Sex and the City and Steve’s Dark Streak

Sex and the City probably qualifies as “underrated” these days. That’s a description that is probably too often applied to genuinely mediocre properties, but Sex and the City today is commonly used as a punchline. A show about women who talk like the middle aged gay men who wrote for them that’s frequently taken to task for “not aging well” by media illeterate Op-Ed writers. I could write a whole separate blog post about this that boils down to “having characters with wrongheaded beliefs isn’t the same as advocating for them”, but today I want to talk about Steve’s dark streak.

Steve is the main love interest of one of our leads, Miranda Hobbes, and he’s basically the opposite of her. He’s a slob with zero ambition, is a bit dim witted, lacks maturity, but is easy going and can be a calming presence, which is perfect for the high-strung Miranda. They don’t exactly have a sparkling sexual chemistry either as they probably have the most bedroom troubles of any of the show’s main pairings (not counting Trey and Charlotte of course), but despite all that, Miranda more or less settles for him at the end of the series. It’s not exactly a storybook ending, but it feels real in a way that Sex and the City sometimes can be at its best. What doesn’t feel real is the way the show treats one of Steve’s many flaws.

Steve’s most memorable sins to me are cheating on Miranda, being threatened by her career, ignoring her concerns about not wanting a baby while watching Scooby Doo with the volume too high for her to do any work in a weird little boy outfit (this one’s a deeper cut, but it’s incredible), and most bizzarely leaving “skid marks” (poop stains) in his underwear for her to clean. This is the weirdest one to me, because it’s this glaring flaw the show barely touches on in the episode its talked about, and kinda treats as an uncomfortable sign of intimacy rather than for what it was. It’s another in a long string of aspects of being with Steve to show the imperfections of long-term relationships, but here we have a very odd false note.

Think about it, Steve’s a grown man, and the implication here is that he doesn’t bother to wipe his ass. The use of toilet paper is just something he can’t be bothered with, so much so that he feels comfortable letting his girlfriend clean his dirty underwear for him. He goes about his day wearing underwear that presses into his unclean bottom, presumably letting the smell fester and grow as he interacts with his bar patrons. Does he take a private joy in this? I would posit no, I think he honestly doesn’t care enough to even take joy in the discomfort he’s causing those around him with his messy bottom. It’s worth noting, the episode where we discover Steve’s disgusting secret is one episode apart from Miranda begging Steve to turn down his loud Scooby Doo cartoon so that she can continue to work.

The skid marks sub-plot was so revolting that Steve’s actor begged the writers not to include it, and I can’t blame him. It’s ultimately just a sign of the writers missing the mark on the main theme of his relationship with Miranda. It’s supposed to be the most down to Earth, realistic depiction of what a relationship is like between two very different people. He cheated on her, he has issues with her career aspirations, they have different ideas about when to have a baby, he doesn’t wipe his ass when he poops – see that last one is just so weird right? It was meant to show life with Steve would always be imperfect, but in this instance, they made a bizarre choice in depicting that. Miranda didn’t just settle with a flawed man, she settled for a flawed man who walks around with an unclean butt, who soils his underwear, and who doesn’t mind letting his girlfriend clean his clothes for him despite this. When I realized where they were going with Steve, a seemingly normal every-man with a dark streak, I didn’t think that’d extend to his underwear too.

Quote of the Day:

“It was then when Miranda realized, she may have already had a baby in her house…”

Carrie, Sex and the City

Insincerely Me

Fascinating and flummoxing, 'Dear Evan Hansen' still strikes a chord | The  Spokesman-Review

Probably weird that I’m coming back after almost 2 years of not posting to talk about a controversal adaption of the polarizing musical starring Ben Platt, Dear Evan Hansen. I’m gonna get real specific with this post though. I’m not going to talk about how Ben Platt looks too much like the Cryptkeeper to play a highschooler, I’m not going to talk about how weirdly bleak and sterile the whole vibe of the movie is, I’m not going to talk about how weirdly bad Amy Adam’s performance in this is, and I’m definitely not going to say a word about how goddamn creepy it is that Evan actually dates the sister of the suicide victim he’s basing his long term deception on. No, I’m going to talk about one song, and how everything wrong with the movie (and the broadway musical to a lesser extent) can be traced back to it.

“Sincerely Me” is an outlier in the movie’s list of tracks in that it’s the only upbeat, choreograph heavy number, and also by being the only song that I really like. In fact, it’s the first song I heard from the soundtrack years ago, which led to me listening to the rest of the album only to be shocked and disappointed in how goddamn maudlin and self-serious the musical turned out to be. What I thought was one brilliant song among many in a satirical musical about how social media has incentivized today’s adolsence to be less connected to each other emotionally and far more willing to do sociopathic things to advance their own social capital, was actually an outlier song in a musical that seems to hate and resent the very concept of fun.

