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I mean, neither was the first, but the second one took all that agonizing misery we'd gotten used to and somehow threw it into overdrive. There was the near-mass-execution of handmaids, set to Kate Bush's \"This Woman's Work\" (\u003ca href=\"https://www.youtube.com/watch?v=M-RtqAPYLD8\">probably the most harrowing three minutes in TV history\u003c/a>). There were the falling fingernails of the colonies and the book of the dead up in Canada. There was that torturous moment when June/Offred found a car to escape, but couldn't ram it out of the garage in time. You remember, right? Of course you do. Because it was scarring as hell.\u003c/p>\n\u003cp>Well, breathe a (cautious) sigh of relief because the trailer for Season 3 is here and the handmaids are finally in full rebellion. Want sneaky escapes under the cover of darkness and surreptitious exchanges in the supermarket? You got it! Want sexy hand-touching between June and Nick? It's on! Want Aunt Lydia too weak to cattle prod anyone? 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I mean, neither was the first, but the second one took all that agonizing misery we'd gotten used to and somehow threw it into overdrive. There was the near-mass-execution of handmaids, set to Kate Bush's \"This Woman's Work\" (\u003ca href=\"https://www.youtube.com/watch?v=M-RtqAPYLD8\">probably the most harrowing three minutes in TV history\u003c/a>). There were the falling fingernails of the colonies and the book of the dead up in Canada. There was that torturous moment when June/Offred found a car to escape, but couldn't ram it out of the garage in time. You remember, right? Of course you do. Because it was scarring as hell.\u003c/p>\n\u003cp>Well, breathe a (cautious) sigh of relief because the trailer for Season 3 is here and the handmaids are finally in full rebellion. Want sneaky escapes under the cover of darkness and surreptitious exchanges in the supermarket? You got it! Want sexy hand-touching between June and Nick? It's on! Want Aunt Lydia too weak to cattle prod anyone? Somebody high-five me! Most excitingly of all... is this a full-blown alliance with Mrs Waterford we see? Under his eye, no more!\u003c/p>\n\u003cp>The third season of \u003cem>The Handmaid's Tale\u003c/em> hits Hulu in June. In the meantime, you can see a hint of the revolution to come right here:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RcTvQx1Wot0'\n title='//www.youtube.com/embed/RcTvQx1Wot0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111513/the-handmaids-tale-season-3-trailer-features-rebellion-sexy-hand-touching-and-more","authors":["11242"],"categories":["pop_3"],"tags":["pop_3597","pop_533","pop_2968"],"featImg":"pop_111527","label":"pop"},"pop_103806":{"type":"posts","id":"pop_103806","meta":{"index":"posts_1716263798","site":"pop","id":"103806","score":null,"sort":[1527622519000]},"parent":0,"labelTerm":{"site":"pop"},"blocks":[],"publishDate":1527622519,"format":"standard","disqusTitle":"Hindsight is 20/20 for the US, the UK, and Mrs. Waterford of 'Handmaid's Tale'","title":"Hindsight is 20/20 for the US, the UK, and Mrs. Waterford of 'Handmaid's Tale'","headTitle":"KQED Pop | KQED Arts","content":"\u003cp>Earlier this year at the \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">White House Correspondents' Dinner,\u003c/a> comedian Michelle Wolf told Press Secretary Sarah Huckabee Sanders, \"I love you as Aunt Lydia in \u003cem>The Handmaid's Tale\u003c/em>.\" A more accurate comparison from Margaret Atwood's story, however, might have been to Mrs. Serena Joy Waterford. Aunt Lydia is responsible for training new handmaids and keeping them in line by any means necessary (cattle prods and hand-burning ceremonies included), but it is Mrs. Waterford that poses the most complex questions for 2018 audiences.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=56k-NHHpbAw\u003c/p>\n\u003cp>Though Season 1 made clear that Mrs. Waterford had a hand in the formation of Gilead and its policies, Season 2 is now showing the full extent of it. In episode 6 -- \"First Blood\" -- we see her, in her pre-Gilead life, enthusiastically taking on speaking engagements about her family values book, \"A Woman's Place,\" in the face of increasingly hostile protesters.\u003c/p>\n\u003cp>In 2018, scenes of angry division are soberingly familiar. In recent years, the world has seen all manner of guest speakers cause chaos on college campuses. In 2015, second-wave feminist \u003ca href=\"https://www.theguardian.com/books/2015/nov/18/transgender-activists-protest-germaine-greer-lecture-cardiff-university\">Germaine Greer faced protesters\u003c/a> at a British University over her anti-transgender comments, and Milo Yiannopoulos caused \u003ca href=\"https://www.chronicle.com/article/Milo-Yiannopoulos-s/240564\">chaos on his own college tour\u003c/a>. Earlier this year, \u003ca href=\"https://reason.com/blog/2018/03/06/christina-hoff-sommers-lewis-and-clark\">protesters disrupted\u003c/a> a talk from anti-feminist figure Christina Hoff Sommers.\u003c/p>\n\u003cp>Mrs Waterford isn't just realistic then, she is totally recognizable. We already know her. She is a woman who does not support the rights of other women. She is a woman whose ideas about gender roles are informed by her religious leanings. And if she existed in real life, you can bet your bonnet she'd be heading up a local chapter of \u003ca href=\"https://landing.concernedwomen.org/women/?pid=6258273&red=donation1/?initiativekey=SI6B4RJHK7ND&gclid=CjwKCAjwopTYBRAzEiwAnU4kbyiaLSfOvTOCF1r6Bk2wALMatGejtNZ1wYEs-z8mnRlNU92kGCudKhoCOlcQAvD_BwE\">Concerned Women for America\u003c/a> (an organization that, like the Waterfords, believes \"secular thought threatens the values we hold dear\"). She'd also probably be \u003ca href=\"https://www.youtube.com/watch?v=aNFjjylAZqc\">hitting Fox News\u003c/a> to talk about it at every opportunity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CrSdGdusCwQ\u003c/p>\n\u003cp>The reason Mrs. Waterford is such an important figure to have on television right now goes deeper than all that though. Having achieved all of the societal changes she once fought for -- a return to traditional gender roles and an unerring focus on producing children (even if it involves the systematic rape and dehumanization of other women) -- she finds herself a profoundly unhappy and lonely woman. Now the fight is over, and her right to an intellectual life has been outlawed, she is isolated from both her husband and all of the other (enslaved) women in her midst. When \u003ca href=\"https://www.youtube.com/watch?v=idDarKrq_0U\">Mrs. Waterford is spiteful to, or violently lashes out\u003c/a> at, the women beneath her, it's not mindless sadism -- it's out of sheer frustration with her own situation.