Also check out Leslie Loftis’ analysis of Beyonce’s performance at last night’s MTV Video Music Awards here.
10. “Bow Down/I Been On”
The Church of Bey has clearly gone to the pop goddess’s head. A critic at New Wave Feminism writes:
Aside from repeatedly yelling “bow down bitches”, the song also contains lyrics such as “I know when you were little girls / You dreamt of being in my world / Don’t forget it , don’t forget it / Respect that, bow down bitches”. Apparently, Beyoncé thought the appropriate response for young women who admired her and looked up to her was to call them misogynistic slurs and demand they genuflect in her presence.
This Bey Anthem doubles as the death knell of the sisterhood.
11. A conscious awareness of God is intrinsic to human nature.
Tara Brach recently told the story of a four year old who was excited to have alone time with his new baby sister. When he finally got to the side of her crib, he asked her, “Tell me what heaven is like. I’m starting to forget.” If we didn’t have a conscious awareness of God, we wouldn’t be striving so hard to find Him in everything from houses of worship to fictional characters on the big screen. Don’t let atheists fool you; they might not believe in a God in the sky, but they’re worshiping something, nevertheless, whether its money, power, or simply themselves.
As a Gen-X/millennial crossover, I was fortunate enough to first meet Robin Williams as Mork from Ork on the sitcom Mork and Mindy. A comedic powerhouse, Mork’s colorful wardrobe and loud laugh were the first things I imitated as a child. As I grew up, I would look back and realize the many character lessons I learned at home were reinforced by a supremely acted alien outsider with a predilection for sitting on his head. In virtually every role he played, Robin Williams taught his audience a life lesson. As a young kid there was no one more fun to hang around with and learn from on TV than Mork from Ork.
10. Old people rule.
Mork marvels at the way the elderly are ignored and maligned on earth. On Ork, old folks are revered as the wise, experienced ones to learn from. “The Elder” is called on to remind Mork of his Orkishness. His was an early lesson in the importance of respect and reverence for the elders in your life and how very important all people are, no matter and, perhaps, especially because of their age.
See the previous installment in Susan’s Dudeism series: How to Become an Official Dude in 10 Easy Steps
Warning: Given that the f-bomb is dropped in The Big Lebowski over 200 times, some of these clips will most likely be NSFW.
10. Abiding is a science as well as an art.
Patience is an inherent aspect of abiding. Other definitions include “to endure without yielding,” “to accept without objection,” and “to remain stable.” In the world of the Internet and social media technology, abiding is an anachronistic action. We have been shaped by our media to function at rapid speeds. One of the biggest goals of Common Core is to increase the speed at which students mentally process information. Not study, analyze and comprehend, but process and regurgitate the way they would like and share a Twitter or Facebook post. Abiding flies in the face of today’s high-speed reactionary culture.
10. Watch The Big Lebowski a minimum of 3 times.
The first time you watch Lebowski, encounter the film fresh and unfettered. Invite a friend or two over. Make it a casual affair and, if you can, do a double feature. Watch The Maltese Falcon beforehand so you have some understanding of how incredibly screwed up the plotline is going to be. The second time you watch Lebowski, do so with a Caucasian in hand. Immerse yourself in the experience, not as a moviegoer, but as a key aspect of the mise en scene. Discover your favorite quotes. By your third go-round, call in sick, lounge in your bathrobe, and when your friends say, “You wasted a sick day on that movie?” respond with, “Well, that’s like, your opinion, man.” Be sure to obtain the collector’s edition and review the special features for complete immersion.
Whether you’re seeking salvation or inner peace, a god to worship or add to your home-made altar, the pop culture pantheon is at your disposal so that you may pick and choose the gods and tools of worship to service your every emotional, spiritual, and even material need.
10. Harry Potter
When they aren’t re-reading their holy texts, Potterheads commune at MuggleNet to chat about their god, study their faith and perform the usual acts of tithing. According to the Facebook page “Being a POTTERHEAD” (which is classified as a non-profit organization),
Harry Potter has reached out to 200 countries, spoke out in 69 languages, and has touched the lives of 400 million people. It is the phenomenon that ignores race, age, gender and religion and has brought us all together despite our differences.
