The days go by, routine tasks, some like any other.
The assistant's (Julia Garner as Jane) glad to be working in the film industry but unaccustomed to what her fellows take for granted.
The days are long and peeps are on edge and even though it's never explicitly stated, hierarchy pervades each and every interaction.
Tensions suddenly lighten.
To whitewash something creepy.
Rats racing panopticon hashtag hydra disenchantment.
Will you be the one?
Can you appease the indignity?
It can't be like this in every environment but the Weinstein trial and the Me Too Movement bluntly state otherwise.
It's like Jane's motionless in a labyrinth and only the beast can facilitate movement, but it's so repellent that immobility's preferable inasmuch as it securely gestates.
You need to be focused upon to get anywhere but there's well-being if you're casually overlooked, as if the prize can't compensate for the anxiety unless you embrace ethical oblivion.
It seemed fascinating from the viewpoint of my youth to enter a working world wherein which there was professional respect for different cultures and genders, and I've worked in environments where this was the case (still do) and thoroughly enjoyed resultant routines.
I'm on my own (relatively) now which is amazing for travel and variety, but sometimes I miss seeing other people at work every day and the ways in which those stock conversations made me feel like part of a team.
You see Jane's quotidian confines slowly driving her nuts in The Assistant though, and I don't envy her position, how could it ever be appealing if you're on edge all the time?, with the prospect of stardom still a million to one shot?
There's peace of mind in bourgeois politesse.
The Assistant isn't the greatest film although its realism is frank and sincere. It pulls you into a harrowing reality where not much happens unfortunately. In reflecting upon the film I realize that it does a great job of making you feel Jane's struggles, living and breathing her shocks and fears as well as her courage and headstrong individualism. But for most of the film she cleans up or answers the phone or sends emails. It's too real, too boring, like I'm actually working instead of watching a film.
There's one scene that stands out, when she complains about the possible sexual assault of a new coworker, and it makes a strong albeit disheartening point as everyone else flippantly states nothing can be done.
I don't know what kind of narrative could actually generate change, I thought In the Company of Men would 23 years ago.
I find it's best to avoid relationships at work.
Seems like a potential solution to all this scandal.
I don't think that's how it works but it could work that way.
Perhaps social media's changing things.
Showing posts with label Sexual Harassment. Show all posts
Showing posts with label Sexual Harassment. Show all posts
Friday, February 28, 2020
Tuesday, January 7, 2020
Bombshell
You should always be wary when a film about Fox News comes out shining forth as a champion of the Me Too Movement.
It certainly is full-on Me Too, but what else does it have to critically say about Fox?
Within, female journalists are harassed as they assert themselves, but they're still sternly dedicated to Fox's opinion based sensational broadcasting, as opposed to the evidence or fact based reporting you find on CNN or in The New York Times, and except for one behind the scenes worker (Kate McKinnon as Jess Carr), who can't find work elsewhere, the journalists seem happy enough with Fox, just not some of the men who work there.
The men who work there whom they're upset with are total pigs who have transferred private adolescent locker room shenanigans to the grownup public sphere, wherein which they still behave as if they've never met a woman, or have never once even considering respecting one.
As seems to be the case in many American businesses, hence the rise of Me Too, women persevering in toxic environments till they accumulate enough evidence to prove they've been sexually harassed in court.
They're worried about their careers and futures as they proceed.
Such actions take an enormous amount of courage.
Total respect.
Bombshell (I get the double entendre, but still, that's the title you give to a film about Me Too?) excels at presenting strong courageous women who take huge risks to stick it to their perverted manager, Roger Ailes (John Lithgow), and highlights their struggles as they do so, as many of their fellow workers line up to defend him, and their own support staff voice apprehensions.
Inasmuch as Bombshell sets out to champion the Me Too Movement and sincerely critique sexual harassment in the workplace, it succeeds, that aspect's well done, and it isn't preachy or sentimental, it's rather a comprehensive factual account.
It's shocking to read about how much sexual harassment persists in the workplace, and the ridiculous "boys will be boys" mentality that assaults daring brave professional women, as chronicled in various news media at length for what seems like freakin' ever.
