Showing posts with label tv tropes. Show all posts
Showing posts with label tv tropes. Show all posts

Friday, August 21, 2020

"Gravity" by Sara Bareilles

 ::WARNING:: There are spoilers to the end of "Community" in this post. And a lot of spoilers to other parts of the show, for explanatory purposes. I know the show ended in like 2012 but I'm sure there are plenty of people - like myself - who weren't able to finish the show until it popped up on Netflix at the beginning of quarantine. If you don't like spoilers, I recommend not reading any more. ::END::

It's been a month and I've finally fully emotionally processed the end of "Community." Yes, the Annie and Jeff story line was resolved. No, it's not the happy ending you'd expect, but it's the happy ending that seems the most realistic. It was satisfying, in a way, because the ultimate question was answered and that is - were the writer's just playing with our emotions? Was this just a fun side story for them to poke at once in a while for jokes? No, my friends, it wasn't and they weren't. It was real. And, much like life, we just have to accept that it's closure even though it doesn't fully feel like it.

The infuriating thing about Annie and Jeff's relationship is the attraction is made obvious about mid-way through Season 1. This happens in many shows and it's a common trope that often precludes the demise of a show - i.e., if the two characters get together, you kill the sexual tension that keeps the audience watching. Rarely is there a story-relevant purpose for keeping the characters apart other than this. However, as we've discussed, "Community" is all about Jeff's psychological evolution from being a self-centered loner who fears intimacy to being a (somewhat) healthy individual with a network of close friends. His choice not to pursue Annie is, ironically, the most unselfish thing he does on the show. From the beginning, Jeff's penchant of hitting on women with no consideration of the consequences is apparent. But after their kiss in the Season 1 finale, he puts Annie in a box labeled "Do Not Touch" and it's not always clear why. Yes, the age thing is an issue but it gets considerably less cringy as the show goes on. And, as we get to know Jeff, we realize that age wouldn't have been an issue for him if he didn't have genuine feelings for Annie. And we know it's not the friend thing, because he has no problem having sex with Britta and then going back to their same dynamic the rest of the time. In fact, their ability to just end their sexual relationship without either of them having lingering feelings demonstrates how little emotional connection they have. Meanwhile, a kiss with Annie - a supposedly meaningless kiss to win a debate competition - throws his inner world into chaos for the next 5 seasons (although he's good at hiding it). Ironically, his attempts to not accept and deal with his feelings is what makes the situation even harder for him, whereas Annie's ability to accept how she feels and surrender her attachment to the outcome - a common subplot for her in several episodes - is what allows her to move on.

Something always brings me back to you
It never takes too long
No matter what I say or do
I'll still feel you here 'till the moment I'm gone

"Gravity" is featured in one of the final episodes of Season 2, when Britta and Jeff's friends-with-benefits situation is revealed to the rest of the group. To understand this, let's revisit the final episodes of Season 1 - during the chaos of a heated paintball battle, Jeff and Britta have sex. Then, during the final dance of the school year, Britta announces that she loves Jeff in front of everyone, which leads the teacher who recently dumped him to also declare her love for him. This leaves Jeff in a pretty awkward situation - caught between two women who supposedly "love" him asking for him to make a choice in front of the entire school. Jeff walks out and runs into Annie, who has decided she is not going to move away with her boyfriend after all, because she doesn't want to leave her life and friends at Greendale behind yet. This results in Jeff and Annie sharing a passionate kiss - and that's how the season finale ends. When they both return to school the next year, he tells her it didn't mean anything. Fast forward to the end of Season 2, after learning about Jeff and Britta, she asks, "What about us?" Jeff is understandably confused, which leads to a montage of tender moments between the two of them set to "Gravity." The connection is palpable but Jeff says you can do the same thing with any two characters (Abed and Pierce is the example). Since "Community" uses TV tropes to tell stories, the show does another montage - and it sort of works but is mostly ridiculous, which underscores the level of denial Jeff is in. This denial continues throughout the next few seasons and we almost believe it most of the time. In fact, Annie is the one who comes off a little bit childish and delusional at times. After some growing up and uncomfortable situations, Annie comes to the conclusion maybe she was just imagining that Jeff had romantic feelings for her and gradually begins to move on with her life.

