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Hail, Hail, A Vagenius Has Left This Realm: Joan Rivers, Rest In Peace

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She was always surprising us, always defying the status quo, always courageous, loud opinionated and damning. Her movie, The Girl Most Likely, starred Stockard Channing and was the funniest thing I ever saw on TV. A hilarious story of a girl who is mistreated and gets real revenge, instead of being full of forgiveness -- the usual female 'media message' fare.

Joan was constantly praised and then hounded by sexist Hollywood for having an independent point of view and a sense of unmatched female inner power -- no one has ever seen such a fierce woman in any media. She paid the cost to be the boss. Most comics couldn't hold up mentally to the kind of humiliation that Hollywood put Joan Rivers through. She turned it all back on their sexism though, like St. Joan the Conquerer. She kept getting braver and braver.

I must admit when she told fat jokes about Liz Taylor, I didn't like that at all! I didn't want anyone to point out Liz's weight, because I weighed about 220 pounds then. At one point I couldn't help but laugh at one of her fat jokes against my will. She could make you do a spit take! Laughing at what offends us can sometimes make everything feel lighter. After all, it's okay to be fat, and to laugh about it. Fat people fall in love and have sex and love to laugh at fat jokes because it's better to laugh than to cry.

It was better for us that Joan Rivers not only made fun of her own looks, but also the cultural pressure that drove her to worry about her looks in the first place -- which isn't just telling jokes, it's actual layered feminist social critique, of which Joan was a master. Like myself, she launched a lot of writers' careers, none of whom will ever show any gratitude for that fact, but oh, well. The jokes belong to the ages and to those who were lifted by them, not those who go on strike for higher percentages.

I loved her talk show and was honored to be on it after my unfortunate singing accident "19 Something." After being condemned by patriarchy AND President George the Elder Bush, himself, I felt like I had lived through a witch burning. I went on her show and she said: "Don't u think they are just mad at you bc you're a woman? I'm telling you if a man had done what u did, he would be a huge comedic hero and big movie star!"

I often think of Borat's 'reductive' (thanks, Madonna) signing of the National Anthem. How exact and on the money was Ms. Rivers?

As a Jew, I also appreciated Joan's comment that Israel needs good neighbors in order for a Just Peace to actually occur. As a Jewish mother, I also applaud the great job Joan has done in producing a successful producer, Melissa. As a grandmother, I know the great joy she felt when arguing with her daughter (on her reality show) in front of her cherished grandson. What a great service she provided that grandson -- to witness for himself that there is indeed a Higher Power than Mommy on this earth. Along with discount pancakes at IHop, this is indeed one of life's rewards for aging!

I was such a fan! I always will be. I wanted her to beat death's ass down, too, and prayed for that to happen, but she took her last curtain call instead, surprising me one last time.

Rest in peace, Goddess! Thank you on behalf of all comedians working today who know that you always fought the enemies of comedy. I loved it when you walked off of CNN -- which you were right to do, as smug persons are never the correct choice to interview any comedian. You controlled the room always, in the most professional way, too. You leveled the playing ground for all comedians. You'll be missed, but not forgotten. Copied but never matched. Never bested.

Happily Ever After?The Leftovers Finale Recap

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Note: Do not read on if you have not seen Season 1, Episode 10 of HBO's The Leftovers, titled "The Prodigal Son Returns."

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This is what I was waiting for all season. Total and complete chaos.

I was sure we were stuck with Kevin in the woods and wondering what the heck the GR were doing laying out baby clothes.

They crossed a line -- making people remember with wax figures of the departed.

Jill had gone to be with her mother on the very night they were going to leave figurines all around town, and then almost dies in the riots.

Nora? If I could use profanity I would. I was convinced she was going to shoot herself, so the little twist on the porch was well worth it.

Things I Love About This Show:


1) The use of sound and silence. Maybe it's overdone every now and again because the show is so dark. But the silent screams and the physical acting being good enough to work under that theme song? Not an easy combo.

2) Of course, the story's about the family. Cue the piano. I was annoyed that we kept forgetting about Tom. And trying to figure out how he was going to fit in. I'm glad he's back in the center -- almost "Walking Dead"-style.

3) Not being sure if I should laugh or cry. So yes, the family. But the dog?

What did you think of the finale? Is this show cheesy or am I totally cynical? Are we almost happily ever after? Let me know @karenfratti or in the comments.

"The Leftovers" airs Sundays at 10 p.m. ET on HBO.

Patrick Duffy Talks Candidly About Why He Left The Original 'Dallas' And Why He Felt He Had To Return

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Patrick Duffy is a stud. There. I said it and I'm not taking it back.

For those less enamored, you know him as an accomplished actor who became a household name back in 1978 when he originated the role of Bobby Ewing on the CBS primetime soap opera "Dallas." He was also Frank Lambert on the ABC sitcom "Step by Step (1991-1998); Stephen Logan on the CBS daytime soap opera "The Bold and the Beautiful" (2006-2011) and currently enjoys his role on the sitcom "Welcome to Sweden."

Duffy, 65, reprised his role of Bobby Ewing on the new version of "Dallas" in 2012. The actor sat down recently with HuffPost Live to discuss the new season (which airs on TNT) among many other things going on in his life. Here's a link to that great interview. Meanwhile, back on the editorial side of The Huffington Post, we were thrilled to speak with him to discuss the original "Dallas" (why did he really leave the show?) -- plus we threw some fun, rapid-fire questions his way (where he shared the disadvantages of getting naked at 65).

I'm a huge fan of yours because I'm the original "Dallas" fan. I want to ask you questions about the original "Dallas" just because there are things I've always been curious about. One is, how easy or how hard was it for you to get the role of Bobby Ewing?

It was the first time I'd ever been outright offered a role without auditioning, reading or anything. It was basically handed to me by Leonard Katzman, the executive producer of "Dallas," who had known me by virtue of producing a television show in the next sound stage to mine on "Man From Atlantis" at MGM. When he left that show he was on and did the pre-production for "Dallas," as soon as my show was canceled, the offer came in for me to play the part. I never read for it.

Did you feel like you had died and gone to heaven when you got that role?

I did... I guess it was a job and I thought maybe I'd never work again after Atlantis was canceled. We did five episodes of "Dallas" and the five episodes were a gift from heaven, but certainly once they were done, we didn't know if it was going to go to series or not and we were all out looking for work again.

Actors are always thrown in the mix with other actors in the beginning of any series so when they cast Larry Hagman -- who played the quirky astronaut Captain Tony Nelson on "I Dream of Jeannie" -- in the role of the bad-ass J.R. Ewing, did you think, "What are they thinking?" He turned out great, but you don't know that in the beginning.

Yeah, you don't know that and I really wasn't a learned historian of television at that time. I certainly knew about "I Dream of Jeannie," but I was basically trained as a theatrical Shakespearean type of actor; ended up playing an underwater superhero, so I was game for anything. (Laughs) Pretty much none of us knew each other. I had met Linda one time before we sat down and read the pilot of "Dallas." I had not met any other of the actors, so we all entered that relationship completely open to everybody. I think by virtue of that and Hagman's personality, we became instant family members at the table reading of the pilot of "Dallas" and that actually continued on for 13 years.

I was devastated when they killed you off. Did you leave with the intention of never going back?

Yes, I did. I never intended to come back, which is why Leonard and I decided that the heroic death of Bobby was the best way to go, by saving a life and then dying.

Why did you leave?

I left because I had done the show for seven years. My contract was for seven years. It was obviously an ensemble show and I thought if it was ever a time at the height of the popularity of that show, that I might be able to launch into something that was more of a single, starring venue, that that would be the time to do it. I left the show and that did not happen -- typical Patrick Duffy business decision fiasco. I went back on the show because they asked me to and I realized that was the best place to work and I was back with my best friend.

Thank God you came back. Whose idea for the dream scene?

That was Leonard Katzman. My wife, oddly enough, had the same instinctual decision. When I said to her I think they're going to ask me to come back on the show, her first response was you can only do that if the whole last season was a dream. Then when I talked to Leonard, that was indeed what he wanted to do and so we went ahead and did it.

That was brilliant.


Got me back on the show. (Laughs)

How was your on-air chemistry with Victoria Principal (Pamela Ewing)? I liked the two of you together and was disappointed when she left the show.

Me too. We had great chemistry on the show and that just fell into place. It was the luckiest bit of casting, I think, that has occurred in a long time on television. Everybody was absolutely perfect for the parts they played. For a Romeo and Juliet basically subject matter for Bobby and Pam, we were absolutely the most comfortable two actors when we were working together. She had a wonderful sense of humor. We could just go crazy between takes and then get right back into the moment.

Did you try to talk her out of leaving?

At that point in the show, the show was getting longer and longer in the tooth and I understood because of what I had done, why people want to go. What everybody has to understand is she was starting what became, and still is, a huge second career empire as Victoria Principal's Secret and all that with makeup and health things. She knew what she wanted to do. She knew that she wanted to be Victoria Principal, not Victoria Principal/Pamela Ewing. When she left for a much more sensible reason than I had in year seven, I never try and dissuade anybody from leaving any show, because I think they're going to learn by it, if it's successful or if it's a mistake.

Priscilla Presley came in as your love interest, Jenna Wade. How did you like working with her?

(Laughs) I have been approached by more men in my career, looking at me like you are the luckiest son of a gun in the world and Priscilla is one of the reasons they say that. She was the softest person... She just personifies the perfect woman. She was wonderful. We obviously hit it off very well. It was a dream to have her on the show, it was an absolute dream; makes all of us pale in comparison. To come from that relationship with Elvis Presley and then just be the most down to earth, almost shy, self-effacing person, she was just absolutely fantastic to work with.

I've heard some rumblings that there might be a "Step by Step" reunion show. Would that ever happen?

I think that rumbling started on the social media because of "Dallas" coming back and it being successful. There's a lot of "Step by Step" fans out there, a lot of my Twitter followers are "Step by Step" people. I'm very close still to Suzanne[Somers]. She became my Larry Hagman for seven years when we did the show. The young people on the show are like my children. If the format was correct, I think a special could be done. To do a series, I'm not sure, but anything is possible. The point being, the work when we were doing it was so enjoyable that I can't imagine most of the cast not wanting to do it if it were offered again.

In your interview with HuffPost Live, you told Ricky Camilleri that you hoped you would live one day longer than your wife because you would worry about her being without you. That's the sweetest thing I've ever heard.

