So of course I’ve been watching “Funny Woman” after PBS picked it up (thanks PBS, the check is in the mail 🤣).
It’s fantastic. Gemma Arterton has left an impression on me that wasn’t there before.
She is fully this character and I’m having a hard time remembering her in other roles she’s done; not because she’s forgettable in other roles but because she’s so fully melted into “Barbara/Sophie Straw” that it’s hard to see her outside of it and know it’s the same person. It’s not just the wig, either but the natural seeming reactions and gestures while in character. It doesn’t look like a performance.
It’s also fully believable that this could have been a real comedy Queen, potentially a real person and I’m betting many initially did a search on the character to see if it was based on an autobiographical account. She’s that convincing.
I have so much to say about this series but the top thing: I’m glad generalized “social change” tropes and caricatures aren’t being lazily used to paint an era. Particularly regarding (*spoilers*!) Barbara/Sophie’s relationship with her mother.
Social movements often start to address some blatantly inhumane injustice but like all societal dynamics, become a new standard of conformity after the novelty of change wears off.
No matter how righteous the intent, humans inevitably fall into power hierarchy and purity battles. It’s the perennial challenge of interpersonal relations, of sharing resource access, spaces and competing for the group’s attention while trying to get along: Every “penguin” struggles to get to the top of the heap.
Even as we witness the refreshing pushback both Sophie and Diane engage in against the inaccurate cultural establishment assessment of their talent and skills, patronizing herding of and feckless lack of loyalty towards talented women and/or non White people in entertainment and journalism in the era, we are still given flickers of unease accompanying new pressures to conform to a new group:
Sophie quietly recoils when a Mother in roommate Marj’s Feminist group declares she abandoned her children in search of identity. Sophie’s body language clearly communicates that she doesn’t agree with the choice. But will she express that?
It’s an honest and important moment and a topic that’s too often not given time in portrayals of social movements from history, even ones viewed as generally virtuous. Too often, the reflex to defend, glorify or even propagandize a movement results in losing the nuance of human imperfections and fears of questioning the orthodoxy of the views that the majority of the movement support.
It can be even harder to find the courage to question ideas and opinions from those who you feel “took you in” and offered cultural shelter after you’d been rejected from the mainstream.
It was very satisfying to see “Funny Woman” acknowledge that: Just because you support the bulk of what a movement is promoting, doesn’t mean you are obligated to support and defend everything that comes out of it and from those who associate themselves with it.
If more things pop up on reflection, I’ll plop them down. For now, I hope we get more, more, more…
(I also want to bring up the inspired design of the big moment, where she confronts her mother.
Wearing soggy pigtails leftover from the episode sketch being recorded, standing behind the gate, with her mother up above in the audience seats, while the inner abandoned child comes rushing back into her face: She looks like a little, lost girl in a playpen or behind a safety gate, looking up at her mother in bewilderment and confusion over her rejection. Well, done.)
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Title: The Ritual
Rating: R
Director: David Bruckner
Cast: Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton, Paul Reid, Matthew Needham, Jacob James Beswick, Maria Erwolter, Hilary Reeves, Peter Liddell, Francesca Mula, Kerri McLean, Gheorghe Mezei, Adriana Macsut, Constantin Codrea, Zane Jarcu
Release year: 2017
Genres: horror, mystery, thriller
Blurb: Reuniting after the tragic death of their friend, four college friends set out to hike through the Scandinavian wilderness. A wrong turn leads them into the mysterious forests of Norse legend, where an ancient evil exists and stalks them at every turn.
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