In the '90s it seemed like 2000-2020 would be much much much much different.
A world free from sexism, racism, ethnocentricity, and homophobia.
But unfortunately things seem to have become much worse.
Or haven't changed much and there's currently more exposure.
The number of unions have also decreased in the last twenty years, if I'm not mistaken.
And job losses and low wages have ignited tensions.
A strong mix of gender, sexuality, culture, and point of view can lead to dynamic working environments, as long as there's mutual respect, and a willingness to work together as a team.
The best working environments I've been fortunate enough to work within have been composed along such lines.
Doesn't sound much like Fox News does it?
When I think of Fox News, I think of sexist, bigoted, privileged caucasian men.
Bombshell critiques the sexist men who work there but doesn't sincerely critique Fox News itself, the style of overly opinionated news Fox delivers.
Some of the women who have been sexually harassed still want to work there.
Just not with Roger Ailes.
McKinnon does sum it up in a clever frightening nutshell, but I think the people who like Fox, upon hearing her summary, will probably just think, "totally".
Instead of, "damn, that sucks!"
I'd argue Bombshell is another attempt by the right to make it appear as if it cares about women's rights by severely critiquing its own.
But the characters within are still loyal to Fox's sensational opinion based misleading ludicrous brand of news.
And that brand of news itself isn't sincerely critiqued, only the sexist men who work there.
Which makes Bombshell like an advertisement for a new fresher Fox News that cares about women's rights (come on!).
There's no emphasis on changing its style.
And that, I'm afraid, is a fact.
It certainly is full-on Me Too, but what else does it have to critically say about Fox?
Within, female journalists are harassed as they assert themselves, but they're still sternly dedicated to Fox's opinion based sensational broadcasting, as opposed to the evidence or fact based reporting you find on CNN or in The New York Times, and except for one behind the scenes worker (Kate McKinnon as Jess Carr), who can't find work elsewhere, the journalists seem happy enough with Fox, just not some of the men who work there.
The men who work there whom they're upset with are total pigs who have transferred private adolescent locker room shenanigans to the grownup public sphere, wherein which they still behave as if they've never met a woman, or have never once even considering respecting one.
As seems to be the case in many American businesses, hence the rise of Me Too, women persevering in toxic environments till they accumulate enough evidence to prove they've been sexually harassed in court.
They're worried about their careers and futures as they proceed.
Such actions take an enormous amount of courage.
Total respect.
Bombshell (I get the double entendre, but still, that's the title you give to a film about Me Too?) excels at presenting strong courageous women who take huge risks to stick it to their perverted manager, Roger Ailes (John Lithgow), and highlights their struggles as they do so, as many of their fellow workers line up to defend him, and their own support staff voice apprehensions.
Inasmuch as Bombshell sets out to champion the Me Too Movement and sincerely critique sexual harassment in the workplace, it succeeds, that aspect's well done, and it isn't preachy or sentimental, it's rather a comprehensive factual account.
It's shocking to read about how much sexual harassment persists in the workplace, and the ridiculous "boys will be boys" mentality that assaults daring brave professional women, as chronicled in various news media at length for what seems like freakin' ever.
In the '90s it seemed like 2000-2020 would be much much much much different.
A world free from sexism, racism, ethnocentricity, and homophobia.
But unfortunately things seem to have become much worse.
Or haven't changed much and there's currently more exposure.
The number of unions have also decreased in the last twenty years, if I'm not mistaken.
And job losses and low wages have ignited tensions.
A strong mix of gender, sexuality, culture, and point of view can lead to dynamic working environments, as long as there's mutual respect, and a willingness to work together as a team.
The best working environments I've been fortunate enough to work within have been composed along such lines.
Doesn't sound much like Fox News does it?
When I think of Fox News, I think of sexist, bigoted, privileged caucasian men.
Bombshell critiques the sexist men who work there but doesn't sincerely critique Fox News itself, the style of overly opinionated news Fox delivers.
Some of the women who have been sexually harassed still want to work there.
Just not with Roger Ailes.