\u003c/p>\n\u003cp>Mrs. Waterford's theories about Gilead were infinitely simpler than the reality, and the stress and regret of it all radiates through her face (thanks to a masterful portrayal by Yvonne Strahovski). \u003cem>The Handmaid's Tale\u003c/em> is most often viewed through a lens focused on the importance of women's rights, but in Mrs. Waterford's storyline, there are lessons to be learned about the power of indoctrination and blind faith. She is someone who wanted to inflict her fervent beliefs on others, without fully thinking through what the consequences of them might be for herself. She is someone who saw only the big picture, not the smaller details that would ultimately ruin her life. She forged ahead, laboring under the idea that what she was doing was for the greater good.\u003c/p>\n\u003cp>Mrs. Waterford's slow, painful realization that she is living in a hell of her own making is also reminiscent of modern politics in more ways than one. In the UK, \"leave\" voters are \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">expressing regret, en masse, over Brexit\u003c/a>. Similarly, there is a rash of Trump voters who have begun to express woe over their chosen President's policies. There are now so many of these individuals, there is \u003ca href=\"https://twitter.com/trump_regrets?lang=en\">an entire Twitter account\u003c/a> dedicated to unifying their voices.\u003c/p>\n\u003cp>In a recent article by business owner and Trump voter, Mary Buchzeiger, she wrote: \"I'm angry and scared… for my community and my country, which is about to be blindsided by a bad policy forged of best intentions.\" You can imagine Mrs. Waterford experiencing similar thoughts, as it dawns on her just how trapped by her own (and her husband's) ideas she really is.\u003c/p>\n\u003cp>Mrs. Waterford is a reminder of how 2016's political pandemonium was shaped. In an article about \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">Brexit for \u003cem>The Guardian\u003c/em>\u003c/a>, Jane Green, a co-director of the British Election Study, pointed out what we now know all too well. “When you have a strong view about something, you’re likely to reject information that’s contrary to your view, reject the source of the information and rationalise the information. We select information that’s consistent with our views, because it’s more comfortable and reaffirming.” Mrs. Waterford's blinkered beliefs got her into this mess -- and thanks to recent world events, we can completely understand how and why.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a different social and political period, Serena Joy Waterford would simply be a Lady Macbeth for modern times: power hungry at the expense of all else, belittling of her husband any time he shows even a moment of weakness, and destroyed in slow motion by her own misguided ambitions. But in our current climate, she is a reminder that a willingness to sacrifice other people's well-being in the pursuit of your own is likely to end badly for everyone. Ultimately, her story is a reflection of -- and a warning about -- the dire consequences of political isolationism.\u003c/p>\n\n","disqusIdentifier":"103806 https://ww2.kqed.org/pop/?p=103806","disqusUrl":"https://ww2.kqed.org/pop/2018/05/29/hindsight-is-20-20-for-the-us-the-uk-and-mrs-waterford-of-handmaids-tale/","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":963,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":12},"modified":1527622663,"excerpt":"Some of us have more in common with Mrs. Waterford from 'The Handmaid's Tale' than we'd like to admit.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Some of us have more in common with Mrs. Waterford from 'The Handmaid's Tale' than we'd like to admit.","title":"Hindsight is 20/20 for the US, the UK, and Mrs. Waterford of 'Handmaid's Tale' | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hindsight is 20/20 for the US, the UK, and Mrs. Waterford of 'Handmaid's Tale'","datePublished":"2018-05-29T12:35:19-07:00","dateModified":"2018-05-29T12:37:43-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"hindsight-is-20-20-for-the-us-the-uk-and-mrs-waterford-of-handmaids-tale","status":"publish","path":"/pop/103806/hindsight-is-20-20-for-the-us-the-uk-and-mrs-waterford-of-handmaids-tale","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year at the \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">White House Correspondents' Dinner,\u003c/a> comedian Michelle Wolf told Press Secretary Sarah Huckabee Sanders, \"I love you as Aunt Lydia in \u003cem>The Handmaid's Tale\u003c/em>.\" A more accurate comparison from Margaret Atwood's story, however, might have been to Mrs. Serena Joy Waterford. Aunt Lydia is responsible for training new handmaids and keeping them in line by any means necessary (cattle prods and hand-burning ceremonies included), but it is Mrs. Waterford that poses the most complex questions for 2018 audiences.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/56k-NHHpbAw'\n title='//www.youtube.com/embed/56k-NHHpbAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though Season 1 made clear that Mrs. Waterford had a hand in the formation of Gilead and its policies, Season 2 is now showing the full extent of it. In episode 6 -- \"First Blood\" -- we see her, in her pre-Gilead life, enthusiastically taking on speaking engagements about her family values book, \"A Woman's Place,\" in the face of increasingly hostile protesters.\u003c/p>\n\u003cp>In 2018, scenes of angry division are soberingly familiar. In recent years, the world has seen all manner of guest speakers cause chaos on college campuses. In 2015, second-wave feminist \u003ca href=\"https://www.theguardian.com/books/2015/nov/18/transgender-activists-protest-germaine-greer-lecture-cardiff-university\">Germaine Greer faced protesters\u003c/a> at a British University over her anti-transgender comments, and Milo Yiannopoulos caused \u003ca href=\"https://www.chronicle.com/article/Milo-Yiannopoulos-s/240564\">chaos on his own college tour\u003c/a>. Earlier this year, \u003ca href=\"https://reason.com/blog/2018/03/06/christina-hoff-sommers-lewis-and-clark\">protesters disrupted\u003c/a> a talk from anti-feminist figure Christina Hoff Sommers.\u003c/p>\n\u003cp>Mrs Waterford isn't just realistic then, she is totally recognizable. We already know her. She is a woman who does not support the rights of other women. She is a woman whose ideas about gender roles are informed by her religious leanings. And if she existed in real life, you can bet your bonnet she'd be heading up a local chapter of \u003ca href=\"https://landing.concernedwomen.org/women/?pid=6258273&red=donation1/?initiativekey=SI6B4RJHK7ND&gclid=CjwKCAjwopTYBRAzEiwAnU4kbyiaLSfOvTOCF1r6Bk2wALMatGejtNZ1wYEs-z8mnRlNU92kGCudKhoCOlcQAvD_BwE\">Concerned Women for America\u003c/a> (an organization that, like the Waterfords, believes \"secular thought threatens the values we hold dear\"). She'd also probably be \u003ca href=\"https://www.youtube.com/watch?v=aNFjjylAZqc\">hitting Fox News\u003c/a> to talk about it at every opportunity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CrSdGdusCwQ'\n title='//www.youtube.com/embed/CrSdGdusCwQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The reason Mrs. Waterford is such an important figure to have on television right now goes deeper than all that though. Having achieved all of the societal changes she once fought for -- a return to traditional gender roles and an unerring focus on producing children (even if it involves the systematic rape and dehumanization of other women) -- she finds herself a profoundly unhappy and lonely woman. Now the fight is over, and her right to an intellectual life has been outlawed, she is isolated from both her husband and all of the other (enslaved) women in her midst. When \u003ca href=\"https://www.youtube.com/watch?v=idDarKrq_0U\">Mrs. Waterford is spiteful to, or violently lashes out\u003c/a> at, the women beneath her, it's not mindless sadism -- it's out of sheer frustration with her own situation.