SNL was a different animal all together). Rock and Chappelle aren’t mean when they school their friends – but again, they’re doling out some much-needed medicine about privilege and awareness – something that the sheltered white liberals in the sketch (and throughout the country) need a lesson in. And there’s a great shot of intersectionality in the ignorant rant of Strong’s character who asks her Black friends, “Do you even know what it’s like to be a woman in this country where you can’t get ahead no matter what you do?”

The Kids Talk Trump continues to worry expectations – this time Vanessa Bayer is talking to a group of small children and asks about Donald Trump.  Among the usual garbled six-year-old answers that refer to his “funny hair” or that he’s a “bully,” a little girl starts to share her perspective, in the same, innocuous cutesy way that her friends are, except she’s relaying her father’s hard truths about a Trump presidency, including legitimizing racism and xenophobia and that her black cat, Pussy, will be stopped and frisked. It’s a queasy sketch – but for all the right reasons – as a lot of the commentators were asking after the election “What about the children? What do we say to our children?” When Chappelle pops by as the little girl’s woke father, he joyfully announces, “Hey sweetie – sounds like somebody’s dropping some truth!”

Kate McKinnon makes another strong impression as Ruth Bader Ginsberg during Weekend Update. Like her other impersonations, Justice Ginsberg is more of a character than a detailed impression (she’s not an  astute mimic like Jay Pharoah is). Like her Clinton, McKinnon’s Ginsberg is an amalgam of public perceptions, namely the woman’s stamina and no-nonsense demeanor. Now that Clinton’s lost, McKinnon’s Ginsberg is raring up to stay fit and healthy for the next four years so that Trump can’t replace her with a conservative justice. It’s a great – and silly – stab at partisan politics with Ginsberg burning Trump’s possible cabinet (calling Guiliani a vampire), and downing a giant packet of Emergen-C. It’s not a terribly smart joke – it’s very easy, but McKinnon’s energy carries it (and her implication that Mike Pence might be a little light in the loafers is funny – if again, a touch easy).

The rest of of Update was as always – okay…Though when Jost announced the record number of female minorities in the Senate and suggested we see all their names, I laughed heartily when just four names quickly zoomed by and we barely got through two seconds of Rachel Platton’s “Fight Song” (it cuts off at “This is my f…” The other jokes about the election were softballs – Trump’s old and unqualified, that kind of thing – though Michael Che handled a goof well, when he tried to land a Trump vs. Mexican immigrants joke.

Though the other sketches – the non-political sketches – were solid, they feel like above-average afterthoughts to the meat of the episode which was the country post-Election. Chappelle showed off some strong versatile acting chops and his subversive quality had an effect on the show as a whole, elevating it to something higher. As usual, when a strong comedic voice takes on the hosting duties, he/she is usually the dominant force in the sketches, and Chappelle’s turn at bat is no different. He proved himself to be an estimable live performer and his monologue was masterful.

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My favorite episode – ‘Drunk History’ – “Marsha P. Johnson Sparks the Stonewall Riots” / “Ella Fitzgerald’s Big Break”

My favorite episode is a feature for this blog in which I look at my favorite episode of a TV show I like. Some of the shows will be classics – Buffy the Vampire Slayer, The Mary Tyler Moore Show, I Love Lucy, etc., and others may be shows that I personally loved, even if they haven’t endured or stood the test of time, like Ugly Betty, for example. I won’t go into the history of the show too much, but will give some context if needed – and I’ll also go into the show’s historical significance and if the episode is a much-beloved classic, I’ll also discuss that.

For this entry of “My favorite episode” I fudged a bit with the format with my choice of Drunk History. Each episode has a short film, and I cherry picked two segments from two different episodes for this “My favorite episode”entry.

In light of Tuesday’s election, both “Marsha P. Johnson Sparks the Stonewall Riots” and “Ella Fitzgerald’s Big Break” take on extra poignancy  – and frankly, sadness. Both tell the story of people of color who must survive and thrive in systems of oppression. It feels strange to write about sadness and poignancy when writing about Drunk History, because it’s a Comedy Central show which boasts an insane premise: get somebody plastered and have that person recount an historical event, while famous actors act out the event (often lip syncing to the drunken recount of the tale).

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But some of the best comedy can have tinges of sad. In “Marsha P.Johnson Sparks the Stonewall Riots” comic/writer Crissle West tells the story of Marsha P. Johnson, the trans queer activist who is believed to have instigated the Stonewall Riots that sparked the modern Gay Rights Movement. The story isn’t without controversy because there are people who tried to minimize Johnson’s role – or in Roland Emmerich’s case, completely erase it – but that call can be chalked up to a larger erasure of black contribution to American history.

Emmerich is an important reference because the director could’ve done something really good with his 2015 film about the riots, but instead chose to create a fictional avatar of white gay malehood. West’s recounting of the story – in about six minutes – gets at the heart of why the Stonewall Riots were so important, in a much more truthful way than Emmerich managed in his two-hour movie.