Oh, I'm glad you thought it was sweet. I thought maybe it would sound a little bit selfish that I wanted to live longer but it's actually how I truly feel.

Your wife is 10 years older than you. As a woman, I think that's wonderful. Has the age difference ever been a problem?

No, I think it's at times, honestly, it has been an adjustment period for my wife when people used to mention it over and over again. I think they were searching for a problem that didn't exist, and I think that was a bit frustrating for her. But anymore? No. That's another thing is you reach a certain age where there is no difference, that 10 years does not make an appreciable difference in how you look, how you act, what you can do, and what you can't do. We considered ourselves almost consistently as the same age, maybe not chronologically, but certainly physically and emotionally. We've never noticed the difference, to be quite honest.

What's the secret to your happy marriage?

I think everybody has their own secret, and there's not an actual formula. My secret is I had to learn how to acquiesce to a certain number of things without feeling like I was giving up, or I was owed something for it, and that was a big transition for me to stop keeping a tally book of, "Okay, I did this for you, and now you'd better do this for me," or, "I gave up this and didn't do that, so you owe me something." Once I got over that -- which is really sort of a juvenile way of looking at life: "Who gets the bigger half," -- then everything just became as easy as can be, and we started doing things, I would say, close to 100 percent of the time to make the other person happy.

What bad habit do you have that your wife wishes you would stop?

Whenever we travel to any place that speaks another language, I talk in an American accent of that language. It drives her crazy.

How many times have you been properly in love? (That's a Piers Morgan question, I love that question.)

All the time. Everybody I've been in love with, from my high school sweeties, to dating in college, I would say I was properly in love with all of them. Was I ultimately in love with them? Was I eternally in love with them? Probably not. That's why I'm with my wife now for 42 years, but at the moment, I think love, as a verb, is proper all the time.

What's your most obsessive-compulsive habit?

I'm kind of an obsessive-compulsive person. I fall into repetition and routine, possibly too easily. If I'm driving down the street and I happen to see a license plate, I'll repeat that license plate number in my head for minutes, and minutes, and minutes without realizing, "Oh, why am I doing that?" and then I stop.

Have you ever turned down a role that went to someone else that you regretted?

I've never turned down a role. I have not gotten roles by virtue of not having succeeded in the audition that went to people that became franchises, but once I saw who did them, I realized I couldn't have done it that way anyway. I read for "Raiders of the Lost Ark," and obviously didn't get it. But I've never turned down a role, except let's say I get asked to do "Dancing with the Stars," I guess if you consider that a role, but it's more of a job, it's not a role; I've turned down things like that.

What would you not do for a million dollars?

Appear naked anymore.

Did you do that?

A couple of times. I did this real small budget, low budget feature where I played a jazz saxophone player, and the opening shot was me getting out of bed with my bare rear end hanging out. When you're in your mid-30s, that's okay but when you're in your mid-to-late 60s, not so much. (Laughs)

Things droop, don't they?

Yep.

When was the last time you told a little white lie?

Most of the answers I've just given you.

Well, okay, but I'm still going with those answers. (Laughs)

Okay. (Laughs) No, I think little white lies are valuable, especially if they contribute to someone's well-being and sense of self-worth. There was a great commercial on about Abe Lincoln, and Honest Abe never being able to tell a lie, and it was him standing in a living room, and his wife, Mary Todd Lincoln, who was quite a little round potato, says, "Does this dress make me look fat?" It just showed him like, "Uh, well, uh, uh, well ... " Those are moments when little white lies are self-affirming and appropriate. I fully intend to keep doing it and keep a 42-year marriage percolating along.

What do you consider the biggest waste of time?

Reality television.

Who or what is overrated right now?

I think the word "closure" is overrated.

If you're talking with someone who is boring you, how do you gracefully get out of the conversation?

Usually I look at them and say, "My God, I'm getting bored." What's interesting, and I learned this from my good buddy, Larry Hagman, is two things have to happen. You have to reach a certain age, and then you have to have a sense of humor about yourself, and maybe even a reputation, but you can actually say the most honest things, and have people laugh... I saw Larry do it for years where if something like that is going on, he could literally just say, "Oh, my God, I've never been so bored in my life." They'd laugh and he laughed, and then the conversation changes, and everybody walks away thinking that it was a great experience, and every once in a while you can do that. You reach a certain age and they don't take offense anymore.

I interviewed Carl Reiner last year when he was 90, and he said, "The nice thing about my age, you can tell the truth finally -- about everything."

Exactly. It's so true. I hope I get to that age and tell the whole truth. (Laughs)

Follow Patrick Duffy on Twitter: @therealpduffy

patrick duffy

Earlier on Huff/Post50:



Outlander Starz Episode 105 Review: 'Rent'

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rent review
To catch up on previous Outlander episodes, go HERE.
As the episode begins, we see Claire alone, reciting "Present in Absence" by John Donne as she faces a beautiful loch.
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To begin with, it seems that she is totally alone... No other sound is heard besides her voice... this silence is symbolic of the isolation she feels in the presence of her traveling companions, as she doesn't view life the same way that they do, and doesn't "hear" their words when they speak Gaelic. The peaceful solitude is broken as Ned Gowan (Go here to learn about his costume on costumer, Terry Dresbach's blog) the aged lawyer for Clan MacKenzie, joins in on the recitation and makes her acquaintance.

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Claire lights up at the realization that she has made a connection with someone, after feeling so isolated on the road with the MacKenzie crew. The civility of their recitation of a cultured, classical work contrasts sharply with the nearby Highlanders who are rowdy in their lewd teasing of a young man, Willie, who is on his first trip "on the road". Coupled with being the only female in the traveling party, as well as the only Englishperson, Claire has been made to feel even more alien than she already does as someone displaced from her proper time. Isolation stems from the misunderstandings that Claire and the MacKenzies have about the other's motives and identity; their values and expectations are at odds. The keys to their eventual connecting are acceptance and respect, which are kindled during this episode's journey.

Throughout the episode, we see Claire attempting to make connections with others to dull the pains of isolation, but obstacles continually thwart her efforts. During mealtimes around the campfire, Claire sits a noticeable distance away from the men, and her moods alternate between melancholy, frustration and indignation, as they pointedly use Gaelic and discuss what are thought of as "men's topics" to exclude her. When she mentions to Jamie that she thinks the Highlanders all hate her, he gently corrects her, saying that they don't trust her, and makes the case of why he doesn't completely trust her, either. Although she has a connection with Jamie from their shared experiences and romantic chemistry, this admission adds to her feelings of isolation and likely disappointment that he doesn't trust her, either. Her hostility grows against the MacKenzies and she lashes out at them in response to this treatment. In one of the villages where the MacKenzies have come to collect the rents, Claire wanders off in search of company and joins the women in walking (working) wool.
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She succeeds in connecting with them through helping them with their task and is rewarded with their gratitude, pleasant company, and tipple. Even though her beautiful, clean clothing contrasts with their rough, homespun work clothes, and her phrases are very different from theirs (their "Slaínte mhor" versus her "Bottoms up") they managed to bond over commonalities. Just as her needs to feel useful and a sense of community are being met, Angus bursts in on their gathering and sharply rebukes Claire for not stating where he had left her earlier. As he forcibly removes her and drags her back to where the rest of their traveling party is waiting.


Indignant at this treatment, as well as the MacKenzies accepting a goat as rent payment from a family that needed it's milk for a baby, she screams at him to let go of her, and begins trying to wrestle the goat away from Rupert. Dougal verbally overpowers her, and then mocks her by calling her a drunk Sassenach, in an attempt to both discredit and alienate her. Her anger and disgust for the MacKenzies grow, for Dougal in particular, as she watches them solicit funds in the evenings after rent collection from their "tenants".
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Due to her lack of knowledge of Gaelic, she misunderstands their motives, thinking that they are demonizing the British to scare the people into giving them money for protection. Dougal's callous action of ripping Jamie's shirt from his body to illustrate the scarred handiwork of the Redcoats furthers Claire's anger against them. She longs for the time when she can reach Craigh na Dun and go back to her own time, where she can escape this hostility and alienation. Later she sees Dougal procure two chickens from The Watch as payment for the family's rents (The Watch has just burned their home for being traitors or Redcoats sympathizers). Claire, thinking he is merely taking advantage of a bad situation, refuses to eat the "stolen" chickens at dinner, and has a serious physical altercation with Angus, when he angrily berates her for passing judgement on his actions. Jamie comes to her after this, and gives her very sound advice for any situation her life as well as ours, saying that she shouldn't judge what she doesn't understand, and that she is "here now", not where she comes from, and that she needed to remember that. Through his admonitions, she is forced to consider that maybe her ideas concerning life and society aren't the only acceptable way to live, and that it's not always her place to criticize the lives of others. When she sees two dead Highlanders who have been crucified on St. Andrew's Crosses , she begins to understand the Scots' determined mission to return their king's line to the throne, and restore a sovereign Scotland.
image Seeing her traveling companions tenderly cut the dead men down and give them a Christian burial moves her, and she mentally (via her voiceover) acknowledges the brutality and injustice the Scots are enduring at the hands of the British.

As the episode progresses we see Claire begin to gradually acclimate to her new situation, and subtle signs of her assimilation into the time and place in which she's been thrown. Her sudden recognition of "long live the Stuarts" in Dougal's speech after picking up bits of Gaelic is pivotal in changing her perspective on the Highlanders, in that she realizes that they're raising funds for a rebellion, and not extorting money from their kinsmen as The Watch does. She begins to see them as rebels fighting for freedom from the oppressive British army, just as she is seeking freedom from both the imprisonment of her time travel situation and the suspicious eyes of the MacKenzies. The inclusion of the series' theme song, "Skye Boat Song", is a brilliant move on composer Bear McCreary's behalf, as it ties the show's prominent theme (and the subject matter of the song's lyrics) of the Jacobite quest for freedom to Claire's epiphany. The song is emotionally stirring, and reflects the warmth and admiration she feels for her companions after seeing them in a new light. This crucial insight launches both feelings of sympathy, and protectiveness in Claire, as she wonders what will become of all of her traveling partners at Culloden in 1745. She wants to warn them, and prevent them from being slaughtered, and also tries to understand their foolhardiness as she talks to Ned Gowan about it, but he is unmoved. When Claire discovers that Jamie has been sleeping outside her door to safeguard her against drunken guests, she realizes that he values her as a person he cares about, and doesn't only think of her in regards to her national identity, even though he affectionately calls her "sassenach". Claire returns his kindness by offering him her blanket, and we see their bond being strengthened, as their mutual respect and admiration grows. A reflection of the other Highlanders' acceptance of Claire occurs the next morning, when the MacKenzie men defend her honor after another group of men called her a whore. She initially doesn't understand the cause of the uproar, thinking that they were just looking for an excuse to fight. As she is bandaging their wounds, Murtagh tells her they were defending HER honor... that she's a guest of the McKenzie, and they can insult her, but that any other man that does will be dealt with. This revelation visibly affects Claire; she is both honored and surprised, but accepts their actions as an olive branch of sorts. We see her successfully attempt to bond with the men shortly thereafter by joining in on their bawdy joking. Her witty jab about Rupert's "left hand getting jealous of the right" both stuns the men and sends them into gales of laughter. She has successfully taken a step towards earning their affection and acceptance as belonging with their crew.