To understand what’s wrong here exactly requires an understanding of Evan Hansen’s crimes. Evan is a teenager that suffers from social anxiety, loneliness, and depression that lives with a single mother that’s too busy working to support the family to spend time with him. Some hijinks happen and a kid carrying a theraputic letter Evan wrote to himself (‘Dear Evan Hansen…’) is found in the posession of troubled teen that killed himself while the letter happened to be on his person. The deceased teen, Connor Murphy, had parents that barely knew him but become convinced that Evan did based on the letter they mistake for a suicide note. Heartbroken about their dead son, they beg Evan to fill the gaps about his life to them because they’re understandibly shattered and upset about his suicide. Evan takes this opportunity to spin a yarn about his ‘best buddy’ Connor Murphy and their misadventures to comfort his parents, but also to grow closer to Connor’s sister Zoe, who Evan is in love with. He uses his fake connection to Connor to insinuate himself into their lives, aggrandize himself in these false stories about how he was always trying and failing to get through to their troubled loved one, eventually seducing Connor’s sister and starting a massive social media campaign about honouring Connor’s memory and placing himself as the face of the movement for reaching out to kids suffering in their mental health. Viral youtube videos, a kickstarter campaign, commerative wristbands circulating the school, and much more is heaped on the corpse of a dead kid with no say by a guy with no compunctions about stealing the affections of a grieving family. Obviously what follows is Evan’s deception being exposed, his fall, then his returning to his own humanity and attempting to make ammends. Unlike a lot of critics, I’m not immediately put off by this deeply black hearted story on its own, but the presentation is where the film loses me.

Dear Evan Hansen' Movie Review: Ben Platt's High School Musical

Reading over Evan’s deception, this is clearly a cynical tale about a sad person that used a person’s death to ruthlessly take everything he didn’t have in his own life. He took the love of Connor’s parents, the romantic affection of his sister, and the love of a school that hated and feared him. In a lot of ways, Evan stepped over Connor’s corpse to live the life they both wished they had but didn’t. It’s no coincidence that it’s revealed in the third act that Evan also tried to take his own life, only he failed where Connor sadly succeeded. The issue with all this is, the rest of the film doesn’t get how deeply twisted and darkly comic this all is. It’s wall to wall ballads about how badly we should feel about Evan, how badly Evan feels, how we should all sincerely reach out to those who are in trouble, but this isn’t a sincere story at all! It’s about a cruel deception based on one of the darkest subjects in existence. “Sincerely Me” is the only song that seems to understand this, the only song that understands what the musical Dear Evan Hansen ultimately should have been. It’s no coincidence that it’s the most reminiscent of a song from a superior musical with a similar subject matter, Heathers.

Everything the 'Dear Evan Hansen' Movie Changed From the Broadway Show,  From Cut Songs to Character Changes

In “Sincerely Me”, Evan and his (family) friend Jared concoct a scheme to keep his ruse going. They write a series of letters in the voice of Connor supposedly addressed to Evan intended for Connor’s parents ostensibly so they could feel more connected to their dead son, but really to provide a reason for Evan to further entrench himself in their lives. In the song, a reanimated eerily chipper Connor Murphy is shown singing the words Evan and Jared have written for him, dancing his way through the halls of a school he hated, singing about how much of a dear friend Evan was to him. Critics have noted how grotesque it felt to them, seeing a dead child marionetted this way by our protagonist, but they miss what’s really wrong with the scene. It wasn’t a glaring point of insensitivity, it’s literally the only song in the film that understands the dark core of our protagonist Evan. It’s a deeply insincere, cynical riff on the life of a suicide victim to aggrandize another troubled individual. It’s funny, it’s creepy, it’s catchy, it’s the only song that ‘gets it’, and it’s genuinely infuriating how little the rest of the film seems to understand itself. With this song you see a glimpse of what this musical should have been, an anti-heroic tale about a troubled and selfish individual whose hubris and greed eventually leads to his downfall, but also the reemerging of his own humanity.

The film ends with Evan being exposed and then making an honest effort to get to know the real Connor Murphy, which is a much more thoughtful ending than the broadway show admittedly, but like everything else in the musical, it doesn’t work as well as it should due to the saccharine, naively sentimental tone that encompasses the whole movie. What should have been a counterweight to all the cynicism, thoughtlessness, and cruelty Evan engaged in, was another mawkish set piece in a film full of them. It’s so tremendously dissapointing. How do you treat a protagonist willing to prop up the corpse of a dead sibling to seduce his sister as anything other than a scoundrel? You could have built a fun, but ultimately trenchant film about the social media age and mental health around such a character, but instead we got this weepy confused mess. Dear Evan Hansen, why did you make the choices that you did?

