Sleepy Hollow is basically written for fantasy fans who always watch National Treasure every time it’s on.
So, as much as I kind of hate myself for it, I really want to see this.
And rightly so.
It’s a great read.
This review is amazing and brilliant and addresses EVERYTHING I HATE about these “dating shows” and how they treat women. Sonia Saraiya, thank you.
Ready For Love is pure evil. It’s a horrible display of women being (figuratively) slaughtered upon the altar of glossy, fake platitudes about romance and love. The way the contestants are treated on this show is despicable, hovering somewhere between demeaning and inhumane. After all, this is an arena where, purportedly, several different talented women who are all looking for their soulmate are transported to a live studio audience, complete with strange, coffin-like cells that ascend and descend in sync with the whims of their masters. They are presented with the personalities of their hunky male protagonists, and decide, on the basis of photos, interviews, and perhaps compensation, to uproot their lives for a feeling they are experiencing which they have ascertained is something akin to “true love.” What kind of horrific torture chamber is this?
Allow, for a moment, that these women really do feel love or affection for these men—as we are told and even expected to believe. Shows like The Bachelor may have prepared these women for the dehumanizing experience of living with and competing against several other competent and beautiful women for a man who cannot possibly be worth all of that trouble. But Ready For Love takes it a step further. The women won’t just be judged by the male of the species—they will also be eliminated based on how much they impress or disappoint their matchmakers, three different judge-mentor-madam types that give them critique on how they should fall in love. The structure of the show is Byzantine at best; the upshot is that in each episode, the women are trotted out in front of a live audience, publicly excoriated for doing things wrong in front of the ever-important male of the species, and then sent away to be systematically eliminated. If you are thinking to yourself that this sounds like some serious Hunger Games garbage, it’s because IT IS SOME HUNGER GAMESGARBAGE. There are mentors and gamemakers and hosts and a live audience. There is also an evil empire, presumably, and that’s either the audience or NBC—it’s hard to say which anymore.
…This is one of the most culturally defunct moments in current television. It could be fun—it should be fun—but it’s just awful, instead. In tonight’s première one of the contestants is sent home, sight-unseen, after Tim Lopez is not suitably impressed with her introduction. As she’s descending the coffin-elevator, she bursts into tears and tells the camera that it’s okay, because she does deserve love, and she’ll keep trying. This is the show we are dealing with—this pit of despair, covered with the shiny gloss of a romanticized, cheap version of true love. It’s a show that says: Let’s put women in an enclosed space with one man, and then put them on stage to tear them apart for doing the exact things we have goaded and edited them to do. It’s a show that says, if you’re single, it’s your fault. If you don’t have love, it’s because you’re doing it wrong. And if you’re a woman, the burden of catching a man is on you.
"When I first started writing — women were not writing comedy. They said women can’t make you laugh. They can make you cry, but they can’t make you laugh. Now, i could make men cry — that’s true. But I can also make them laugh." — Irma Kalish
Wow, I would have gushed as much as Amy did if I met Irma Kalish. I’m not as big of a fan of All in the Family, but Facts of Life was my WORLD growing up. Last year, I burned through the first three seasons of the series while cleaning and I’m always in awe of how progressive it was in the first few years.
I’m looking at Kalish’s imdb resume (as I’ve sadly not been aware of her before now) and wow — Producer: 227, The Facts of Life, Good Times, Too Close for Comfort. And a series starring Madeline Kahn! Writer: All in the Family, Family Affair, My Three Sons, The Bob Newhart Show, Gidget, The Patty Duke Show (which I was obsessed with when it first started on Nick at Nite), and so many more. And she has story-credit for the infamous Maude episode, “Maude’s Dilemma” wherein Maude decides to get an abortion at age 47.
What an awesome lady.
This moment was one of the most emotional for me in “Leslie and Ben”— April and Tom have presented Leslie and Ben with a “Leslie and Ben (and Us!)” scrapbook, complete with City Hall nametags a la Leslie’s birthday present for April in “The Master Plan.” The framed gift that April mocked in the episode where Ben arrived.
Leslie and Ben don’t “aww” and smile and give them hugs — she makes them stop. Leslie (and possibly Amy’s) reaction is to wave them away, because it’s making her cry. It’s all too too much right now — the emotional rollercoaster of the night, the support of their friends to not only throw a wedding together at the gala in two hours but then again a small, intimate surprise wedding in the Parks department. It hit me as hard as Leslie’s Christmas present/new campaign team reveal in “Citizen Knope.”
This teeny tiny moment, a wordless one at that, is one that you don’t see in sitcoms and yet another reason that I love the writers in trusting that its fans love its characters just as much as they do — and that we feel the emotional truth in everything that lead up to this moment. Not just the evolution of Leslie and Ben’s relationship, but of the friendships that were forged and nurtured and honored in that office.
Parks and Recreation: Leslie and Ben Sneak Peek!
Wedding preparations are underway and Leslie assigns everyone a job.
There be spoilers, but nothing about the wedding proper.