McKinnon does sum it up in a clever frightening nutshell, but I think the people who like Fox, upon hearing her summary, will probably just think, "totally".
Instead of, "damn, that sucks!"
I'd argue Bombshell is another attempt by the right to make it appear as if it cares about women's rights by severely critiquing its own.
But the characters within are still loyal to Fox's sensational opinion based misleading ludicrous brand of news.
And that brand of news itself isn't sincerely critiqued, only the sexist men who work there.
Which makes Bombshell like an advertisement for a new fresher Fox News that cares about women's rights (come on!).
There's no emphasis on changing its style.
And that, I'm afraid, is a fact.
Tuesday, July 3, 2012
Ted
Magic and a child's dream of having a friend brings a cuddly teddy bear to life in Seth MacFarlane's Ted, thereby transforming little John Bennett's (Mark Wahlberg, Bretton Manley) existence from one dominated by loneliness to one permeated with joy.
With neither responsibility nor consequences.
And an inexhaustible supply of the kind.
But the introduction of John's steady love interest Lori Collins (Mila Kunis) and their 4 year relationship threatens to end John and Ted's (Seth MacFarlane) non-stop binge, and a hitherto unimaginable strain threatens their impregnable friendship.
Obviously things need to change, and Lori is exceptionally relaxed and understanding, but after Ted moves out and John continues to haplessly disregard his social and economic obligations, things fall apart, and he finds himself back on his own.
Struggling to get by.
Mr. MacFarlane's undeniable gift for packing his scripts full of nostalgic pop cultural references does not struggle, however, and Ted's narrative is jam packed with witty intertextual memorabilia (also written by Alec Sulkin and Wellesley Wild).
Johnny Quest is mentioned.
Ted Danson makes light of his more successful Cheers co-star Woody Harrelson in a bit of playful bad taste.
And Ted's answer to The Wedding Singer's use of Billy Idol impresses at first.
A lot of the jokes are funny, but the consistent barrage of cheap shots loses its appeal as the film unreels.
While some movies use repetitive jokes effectively (Paul's three boobs for instance), the devices Ted borrows from Office Space grow tiresome and the second half doesn't hold together well.
The subplot involving Donny (Giovanni Ribisi) is taken way too far.
As is the use of Ted's Billy Idol.
And the nauseating Rex (Joel McHale).
Too much reliance on knee-jerk reactions and not enough on strong character development, Ted flounders where it could have flourished and applies the brakes when requiring acceleration.
I've seen Adam Sandler movies that were better.
Seriously.
With neither responsibility nor consequences.
And an inexhaustible supply of the kind.
But the introduction of John's steady love interest Lori Collins (Mila Kunis) and their 4 year relationship threatens to end John and Ted's (Seth MacFarlane) non-stop binge, and a hitherto unimaginable strain threatens their impregnable friendship.
Obviously things need to change, and Lori is exceptionally relaxed and understanding, but after Ted moves out and John continues to haplessly disregard his social and economic obligations, things fall apart, and he finds himself back on his own.
Struggling to get by.
Mr. MacFarlane's undeniable gift for packing his scripts full of nostalgic pop cultural references does not struggle, however, and Ted's narrative is jam packed with witty intertextual memorabilia (also written by Alec Sulkin and Wellesley Wild).
Johnny Quest is mentioned.
Ted Danson makes light of his more successful Cheers co-star Woody Harrelson in a bit of playful bad taste.
And Ted's answer to The Wedding Singer's use of Billy Idol impresses at first.
A lot of the jokes are funny, but the consistent barrage of cheap shots loses its appeal as the film unreels.
While some movies use repetitive jokes effectively (Paul's three boobs for instance), the devices Ted borrows from Office Space grow tiresome and the second half doesn't hold together well.
The subplot involving Donny (Giovanni Ribisi) is taken way too far.
As is the use of Ted's Billy Idol.
And the nauseating Rex (Joel McHale).
Too much reliance on knee-jerk reactions and not enough on strong character development, Ted flounders where it could have flourished and applies the brakes when requiring acceleration.
I've seen Adam Sandler movies that were better.
Seriously.
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