Also known as Potterholics, Potterites and Pottermaniacs, Potterheads should never be confused with potheads as their allegiance is strictly Wizard, not weed.
Pop culture has become as much of a religious powerhouse as Judaism, Christianity, Buddhism or any other faith. Don’t believe me? Sit in a college classroom. Better yet, attend a fan convention or simply rent the film Trekkies. Films, shows, bands, comic books and their like have become, for some, sources of spiritual nourishment. Do you feel the power?
12. What was once DVR-able is now weekly appointment television.
“Appointment TV” doesn’t begin to describe your weekly ritual. All pressing engagements are pushed aside, phones are silenced, and ritual food is laid out on the coffee table to be partaken in as the ceremony commences. You still DVR the show for good measure, being sure to re-watch at least once, if not multiple times in deep study so that you may discuss the meanings of both text and subtext with fellow fans.
10. If guys didn’t look like heroin-addicted street dwellers…
Before committing suicide, musician Kurt Cobain copyrighted the grunge look that came to define Gen-X/millennial crossovers in the ’90s. A reaction to the preppie style made famous by ’80s yuppies, grunge involved a level of disheveled that transcended even the dirtiest of ’60s hippie looks. Grunge trademarks included wrinkled, untucked clothing complemented by greasy, knotted hair and an expression best defined as heroin chic. The style depicted an “I don’t care” attitude that took punk’s anti-authoritarian attitude to a darker, more disengaged level. Grunge became the look of resigned defeat among American males.
10. We’re so fiercely independent that the only thing we need to be happy… is a man.
Post-second wave feminist romantic comedies rely on the Sheryl Sandberg boilerplate: upper-middle class, successful career woman with an impossibly huge apartment in big city stuffed with everything she could ever want. (See: Reese Witherspoon in Just Like Heaven.) The genre gives the image one slight twist: our heroine is secretly one step away from cultivating her very own cat collection. (See: Meg Ryan in You’ve Got Mail.) True to Hollywood fashion, who better than the big, strong male superhero to fly in to save the day?
10. Americans are all obese.
From the messy buildup in the fat folds of Mama June’s neck (affectionately known to her children as “neck crud”) to Honey’s proclivity for bathing in mayonnaise, Here Comes Honey Boo Boo embodies the myth that everyone in America weighs a minimum of 300 pounds. One of the best episodes involves Mama June dumping a 5 pound bag of sugar into 2 gallons of lemon juice in order to make homemade lemonade. For the record, 64% of Americans are not obese. But with shows like HHere Comes Honey Boo Boo, The Biggest Loser, Extreme Weight Loss, Shedding for the Wedding, Thintervention, Dance Your A** Off, Celebrity Fit Club, I Used To Be Fat, and Ruby, we’re just a bunch of big, fat Americans.
11. Wonder Woman
Her fresh, All-American face premiered on comic book stands during World War II, making her the greatest enemy of the Axis powers. Daughters of original readers would go on to be inspired by Lynda Carter’s televisual portrayal of the superheroine in the 1970s. The Wonder Woman arsenal includes a dual-function tiara with bracelets to match and the awesome Lasso of Truth. Before there was Lara Croft or a chick named Buffy, Wonder Woman proved that strength could be sexy and gave Captain America a run for his patriotism with her flag-bearing style.
13. Bess Myerson
Recognizing a woman who appears to have parlayed her Miss America recognition into a minor-league acting gig may not seem logical, until you realize that Bess Myerson, the first Jewish Miss America, paved an uphill path for diversity in the pageant circuit. She was told by one Miss America exec that she ought to change her name to something “more gentile” and refused. Pageant sponsors refused to hire her as a spokeswoman and certain sites with racial restrictions refused to have her visit as Miss America. This was of no consequence to Miss Myerson, who was the first Miss America to win an academic scholarship. The racism she confronted was motivation for a lifetime’s work with organizations like the ADL, NAACP, and Urban League. She would go on to co-found The Museum of Jewish Heritage in New York and make boundless contributions to the city’s art community. Along with becoming a television personality, Myerson received several presidential appointments in the 1960s and ’70s and would receive two honorary doctorates.