At the episode's end, Dougal confronts her as she's washing in the river, alone. He demands to know why she has so many political opinions and rebukes her for sowing "seeds of doubt" about the Stuart restoration among his men. His reactions emphasize his desire to both understand and control her actions, as well as his fascination with her. As Claire begins defending herself against his charges, a group of Redcoats walk up to them, forcing Dougal to stand down.
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A young man, whom they encountered previously in a village, but is now in his soldier's uniform, asks her again if she is being held against her will. Claire's answer (to be seen in the next episode) will determine the fate of the men she's traveling with, and also reveal the extent of her new affections for them and the level of respect she has for their mission as Jacobites. As she begins to acclimate and assimilate, her perception of her own identity will be challenged and likely continue to change.

Americans in Paris: Whit Stillman and The Cosmopolitans

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The Cosmopolitans, pilot episode, August 2014 (Amazon Studios via Amazon Instant Video)

The first episode of Whit Stillman's The Cosmopolitans is now available online. Part of the third season of Amazon Studio's television pilots, The Cosmopolitans tells the story of a small band of Americans living in Paris -- following them on Saturday afternoons until the wee, small hours of Sunday morning.

You know Whit Stillman. Some of us already love Whit Stillman, and have since his small gem of a 30-square-block masterwork, Metropolitan, appeared with little fanfare but a sweet, soft, jazzy sound in 1990. Set during debutante season in Manhattan, Metropolitan might have touched nerves chiefly for wealthy white Manhattanites and Ivy League undergraduates, but Stillman's sparkling dialogue, the performances of a pack of fresh young actors, and the beautiful filming of New York and Long Island remain delights nearly 25 years later. Still moments are as memorable as the conversations: a girl stops before the windows of a regal New York bookstore, now gone, to look at the six volumes she wants for Christmas, the Oxford Illustrated Jane Austen; a boy waits amid the bright late-night lights for a crosstown bus because he can't afford a cab. During this movie, I fell for the only time for a Yalie -- a fictional one, to be sure -- the smiling, cynical yet warm-hearted Nick (Chris Eigeman). Stillman won an Academy Award nomination for Best Screenplay for Metropolitan, and followed it with Barcelona (1994), and The Last Days of Disco (1998). He moved to Paris, then, for over a decade, returning to America, and theaters, with Damsels in Distress (2011).

F. Scott Fitzgerald, one of his favorite writers and one of the best-known American expatriates of 1920s Paris, has in his work something Stillman admires, and that shows in The Cosmopolitans: "a seductive, wonderfully romantic version of things which I find very appealing." Yet, as Stillman cautioned in a recent interview, this romantic view is "not comical, and it's not healthy. It's really unhealthy." Fitzgerald could be immensely funny, from his jokes and wordplay to laconic one-liners like one of Nick Carraway's best, in The Great Gatsby (1925): "As for Tom, the fact that he 'had some woman in New York' was really less surprising than that he had been depressed by a book." Yet in his two great novels written partly in France (Gatsby) and set there (Tender Is The Night), Fitzgerald settled into what he himself called "nostalgia or flight of the heart."

The Cosmopolitans is at once a work of nostalgia and possibility, of then and now. Parts of the pilot episode, "The Broken-Hearted," look and feel like it could be 1925, 1985, or a moment ago, as you were watching, and already past something you'll never have the chance for again. Stillman likes to work with actors he's worked with before, and that intensifies some of the feeling of déjà vu all over again, in a good way. Carrie MacLemore and Adam Brody (Damsels) star in The Cosmopolitans, with a bright cameo by Chloë Sevigny (Last Days of Disco). Sevigny plays a fashion journalist, who, along with café employees, taxi drivers, and drug dealers, is one of the only people who seem to have a job. This is very America-expatriate: Fitzgerald's folks didn't work, either; nor do Hemingway's, except for Jake Barnes's intermittent writing, in The Sun Also Rises (1926).

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MacLemore, actually from Alabama, plays Aubrey, from Alabama, without much accent. We meet her first in her apartment with a fractional view of the Seine, and she passes lovers and bateaux-mouches as she walks to the café where two young(ish) Americans and an older Italian guy are, of course, talking about women. The Americans, Brody and a wonderfully tormented Jordan Rountree (whose French girlfriend has just dumped him for, possibly, the 16th time), and the suave Italian (an excellent Adriano Giannini), don't so much pounce on Aubrey as adopt her. A running joke is that all the Americans think they're passing as Parisian, and approach each other speaking halty French at first, before continuing entirely in English as the actual Parisians around them shrug. "Audrey," they insist her name must be. With her big eyes, sweet smile, and slightly helium voice, this Aubrey's no Audrey, Hepburn or -- to name the girl who remains Stillman's finest heroine, Metropolitan's Audrey Rouget (Carolyn Farina). Yet she is appealing, even, at least in the first episode, as rather a foil for the men.

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There has to be the annoying guy with rich parents, who gives great parties in a house so nice that you are necessarily friendly with him. The older Italian guy is going to cause trouble for the comparative kids. And there will be dancing. Of course you know the sambola, that international dance craze. The moment of beautiful people -- including Dree Hemingway, the writer's great-granddaughter -- swirling and turning and dancing perfectly makes you wish, really wish, that such a scene could actually be, at a party you attend, some day.

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Most of all, there has to be Paris. Stillman is a master of that Modernist elision, in the joining sense, of character and place. The Cosmopolitans makes Paris a character every bit as much as Manhattan, the Valley of Ashes, and the Eggs are characters in Gatsby, or Dublin is the central character in James Joyce's Dubliners (1914). The Cosmopolitans is a half hour's cheap vacation to Paris. Yes, there is much talking in The Cosmopolitans, but the silences are golden: vignettes of the straight 19th century buildings of Rive Gauche; the bateaux-mouches, constant by day and night; the Seine bookstalls; the two a.m. bridges making a City of Light.

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Stillman has been criticized throughout his career for a sophisticated narrowness -- rather like what Jane Austen called, in speaking about her own writings, "the little bit (two inches wide) of ivory on which I work with so fine a brush." Austen was being ironic with her nephew. Never mistake perfection with limiting. From the moment Joan Osborne's tremendous voice begins the show, singing the title's track, to the last look at the Seine, The Cosmopolitans is gently, humorously, elegantly thrilling -- but entirely thrilling. We need more thrill like this in our world.

Images from The Cosmopolitans via and © Amazon Studios/Prime Instant Video

Message From a Boob Tuber

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I think it's brought the world a lot closer together, and will continue to do that. There are downsides to everything; there are unintended consequences to everything. The most corrosive piece of technology that I've ever seen is called television -- but then, again, television, at its best, is magnificent. -- Steve Jobs


I like to watch TV. Okay, maybe I love to watch TV. Either way, you get it. I'm "addicted" to many shows, and I admit that a time or two, I have opted to stay in and watch a show over going out for human contact. What I don't like is to be judged for it.

One of my pet peeves is when I zealously talk about a show I love (i.e. Game of Thrones), and someone who doesn't watch it gives me a "You have no life" look and responds with, "Oh, I barely ever watch TV" as if their not doing so somehow gives them an intellectual superiority over me. To this I say -- suck it. Because while you were too good for TV, I was watching Game of Thrones and obsessing over the creativity that it takes for a group of minds to put together such a flawless show. And I was making new social network friendships spawned by my love for the show while you were sitting around haughtily having none. (Amidst my new online friendships with very real people, I actually shared some information with a fellow thronie about a Holocaust course I was taking, and it turns out they wrote a dissertation on genocide and the Holocaust, so there's another thing that happens from watching TV that I'm not "too good" for.)

I was also watching The Newsroom and learning about the Glass-Steagall Act and voter ID laws while you were out telling people how TV is making us dumber. And from Dexter, I took it upon myself to research psychopathy and certainly learned a lot from that while simultaneously watching the show religiously. Among that, I watched the presidential debates while they happened live and formed my own, unbiased opinions on the candidates by watching firsthand rather than listening to or reading biased accounts of them. From being a watcher of The Walking Dead, I have had riveting discussions of survival, human nature, ethics and morality. I also learned how to properly dispose of a dead body with hydrofluoric acid on Breaking Bad, although I will admit to being unlikely to need that knowledge. (In case it does enlighten you, don't pour that stuff down a the drain of a bathtub.)

I think I've made a few good points through those shows, but I will make brief mention of the fact that on Netflix I have also found and watched a countless number of documentaries such as Waiting for Superman, Vanishing of the Bees, and of course, the viral Food, Inc. -- all of which I have been awakened by in ways few non-television watching people have done for me. So, television is not turning me into a boob (although I wouldn't object to it helping me grow bigger ones), but rather, I find it doing the opposite. Even if I don't take the information I get from the shows at face value, the things I watch prompt me to do my own research to learn it for myself, which is more than what many people are doing or learning when they're not watching.

In fairness, I have a standard to the things I watch. I know when I'm watching something of value, and I know when something is garbage (a.k.a. Kardashians, Jersey Shore), so let's not misconstrue the message here. Not all TV is useful and not all TV watchers are anti-social zombies with no life. And zombies are cool now, BTW. I also equally love to read, so make no mistake... I'm reading nearly as much as I'm watching television, and I still recommend it to people, especially children, more than TV. My point in all this is while you're judging me for watching, I'm learning things from TV, and the most important thing I learned seems to be that I won't be sharing my popcorn or the remote with you. It is, after all, survival of the fittest.

Growing Up in Iran With Howard Stern

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Howard Stern is the self-described king of all media, but, to me, he is the first man who opened my eyes to freedom.