\u003c/p>\n\u003cp>Mrs. Waterford's theories about Gilead were infinitely simpler than the reality, and the stress and regret of it all radiates through her face (thanks to a masterful portrayal by Yvonne Strahovski). \u003cem>The Handmaid's Tale\u003c/em> is most often viewed through a lens focused on the importance of women's rights, but in Mrs. Waterford's storyline, there are lessons to be learned about the power of indoctrination and blind faith. She is someone who wanted to inflict her fervent beliefs on others, without fully thinking through what the consequences of them might be for herself. She is someone who saw only the big picture, not the smaller details that would ultimately ruin her life. She forged ahead, laboring under the idea that what she was doing was for the greater good.\u003c/p>\n\u003cp>Mrs. Waterford's slow, painful realization that she is living in a hell of her own making is also reminiscent of modern politics in more ways than one. In the UK, \"leave\" voters are \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">expressing regret, en masse, over Brexit\u003c/a>. Similarly, there is a rash of Trump voters who have begun to express woe over their chosen President's policies. There are now so many of these individuals, there is \u003ca href=\"https://twitter.com/trump_regrets?lang=en\">an entire Twitter account\u003c/a> dedicated to unifying their voices.\u003c/p>\n\u003cp>In a recent article by business owner and Trump voter, Mary Buchzeiger, she wrote: \"I'm angry and scared… for my community and my country, which is about to be blindsided by a bad policy forged of best intentions.\" You can imagine Mrs. Waterford experiencing similar thoughts, as it dawns on her just how trapped by her own (and her husband's) ideas she really is.\u003c/p>\n\u003cp>Mrs. Waterford is a reminder of how 2016's political pandemonium was shaped. In an article about \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">Brexit for \u003cem>The Guardian\u003c/em>\u003c/a>, Jane Green, a co-director of the British Election Study, pointed out what we now know all too well. “When you have a strong view about something, you’re likely to reject information that’s contrary to your view, reject the source of the information and rationalise the information. We select information that’s consistent with our views, because it’s more comfortable and reaffirming.” Mrs. Waterford's blinkered beliefs got her into this mess -- and thanks to recent world events, we can completely understand how and why.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a different social and political period, Serena Joy Waterford would simply be a Lady Macbeth for modern times: power hungry at the expense of all else, belittling of her husband any time he shows even a moment of weakness, and destroyed in slow motion by her own misguided ambitions. But in our current climate, she is a reminder that a willingness to sacrifice other people's well-being in the pursuit of your own is likely to end badly for everyone. Ultimately, her story is a reflection of -- and a warning about -- the dire consequences of political isolationism.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/103806/hindsight-is-20-20-for-the-us-the-uk-and-mrs-waterford-of-handmaids-tale","authors":["11242"],"categories":["pop_3"],"tags":["pop_533","pop_2968"],"featImg":"pop_103811","label":"pop"},"pop_103312":{"type":"posts","id":"pop_103312","meta":{"index":"posts_1716263798","site":"pop","id":"103312","score":null,"sort":[1524710631000]},"parent":0,"labelTerm":{"site":"pop"},"blocks":[],"publishDate":1524710631,"format":"standard","disqusTitle":"Fear, But Forever, as 'The Handmaid's Tale' Returns","title":"Fear, But Forever, as 'The Handmaid's Tale' Returns","headTitle":"KQED Pop | KQED Arts","content":"\u003cp>Fear and dread. Fear and dread.\u003c/p>\n\u003cp>We hear those terms together so often that it's easy to forget how different they really are. Fear is a response to what's happening, while dread is your anxiety about what you expect to happen. The dystopian Hulu series \u003ca href=\"https://www.imdb.com/title/tt5834204/?ref_=fn_al_tt_1\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a>, adapted by Bruce Miller from the \u003ca href=\"https://www.amazon.com/Handmaids-Tale-Margaret-Atwood-ebook/dp/B003JFJHTS/ref=sr_1_2?ie=UTF8&qid=1524710179&sr=8-2&keywords=handmaid%27s+tale\">Margaret Atwood novel\u003c/a>, has been lauded as an indictment of authoritarianism and theocracy, which it is. It has been called an eerie echo of real historical abuses of the past and perhaps the future, which it is. But in addition to those things, it's perhaps become television's best examination of the corrosive, dehumanizing effects of chronic dread.\u003c/p>\n\u003cp>June (\u003ca href=\"https://www.imdb.com/name/nm0005253/?ref_=fn_al_nm_1\">Elisabeth Moss\u003c/a>) ended the first season climbing into the back of a van, pregnant with a child she would be expected to surrender to her cruel captors, the Waterfords, unsure of whether she was being rescued or led to slaughter. She and the other handmaids — fertile women held against their will and raped by men whose children they were expected to bear — had rebelled by refusing to kill one of their own at the command of Aunt Lydia (\u003ca href=\"https://www.imdb.com/name/nm0235652/?ref_=fn_al_nm_1\">Ann Dowd\u003c/a>). June, as the leader of the spontaneous revolt, expected to be punished severely. She could have — \u003cem>should \u003c/em>have — been seized with dread. But she wasn't. She had lived in dread by this point for so long, dreading rape and punishment and beatings and the constant diminishment of her humanity, that she was nearly numb to it. What more was there to do than simply see what happened?