10. Sullivan and Son
This working class comedy executive-produced by Vince Vaughn and Peter Billingsley is fraught with all the non-PC ethnic and sexual humor you’d hear in a working class, Irish-Korean, middle-American bar like the one in the show. Created by Korean American actor/comedian Steve Byrne and Cheers writer Rob Long, the TBS sitcom reminds you that some jokes are still OK to crack. The stellar cast features Dan Lauria (The Wonder Years) and comic genius Brian Doyle-Murray, along with Christine Ebersole and Owen Benjamin, who portray the drop-dead hysterical mother-son dependent duo Carol and Owen Walsh.
We’ve all heard of the horrors of Cop Rock and Manimal, but after receiving a reader tip on one of their worst TV shows of all time, I did some digging and uncovered these utterly classic samples of bad television that would make great material for Joel McHale or the cast of Mystery Science Theater 3000.
10. Bucky and Pepito (1959)
Produced by Sam Singer, “The Ed Wood of Animation,” Bucky and Pepito was a typical story of an “ambitious” white cowboy and his “lazy” (literally, they sing about it in the theme song) Mexican buddy trolling the old west on a zero budget. According to Toonopedia, “Cartoon historian Harry McCracken once said the pair ‘set a standard for awfulness that no contemporary TV cartoon has managed to surpass. They were great at what they did, which was being bad.’” Thanks to Bucky and Pepito, cartoonists have debated creating a Sam Singer Award for truly bad animation.
The Jerusalem Post reports that NBC will begin shooting a new action-adventure series, Dig, in Jerusalem this week:
Israel’s capital city is slated to play a central role in storyline of the series that portrays FBI agents uncovering a conspiracy of the Old City while investigating the murder of an American archaeologist.
…”The filming of “Dig” will be a boon for the production industry in Jerusalem, drawing more of them to come film here, create new jobs and encourage investments in the city,” Bennett added.
NBC’s first large-scale production filmed in Jerusalem, will reportedly be broadcast in the United States at the end of 2014.
While American versions of Israeli shows (In Therapy and Homeland, another creation by Dig’s Gideon Raff, come to mind) have made their way to the small screen, this will be the first time an American television show is shot in Israel. According to the Wall Street Journal, Dig was co-developed by Keshet Media Group, an Israeli media company, and is expected to make its premiere on the USA Network, with a possible second run on SyFy.
“When we combine Hollywood’s creative potential with Jerusalem’s historic backdrop, it will result in the ability to connect hundreds of millions of viewers around the world to this unique and beautiful city. There is an undeniable inspiration and creative energy in Jerusalem, which is why it has become a center for international film production,” said Nir Barkat, the mayor of Jerusalem, in a statement.
The CW is planning to add Jane the Virgin to its fall lineup. Based on a Venezuelan telenovela of the same name, Jane the Virgin is about an intentionally virginal girl who is “accidentally artificially inseminated” by her OB-GYN:
Jane stars Gina Rodriguez (Filly Brown) as a hard-working, devout Latina who is kind of hoping her boyfriend proposes — though she’s a little worried he’ll get down on one knee so she’ll finally agree to do the deed. When a mix-up at the OB-GYN leads to that artificial insemination plot line, Jane must choose whether to keep the baby — and whether to let the handsome father into her life.
Aside from containing a number of Spanish stereotypes, including the paranoid grandmother putting the fear of God into her pre-teen daughter (“Once you lose your virginity, you can never go back!“) to a cast of overtly sexualized Latinas, the show appears to be a platform for some long overdue, serious conversation regarding abortion. However, the show sounds eerily like one of the most famously influential and revered plot lines in the West’s repertoire, leaving one to wonder how a primarily Protestant audience might handle a story that’s been a hit in a Catholic country.