The irony is that I became exposed to him and his raciness at a very young age while living in the repressed country of Iran. This was at the time his show was being broadcast on the E! Network. While most kids at age, nine or 10, were busy watching children's shows like on the Disney Channel, I was addicted to watching this crazy guy with long, curly hair. He seemed mean at times, yet I thought him to be genuine and kind-hearted deep down inside. His outspoken and controversial style captivated me and made me want to view his show as often as I could.

Instead of watching conservative Iranian shows I chose to watch Howard via our satellite dish. I was born in California, but at a young age my family chose to return to Iran in order for me to learn about Persian traditions and customs, which was a huge culture shock. My dad installed a satellite unit in our balcony that allowed us access to American television shows. Having a satellite dish broadcasting anything Western was illegal, so we always had to find ways to hide the dish to make sure it wasn't discovered. As a child living in a religiously conservative country, that was my only outlet. I would be glued to the TV (after my parents fell asleep) as Howard brought on female guests that exuded beauty, confidence and sexiness. They were not afraid or ashamed of showing their female prowess -- they embraced it.

This is when the power of the media from thousands of miles away started affecting me. Several of Howard's female guests were from the television show Baywatch, and so I began to watch that as well. When I saw the women on the show I started to become fascinated with their feminine self-confidence. I think what I envied most was the freedom they had that allowed them to showcase all their qualities as a woman. Occasionally my parents would take me to the beach and I would try to swim in my coat and veil which was a required covering. I kept thinking that in United States there were woman swimming and sunning at the beach without having to endure any kind of punishment -- at least that's the way I looked at it. I couldn't wait until I could return to California and could feel the warm sun on my body again. I felt It would help to give me a sense of true freedom.

It's heartbreaking to know that there are parts of the world where women don't have the right to drive a car or even to choose their own husband. Were we really born to be that repressed and controlled, or is it just destiny if we were born into such rules? I see our reason for existing is to be free, to connect with others, to explore the world and to share our experiences and backgrounds -- that way we can expand our understanding and spread all the love and passion that lies within us. To take that away from us and forbid us to live life as we wish is not what was intended for us.

People should be able to learn, to dance, to explore, to laugh, to enjoy a champagne toast as they so chose. I believe people were meant to have freedom and liberty. So what is freedom? Does freedom depend on where we live and therefore what we have come to know? Is that why these repressed countries try so hard to keep our Western culture away from their people so they don't know any better and stayed trapped in their bubble not knowing what better life is possible? I think so. That's why I truly thank Howard Stern for opening up my eyes from so far away through my little television screen and allowing me to believe and accept the true freedom I deserve as a woman. I hope to meet Howard one day in person and express my gratitude for the profound effect he had on me as a child. Now that I am back living in the United States, I cherish my freedom every day. Some people here might not appreciate how blessed they are, because they've never lived in a repressed society, but, for me, every time I go to the beach or pool without being covered up, have a beer at an NBA game or tune in to Howard Stern I think of how lucky I am to live where freedom and liberty exist, especially for women.

MasterChef Recap: Girls Rule, Boys Drool in 'Winner Chosen'

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Note: Do not read on if you haven't seen Season 5, Episode 18 of FOX's "MasterChef" titled "Top 3 Compete."

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Holy Boston Cream Pie, guys. I have to say I am thoroughly pleased with the fact that we had an Elizabeth and Courtney showdown for the finale. Usually, MasterChef exaggerates: most extreme pressure test ever, or biggest cooking competition in the world!" but this finale was super real.

Before we start taking bets, I shall provide you with my recap of the events this week.

1) The Top 3 have to cook for top chefs from all over America. Elizabeth wins with a delicious, and super trendy, skin on red snapper with cauliflower three ways. Anyone who's eaten in NYC recently will feel that purple faux-broccoli pain.

2) Elizabeth gets to drink champagne in the balcony and watch the pair cook off. Three classic American desserts: cheesecake, Boston cream pie (I've never had one, but I wanted to shove my face into Courtney's, the drips being more appealing than off-putting), and key lime pie. Yummers. Elizabeth's commentary on the differences between Courtney and Leslie were hysterical. Oh, to be a fly in that studio. Leslie threw salt in his batter and sealed the deal for the ladies.

3) I am rooting for Elizabeth, because her dishes always look so fancy. But then I want to root for Courtney, from my hometown, and because they sort of made a big deal about her past as a dancer in a strip club. Ladies, pull out those pony tails.

4) One full, three-course meal. They start with apps: Courtney has a pig ear salad. Big risk! Elizabeth has a grilled octo salad with fresh chickpeas and chorizo. Joe is not thrilled with bits of dog chew on his plate. Gordon says, much to Courtney's chagrin, that Elizabeth's plate is pretty and pulled off.

5) Elizabeth has lamb with a mint yogurt sauce and veggies, Courtney has duck breast and a farro veggie salad. You can sort of see the theme of both their meals. Courtney calls Elizabeth's lamb raw and it looked like they were going to come to blows. Elizabeth's lamb is uneven -- Joe's is rare, Gordon's perfect, which was a good strategy. Gordon detests a bad temp; Joe can handle it a little bit. Courtney's duck is "spot on" and "stunning" all around.

6) Elizabeth has a grapefruit and olive oil semolina cake that I want in my face. Courtney is cooking up a meringue, that should take a lot longer than she has. No one is playing it safe. Elizabeth gets Courtney back for her snide raw lamb comment: What does her dish look like? "It looks like second place."

She put salt in her black cherries and makes Joe think, which is apparently a good thing. Gordon thinks it's clumsy.

Elizabeth makes a spot-on cake, but it looks deconstructed and rustic. Everyone loves it though.

Elizabeth's menu is connected and thematic. Courtney's was a little innovative though in the pairings, though. Elizabeth's fiance passes out under the pressure.

And, it's Courtney. I respect her, but I don't like her and will have to stop here. I can't take the gloating.

What did you think? Let me know @karenfratti.

"MasterChef" airs Mondays at 8 p.m. EDT on FOX.

The Voice: Million-Dollar Coaches, Dime-a-Dozen Contestants

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On The Voice, they're coaches. On American Idol, they're judges. On Rising Star, they're experts. And on every singing competition show, they're camera hogs.

In case you weren't aware after the 247th announcement during this past weekend's Sunday Night Football broadcast on NBC, The Voice returns next Monday with a pair of new faces on its four-coach panel. The move has already drummed up plenty of interest in this season's coaches, who -- if recent history is any indication -- will completely overshadow the people who should be benefiting most from the show: the contestants themselves.

The once-unstoppable singing-competition genre now brings in only a fraction of the numbers it was doing less than a decade ago. The Voice, for instance, has seen its ratings decline significantly over the past couple of seasons. Are fans simply getting tired of the format? Probably. But another possibility is that, in their quest to pull viewers by promoting celebrity judges over still-unknown contestants, these programs are going for instant gratification over building and sustaining a long-term fan base. The contestants -- once the very lifeblood of the show -- are now seen as temporary and disposable, while their celebrity mentors continue lapping up even more fame at their expense.

Starting next week, Adam Levine, Blake Shelton, Gwen Stefani and Pharrell Williams -- all already established stars before The Voice -- will find themselves in the unique position to help others find fame and fortune. Instead, however, the show will likely feature them in a starring role, devoting valuable air time to their own performances, promotional opportunities and playful banter. The contestants, on the other hand, will probably once again take a back seat, awkwardly watching the continuation of the Adam-Blake bromance while awaiting meaningful feedback (which may or may not even come) that could help steer them toward a career as a famous singer. Which, don't forget, is supposed to be the premise of this whole thing.

The Voice's six-season history has made this a pretty safe prediction, but in case that's not enough for you, a visit to the show's official website reveals its priorities. The entire page is filled with fun, photo-heavy links to videos, photos and other information on the coaches, including Levine, whose band's new album is being sold on the site. (None of the former contestants' own releases are anywhere to be found, by the way.) Information on past winners or runners-up, meanwhile, is scarce.

That's because the show does little to invest in its contestants once the season has ended. Only two of the show's winners, Cassadee Pope and Danielle Bradbery -- both country singers -- have had post-Voice singles that charted in Billboard's Top 100. The show's first winner, Javier Colon, was so disenchanted with his lack of support that he actually walked away from the record contract that his victory earned him.

The Voice may be the most convenient example of talent shows focusing heavily on their panelists and not their amateurs, but it is hardly alone. ABC's Rising Star and Fox's American Idol are no less guilty of investing primarily in their already-made stars while seemingly forgetting their own contestants before the credits on a season finale have even finished rolling. It is should be about as shocking as a Simon Cowell put-down, then, that they are also seeing the same drop in ratings that has begun to plague The Voice.

In the case of Rising Star, viewers tuned out in droves as the season progressed -- nearly 40 percent of those who checked out the show's premiere were gone by the time the quarterfinals started less than two months later. The program, which featured polite but hopelessly uncharismatic Josh Groban as host, showcased country singer Brad Paisley, pop star Kesha, and rapper-actor Ludacris on its panel of "experts," but figured to offer no real promotion for the guy who won the show last month. Know his name? Didn't think so.

Idol isn't doing much better: Its ratings have steadily declined since 2008, when David Cook took the show's crown and went on to have a couple of radio hits and a debut album that went platinum. In 2014, its smallest audience tellingly came not during some ho-hum mid-season episode, but rather Night 1 of its two-part finale. Night 2 did slightly better, pulling in 10.1 million viewers, but even that was only a third of the season average back in 2006.

It is no coincidence that, when it comes to record sales and celebrity, most of American Idol's success stories are from the early seasons. Kelly Clarkson is still turning out hits 12 years later; Fantasia Barrino had a reality show and TV biopic; Chris Daughtry continues playing large venues; Jennifer Hudson won an Oscar; and apparently that Carrie Underwood girl has done pretty well for herself too.

Once Idol's producers turned the spotlight on the judges, however, things changed: When songwriter Kara DioGuardi was added as a fourth member of the panel in 2009, Idol immediately lost well more than a million viewers. Subsequent seasons have seen changes almost every year, with everyone from Steven Tyler to Keith Urban, Harry Connick, Jr. to Ellen DeGeneres having sat at the table.

It should come as no surprise that American Idol was a ratings juggernaut during the years of stability on the judging panel, when the stars of the show were the contestants and the judges were still relatively unknown. Cowell and Randy Jackson became hugely famous because of the show; today, the opposite is true, as competition shows have turned their backs on what originally made the concept work.