You hold me without touch
You keep me without chains
I never wanted anything so much than to drown in your love
And not feel your reign

This triggers a minor mental breakdown for Jeff. In one episode towards the end of the series, he ends up in the hospital after drinking almost a whole bottle of whiskey on his 40th birthday. To be honest the last few seasons are a lot more serious and thought-provoking, with less of the ridiculous antics that "Community" was initially known for. This was a natural evolution of character development on a show whose initial premise - a group of random strangers forming a study group at a community college - became less realistic as the characters grew older. Some had a somewhat logical path to staying in that environment - Jeff starts teaching pre-law basics after he graduates. Others had a less compelling reason to stay, triggering Jeff's fear of abandonment, even though it made sense for the others to take different paths. The final episode addresses this directly. Abed, whose schtick is breaking the fourth wall and acting as if they were in a TV show ("so meta"), explains that it was inevitable the show would fall apart. The cast takes turns imagining what the next "season" would be like, assuming they all stayed. Jeff starts to panic as Abed's wisdom takes hold and reality sets in. He runs to their favorite study room and he imagines the future he actually wants - and to his surprise, it's domestic bliss with Annie. Fantasy Annie asks him if that's what he really wants and he says "yes" but then he realizes he's not sure if it's what Annie wants. In the final scene, Annie walks in on Jeff and they talk about what they want - and what they want, though vague, makes sense. Annie wants to be a grown up and Jeff wishes he had a second chance to be young. What's clear in this scene is they both still have strong feelings for each other but Jeff accepts that - even if Annie still wanted a life with Jeff - she deserves a chance to explore other possible futures. To do that, she needs to follow through with her internship at the FBI. They share one final passionate kiss before they are joined by the rest of the ensemble. 

And that, my friends, is how Jeff Winger grew a heart. The lesson here is harsh. There is such a thing as true love - but sometimes the timing isn't right. And sometimes, indulging in the fantasy of "happily ever after" isn't the best thing for the two characters involved. And I must say I agree with Dan Harmon's (the show creator) assessment of how the final episode dealt with Annie and Jeff: "I'm comfortable with the realization that he's genuinely in love with her, but that's a separate thing from whether that's actually good for her." The age gap gets more palatable by the end of the series but that doesn't distract from the fact that these two characters are in completely different parts of their lives, a fact underscored by their last conversation alone. Ultimately, Annie goes on with her life but what happens next is open-ended. Since we haven't gotten the #andamovie yet, anything is possible. Maybe Annie and Jeff do end up together when she returns from her internship. Or maybe they both move on to healthy partnerships while maintaining their friendship. We might never know, but at least the ending we've been given allows both characters a path to happiness.

Set me free, leave me be
I don't want to fall another moment into your gravity
Here I am, and I stand
So tall, just the way I'm supposed to be
But you're on to me and all over me

Side tangent: While I always thought I was more of an Annie, it's become increasingly clear I also have a heavy dose of Abed in my personality, too. It's not even an equal split - I'd say, if I'm really being honest with myself, I'm about 59% Abed, 41% Annie. Lately, I'll reply the affirmative to people with the following - "Cool. Cool, cool, cool." - and I'm honestly not sure if I did that before I started watching "Community" or if that's something I picked up from the show. The fact that no one has noticed makes me think I definitely spoke like that before. One of my team member's wives thought I was blonde before meeting me - seriously, the first thing she said to me was, "Oh - I thought you were blonde, based on what [her husband] told me about you." Which makes me wonder - what the hell did he tell her about me? Probably that I'm a spaz and that my four-dollar words are peppered between "like" and "totally." I talk like Cher Horowitz in "Clueless" and I don't necessarily think that's a bad thing. Also, I may have been caught one-too-many times demonstrating the "Party All the Time" dance. Once. I've been caught once....at work....and it wasn't one of my finest moments.

Anyway, on "Community," I would say Abed is probably my favorite character. He's autistic and he filters his world through the lens of a filmmaker and he relates a lot of the situations to things he's seen in TV shows and movies in order to make sense of his world. And, although I'm not autistic, I deeply understand and appreciate the value of that perspective, because it's one I share with Abed. It's one of the reasons I love hearing about other people's experiences and I believe you can learn a lot about a person through the films, shows, books, and music they choose to consume - and more importantly, the "why" behind their choices. And although movies, TV shows, and novels are fiction, they are loosely based on real human experiences. Maybe someone hasn't had the exact same experience as portrayed in a story, but it's close enough that they can find meaning and learn something about their own lives and behaviors as a result. Or, at least, this is the goal of good storytelling and - through extension - good acting. I have always believed that acting is the Art of Being Human and, in order to be a great actor, you have to be a highly empathetic person. I think the same thing is true of being a great writer. Both actors and writers have to imagine what it's like to be other people, even if those other people are completely different from them. And if you're able to imagine how other people are thinking and feeling, you're able to show compassion on a deeper level - both for others and yourself. This is also why diverse representation is important in media - seeing how others backgrounds influence their behavior gives the reader/viewer an opportunity to emphathize and understand another's perspective. It is through processing his life through his understanding of pop culture that Abed is able to grow as an individual and develop intimate connections that might've been otherwise hindered due to being non-neurotypical. It's important to know he doesn't always get it right but in those instances where he gets it wrong, he has a support network of compassionate people who are willing to guide him in the right direction. Not everyone has that and we know that makes a world of difference when people are navigating their life.