When it comes to the primarily pathetic representation of Latinas on television (does Sofia Vergara have to do it all?) at least Jane the Virgin appears to lack the typical trashiness of Devious Maids.
John Phillip Sousa on 33 1/3 blasts from the Hi-Fi — yes, you heard right, “Hi-Fi” — conducted by my flag-waving Grandfather, proudly standing at attention at 8 o’clock in the morning in the doorway of his open garage, wondering why it took us so long to get there. We may have been at the shore, but Memorial Day was not about a barbecue on the beach.
My grandparents lived down the street from my Great Uncle and Aunt. My Grandfather idolized my Great Uncle (his brother), naming his only son after his brother who had spent World War II as a gunner on a Navy ship in the Pacific. Having broken his back before the war, my Grandfather wasn’t able to get into the military during the conflict. Instead, he busied himself crafting knives to send to his buddies overseas (yes, they censored letters, but allowed knives to be carried through V-Mail) with the instructions “leave them in the enemy’s guts and I’ll make you a new one when you get home.”
My grandfather also played a key role in the war effort, one that goes overlooked when we take the time to honor the troops on Memorial Day. Recruited by the FBI in 1940, my grandfather and his father played a key role in the creation of the Iowa Ordinance Plant, the largest shell and bomb loading facility in operation during the war.
In the autumn of 1940, when a fairly isolationist population still dismissed the idea of entering into Europe’s conflict, my grandfather was pulled out of his job as a tool and die maker by two fairly typical FBI mugs. They strapped secret plans for a military facility, designed by Day & Zimmermann, Co., to his body and handed him a train ticket and a gun with the instructions, “Don’t be afraid to use it.” At the age of 23, my grandfather was the perfect cover: “If anyone asks, you’re on your way out west to go to college.” His job was simple: Escort his father, recruited by the government for his skills as a tool and die maker, to San Francisco to convene with a number of highly skilled Americans engaged to prepare America for war.
This past Sunday, American audiences finally had their chance to wave goodbye to Nurse Jenny Lee, the lead character in the famed Masterpiece series Call the Midwife. However sad it may be, the departure of the show’s Hollywood-bound lead actress Jessica Raine was, ironically, in no way a traumatic one.
Most American shows die when their lead actor disappears. Dan Stevens’ untimely departure from Downton Abbey still enrages fans over a year later. Yet, while Nurse Jenny Lee will be a much missed character, fans are far from outraged at her departure. Perhaps this is because Call the Midwife was never just about Jennifer (Lee) Worth, but about the many lives she encountered and a profession that is finally being given the credit it so sorely deserves. But there is more to the massive success of what began as a 6-episode BBC show about nursing in mid-century London’s bombed-out East End than giving credit where credit is due.
In an era of roughshod marketing tactics and semiotic overload, Call the Midwife, with its pure, heartfelt approach to the vicissitudes of life, is therapeutic television. We are a desensitized audience: No one cries when a pregnant mother is stabbed to death on Game of Thrones. Yet, everyone, including the burly guys on set, shed a tear at every birth on Call the Midwife. We are treated to an East End rife with chamber pots, not sexy chamber maids, and yet audiences are drawn to the show in droves. We love the midwives, even when they are dressed in habits and wimples; they are the ideal face of medicine, mother, and God in an era when we’ve been taught to doubt all three. Like a nurse checking our pulse, Call the Midwife reminds us that we are human after all, and perhaps not as sick as we’ve been led to believe.
And yet, while TV execs struggle with sex and violence in the name of Tweet power, they remain blind to Call the Midwife’s axiom for success: There is powerful endurance in simple truth. Call the Midwife will survive without the character of Jenny Lee because the show has embraced Jennifer Worth’s own mystical sense of timelessness. It is the stuff that fueled her memoirs of both London’s East End and her time as a nurse caring for the dying. Brilliantly captured in the season finale, this sense of the eternal in both life and death is what makes Call the Midwife a healing balm of a show and transcendental television in its finest form. Forget bloody battles and wild, nameless sex. Call the Midwife empowers its audience with the strength to face, not escape, life’s pressures, and the faith to believe that while “weeping may happen for a night, joy breaks forth in the morning.”