Instead of promoting upcoming seasons based on new coaches or promises of catty infighting among judges, singing-competition shows could load their previews with samples of auditions. This is what worked in the beginning, and it's what still gets viewers to tune in to Idol's early-season audition episodes. Instead, however, we're destined for more judge overload, which is a shame. If you tune in to The Voice next week, be warned that the one that should be the loudest is the one you're least likely to hear.

The Crawleys Are Back: Why The World Loves Downton Abbey

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Maggie Smith, Hugh Bonneville and the rest of the gang are back on Sunday in the UK for Downton's fifth series (although PBS will keep law-abiding Americans waiting until January 2015). High50's Kirstie Brewer looks at why, from China to Canada, this very English series has been such a success

Downton Abbey sweeps back on to Sunday-night television in Britain this weekend, much to the delight of its avid fan base. While the British public has long had a love affair with costume drama -- not to mention Dame Maggie Smith -- the rest of the world has also taken the show to its bosom.

"Nobody in their right mind could have predicted what happened, when it sort of went viral," Julian Fellowes, the show's creator, told The New York Times last year.

In 2013, the exploits of the aristocratic Crawley family were watched by an estimated global audience of 120 million. As well as Brits, Anglophiles in the USA and Asia have been going particularly gaga for the post-Edwardian drama.

Since its ITV debut in September 2010, Downton has been sold to more than 220 territories, reaching a level of international popularity rarely achieved by a British series.

The Downton Effect

Visitor numbers at Highclere Castle, where the drama is filmed, have more than doubled since Downton's debut. "We used to have good days, now we have great days," says Candice Bauval, assistant to the Countess of Carnarvon, who lives at Highclere.

Aside from the swathes of British tourists, the historic site attracts visitors from all over the world, particularly North America and the Nordics. Visitors are coming from China and Japan in increasing numbers, too.

The China Syndrome

Downton Abbey is big business in China: 160 million people there tune in for the show. This summer, David Cameron gifted the country's leader with an autographed script of the show's debut episode.

For the booming middle class in China, the show is aspirational, says Rachel Emerson, who has lived and worked in the country for more than 20 years.

"Wealth and success are huge status symbols in China, which is why Downton is so appealing", she says. Mr Carson and his ilk are hot property, as China is the fastest-growing market in the world for British butlers.

"I think those who have wealth subscribe to stereotypical symbols of western culture," Emerson says. "For example, there is an attempt to purchase class through buying chandeliers, marble floorings, grand pianos, owning horses and sending children to English boarding schools."

Da-Xia Chow, a teacher from Nanjing, says she and her friends have modelled their English accents on period dramas such as Downton Abbey. "We are in love with that way of life and Downton's romantic aesthetic," she says.

Yes, Prime Minister

Downton has been sold to 220 countries, and British Prime Minister, David Cameron, gave a signed script to the Chinese premier

"I think people here in Hong Kong watch the show for nostalgia," says Chinese businessman Joe Lu, in reference to the region's status as a former British colony.

"People are attracted by the clever blending of history and drama in the storyline as well as by the meticulous production," Lu says, though, he adds, a lot of fans stopped watching Downton Abbey after the tragic demise of 'heartthrob' Matthew Crawley in season three.

George Clooney To Star?

Still, the news reports that George Clooney is to appear in a one-off Downton special for charity may coax some heartbroken Chinese souls back into the fold. One suspects the Clooney factor will have universal appeal.

Pre-George, the injection of more American blood in the past two series (Shirley MacLaine's Martha Levinson and her son, played by Paul Giamatti) have added to the show's US appeal.

American viewers are eagerly counting down to fifth series going live on the PBS network in January.

"The idea of rigid class difference is somewhat exotic and, of course, the enormous estate with the huge number of staff is also a lifestyle that is unfamiliar to many American viewers," says Anne Mattina, a university professor from Boston and a Downton obsessive.

People everywhere are drawn to a world that seems almost surreal to us now, in the 21st century. "The characters have such a formal way of living, with so many rules and taboos surrounding relationships of all kinds, not to mention all those fabulous clothes," says Anne.

The lives, loves and dramas of Downton's inhabitants resonate today, and so do their anxieties over status and family obligation.

And this is the key to its global appeal: Downton Abbey is at once antiquated yet timeless. "There is a universal aspect to the characters that everyone in the world relates to," Downton producer Gareth Neame has said. From Basingstoke to Beijing, we all need an escape.

Related articles:

A Sea Of Poppies At The Tower Of London

Does Having A 50-Something Dr Who Change The Show?

The Hottest New Shows In London's West End

Kirstie Brewer has worked as a journalist in London for five years, covering the financial sector, the arts and culture. She can be found tweeting @kirstiejbrewer

26 Signs You're Obsessed With 'Gilmore Girls'

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The first week of our freshman year, we discovered that we were both very big fans of the show Gilmore Girls. Our obsession sometimes reached questionable heights; for example, during our senior year, we would sneak upstairs to watch Gilmore Girls in someone else's apartment because our TV didn't work. The tenants of the above apartment (luckily) had no idea. But we wouldn't have cared if they did. That's where we were at in our lives -- breaking and entering to get our fix of Lorelai and Rory.

But big news broke a few weeks ago, and shall forevermore prevent us from committing misdemeanors in order to watch the best show of our lives. As of October 1, Rory and Lorelai will be available 24/7 on Netflix for your viewing pleasure.

Just knowing that fact (and possibly having it marked in your calendar) is just one of the signs that you're obsessed with the show.

But there are many others:

1. You eye up every single diner owner you meet in the hopes that he might be a witty curmudgeon with whom you will exchange emotionally-charged banter. You are also certain that he will be the love of your life.

2. You shout, "Coffee, coffee, coffee!" at baristas and are genuinely surprised when they don't get the joke.

3. You walk around adding the soundtrack of the show (yes, the poignant notes of Sam Philips singing "la la la" bit) to your real life. This means that as you watch your crush walk away, or as you move out of your apartment and close the door for the very last time, "la la la" runs through your head. It just makes everything more significant -- but beyond that, you just can't help it.

4. Whether or not somebody knows who Amy Sherman-Palladino is has become your litmus test for new friendships. She is the writer and creator of Gilmore Girls, which is the greatest thing that has ever happened to television and what she says is gospel. Accept this. Or get out.

5. When a cute guy walks into a bar or a party, you and your best friend immediately turn to each other and classify him as a Jess (moody and dark), a Logan (rich and cocky), or a Dean (nice but dumb).

6. You try to explain the show's appeal to the men in your life, but they never get it ("Is it a comedy or a drama?" "Why so many references?" "Why do they talk so fast?"). We don't know -- why are you TALKING through our favorite TV show?! We just missed a reference about a 19th century Irish playwright and it's all your fault.

7. You got bangs. Well, to be more specific, you got bangs when you started watching Season Five (you know, the year that Rory interns at a newspaper and drops out of school and... gets bangs).

8. You know that April was the worst character on the show, but you watch her episodes anyway. That's love. For better or for worse, right?

9. You applied to Yale. Sure, it's a good school and a part of the Ivy League, but we all know the real reason why.

10. Your back-up plan in life is to leave everything and open an inn in Connecticut.

11. You kind of want a monkey lamp.

12. Sometimes you find yourself worrying about how Rory must be doing now that Obama's approval ratings have plummeted so much.

13. You're always calculating how old your daughter Rory would be by now if you'd had her at 16. (Ours would be 13! We have only three more years to achieve Lorelai Gilmore's witty level of banter).

14. Your high school boyfriend will always fall short in comparison to Dean because he didn't build you a car from scratch.

15. You think that the best way to work out your aggression towards your best friend/nemesis is through fencing.

16. You think it's socially acceptable to literally run away when a guy tells you he loves you (like Rory in Season One).

17. You're genuinely surprised that when you subsist solely on Chinese food, donuts, cheeseburgers and coffee, you aren't Gilmore-Girl-sized.

18. You actually think attending mandatory Friday night dinners with your family is a perfectly acceptable prize to be exchanged for school tuition.

19. When you try to explain to someone why you haven't dated your platonic male best friend, you say, "He's my Marty."

20. You're convinced you can smell snow on its way.

21. You think it's perfectly acceptable to make public declarations of love inside grocery stores (Rory to Dean), with a rocket (Logan to Rory), or with a giant tent (Luke to Lorelai).

22. You hide your music in your room under a loose floorboard even though your parents don't care that you like Belle and Sebastian.

23. Your wardrobe consists of two looks: the "Lorelai" (boot-cut jeans, leather or puffy jacket, boots) and the "Rory" (skirt, wool coat, scarves).

24. You start referring to that one guy that you see everywhere as "Kirk."

25. You think the line, "Will you just stand still?" is the greatest sentence ever uttered.

26. After you told your mother about your plans to move to Beijing after your college graduation, she called you up after watching the series finale after Rory graduates from college and cried, "How can Lorelai be sad? At least her Rory's not moving to CHINA!"(That last one might only apply to Jess.)


Graduates in Wonderland, the true story of Jessica and Rachel's post-college adventures in New York, Beijing, Paris and Melbourne is out now. The best thing that ever happened to them is when Amy Sherman-Palladino once called them to say she thought their book was "delightful."

Outlander and the Female Gaze: Why Women Are Watching

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By now you've doubtless heard of Outlander, Starz's new entrant in the race for premium channel subscribers. The surprise hit, based on the epic fantasy romance novels by author Diana Gabaldon, isn't the first series to court a mostly straight female audience; True Blood, adapted from Charlain Harris's Southern Vampire Mysteries, banked on the appeal of love triangles and quadrangles to rope in viewers who were still hungry for the romance of Twilight, with undeniable success. But unlike True Blood, which tantalized with ever more outlandish sex scenes and airbrushed-to-perfection hardbodies, Outlander presents a fantasy that doesn't seek to appease the pornography-influenced tastes of a straight male audience.

To put it in simpler terms, Outlander is a drama crafted for the straight female gaze.

From its premier, it's been clear that the Scottish time-travel romance would be different. While exploring a ruined castle as part of their post-war second honeymoon, smart, introspective Claire Randall (Caitriona Balfe) and her husband, Frank (Tobias Menzies), engage in some marital relations atop a table. The scene, in which Frank performs oral sex on Claire, focuses entirely on her pleasure. Unlike most Hollywood couplings, there are no flickering candles, no slow strip-teases to reveal her gravity defying breasts or his rippling six-pack. Perhaps the most shocking part of this scene is how graphic it is in its realism; without the usual cues to the viewer that scream, "you're watching something sexy," it feels like voyeurism. It looks like sex that anyone could be having.