\u003c/p>\n\u003cp>June, called Offred by her tormentors because Fred (\u003ca href=\"https://www.imdb.com/name/nm0001212/?ref_=fn_al_nm_1\">Joseph Fiennes\u003c/a>) is the man to whom she's been sent into sexual slavery, is a picture of the agony of the never-safe. She is always surveilled, she is always at risk and she is valued so little that she knows quite well that the government that has complete control over her (and a local monopoly on violence) will not hesitate to murder her. Her body has value, but her person does not. In fact, it often seems to be Aunt Lydia's job to remove it — to replace June with Offred, which is an exploration of identity that gets more attention in the second season, which became available April 25.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kzeB-3ZnRSE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the show's visual motifs has always been the back of June's head. This is in part because the handmaids' broad bonnets, which create a uniformity among them not unlike a military force or the Rockettes, are interesting-looking from all angles, as are the red capes they wear. But following the back of June's head also produces the contrary effects of adopting her point of view and hiding her. Her story is profoundly personal, but she's also at a slight remove. Vulnerability mixed with a certain inscrutable quality is a strength that Moss brought to Peggy Olson on \u003ca href=\"https://www.imdb.com/title/tt0804503/?ref_=fn_al_tt_1\">\u003cem>Mad Men \u003c/em>\u003c/a>as well. June, like Peggy, never quite gives everything away, despite how frequently she's seen in lingering, spellbinding close-up.\u003c/p>\n\u003cp>As \u003cem>The Handmaid's Tale\u003c/em>'s second season progresses (now writing the story beyond the end of the novel), June's control over her responses emerges as a defense against the despair and surrender that Aunt Lydia and Serena Joy (\u003ca href=\"https://www.imdb.com/name/nm2088803/?ref_=fn_al_nm_1\">Yvonne Strahovski\u003c/a>) want to create in her. Throughout the first season, she experimented with hope, and often had it dashed. She experimented with rebellion, and suffered consequences. Now, with her situation neither as simple as rescue (who could be fully rescued in an entirely changed country?) or destruction (remember, she's pregnant with a baby Serena Joy and Fred want to take from her), what's next?\u003c/p>\n\u003cp>To say that plenty of prestige television before this has dealt with the matter of brutal violence is an understatement. But often, it's taken an interest primarily in what \u003cem>being \u003c/em>violent does to us — the way it dehumanizes people like Walter White or Tony Soprano or Rick Grimes to have to kill. Where \u003cem>Handmaid's \u003c/em>is different from many of these shows is that its focus is on what the constant presence of state-sanctioned violence does to the humanity of the people who fear it — and who cannot even complain that they fear it, because the fact that they are meant to fear it is baked into the workings of their government and their society. This violence is not outlaw violence, but institutional violence. The handmaids have no one to ask for help, because this is how their lives are meant to be. You can't very well call the police when it's the police you're afraid will throw you into the back of a van and cart you away to have your hand or foot or tongue cut off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so, they live in fear, but forever — in dread. In chronic, grinding dread. It drives some of them mad, it drives some of them to become violent themselves, and it causes some of them to simply go limp and numb, because human bodies and minds are not meant to live this way for this long. So the echoes of \u003cem>The Handmaid's Tale \u003c/em>are not limited to its specific condemnations of cruelty and sexual violence. They are, more and more, expansive enough to comment on any population in any time or place that's placed in a state of peril that does not abate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fear%2C+But+Forever%2C+As+%27The+Handmaid%27s+Tale%27+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","disqusIdentifier":"103312 https://ww2.kqed.org/pop/?p=103312","disqusUrl":"https://ww2.kqed.org/pop/2018/04/25/fear-but-forever-as-the-handmaids-tale-returns/","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":937,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":10},"modified":1524710656,"excerpt":"The second season of Hulu's Emmy-winning series is here—and utterly fueled by an all-pervasive dread. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The second season of Hulu's Emmy-winning series is here—and utterly fueled by an all-pervasive dread. ","title":"Fear, But Forever, as 'The Handmaid's Tale' Returns | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fear, But Forever, as 'The Handmaid's Tale' Returns","datePublished":"2018-04-25T19:43:51-07:00","dateModified":"2018-04-25T19:44:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"fear-but-forever-as-the-handmaids-tale-returns","status":"publish","nprApiLink":"http://api.npr.org/query?id=605238469&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprByline":"Linda Holmes","nprStoryDate":"Wed, 25 Apr 2018 05:00:56 -0400","nprLastModifiedDate":"Wed, 25 Apr 2018 05:00:56 -0400","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2018/04/25/605238469/fear-but-forever-as-the-handmaid-s-tale-returns?ft=nprml&f=605238469","nprImageAgency":"Hulu","nprImageCredit":"George Kraychyk","nprStoryId":"605238469","nprRetrievedStory":"1","nprPubDate":"Wed, 25 Apr 2018 05:00:00 -0400","path":"/pop/103312/fear-but-forever-as-the-handmaids-tale-returns","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fear and dread. Fear and dread.\u003c/p>\n\u003cp>We hear those terms together so often that it's easy to forget how different they really are. Fear is a response to what's happening, while dread is your anxiety about what you expect to happen. The dystopian Hulu series \u003ca href=\"https://www.imdb.com/title/tt5834204/?ref_=fn_al_tt_1\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a>, adapted by Bruce Miller from the \u003ca href=\"https://www.amazon.com/Handmaids-Tale-Margaret-Atwood-ebook/dp/B003JFJHTS/ref=sr_1_2?ie=UTF8&qid=1524710179&sr=8-2&keywords=handmaid%27s+tale\">Margaret Atwood novel\u003c/a>, has been lauded as an indictment of authoritarianism and theocracy, which it is. It has been called an eerie echo of real historical abuses of the past and perhaps the future, which it is. But in addition to those things, it's perhaps become television's best examination of the corrosive, dehumanizing effects of chronic dread.\u003c/p>\n\u003cp>June (\u003ca href=\"https://www.imdb.com/name/nm0005253/?ref_=fn_al_nm_1\">Elisabeth Moss\u003c/a>) ended the first season climbing into the back of a van, pregnant with a child she would be expected to surrender to her cruel captors, the Waterfords, unsure of whether she was being rescued or led to slaughter. She and the other handmaids — fertile women held against their will and raped by men whose children they were expected to bear — had rebelled by refusing to kill one of their own at the command of Aunt Lydia (\u003ca href=\"https://www.imdb.com/name/nm0235652/?ref_=fn_al_nm_1\">Ann Dowd\u003c/a>). June, as the leader of the spontaneous revolt, expected to be punished severely. She could have — \u003cem>should \u003c/em>have — been seized with dread. But she wasn't. She had lived in dread by this point for so long, dreading rape and punishment and beatings and the constant diminishment of her humanity, that she was nearly numb to it. What more was there to do than simply see what happened?