Now and then in life, love catches you unawares, illuminating the dark corners of your mind, and filling them with radiance. Once in a while you are faced with a beauty and a joy that takes your soul, all unprepared, by assault.
1. “Your Mother Should Know” (1967)
From Magical Mystery Tour, this is Macca’s foray into the 1920s. If the song seems odd, check out John Lennon’s face in the opening sequence. You can almost hear him thinking: “Paul, are you kidding me with this crap?” But, they all toked up and bit the bullet for Paul’s attempt to keep the band unified in the wake of Brian Epstein’s accidental overdose, memorializing for all time the image of four raggy hippie dudes dancing badly in white tails.
Networks are adjusting to the changed world of how people watch their programs: hours or weeks later on DVR, online or on-demand. But the industry’s financial structure hasn’t caught up yet, so viewers who watch when a program is first aired – once the only way to watch – are considered more valuable.
That’s why Fox is putting on a live production of “Grease” and NBC is remaking “The Music Man.” Fox is recreating an Evel Knievel motorcycle jump. ABC touts its Oscars telecast and other awards shows. NBC locked up Olympics rights through 2032, and CBS won a bidding war to show NFL football on Thursday night.
Sports usually gets little or no attention in network sales pitches to advertisers. Not this year. ABC, CBS, NBC and Fox all gave sports a starring role. Why? Very few people DVR sports events.
ABC made the point explicit with a message on a wide video screen: “Your DVR can’t handle live.”
“We’re obsessed with trying to eventize everything we can – even episodes of our scripted shows,” said Robert Greenblatt, NBC’s entertainment chief.
“It’s about the urgency to view,” said Fox’s Kevin Reilly.
When Lucy and Desi went live to tape in the 1950s, the audience revolved around the celebrity’s schedule. Now, with the power of recording in the hands of the viewers, the networks are scrambling to get their celebrities ready for something TV actors haven’t needed to do in a long time: Go live.
Reality TV changed the way networks styled television in the early 2000s. Now, social media is changing the way networks market their product. Being a part of the “cultural conversation” is paramount; unfortunately, it also means a steady diet of imitation and near-naked chicks, as Bauder’s quick quiz illustrates:
Which of the following lines was NOT uttered at a network presentation last week:
A) “A lot of people called `Battlestar Galactica’ one of the best shows ever.”
B) “This series is `Game of Thrones’ meets `The Borgias’ meets `The Bible.’”
C) “We have two hours of bloody, sexy drama.”
D) “Some of our new shows will disappear before you even realize they’re on the air.”
If you answered anything other than D, then you have something to learn about the atmosphere of hype and hope that accompanies this week every year.
Can the Big Three really compete with streaming services like Netflix who are willing to invest in original programming and dish it out in an a la carte fashion? Or, will the thrill and nostalgia of live television force even the most radical of new service providers to push the Internet to its streaming capacity?
You don’t normally think “cultural commentary” when you watch a Paul McCartney video. But, with his latest video release for the song Appreciate, the septuagenarian King of Rock continues to pull new tricks from up his sleeve. This time, a catchy song and dance number transcends the usual McCartney fantasyland, providing some smart commentary on human culture in an increasingly technological environment. In McCartney’s museum, the humans doing everyday things are the displays to be studied by a robot known as “Newman”. An artistic interpretation of left and right brain segments is displayed as McCartney walks this New Man (get it?) through the exhibit, counselling him on human behavior and how to groove. By the end of the video, even the humans are getting into the act, dropping their technological fancies in favor of dancing to the beat.
The robot itself shouldn’t come as a surprise to hardcore McCartney fans. Back in October, when he graced the cover of Rolling Stone McCartney commented on visions of a robot, possibly influenced by one of his favorite stories shared with his 10 year old daughter, Beatrice, is The Iron Giant. In press for the video’s release, McCartney commented:
“I woke up one morning with an image in my head of me standing with a large robot. I thought it might be something that could be used for the cover of my album ‘NEW,’ but instead the idea turned out to be for my music video for ‘Appreciate’. Together with the people who had done the puppetry for the worldwide hit ‘War Horse,’ we developed the robot who became Newman.”
