séries
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La fenêtre d’Overton
La fenêtre d’Overton est un concept politique, aussi connu comme la fenêtre de discours, représentant la gamme d’idées «acceptables» pour l’opinion publique à un moment donné. C’est également le titre du 4e épisode de la 3e saison de The Good Fight.
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The “Angry Black Woman” for White Dummies
The Vixen, in RuPaul’s Drag Race.
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Faye Dunaway is driving a fuckin’ Prius today
I’m not necessarily perceived as successful, either, but a 24-year-old actress with a few big movies is, even though she’s probably being paid shit — certainly less than her male co-star and probably with no backend. And they’re going to pimp her out until she’s 33 or 34 and then she’s out like yesterday’s trash,…
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Cette scène de “Scandal” qui expose le sexisme de l’espace politico-médiatique
Je regarde Scandal en ce moment. Il y aurait beaucoup à dire sur le fait que c’est une série avec une femme noire dans le rôle principal et qu’il y a un couple de pédé républicains cinquantenaires qui s’embrassent à l’écran; vous me direz si vous voyez d’autre séries qui apportent ça, j’en ai pas…
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The woman inside
With Bea, I just remember how vulnerable she was. She had this gruff exterior. But the truth is, if you told her a sad story, she could be reduced to tears, quickly. She had a lot of emotions inside. And her persona was one of someone strong and gruff. But that’s not who the woman…
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The Newsroom : du sexisme et de la technophobie
Aaron Sorkin was on “Fresh Air” Monday afternoon, and he told Terry Gross that he “like[s] writing about heroes [who] don’t wear capes or disguises. You feel like, ‘Gee, this looks like the real world and feels like the real world — why can’t that be the real world?’” Yes, a fantasy land where male…
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The liminal phase
She didn’t sleep with scuzzy car guy just because she was desperate for the stability. She slept with him because she’s in a liminal phase. Liminalty is the scary in-between times in our lives, the weird time when we’re not who we used to be but we’re not quite who we’re going to be. Joan’s…
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“Smash” : The walk of shame
Since I wrote that passionate defense of the NBC series, I’ve tumbled out of bed, grabbed my purse, and taken a long walk of shame. Because—to switch metaphors mid-stream, the way Smash does with plots—since its delightful pilot, the show has taken a nosedive so deep I’m surprised my ears haven’t popped. All the caveats…
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L’audace de la fiction
Pourquoi les chaînes françaises achètent-elles si peu de séries britanniques ? Dans ce domaine, je relève un paradoxe. Producteurs, sériephiles ou spécialistes français semblent très enthousiastes face à la qualité de nos productions, alors que les responsables des chaînes françaises, eux, nous reprochent tous la même chose : nos séries sont trop sombres, trop difficiles,…
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Publicité et nouvelles façons de regarder la télévision
Here’s the wow-quote of the day, from Jeff Gaspin, the head of entertainment at NBC, explaining to The New York Times, with remarkable clarity and certainty, that watching TV shows on-demand is more satisfying than watching them live. “The commercials broke the tension … I hate to say this to the AMC executives and everybody…