Of course, fans of the books aren't sighing over Frank Randall, but the legendary Jamie Fraser (Sam Heughan), the young Scottish outlaw who is pushed into an arranged marriage with his time traveling bride. Readers have long known that Jamie stands apart from the romantic heroes offered in books and on screen. While he exudes sexual charisma and comes complete with a tragic backstory (including a tragic story about his back), Jamie has what most romantic heroes don't: an ego that will take a backseat to his love interest's feelings. He is dutifully devoted to Claire from the moment they're affianced, and takes great care to consider not only her physical comfort, but the tender emotional state that Claire, a presumed widow, might be in when faced with a second marriage.

Rather than subjecting the viewer to the dubious consent expected from a medieval wedding night, fans were treated to an entire episode devoted solely to watching the new couple enthusiastically consummate their marriage. Mixed in with the candles and teasing glimpses of naked flesh, there was genuine caring on the part of the groom, who had no desire to take his reluctant bride by force. When the two finally seal the deal, it's fumbling, fast, and for Claire, disappointing; not only is Jamie younger than his wife, but he's a virgin as well. It's up to Claire to teach him how to be her lover, a task she's happy to undertake by the episode's end. In yet another role reversal, when Claire performs fellatio on Jamie, the audience sees the sexual awakening and inexperienced wonder of the male partner, in contrast to the usual depiction of a vulnerable woman's introduction her own sexuality.

Both romantic leads are almost supernaturally attractive. Balfe, with her flawless skin and long neck, resembles a porcelain swan, and Heughan's chiseled features are tempered with kind eyes and shy smiles. Yet when their clothes come off, they don't have the unobtainable bodies of gym-living actors who pump themselves up before each take. Heughan is undeniably fit, but he isn't in the same league as the Men's Health cover models seen on other cable dramas. Balfe is slender, but her stomach isn't flat and her breasts are natural. The lack of body hair is a bit disturbing, given the time period, but watching the actors together, the viewer sees two people being intimate with each other, instead of two sculpted dolls switching between acrobatic positions.

And that's where Outlander is truly appealing to the sexuality of its straight female viewers. Instead of painting female pleasure on the male terms of the virgin/whore dichotomy, the audience is shown sex as a normal, matter-of-fact piece of the relationship puzzle. Sure, Jamie and Claire can't get enough of each other on their wedding night, but their passion is forged by the connections made in the unhurried conversations that make up the bulk of the episode. Jamie is kind and Claire is emotionally conflicted, and their sex isn't perfect or without its awkward moments. At one point in the now infamous wedding episode, Jamie stops mid-coitus to make sure he hasn't hurt Claire. It's a far cry from the violent thrusting and distressed shouts of a Game of Thrones sex scene.

In further contrast from that HBO juggernaut, Outlander puts sexuality front and center, rather than utilizing a character's attitude toward sex as shorthand characterization in regards to morality. Neither does it cheapen the value of sex in storytelling by using it as a constant backing track, as Game of Thrones has coyly done to entertain the male gaze during scenes of protracted exposition. Outlander approaches sex in a way that's only shocking because it isn't shocking at all. It's non-violent, sensual, natural, and the woman is framed as more than an object for male pleasure. Female sexuality isn't demonized, and engaging in sex doesn't diminish Claire as a character. Outlander is the rare television drama that shows us a woman who is sexually experienced without being the villain of the piece, and a man who sees her desire and pleasure as a participatory experience, rather than an object to edify his own importance.

It's far too easy to suggest that the repressed desires of bored housewives are driving Outlander's success. Women know better. When presented with a complex, emotionally engaging plot and sensual content that doesn't degrade or shame female sexuality, they'll tune in, gladly. If the growing fan base is any indication, Outlander is the show that television has been needing for a long, long time.

An earlier version of this piece was presented at Trout Nation.

Everything's Coming Up Rosie (and Whoopi and Nicolle) on The View

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The View garnered its best ratings in eight years for its 18th season premiere last week, after a dramatic on screen and behind the scenes facelift. For the first time since it began in 1997, The View premiered without its star, creator, and executive producer, Barbara Walters, who retired in May.

Co-host Sherri Shepherd was ousted after seven years, in which her only noteworthy contribution was wondering if the earth was flat. Co-host Jenny McCarthy received the ax after one lackluster season. Only the panel's moderator, Whoopi Goldberg, survived the bloodbath. Rosie O'Donnell -- who famously left the show in 2007 after an on-air spat with then co-host Elisabeth Hasselbeck -- rejoined the panel.

The new cast is rounded out with actress and activist, Rosie Perez, and political commentator and former George W. Bush White House Communications Director, Nicolle Wallace. The show also has a new studio, new set, new logo, and new executive producer for the first time in 17 years.

Over the years, and in particular since O'Donnell left, The View has fallen flat and failed to generate much buzz. For a time, they were able to get by with whatever crazy talking point from the RNC Hasselbeck was spouting, and liberal co-host Joy Behar's predictable abhorrent reaction to it. Once Behar left and Hasselbeck was fired, the show became a ghost of its former lightening rod self.

With this new cast, The View stands to reverse its slow march to irrelevance. The first day began with an inauspicious start when the co-hosts spent most of the hour fawning over each other, in an uneasy love fest. Meanwhile, the audience waited with baited breath for any sort of fireworks.

The second day didn't disappoint when sparks flew between O'Donnell and Wallace.

O'Donnell took umbrage with Wallace's comment that President Obama "doesn't like people." Wallace meant that the president isn't a natural people person like former President Bill Clinton, who never met a hand he didn't want to shake. O'Donnell countered by comparing Wallace's remark to Kanye West's infamous statement that President Bush "doesn't care about black people."

With that one exchange, there was hope for The View's future again. Although O'Donnell's argument fell flat, it made for spirited conversation and good television. It's what makes O'Donnell compelling to watch. Unlike many plastic parrots on daytime television, O'Donnell wears her raw emotions on her face. Love her or hate her, right or wrong, she's real.

O'Donnell is also unpredictable. Everyone expected O'Donnell to reserve most of her sparring for Wallace. But on the third day she mixed it up with Goldberg instead, over whether it's okay to shame your child in public. This time Goldberg was the odd woman out when both Wallace and Perez agreed with O'Donnell that it's never acceptable.

Serious moments as well as lighter ones peppered the first week. This was a huge improvement from the dull conversations of past seasons. In recent years, it wasn't uncommon for Goldberg to look as if she'd rather be anywhere else. This week Goldberg was a lively and engaged participant.

Another memorable moment centered on a study out of the UK that said most women can't identify their vagina in a drawing. A huge drawing appeared on-screen and Goldberg proceeded to give an anatomy lesson, while cracking jokes in the process, causing Wallace to quip, "I can't believe this is my job now!"

The highlight of the first week, however, was Goldberg and Billy Crystal's tribute to the late Robin Williams. It was poignant to hear them reminisce about their friend, and touching to see the normally unflappable Goldberg tear up multiple times. The flashback footage of the trio during their opening performances for Comic Relief through the years was brilliant and worthy of an entire show in its own right.

Although The View turned in an impressive first week's performance, the show still has minor wrinkles to iron out:

-Wallace and Perez are awkward interviewers, but should improve as they gain experience.

-Wallace and Perez appear deferential to Goldberg and O'Donnell, rather than as equals.

-Goldberg and O'Donnell both come across as the moderator.

-Wallace needs a haircut or a barrette. Every few seconds she runs her hands through her hair to pull it away from her eyes and face.

Despite these minor wrinkles, The View's makeover was a success. The first week of Season 18 marked a new beginning for a show that had lost its way the last few years. Now The View is water cooler fodder again which not many shows can say after 18 seasons.

Pretty Little Liars Fans Still Reeling from Mona's Death

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Co-Author: Jaymie Bailey | All Things PLL

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I can't speak for everyone at tvtag, but I'm personally still coming to grips with the loss of my favorite non-Liar, Mona Vanderwaal. But at least I've got a partner-in-grief in Jaymie Bailey, founder of All Things PLL. This week, Jaymie and I discuss the death of one of our favorites and look ahead at what's to come on Pretty Little Liars.

VB: How did Mona's death personally affect PLL fans? She was a favorite character (definitely one of mine) and a lot of us are still mourning.

JB: Mona's death broke my heart into a million tiny pieces. I remember back in Season 2, Episode 19 "The Naked Truth" when I realized Mona was definitely wearing that black hoodie, but that didn't change the way I looked at her character. She slapped my all-time favorite character, Spencer, and she ran over her best friend Hanna with a car, but I still loved her. I think Mona went through what every character is going through. Every character has been manipulated and bent to the point where they are ready to break. Spencer went to Radley, Emily and Aria killed someone, Hanna drowned her sorrows in vodka, and although we really don't know Alison's character yet, I think she's [also] misunderstood.

These girls have had their fair share of torture, and they're sick of it. Mona just handled her situation the best way she knew how -- revenge. I don't condone her actions towards the Liars because they will always be my favorites, but Mona came to be more of a help for these girls. She was earning her redemption, and the girls were starting to need Mona's help. Like I said during the finale, she should have just stayed in that bathroom stall so I'd know she would be safe. But here's to one more trip to Radley and helping the Liars! I'd say Mona redeemed herself. She figured out what everyone has been dying to know, and I think that's why she is currently in "A's" trunk. Mona didn't go down without a fight, and for that, I'm proud.

I have no idea what the show will be like without her.

My first thought was that Mona's dead, so Janel Parrish is off the show. I was upset to the point of tears, but after I read Janel's ode to her character and the fact that she's returning to the show (just in a different way) I made peace with the decision the writers made. But I will always miss present-day Mona. RIP, Mona Vanderwaal.

How will Mona's death reverberate through Rosewood? She was a good friend to Hanna and Lucas (kind of), had just started bonding with the others -- especially Spencer -- she was on this amazing path to redemption that got cut short before the other Liars could really forgive her.

Mona's death is going to be a turning point for these girls, especially Hanna. I think "A" killed the one person in Rosewood that's going to send these girls over the edge with determination to figure out his/her identity. Their parents have been hurt, their friends have been hurt, and now a former-A has been murdered. Mona was a best friend to Hanna, and she was actually a friend when Spencer, Emily and Aria weren't around. Spencer lost probably the one person who could measure up to her detective skills, and together, they would have been unstoppable. This game just got more serious than it's ever been, and the Liars will be more determined than ever to end it.

How do we feel about Janel Parrish's Dancing With the Stars appearance? I think she's been AHmazing so far, so energetic and sexy. I get so frustrated that she's not getting tens!