Having developed a keen interest in filmmaking when he was still one of the Beatles, McCartney has come a long way with his films from his first directorial foray, 1967′s Magical Mystery Tour. Far from the acid-induced country bus tour, Appreciate provides an up-tempo perspective on the 21st century from the guy who, not long ago, was singing about his Ever Present Past.
Yet it isn’t Microsoft that’s keeping Macca relevant among Generation Hashtag; cultural commentary aside, McCartney still knows how to rock a beat. Dubbed a “remarkable album” by POPMatters, NEW was ranked the 4th best album of 2013 by Rolling Stone. Transcending the pop fluff that perpetuated so many of his hits in the 70′s and 80′s, McCartney has entered a new era as much motivated by experimentation as reflection.
McCartney is set to tour with Newman in Japan. Perhaps a Godzilla mashup is already in the works.
CNN reports on Eretz Nehederet, Marcus’s first creation.
Omri Marcus is the #1 TV Geek you’ve never heard of. An Israeli journalist-turned-hit TV comedy writer, Marcus made it big thanks to his scientific understanding of comedy, a theory he delves into in a recent interview with Tablet magazine. The dialogue provides a fascinating look at Israeli television, an industry still cutting its teeth thanks to decades of gross nationalization. Until the introduction of foreign channels, the country lived off of one government-run station that began broadcasting in 1968. Color transmissions, a topic of great bureaucratic battles, didn’t begin until 1983. Hitting the industry on the cusp of change, Marcus, 34, helped launch the nation’s greatest comedy hit Eretz Nehederet (This Wonderful Country – think: SNL meets The Daily Show) from a hall closet next to a ladies’ bathroom. Now he’s sought out by TV execs around the globe.
Not ironically (he is a comedian, after all) Marcus made a funny observation about the one thing all TV writers’ rooms have in common:
“One of the best things about my work is that I’ve been to so many writer’s rooms all around the world and they’re basically the same anywhere,” Marcus said. “They are all dominated by a group of neurotic Jews. You know, my dream is to create the world’s largest Jewish writers’ room: German Jews and British Jews and American Jews and Israelis, all sitting together and writing jokes about how they’re not getting laid.”
So, do Jews run TV? Not quite:
“The fact that the world is this global village allows you to reduce the risks in making TV,” Marcus said. “You learn a lot from other countries, and we are all, after all, just storytellers. The stories we tell may differ in details, but they should all be appealing, with well-crafted characters, leaving viewers feeling as if they’ve spent their time wisely watching your show. By learning from each other, we’re able to create great, longer-lasting, and more meaningful content.”
Along with developing a rather scientific dating game involving Google glasses, the Huff-Po contributor maintains BizarreTV, a Facebook page where he chronicles the strangest television shows he’s encountered around the globe. My personal favorite is While You Were Sleeping:
How would you feel if you woke up in the middle of the night and discovered that you’re in the middle of a TV game show? ‘While You Were Sleeping’ is the first game show that gives you money while you’re fast asleep! In each episode one couple plays for a chance to win a cash prize. The twist – only one partner knows what’s going on! To stay in the game they must answer the trivia questions correctly, or risk performing a crazy and hilarious challenge – without waking up their partner!
Other shows featured include The Shower, in which contestants sing in the shower before a live studio audience, Guys in Disguise, a dating show that requires a woman to choose from 2 secret admirers dressed in bizarre costumes and I Wanna Marry “Harry” a new FOX dating game featuring a Prince Harry lookalike.
Currently working under an exclusive, multi-year deal with European media conglomerate ProSieben, chances are Marcus’s shows will be hitting American shores for decades to come.
Or, as Anthony Ha says, “There’s An Upcoming TV Show Called Selfie And I Hate Everything About It“:
Executive: God, I hate millennials.
Showrunner: Yeah, but they’d totally watch a show called Selfie.
Executive: A show … about taking photos?