Another bonus of this episode is that – yay! – the folks at Drunk History actually hired trans actresses to play the lead parts. Alexandra Grey stars as Johnson and Trace Lysette portrays queer rights activist Sylvia Rivera. The two give wonderful performances in the short time allotted to them. And Grey in particular has some fun with miming West’s slurred account of the events.

What’s so great about West’s retelling of the story is that it brings up the importance of intersectionality, something that often gets ignored when telling the history of queer rights. West pinpoints just how important it is to remember that these aren’t just queer folks, these are queer folks of color.

So, in West’s recount, the cops raid the Stonewall Inn (West was shaky on the dates –  it was either June 18th or June 28 – one of the “eights”…It was June 28th), and are rounding up the patrons, and Marsha P. Johnson has enough. And when she throws a shot glass across the bar, shattering a mirror, and then shouting “I got my civil rights!” it prompts other patrons to fight back, keeping the abusive police officers at bay. West calls it the “Shot glass heard around the world.” The follow up is great because West links the riots to a larger movement in the queer community – one that included support for homeless queer folks.

Once she finished the story, she and show creator Derek Waters are in the kitchen next to her fridge, and West ends her segment with some powerful, important words: “But truly, Black people deserve to be on all this shit. Black people and Sacagawea, who needs to get off the goddamn coin, and onto some paper money. Because this is our shit.”

marilyn-ella-cc

The other segment “Ella Fitzgerald’s Big Break” doesn’t have the high stakes of the Stonewall Riots story but is equally important (and hilarious). This time comedienne Tymberlee Hill tells the story of Ella Fitzgerald (Gabourey Sidibe), who is aided by Marilyn Monroe (Juno Temple) after facing discrimination. Like West’s segment, Hill’s segment is helped immeasurably by the impassioned storytelling which is not hurt at all by Hill’s growing drunkenness.

The story – some may argue it’s apocryphal, thought Fitzgerald herself was the one who told it originally – takes place in the 1950s and Fitzgerald is kept out of the famed New York City nightclub, the Mocambo, because the owners didn’t want a black singer performing there. Monroe – a fan of Fitzgerald’s music – calls the manager and promises to attend every evening of Fitzgerald’s engagement there, ensuring that her heavy press following would be great publicity for the club.

Hill’s story is more about female friendship and solidarity, but in the context of pre-Civil Rights America, and some ten years before the Civil Rights Act. Marilyn Monroe’s commitment to social justice is instructional to a lot of white female celebrity feminists today because it was a practical way of the legendary actress to use her privilege and power for social betterment.

Like West’s segment, Hill’s is more poignant and heartfelt than the average segment on Drunk History where the gimmick of having a comic slur her way through an historical event while some famous movie stars goof around in powdered wigs and costumes is what’s normally expected. But in “Ella Fitzgerald’s Big Break” Hill, Sidibe, and Temple imbue their roles with touching sentimentality. In fact, Sidibe and Temple give quite powerful performances, despite the schticky premise and trapping of the show.

The centerpiece of this segment is the meeting of Monroe and Fitzgerald in the latter’s dressing room. It’s here that we get to see the beautiful friendship between these two iconic women. It’s here that the two women share their struggles with the entertainment industry: they bond because both women have been abused by show business (though Fitzgerald’s life as a woman of color has unexplored difficulties). We also get a tiny peak into their difficult personal lives too (though the sheer wretchedness of Monroe’s life get developed – which is okay, as it’s so widely retold it’s almost become a cliche). When they hug, and Hill chokes through emotion to tell the story, the show transcends its silly, yet smart, trappings.

But as touching as this episode is, it’s also high-larious. Hill tells the story with such enthusiasm and joy that her mouth sometimes runs before her brain – she loses her breath and hiccups (which Sidibe mimes perfectly). The best, though is when it’s time to watch Fitzgerald perform, and Hill does some great sloshed scatting that Sidibe mimics exactly – and when Hill stumbled through Fitzgerald’s name, Sidibe has a great bit of lip syncing to that, too.

But the comedy is merely a side effect of a great story told by a great story teller. When Monroe and Fitzgerald hug after bonding, Hill stresses, “And these two women, they literally need each other…Because in this moment when Marilyn helps Ella, she frees them both…The fact is sometimes sisters have to hook each other up.” It’s a great message about the uplifting nature of social justice – both those who help and those who are helped are better because of it. And Hill’s final thought on the story is important because she reminds Derek Waters that her story is about two women who forge a friendship when she says through tears, “Ella loved that lady.”

Both of these segments were aired weeks ago, but I can’t help getting emotional when watching them now, given what’s happened this past week. It’s a scary time for a lot of people, particularly queer people and people of color, and these segments show the healing nature of comedy, but also the important direction of progress: forward.

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