\u003c/p>\n\u003cp>June, called Offred by her tormentors because Fred (\u003ca href=\"https://www.imdb.com/name/nm0001212/?ref_=fn_al_nm_1\">Joseph Fiennes\u003c/a>) is the man to whom she's been sent into sexual slavery, is a picture of the agony of the never-safe. She is always surveilled, she is always at risk and she is valued so little that she knows quite well that the government that has complete control over her (and a local monopoly on violence) will not hesitate to murder her. Her body has value, but her person does not. In fact, it often seems to be Aunt Lydia's job to remove it — to replace June with Offred, which is an exploration of identity that gets more attention in the second season, which became available April 25.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kzeB-3ZnRSE'\n title='//www.youtube.com/embed/kzeB-3ZnRSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the show's visual motifs has always been the back of June's head. This is in part because the handmaids' broad bonnets, which create a uniformity among them not unlike a military force or the Rockettes, are interesting-looking from all angles, as are the red capes they wear. But following the back of June's head also produces the contrary effects of adopting her point of view and hiding her. Her story is profoundly personal, but she's also at a slight remove. Vulnerability mixed with a certain inscrutable quality is a strength that Moss brought to Peggy Olson on \u003ca href=\"https://www.imdb.com/title/tt0804503/?ref_=fn_al_tt_1\">\u003cem>Mad Men \u003c/em>\u003c/a>as well. June, like Peggy, never quite gives everything away, despite how frequently she's seen in lingering, spellbinding close-up.\u003c/p>\n\u003cp>As \u003cem>The Handmaid's Tale\u003c/em>'s second season progresses (now writing the story beyond the end of the novel), June's control over her responses emerges as a defense against the despair and surrender that Aunt Lydia and Serena Joy (\u003ca href=\"https://www.imdb.com/name/nm2088803/?ref_=fn_al_nm_1\">Yvonne Strahovski\u003c/a>) want to create in her. Throughout the first season, she experimented with hope, and often had it dashed. She experimented with rebellion, and suffered consequences. Now, with her situation neither as simple as rescue (who could be fully rescued in an entirely changed country?) or destruction (remember, she's pregnant with a baby Serena Joy and Fred want to take from her), what's next?\u003c/p>\n\u003cp>To say that plenty of prestige television before this has dealt with the matter of brutal violence is an understatement. But often, it's taken an interest primarily in what \u003cem>being \u003c/em>violent does to us — the way it dehumanizes people like Walter White or Tony Soprano or Rick Grimes to have to kill. Where \u003cem>Handmaid's \u003c/em>is different from many of these shows is that its focus is on what the constant presence of state-sanctioned violence does to the humanity of the people who fear it — and who cannot even complain that they fear it, because the fact that they are meant to fear it is baked into the workings of their government and their society. This violence is not outlaw violence, but institutional violence. The handmaids have no one to ask for help, because this is how their lives are meant to be. You can't very well call the police when it's the police you're afraid will throw you into the back of a van and cart you away to have your hand or foot or tongue cut off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so, they live in fear, but forever — in dread. In chronic, grinding dread. It drives some of them mad, it drives some of them to become violent themselves, and it causes some of them to simply go limp and numb, because human bodies and minds are not meant to live this way for this long. So the echoes of \u003cem>The Handmaid's Tale \u003c/em>are not limited to its specific condemnations of cruelty and sexual violence. They are, more and more, expansive enough to comment on any population in any time or place that's placed in a state of peril that does not abate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fear%2C+But+Forever%2C+As+%27The+Handmaid%27s+Tale%27+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/103312/fear-but-forever-as-the-handmaids-tale-returns","authors":["byline_pop_103312"],"categories":["pop_3"],"tags":["pop_533","pop_2968"],"featImg":"pop_103313","label":"pop"},"pop_97826":{"type":"posts","id":"pop_97826","meta":{"index":"posts_1716263798","site":"pop","id":"97826","score":null,"sort":[1513002898000]},"parent":0,"labelTerm":{"site":"pop"},"blocks":[],"publishDate":1513002898,"format":"standard","disqusTitle":"The Most Feminist TV Moments of 2017","title":"The Most Feminist TV Moments of 2017","headTitle":"KQED Pop | KQED Arts","content":"\u003cp>2017 was a reasonably extraordinary year for women on television. Complicated, flawed, and realistic characters took over our screens; boundaries and stereotypes were pushed and shattered.\u003c/p>\n\u003cp>Here are some of the most memorable feminist moments from 2017:\u003c/p>\n\u003cp>\u003cem>(Warning: There will be spoilers.)\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>GLOW\u003c/em>, Season 1, Episode 10\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wnKEoXbBTEw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"We're empowered. We're the hero!\" This proclamation awakens the titular Gorgeous Ladies of Wrestling to their own potential, and best sums up \u003cem>GLOW\u003c/em> as a whole. The first season of this Netflix triumph (created and produced by women, incidentally) was unabashedly about the sheer strength, both physical and otherwise, of women. Throughout the widely-binged first season, these complicated female characters navigated living in a man's world, rolled their eyes at everyday sexism, stretched themselves in ways that seemed impossible in the first episode, and found solace from their personal hardships via the medium of other women.\u003c/p>\n\u003cp>The season finale was \u003cem>GLOW'\u003c/em>s most feminist moment though, as we saw the women take charge of their own destinies, no longer willing or able to be bossed around by their grubby director Sam Sylvia (Marc Maron). The women end up directing TV cameras, fixing sound issues, filling audience chairs, making their own costumes, doing their own hair and make up, \u003cem>and\u003c/em> wrestling their asses off.\u003c/p>\n\u003cp>\u003cem>GLOW\u003c/em> ultimately is a love letter to what is possible when women work together. The fact that it's based on real people makes it even more special.