Showrunner: No no no, that’s just hook, see? It’s really a way to talk about our modern condition as a technological society.
Executive: Forget millennials, I hate you.
Showrunner: (quickly) Not as a serious drama. As a comedy.
Executive: Really? How many jokes can you tell about … whatever the hell they’re called?
Showrunner: That’s the beauty of it. You don’t need jokes, because technology is inherently funny. We’ll just throw in lots of smartphone screenshots and random buzzwords like “Insta-famous” and “oh-em-gee” and the kids will laugh and laugh. You won’t have to hire any actual writers!
One of the funniest (fictional) prospective pitch dialogues I’ve read in a while, Ha’s attack on ABC’s horrible (and horribly over-promoted) new sitcom for the fall is only one of the many signs that Selfie promises to be about as big of a hit as Viva Laughlin, the CBS non-starter based on a BBC series titled Blackpool. But hey, two episodes is better than nothing, right? And in the words of The Soup‘s Joel McHale, “Why would you cancel that? We need that.” After all, a millennial non-starter pilot that rips off one of the most popular classic movies of all time does make great material for those of us who prefer to MST our TV shows.
The real loser in this is Karen Gillan, formerly of Doctor Who, now the “Eliza Doolittle” of Selfie, who will be yet another reminder to British actors (alongside Downton‘s Dan Stevens and Call the Midwife‘s Jessica Raine) that Hollywood plays a totally different game than does the BBC. I doubt that even the Doctor could save this network bomb.
Joel Hodgson, on the other hand….(watch video on next page)
What is wrong with my children? Why won’t they let me completely immerse myself in their lives?!
Beverly Goldberg, The Goldbergs
Last week, my husband and I fell over laughing at the best line in the entire first season of ABC’s The Goldbergs. Just renewed for a second season, the autobiographical series created by Adam F. Goldberg (no relation) features, in his own words, “the orginial sMother” Beverly Goldberg, archetype of Jewish moms the world over. In his comic genius (complemented by Wendi McLendon-Covey’s masterful performance) Goldberg has managed to take a figure much-maligned over the past few decades and craft her into a clan leader who is as lovable as she is obnoxious. With her ballsy, brash bravado, Beverly is the living, breathing Jewishness in a show otherwise lacking in Jewish culture. For The Goldbergs, Jewish is not about kashrut, holidays or simchas; it is about a mother who smothers her children with equal parts love, confidence, and overprotection.
Thanks to Freud and Friedan, Jewish moms have taken a beating over the past few decades. Friedan used her own mother’s discontent with being a housewife as the impetus for her brutal criticisms of motherhood and housewifery, going so far as to describe the latter using Holocaust imagery. What Friedan failed to note early on was the antisemitic influence on her mother’s behavior. Not only was her educated mother forced to become a housewife the minute she married, she was also the victim of lifelong antisemitic prejudice. This attitude, something internalized by both mother and daughter, would later come out in brute force through Friedan’s feminist critiques of the Jewish mother. It was a position that Friedan would eventually come to regret. According to historian Joyce Antler:
…in later life [Friedan] has joined the modern aspirations of feminism with the popular emblems of her Jewish heritage, understanding that the myth of a controlling, aggressive Jewish mother has been as dangerous to the self-esteem of Jewish women (including her own) as the earlier “feminine mystique” was to all women.
The real-life Beverly Goldberg views her son’s television show as a “validation of everything she’s ever done.” I’d take her observation a step further; I believe Adam F. Goldberg’s seemingly simple, humorous portrayal of “the original sMother” is a much-needed cultural validation of the Jewish mother figure at large. Beverly Goldberg may not have the zaftig figure of her televisual predecessor Molly, but she has a zaftig heart, one that infuses the kind of family love into a sitcom setting that hasn’t existed since the Huxtables went off the air. In the midst of intense cultural debates on the value and future of motherhood, Beverly Goldberg’s intense devotion, undivided attention, and proclivity for jaws-of-life hugs are refreshing.
Happy sMother’s Day to Jewish moms around the globe. Just please remember to let your kids come up for air once in a while.