Janel kills every single step in her performances! Although I don't know the specifics of each dance genre, I think she was flawless, and she left everything she had on the floor. She definitely deserves tens across the board. Someone needs to send "A" after those judges! I can't wait to see what Janel does with the dances ahead because with the Pretty Little Liars Army behind her, she's in it to win it. Whatever Janel decides to do after DWTS, she's going to be a star. But one thing is for certain: I'm looking forward to more flashbacks in Rosewood!

Catch Janel Parrish on ABC's "Dancing with the Stars" now and tune in for the October 21st PLL fan-appreciation special "We Love You to DeAth" at 8pm on ABC Family. Image used with express permission.

There Is No Mystery to The Mysteries of Laura

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The network fall television season is underway. I know this because NBC gave us a special sneak preview of its most heralded show this season, the Debra Messing vehicle, The Mysteries of Laura. I cannot deny that I have been chomping at the bit for the premiere of this show since I saw the "hilarious" poster all over Los Angeles and then New York City with the brilliant catch phrase, "Catching bad guys, Raising naughty ones." The discerningly thought-out poster has Messing standing spread out wearing a green sweater, blue jeans and a Peter Falk as Colombo-esque coat with her badge (I said "badge" not the "v" shortened lady part word that sounds similar) and gun hanging off her belt. On the left side she's cuffing a hardened criminal, and, since she works as a homicide detective, I assume it's a murderer. On the right side she's channeling an Adrian Peterson move by choking her two kids by grabbing their hoodies while her beautiful, ginger, freshly-washed and styled hair caresses over her shoulders. Because, as all of you working mothers know, there's always time for hair styling before taking your kids to school and then solving a murder at the office.

We all know the show is going to be horrid. The only question is, how horrid and would they even try to make it non-horrid (if that's even a word). Yes, I may be a snob from New York City who hasn't been to the Midwest very much, but I find it hard to believe that someone from Kansas is driving past that poster saying, "There it is: My new favorite show for the season. Now I finally have something to replace Law & Order with when it goes off the air."

The pilot opens with a high speed car chase. The other cops or detectives on the force are obviously bozos, they can't catch anyone. Messing's character, Detective Laura Diamond, has been clearly waiting on the block all afternoon as if she knew this crazed gunman in the car was going to take this route. She states calmly on the radio, "I see him." The other cops are yelling at her on the radio, "Don't you do it, Diamond!" Or something like that, who cares. You know what I'm talking about. The gunman is on foot now racing through the park. She is calmly walking behind him talking on the radio to her back-up saying, "why are all these people in the park, don't they have jobs?" She is obviously a badass cop that doesn't play by the rules. So here we are. This is the part in the show where I'm taking all the nonsense, all the sarcasm, all the negativity and giving it an actual chance. Maybe I'm wrong. I love television. Maybe I've made a horrible mistake. In my head I am thinking, maybe she's going to calmly trip him as he runs by because he would never mistake Diamond for a detective. Maybe she takes off her coat and she towel snaps him in the butt, and he's so confused he drops his gun and confesses everything. Maybe -- I'm an idiot. "Freeze, you're under arrest!" It's every other show. She holds out her gun long enough for the gunman to take a hostage, then she tells the gunman to drop his gun and counts down from three. The gunman was obviously on crack or meth. Counting down in real life would be the worst idea ever. Then she shoots the gunman in the ear or something, and that's it. Her colleagues come over conveniently, immediately after and say, "Damn it, Diamond. You just don't play by the rules, do you?" I'm making up the dialogue but again, who cares? It's that, and you know I'm not lying. The whole show is exactly what I thought it was only two minutes in. Brilliant.

I saw Debra Messing on The Today Show talking about how much she loved the script. What script was she reading? Matt Lauer asked her if her character in TMOL was the same as Grace Adler in Will & Grace. She didn't deny it. So, what we have here is someone's idea to put, let's say, Jennifer Aniston's Rachel character from Friends as a tough nosed detective in the homicide department of the New York City police force acting like Rachel Green. Oh, who am I kidding, if I was the head of the network, I probably would have green lighted that myself.

Listen to my Podcast every week The Spread with Dave Juskow

The Good Wife Recap: Is She Wearing Panties? And Other Scandals in 'The Line'

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Note: Do not read on if you have not seen Season 6, Episode 1 of CBS's The Good Wife, titled "The Line."

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No, Will's not back from the dead. I mean, we knew that wouldn't happen, but a girl can dream right? This week's premiere has everyone moving on.

Scandals
Cary has been arrested on a drug charge because the State's Attorney's office is after Lamont Bishop. Not only does Cary have to do time in jail -- and man, that is not pretty -- Alicia has to raise a bazillion dollars for his bail and convince Bishop that he's not going to flip. Kalinda's on it and after's she's stopped by Bishop she goes to her lady friend for help.

The firm doesn't want to give up their bonus and salaries to help out; his dad is a jerk and will only offer $8,000, like all jerk lobbyists. Alicia and Robyn look into personally helping out, proving that they're all family. Instead, Bishop randomly comes through with a "colleague" who pays the bail in full, in cash.This is why people are getting arrested in the first place.

Meanwhile, Cary is getting legal advice from the inmates in scenes I'm not sure are realistic or completely ridiculous. In any case, he has to wait while Alicia and the ASA investigate the source of his bail funds before he can get out. Why is women's prison always portrayed as being more fun than the male counterpart?

Diane is retiring. She's retiring? She's retiring. Retiring? (That was the scene.) Where would she go? To Florrick-Agos. But her move depends on an equal vote with Cary and Alicia, and it doesn't get any less complicated when Alicia asks her to represent Cary. David Lee and Michael J. Fox (because that's just who he is) are all a-flutter.

Eli schemes to get Alicia to run for State's Attorney, and his daughter watches with glee. The biggest scandal this week, really? Is the intern wearing panties or not? Can we talk about how the episode name deals with "The Line" -- between attorney client privilege, defending drug dealers, and panty lines? Get it?!

Predictions: It takes all season to figure out is Alicia will run. Diane won't join the firm unless they drop Bishop or something to keep clients. Eli's daughter sticks around as an assistant. Cary makes friends and clients in jail. Kalinda has lots of sex to get that recording to fudge his innocence.

Tweet me your thoughts @karenfratti.

The Good Wife airs Sundays at 9 p.m. ET on CBS.

USA Network, Playing House Is Groundbreaking and Here's Why

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Dear USA Network,

For a while it was fun being part of the twitter fan base that is hashtagging for a season two of the criminally under appreciated Playing House. But now I'm just mad. Along with all the other #jammers, I am straight up ready to break a vintage cake stand mad! (If you watched the show, USA Network, that cake stand joke would be hilarious to you.)

I of course realize that Playing House's season one ratings were not groundbreaking but I blame you, USA. I'm a comedy fan and a UCB student and I only knew about the show because of a podcast. Where were the busses? Where were the billboards? Where was any advertising! Do you know what other show had a low season one rating? A little show you may have heard of called Breaking Bad.

The biggest issue I have with critiques of the show is that Playing House is referred to as a "female comedy" or "comedy for females". Both terms I find infuriating since I've never heard a critic say that Mad Men and Breaking Bad are "dramas for males." Females grow up expecting to sympathize with male characters - Tony Soprano, Don Draper, and Walter White, male anti-heros that we all love to hate have topped the leader board for the last decade. Wake up USA! The times are changing. Females are more then capable of staring in a show. And as Shonda Rhymes has so wonderfully brought to light, when men watch shows with females leads they don't run away in fear -- they watch it! Playing House is not for a niche audience of intelligent females. Playing House is for anyone who likes good comedy.

It's also one of the only comedic shows on TV that passes the Bechdel test, and it passes with flying colors. USA Network, if you don't know what the Bechdel test is please allow me to break it down for you. The Bechdel test, created by MacArthur Foundation 'genius' grant winner Alison Bechdel, judges pieces of fiction based on two simple principles: 1) are there at least two named women in it who talk to each other and 2) do those two women talk to each other about something besides men. New Girl and The Mindy Project, arguably the two most famous female staring comedies on television, just premiered the first episode of their fourth and third season, respectively. Just to be clear, I'm a huge fan of both shows but neither of the episodes passed the test. I know there are other flaws with the Bechdel test; Gravity famously does not pass, but for the most part it's a great start for evaluating gender bias for women in film and television. Yet, every single episode of Playing House passes! Do you know how nice it is to watch a show about two funny women talking about literally anything else besides a man? Do you USA Network, cause I'm getting the feeling you don't!

Jessica St Clair (Emma) and Lennon Parham (Maggie), the stars and creators of the show, are not only the best friends you want to watch but also the best friends you want to have. Let us not forget about the incredible supporting cast lead by Keegan-Michael Key (of Key & Peele fame) and Zach Woods (The Office, Silicon Valley.) In the second episode titled Birdbones, Key refers to St Clair and Parham's characters by saying, "You're nice when you're on your own ... but when you two get together all hell breaks loose." It's really just a perfect analogy for the whole show. Besides the fact that that quote describes every pair of best friends in the entire world, it's also what happens when you combine the comedic genius of St Clair, Parham, Key and Woods. Let me clarify by saying that all hell breaks loose in the best possible way. All four friendships seamlessly transition from real life to the screen. It's a crew you desperately want to be a part of.

USA Network, I'm trying to be on your side since you were the ones who took a chance on Playing House in the first place, but it's as if you don't understand the magic of what you now have. Please understand the mistake you're in jeopardy of making. Playing House may be the nerdy girl at prom right now but she's about to take off her glasses and you're about to see that she was perfect all along. And when that happens you're going to feel like an idiot for not realizing it! St Clair and Parham aren't going away. They'll make anther show, or a movie, and they'll get bigger and bigger and you'll be sending them late night texts and crying over the girl(s) you once had. As Emma (St Clair) says in my favorite episode, Drumline, "Cause sisters by the way are doing it for themselves!"

USA Network, don't be that guy.

Sincerely,
A passionate #jammer, Dana Elle Salzberg

A Reflection of Modern Times: An Insider's Take on The Knick

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We're progressing so fast that the technology of a decade ago seems laughably quaint. We can't imagine living in the dark ages of 15 years back, and the immediate future is an expanse of exponentially unfolding possibilities so broad that it feels like anything can happen -- a great leap in evolution or maybe the end of everything. The steady build of excitement and dread emblematic of our modern age is likely how our forebears felt at the turn of the 20th century, which is why now is the perfect time to revisit 1900, a similar age of ingenuity overdrive.