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Grace and Frankie:\u003c/em> Season 3, Episode 8\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_KRIMhehOLs\u003c/p>\n\u003cp>If you were to stumble across the opening scene of \u003cem>Grace and Frankie\u003c/em>, Season 3, Episode 8, with zero context, there is a good chance you'd be reasonably astonished: two senior ladies sitting at their laptops, monitoring their brand new business -- which just so happens to be a vibrator company, designed specifically for their particular demographic.\u003c/p>\n\u003cp>In a world where Amy Schumer's\u003ca href=\"https://www.youtube.com/watch?v=XPpsI8mWKmg\"> \"Last F**kable Day\"\u003c/a> skit seems entirely reasonable, \u003cem>Grace and Frankie\u003c/em> challenges every stereotype ingrained in our society about older women. These characters are desirable, independent, sexually active, super-smart, and rebellious. They're also the kind of seniors who use stiletto heels to smash up the Life Alert buttons their kids give them. Given how women of a certain age are usually treated in popular culture, \u003cem>Grace and Frankie\u003c/em> is positively revolutionary.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>She's Gotta Have It\u003c/em>, Season 1, Episode 4\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=whvPjWm7ZE0\u003c/p>\n\u003cp>Nola Darling is an artist living in Brooklyn, exercising absolute, unapologetic autonomy over her life and sexual choices. In Episode 4, in the midst of a cleanse, which includes a break from the three men in her life, Darling finds herself developing feelings for a woman. When she tells her therapist, \"As a sex-positive, polyamorous pansexual, words like monogamy and family have never even seemed like a remote possibility,\" \u003cem>She's Gotta Have It\u003c/em> emphasizes just how far women on TV -- \u003cem>and\u003c/em> in real-life -- have come since the age of \u003cem>Sex and the City\u003c/em>. If Carrie Bradshaw was a perfect representation of the independent single woman in 1998, Nola Darling is undoubtedly 2017's equivalent.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Broad City\u003c/em>, Season 4, Episode 2\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dJRpvsDjLrk\u003c/p>\n\u003cp>\u003cem>Broad City'\u003c/em>s Abbi and Ilana are so casually and consistently feminist, it is probably the most solid foundation of the entire show. Their independence, sexual agency, and unwavering commitment to raising each other up has always been empowering to watch, but a \u003ca href=\"https://www.youtube.com/watch?v=c-d8VP3cuDM&t=45s\">post-inauguration Season 4\u003c/a> upped the ante.\u003c/p>\n\u003cp>Episode 2, \"Twaining Day,\" opened with a scene in which the duo (Ilana wearing 2017's must-have accessory: a \u003ca href=\"https://ww2.kqed.org/pop/2017/01/17/dont-know-how-to-knit-make-your-own-pussy-hat-out-of-paper/\">pussy hat\u003c/a>) casually escort a woman through angry crowds at an abortion clinic, before telling her: \"Remember, you are a strong queen. Your body, your choice. It's simple.”\u003c/p>\n\u003cp>Their attention then turns to the protesters (one is holding a sign that says \"Aborted babies are the number one spotted ghosts at haunted locations in America\"). Abbi and Ilana blow weed smoke in their faces, commanding, \"You need to chill!\" The marijuana's effect is immediately transformative -- one man looks up and wistfully asks \"Why are we doing this?\" The scene is wish fulfillment for every woman who has ever longed for men to stay out of their reproductive business.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Handmaid’s Tale:\u003c/em> The whole damn thing\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PJTonrzXTJs\u003c/p>\n\u003cp>Talking of reproductive business... Back in June, Elisabeth Moss, the star of the TV adaptation of Margaret Atwood classic \u003cem>\u003ca href=\"https://www.amazon.com/Handmaids-Tale-Margaret-Atwood/dp/038549081X/ref=sr_1_1?s=books&ie=UTF8&qid=1512512937&sr=1-1&keywords=handmaid%27s+tale\">The Handmaid's Tale\u003c/a>,\u003c/em> talked to \u003ca href=\"https://www.theguardian.com/tv-and-radio/2017/jun/10/elisabeth-moss-handmaids-tale-feminist-story\">\u003cem>The Guardian\u003c/em>\u003c/a> about her role as Offred: “We live in a different time than we lived in a year ago, and I wish we were sitting here talking about this dystopian fictional world and how glad we are that we’re not in that, because we have a female president. I wish that were the conversation.”\u003c/p>\n\u003cp>The timing of \u003cem>The Handmaid's Tale \u003c/em>felt so real to American women that the handmaids' distinctive robes quickly became \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">a common sight at protests\u003c/a> for reproductive rights around the country. There was no one specific moment of feminist glory in the series -- rather, this was a show that explored the resilience and inner strength of women, while reminding us of the horrors that could befall women under an unchecked patriarchy.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Big Little Lies:\u003c/em> Season 1, Episode 7\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YFZcNKzDhYI\u003c/p>\n\u003cp>In \u003cem>Big Little Lies\u003c/em>, Nicole Kidman's Celeste finds herself caught in an abusive relationships that is complex, realistic, and downright excruciating to watch. So when -- SPOILER ALERT -- her abusive husband, Perry, dies in the finale, it is an incredible relief -- made all the more powerful because Shailene Woodley's Jane has just, minutes before, realized that Perry is the man who violently raped her a few years earlier, leaving her to singlehandedly raise a son.\u003c/p>\n\u003cp>In Perry's final moments, he approaches Celeste, Jane, and their friends Madeline (Reese Witherspoon) and Renata (Laura Dern). He knocks Celeste to the ground and begins kicking and punching her. The women each pull at him, trying in vain to get him away from their friend. A fifth friend, Bonnie (Zoë Kravitz), sees the chaos from a distance, rushes over, and pushes Perry to his death.\u003c/p>\n\u003cp>The killing of an abusive misogynist isn't even the most feminist thing that happens in the episode; it's the way the five women come together and unite afterwards to save Bonnie that is truly extraordinary. The final image of the series is of the women picnicking at the beach, as their children happily play around them. Here they are in their own safe space -- one without men.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt3920596/?ref_=nv_sr_1\">\u003cem>Big Little Lies'\u003c/em>\u003c/a> finale is unequivocally about women protecting other women, at all costs. And it was one of the most powerful things on TV all year.