Pic of the Day:

Tonys 2017: Kevin Spacey opening lampoons Dear Evan Hansen, Sunset  Boulevard, Groundhog Day |

How The Good Place Lost its Way


SPOILERS for seasons 1-3 of The Good Place

I remember how I felt after the end of The Good Place’s amazing season 1 finale. It was that rare storytelling twist that was both surprising and the only outcome that made any sense. Of course the lead characters were in hell I thought, where else could they be? The angelic neighborhood architect played by Ted Danson was actually a malevolent demon this whole time, torturing our four main characters by simply setting them loose against each other. Eleanor’s dirtbag behaviour, Chidi’s indecisiveness, Tahani’s narcissism, and Jason’s… Jason’s being an idiot (there’s no nice way to put this), were perfectly suited to torture each other. This was done by thrusting them into familiar sit-com episode set-ups artificially created by Michael in an elaborate attempt to make them miserable without them ever realizing it. For an NBC network sitcom, this was without exaggeration, a genius conceit. It suggested that all a sitcom amounted to was a writer torturing their characters with the stresses of mundanity and the toxic combination of their wacky personalities. This was a brilliant direction for a show, it would take a lot to ruin it all. Unfortunately, they did.

Continue reading “How The Good Place Lost its Way”

Here Comes Some RED HOT Takes!

I googled “Smug man face” for a picture to use in this article and got this photo of Martin Shkrehli

Coming out of blog retirement with a new kind of post. Today, I’m sharing with you some of my hottest takes. Sure I’ve shared one or two controversial opinions on this space before, but never have I made a post that is nothing but hot takes. Takes you may feel entitled to cancel me over. Takes that are so red hot that I wouldn’t blame you for doing so. I will definitely regret this post in the future! Let’s get to it then:

Continue reading “Here Comes Some RED HOT Takes!”

Dear TV Writers: You Don’t Have To Write Love Interests The Way That You Do


Duncan Kane from Veronica Mars, the All-Father of boring love interests. Truly a legend and a dark sign of things to come.

I’ve had enough TV writers. I say no more! I don’t know what is compelling you to write love interests for your main characters as the most boring people on the planet, but it needs to stop. At this point, it doesn’t just feel like a failure, it feels like a choice. You are choosing to write these people as the most bland toast imaginable every chance you get and I can’t for the life of me figure it out. What is making you do this? Why introduce someone and make a conscious effort to make them as bland and unlikable as possible? Not only are they characters on your show, but they are also people you are expecting us to believe that one of your main characters are potentially falling in love with. They should be better than the average character introduced, but instead we get these milquetoast duds who are too plain to approach anything resembling memorability.

Continue reading “Dear TV Writers: You Don’t Have To Write Love Interests The Way That You Do”

The Kavanaugh Controversy and the Great Conservative Fear


The Ford and Kavanaugh hearing was one of the most significant political events in an era rife with chaos. What Trump brought to US politics is much of what he brought to television, namely, shocking twists, moral turpitude, and an insatiable hunger for attention. So it should come as no surprise that the hearing to weigh the sexual assault claims made against Supreme Court Nominee Brett Kavanaugh by Christine Ford Blasey, and his subsequent confirmation, reflected this environment. Just to get this out of the way, I believe Ford, I think Kavanaugh is lying, and he absolutely shouldn’t serve on the Supreme Court based on his performance in that hearing alone (specifically his partisan meltdown and conspiracy mongering). What got me interested in writing this though was the pathology of how many Americans responded to this, particularly the mainstream “respectable” conservatives in America. Some analysis has claimed that it was the anti-Kavanaugh side that was informed by misguided emotions, but it seemed clear to me that the American conservative movement was deeply terrified about what was happening in ways they may not have fully understood. There was palpable fear from huge swaths of of them, a fear that’s been written about before but never put on display like it was those last few weeks.

Continue reading “The Kavanaugh Controversy and the Great Conservative Fear”

Crazy Rich Asians Review


Haven’t done a straight up review in a long while, and since Crazy Rich Asians is #CulturallySignificant, it’s the perfect film for me to return with. Are these crazy rich Asians crazy good? The short answer is yes, the long answer is mostly yes. This film really succeeded as a story about an American confronting the disapproving mother of her boyfriend and navigating her way through what is basically the Singaporean aristocracy, but I’m not sure if it was a great romance. It was a fantastic film sure, but not for the reasons I feel like the advertisers were selling us.

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French Language Blues

French Dude

Easily in the top 5 most embarrassing facts about myself is that I was born in Montreal but cannot fluently speak French today. I had it back then, but it slowly drained away from me after I moved as I neglected to take French immersion courses all throughout elementary and high school like a Goddamn fool. Now, it’s relevant to my interests and career to learn the language, and it’s tough. I still hate that everything has to have a gender! I hate that so many words in English come from French words, but some don’t, so you look like an idiot when you say an English-only word in a forced French accent in front of your coworkers and they laugh at you. I also think it sucks how uncultured it makes me feel as a Canadian to not know our second language, which led me to a painful truth and a horrifying contradiction.

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