The Cinemax series The Knick, directed by Steven Soderbergh, explores the achievements, exploits and improprieties in and around a fictionalized version of New York City's Knickerbocker Hospital at the dawn of the surgical revolution. Dr. John Thackery (Clive Owen) has just taken over as chief surgeon after the suicide of his mentor, Dr. J.M. Christiansen (Matt Frewer), and faces the jarring reality that Dr. Algernon Edwards (André Holland) -- a black man with an M.D. from Harvard and European training -- will be the new assistant chief surgeon. The show takes the opportunity to investigate this period of great upheaval, when innovation was mushrooming and a move toward racial and gender equality was quietly and slowly beginning.

"We are living through a time of great technological change," notes Steven Katz, supervising producer and a writer for The Knick, during our recent chat. "Like our ancestors -- they didn't know where X-rays and things like that were going to lead, and we don't really know where things like the Internet and social media and all these other cutting-edge technologies are going to take us."

The turn of the century was the heyday of the Wright Brothers and Einstein and saw the invention of the first motion-picture camera. Germ theory had been formally proven by the likes of Louis Pasteur just a few decades earlier, and along with Joseph Lister's pioneering of antiseptic surgery, it was possible for "an infinite variety of surgeries to take place that were not possible before," says Katz. "Most people probably thought of a visit to the hospital as a death sentence, but this actually made it possible to do some really radical things. As Thackery says in the pilot, more discoveries were made [during] the turn of the century than in the previous 500 years."

The Knick, created by Jack Amiel and Michael Begler, begins with a failed experimental placenta previa surgery presented in graphic detail. The subsequent pursuit of perfecting that technique reveals a dark side of the medical progress of the day. Surgeons depended on human subjects with terminal conditions, most of whom died as they provided data for the next attempt. "It does seem like you probably could expect to be treated a little bit like a lab rat when you went into a hospital at the time," confirms Katz, yet the cold truth was that patients with no hope of survival provided essential learning opportunities.

With Soderbergh's handheld shots and dimly lit sets instilling a prevailing sense of apprehension, the show takes on racial issues as well. Thackery at first dismisses the idea of accepting Edwards as an equal. He is infuriated upon discovering that Edwards has converted the hospital's basement into a clinic and operating room for African-Americans who are institutionally denied treatment at the Knick, yet he starts to come around when he sees the groundbreaking work that Edwards is doing -- like the development of an electric suction device and a silver-wire suture technique for a new hernia procedure.

"I think [Thackery is] the kind of person who admires talent and brains first and foremost," Katz suggests. He explains that in the original drafts of the episodes he wrote, Thackery was more of an abjectly racist character, yet "one of the interesting things during the course of the production has been watching Thackery develop, especially under Clive's interpretation of the character. What you see now is a far more complicated character with definitely racist attitudes -- but are they especially virulent, or are they simply a reflection of the times? It's hard to tell. Clive is a very smart actor and he's made the character seem so intelligent, and it seems like this is something the character is actually wrestling with as we watch him develop."

Katz is quick to note the parallels to the current day, pointing out that "the country is still going through it. Turn on the TV. It's shocking that all these years after the Civil War, we're still wrestling with these racial issues. The thing that really strikes me about this stuff is that it has so many echoes now -- to use [historian and author] Barbara Tuchman's phrase -- it's like a 'distant mirror.' It's a little bit spooky. One of the things [that happened] at the end of the Gilded Age was everybody felt pretty good about themselves, but there was a lurking fear that something bad was going to happen. And something bad did happen -- World War I. I think you get that sense now in the world."

Having pursued several historical New York City projects through the years, Katz is thrilled to be working on The Knick. "It's great to see an early 20th-century New York project actually exist," he enthuses. "I've worked on a lot that didn't come to fruition; it's not a cheap period to evoke [on screen]. I love this period; I love the city of New York. I've lived here 30 years. It's also an incredible pleasure to be working with Steven Soderbergh and sitting in a room and having script discussions with him, and watching him shoot. I used to play this game whenever we were shooting, to try to predict how he would shoot a scene, and I never got it right. It shows you how unexpected [his work can be] and what an extraordinary visual imagination he has."

Find this article and others at Iconic Interview.

Outlander and Lena Dunham Prove Great Sex Takes a Woman

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What's been happening on cable television lately is inspiring conversations that are breaking out in the open and revealing a secret that women have known for centuries. It's not just a reminder of the groundbreaking work of Dr. Masters and Virginia Johnson in Showtime's Masters of Sex and why romance novels remain popular. This summer, USA Network's Satisfaction asked if monogamy was natural, predicated on the wife trying to find satisfaction outside her marriage. Then came the wedding episode in Starz's Outlander and suddenly, televised adult drama and erotica proved as powerful a draw as all the violence served up everywhere else.

Lena Dunham plays a part in this, giving advice in a new set of videos that puts the cherry on top of what it takes to have great sex in a relationship, something I've been writing about on HuffPost regularly and talking about for years.

To have great sex in a relationship, it takes a woman showing a man what to do.

The marriage bed scenes last weekend in Outlander are the best examples of this ever seen on television since Dick Van Dyke and Mary Tyler Moore were given twin beds, part of a cultural and political message that was meant to instill that marriage was about family and children, not steamy sex.

People magazine described the sex scenes in Outlander this past weekend as "the episode we've all been waiting for."

He recalls the first moment he saw her in her dress: "It was as if I stepped outside on a cloudy day and suddenly the sun came out," he says reverently. "Take off your shirt," Claire replies tenderly. "I want to look at you." She caresses his scars and introduces him to some very R-rated pleasures.


In case you didn't know, Jamie (played by Sam Heughan) and Claire (Caitriona Balfe) are not in love when they marry. It's a long story that is worth binge watching. In short, Jamie is marrying Claire to save her from a dastardly villain and British officer Capt. Jack Randall (played by Tobias Menzies). Proof of consummation is the price for her safety.

It doesn't matter that Jamie is literally a virgin on his wedding night, because most men engaging a woman in sex for the first time are unknowing about what can make her pleasure complete. Claire obliges Jamie's awkward eagerness the first time they have sex without instruction, clearly revealing dissatisfaction at the end. His reaction to her is to say he always heard that women don't like sex very much.

This is the twentieth century canard about women and sex handed down through traditional marriages where a woman's sexual needs were ignored.

What women don't like is men having sex with us who are doing it badly by only considering themselves.

Bad sex is defined differently for every woman, but it begins with not having a voice when you're naked with a man.

Lena Dunham confronts this seminal revelation, which every woman has at different times of their life, in a new video that's been released in anticipation of her new book: "I was so worried about whether other people were enjoying sex with me that it never occurred to me that it was an act I was supposed to receive any pleasure from."



Dunham continues, saying good sex is "an alchemy" between two people.

That is exactly what's on the screen between Claire and Jamie, who didn't get married for love.

This alchemy is something the 1950s ignored in favor of traditionalist norms that designated specific roles for the sexes, but always had the woman receiving sex however it was served up to her.

Setting women free to experience sex on our own terms was the beginning of hope for modern marriage.

Relationships demand deep sexual intimacy that only a woman can guarantee through teaching the man how to make her body sing. In relationships, men follow our lead and in the post-traditionalist era, that revolves around making sure your partner knows what it takes to satisfy you sexually.

The road map for each couple is different.

Excavating your sexual chemistry and compatibility together is one of the secrets to a successful modern relationship. The ability to get naked, ignore the world and devour each other, forming an intimate connection and unbreakable physical bond that goes beyond what friendship alone can offer, can be incredible.

Taylor Marsh is the author of the new book The Sexual Education of a Beauty Queen - Relationship Secrets From the Trenches. Meet Taylor and hear her speak at the regional Baltimore Book Festival this Saturday and Sunday.

Christie Laing of ABC's 'Once Upon a Time' Shares Some Personal Stuff!

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Christie Laing plays Marian in ABC's Once Upon a Time. Season 4 premieres September 28. Twitter @ChristieLaing. Photo by Kyla Hemmelgarn.



Christie Laing is great at teasing us, isn't she?! This down to earth actor really gets us going. Her bold personality is surely part of the cause. Christie is one of those actors that you want to keep an eye on throughout her career because you never know what's going to happen next.

You character, Marian, on ABC's Once Upon a Time, had a crucial role on Season 3's finale. What's your involvement in Season 4?

Although, I can't get into the details of where Season 4 is taking Marian I can tell you that I am involved in Season 4 and very excited for everyone to see where things start up in the premier. I can say that Season 4 is going to be a lot colder than Season 3.

How far did you get in your education? Which subject was your favorite and least favorite?

My favorite subject in high school was English. I love reading and writing and I felt really supported in this subject, and my least favorite was math since I felt completely lost. I went to a public high school and after graduation, college wasn't really much of an option for me. I didn't believe I had the money or the grades at the time, so I continued to work and save money to support my acting career. I would love to go back to college and I suspect I will be 40 years old getting my degree, which I very much look forward to.

You will be appearing in Lifetime's upcoming new series Un-real which is a behind-the-scenes look at the chaos surrounding a fictional dating competition program. Tell us about your character.

The character I play is Shamiqua who is an all around catch. She graduated from Spelman, now clerks for a Supreme Court Justice and is a violinist, so she has a few things going for her.

There is such an amazing amount of hoopla with OUAT introducing Elsa and Anna from Frozen. What are your thoughts on this?

I personally love that OUAT is doing Frozen. After seeing how they're weaving it together it makes perfect sense and the characters from Frozen do have a lot in common with the characters from OUAT. Georgina Haig makes a terrific Elsa and I think the fans are going to be very happy to see how it all comes together.

What do you do in your downtime?

In my downtime I love eating. It's pretty much my favorite hobby. Discovering new restaurants and revisiting consistent favorites is one of my top things to do when not filming. Otherwise keeping active is really important to me and I really have enjoyed getting outside to play tennis or go for a hike. I'm also looking forward to taking some cooking classes and to do combat training in the fall.

Name the spots in the world that you would never travel to and why wouldn't you go there?

Honestly, there isn't anywhere in the world that I can say I would never travel to, given the opportunity. I think there are many places in the world that operate very differently than where I'm used to, so I would want to be well informed before traveling there but seeing different cultures and ways of life I believe could only be a privilege.

Anything else you'd like to say?

For more anecdotes from my day to day life, Once Upon A Time and Un-Real updates, you can follow me on Twitter @ChristieLaing
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