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Saturday Night Live\u003c/em>: Most of Season 43\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=42_fVUFsN8M\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kTMow_7H47Q\u003c/p>\n\u003cp>The women of \u003cem>SNL\u003c/em> have had a wealth of material to work with in 2017, as well as the talent and chops to turn some awful cultural moments into impactful, memorable, and meaningful skits. There was \"A Sketch for the Women,\" an excellent riff on mansplaining; there was \"Girl at a Bar,\" a biting critique of the misogynistic \"nice guy;\" and then there was the zeitgeist-capturing \"Welcome to Hell\" -- a sketch so on point, we'll be looking back on it for years to come:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1l26UFQ06eQ\u003c/p>\n\u003cdiv>\u003c/div>\n\n","disqusIdentifier":"97826 https://ww2.kqed.org/pop/?p=97826","disqusUrl":"https://ww2.kqed.org/pop/2017/12/11/the-most-feminist-tv-moments-of-2017/","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1283,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1513023650,"excerpt":"A look back at this year's brightest moments for women on TV.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"A look back at this year's brightest moments for women on TV.","title":"The Most Feminist TV Moments of 2017 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Most Feminist TV Moments of 2017","datePublished":"2017-12-11T06:34:58-08:00","dateModified":"2017-12-11T12:20:50-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"the-most-feminist-tv-moments-of-2017","status":"publish","path":"/pop/97826/the-most-feminist-tv-moments-of-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>2017 was a reasonably extraordinary year for women on television. Complicated, flawed, and realistic characters took over our screens; boundaries and stereotypes were pushed and shattered.\u003c/p>\n\u003cp>Here are some of the most memorable feminist moments from 2017:\u003c/p>\n\u003cp>\u003cem>(Warning: There will be spoilers.)\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>GLOW\u003c/em>, Season 1, Episode 10\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wnKEoXbBTEw'\n title='//www.youtube.com/embed/wnKEoXbBTEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"We're empowered. We're the hero!\" This proclamation awakens the titular Gorgeous Ladies of Wrestling to their own potential, and best sums up \u003cem>GLOW\u003c/em> as a whole. The first season of this Netflix triumph (created and produced by women, incidentally) was unabashedly about the sheer strength, both physical and otherwise, of women. Throughout the widely-binged first season, these complicated female characters navigated living in a man's world, rolled their eyes at everyday sexism, stretched themselves in ways that seemed impossible in the first episode, and found solace from their personal hardships via the medium of other women.\u003c/p>\n\u003cp>The season finale was \u003cem>GLOW'\u003c/em>s most feminist moment though, as we saw the women take charge of their own destinies, no longer willing or able to be bossed around by their grubby director Sam Sylvia (Marc Maron). The women end up directing TV cameras, fixing sound issues, filling audience chairs, making their own costumes, doing their own hair and make up, \u003cem>and\u003c/em> wrestling their asses off.\u003c/p>\n\u003cp>\u003cem>GLOW\u003c/em> ultimately is a love letter to what is possible when women work together. The fact that it's based on real people makes it even more special.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Grace and Frankie:\u003c/em> Season 3, Episode 8\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_KRIMhehOLs'\n title='//www.youtube.com/embed/_KRIMhehOLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you were to stumble across the opening scene of \u003cem>Grace and Frankie\u003c/em>, Season 3, Episode 8, with zero context, there is a good chance you'd be reasonably astonished: two senior ladies sitting at their laptops, monitoring their brand new business -- which just so happens to be a vibrator company, designed specifically for their particular demographic.\u003c/p>\n\u003cp>In a world where Amy Schumer's\u003ca href=\"https://www.youtube.com/watch?v=XPpsI8mWKmg\"> \"Last F**kable Day\"\u003c/a> skit seems entirely reasonable, \u003cem>Grace and Frankie\u003c/em> challenges every stereotype ingrained in our society about older women. These characters are desirable, independent, sexually active, super-smart, and rebellious. They're also the kind of seniors who use stiletto heels to smash up the Life Alert buttons their kids give them. Given how women of a certain age are usually treated in popular culture, \u003cem>Grace and Frankie\u003c/em> is positively revolutionary.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>She's Gotta Have It\u003c/em>, Season 1, Episode 4\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/whvPjWm7ZE0'\n title='//www.youtube.com/embed/whvPjWm7ZE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nola Darling is an artist living in Brooklyn, exercising absolute, unapologetic autonomy over her life and sexual choices. In Episode 4, in the midst of a cleanse, which includes a break from the three men in her life, Darling finds herself developing feelings for a woman. When she tells her therapist, \"As a sex-positive, polyamorous pansexual, words like monogamy and family have never even seemed like a remote possibility,\" \u003cem>She's Gotta Have It\u003c/em> emphasizes just how far women on TV -- \u003cem>and\u003c/em> in real-life -- have come since the age of \u003cem>Sex and the City\u003c/em>. If Carrie Bradshaw was a perfect representation of the independent single woman in 1998, Nola Darling is undoubtedly 2017's equivalent.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Broad City\u003c/em>, Season 4, Episode 2\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dJRpvsDjLrk'\n title='//www.youtube.com/embed/dJRpvsDjLrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Broad City'\u003c/em>s Abbi and Ilana are so casually and consistently feminist, it is probably the most solid foundation of the entire show. Their independence, sexual agency, and unwavering commitment to raising each other up has always been empowering to watch, but a \u003ca href=\"https://www.youtube.com/watch?v=c-d8VP3cuDM&t=45s\">post-inauguration Season 4\u003c/a> upped the ante.\u003c/p>\n\u003cp>Episode 2, \"Twaining Day,\" opened with a scene in which the duo (Ilana wearing 2017's must-have accessory: a \u003ca href=\"https://ww2.kqed.org/pop/2017/01/17/dont-know-how-to-knit-make-your-own-pussy-hat-out-of-paper/\">pussy hat\u003c/a>) casually escort a woman through angry crowds at an abortion clinic, before telling her: \"Remember, you are a strong queen. Your body, your choice. It's simple.”\u003c/p>\n\u003cp>Their attention then turns to the protesters (one is holding a sign that says \"Aborted babies are the number one spotted ghosts at haunted locations in America\"). Abbi and Ilana blow weed smoke in their faces, commanding, \"You need to chill!\" The marijuana's effect is immediately transformative -- one man looks up and wistfully asks \"Why are we doing this?\" The scene is wish fulfillment for every woman who has ever longed for men to stay out of their reproductive business.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Handmaid’s Tale:\u003c/em> The whole damn thing\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PJTonrzXTJs'\n title='//www.youtube.com/embed/PJTonrzXTJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Talking of reproductive business... Back in June, Elisabeth Moss, the star of the TV adaptation of Margaret Atwood classic \u003cem>\u003ca href=\"https://www.amazon.com/Handmaids-Tale-Margaret-Atwood/dp/038549081X/ref=sr_1_1?s=books&ie=UTF8&qid=1512512937&sr=1-1&keywords=handmaid%27s+tale\">The Handmaid's Tale\u003c/a>,\u003c/em> talked to \u003ca href=\"https://www.theguardian.com/tv-and-radio/2017/jun/10/elisabeth-moss-handmaids-tale-feminist-story\">\u003cem>The Guardian\u003c/em>\u003c/a> about her role as Offred: “We live in a different time than we lived in a year ago, and I wish we were sitting here talking about this dystopian fictional world and how glad we are that we’re not in that, because we have a female president. I wish that were the conversation.”\u003c/p>\n\u003cp>The timing of \u003cem>The Handmaid's Tale \u003c/em>felt so real to American women that the handmaids' distinctive robes quickly became \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">a common sight at protests\u003c/a> for reproductive rights around the country. There was no one specific moment of feminist glory in the series -- rather, this was a show that explored the resilience and inner strength of women, while reminding us of the horrors that could befall women under an unchecked patriarchy.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Big Little Lies:\u003c/em> Season 1, Episode 7\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YFZcNKzDhYI'\n title='//www.youtube.com/embed/YFZcNKzDhYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Big Little Lies\u003c/em>, Nicole Kidman's Celeste finds herself caught in an abusive relationships that is complex, realistic, and downright excruciating to watch. So when -- SPOILER ALERT -- her abusive husband, Perry, dies in the finale, it is an incredible relief -- made all the more powerful because Shailene Woodley's Jane has just, minutes before, realized that Perry is the man who violently raped her a few years earlier, leaving her to singlehandedly raise a son.\u003c/p>\n\u003cp>In Perry's final moments, he approaches Celeste, Jane, and their friends Madeline (Reese Witherspoon) and Renata (Laura Dern). He knocks Celeste to the ground and begins kicking and punching her. The women each pull at him, trying in vain to get him away from their friend. A fifth friend, Bonnie (Zoë Kravitz), sees the chaos from a distance, rushes over, and pushes Perry to his death.\u003c/p>\n\u003cp>The killing of an abusive misogynist isn't even the most feminist thing that happens in the episode; it's the way the five women come together and unite afterwards to save Bonnie that is truly extraordinary. The final image of the series is of the women picnicking at the beach, as their children happily play around them. Here they are in their own safe space -- one without men.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt3920596/?ref_=nv_sr_1\">\u003cem>Big Little Lies'\u003c/em>\u003c/a> finale is unequivocally about women protecting other women, at all costs. And it was one of the most powerful things on TV all year.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Saturday Night Live\u003c/em>: Most of Season 43\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/42_fVUFsN8M'\n title='//www.youtube.com/embed/42_fVUFsN8M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=kTMow_7H47Q\u003c/p>\n\u003cp>The women of \u003cem>SNL\u003c/em> have had a wealth of material to work with in 2017, as well as the talent and chops to turn some awful cultural moments into impactful, memorable, and meaningful skits. There was \"A Sketch for the Women,\" an excellent riff on mansplaining; there was \"Girl at a Bar,\" a biting critique of the misogynistic \"nice guy;\" and then there was the zeitgeist-capturing \"Welcome to Hell\" -- a sketch so on point, we'll be looking back on it for years to come:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1l26UFQ06eQ'\n title='//www.youtube.com/embed/1l26UFQ06eQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/97826/the-most-feminist-tv-moments-of-2017","authors":["11242"],"categories":["pop_3"],"tags":["pop_3109","pop_1507","pop_2988","pop_3107","pop_2968"],"featImg":"pop_97871","label":"pop"},"pop_85587":{"type":"posts","id":"pop_85587","meta":{"index":"posts_1716263798","site":"pop","id":"85587","score":null,"sort":[1498069398000]},"parent":0,"labelTerm":{"site":"pop"},"blocks":[],"publishDate":1498069398,"format":"standard","disqusTitle":"In the Age of Trump, Escapist Entertainment Has Become an Impossibility","title":"In the Age of Trump, Escapist Entertainment Has Become an Impossibility","headTitle":"KQED Pop | KQED Arts","content":"\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\n\u003cp>https://twitter.com/davidfrum/status/831355704690798592\u003c/p>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\n\u003cp>https://twitter.com/HuffPostWomen/status/874676690617851904\u003c/p>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n","disqusIdentifier":"85587 https://ww2.kqed.org/pop/?p=85587","disqusUrl":"https://ww2.kqed.org/pop/2017/06/21/in-the-age-of-trump-escapist-entertainment-has-become-an-impossibility/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1137,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":18},"modified":1498069398,"excerpt":"Alternative facts and political uncertainty mean once-guilty pleasures now feel uncomfortably real.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Alternative facts and political uncertainty mean once-guilty pleasures now feel uncomfortably real.","title":"In the Age of Trump, Escapist Entertainment Has Become an Impossibility | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In the Age of Trump, Escapist Entertainment Has Become an Impossibility","datePublished":"2017-06-21T11:23:18-07:00","dateModified":"2017-06-21T11:23:18-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"in-the-age-of-trump-escapist-entertainment-has-become-an-impossibility","status":"publish","path":"/pop/85587/in-the-age-of-trump-escapist-entertainment-has-become-an-impossibility","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"831355704690798592"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"874676690617851904"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/85587/in-the-age-of-trump-escapist-entertainment-has-become-an-impossibility","authors":["2415"],"categories":["pop_3"],"tags":["pop_1513","pop_2968"],"featImg":"pop_87475","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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