I know this has been a long post but apparently, I'm just throwing up on a blank screen now. It may surprise you to know this isn't even a fraction of the things I've been pondering lately - but I'm saving those thoughts for my next project. This song is thoughtful and, though simple and muted, evokes a pensive response. Which is why I imagine it was chosen for this episode of "Community." To me, it really embodies the 8 of Swords energy - she feels trapped but it's entirely within her power to escape the situation....if she wanted to. Just another fun idea I had - mapping the Tarot to a playlist of songs. Even typing it sounds like fire. BTW I find "Gravity" to be an excellent karaoke song - we have the same range and similar vocal quality and style, so I can usually sing Sara Bareilles songs fairly decent. She has what we would call a "straight" singing voice, which means she doesn't have a natural vibrato when she sings. It works well for most Big Band and Broadway musical styles. A vibrato singing style tends to be more common in opera and R&B. Most pop singers don't really develop a vibrato but for those that do, it gives a unique quality to their music. I'm just rambling now so, please, enjoy the video below for "Gravity."

"Gravity" Video


Monday, February 4, 2019

"You and Me" by Lifehouse

It's a New Moon (in Aquarius, FYI, not that you asked) and it's also Chinese New Year. It's supposed to be a powerful time for manifesting, not just for the next month but for the whole year. Especially since the first New Moon of the year was all about releasing things that may have been holding you down (because of the eclipse), we're getting a fresh start in February. Thus, I thought it best if I started off this month with a real love song, not one that's bitter or angry. You know....just in case there is something to this whole manifestation thing, I don't want to invite in heartbreak. I've had enough of that, thank you very much, Universe.

Okay, so if we're not pulling in sadness or resentment, what do we want to pull in? Well, as I mentioned in my post for "High Hopes," it's all about being specific. I'm starting to realize that, when we're looking for love, we're not very specific. Honestly, we like the electricity in the beginning and then afterwards, it's just worrying whether or not they're going to stay. Regardless of whether it's for the highest good of everyone involved (and sometimes it's not....I know that's an uncomfortable truth). When I say specific, it's not about wanting a particular person. In "You've Got Mail," when Kate is breaking up with her fiance because he fell in love with another woman, he asks if she'll be okay, if she has someone else in mind. And she's says, "No....but there's the idea of someone else." And maybe some people think that it's unrealistic that she'd be okay with her long-time boyfriend leaving her for someone else, but I don't think so. Maybe deep down, she knew she was settling just because her current situation made logical sense from the outside. And the Universe intervened. I don't know why that particular scene popped into my head right now - this ramble just became a bit too pensive just now and I was trying to keep it light-hearted. Anyway, I think that's where a lot of people get stuck. And instead of getting unstuck, they just forget about what they wanted in the first place.

Alright, back on topic. What do I want to manifest for February? Well, I've always wanted my life to be romantic. Like movie romantic. The Husband used to say I had unrealistic expectations about this sort of stuff. Maybe that's true. But surprise flowers once in a while would be nice. I'm partial to white roses with red edges. Or oleander, which is my actual favorite flower. A bit unconventional, I know - it smells and looks pretty but all that beauty is secretly dangerous. What else? I'd like a few love letters. I'm the only one who ever writes them, so it'd be nice to get a few back. I've always wanted someone to write a poem for me - or make any art, really. Mr. Nice Guy bought me a stapler once and gave me a card that said "You're My Favorite." It was sweet, in a way, but I also kind of wanted to slap him. If I could avoid the "hopelessly practical" type, I would. Slow dancing in the park under a full moon....okay, now I'm just being ridiculous. Oh well....maybe I'm not the fairytale princess type, which means I'm going have to do these things by myself (and drag The Husband kicking and screaming, if I have to....though I'd rather not).

Why are the things that I want to say
Just aren't coming out right?
I'm tripping on words
You got my head spinning
I don't know where to go from here

'Cause it's you and me
And all of the people people with nothing to do
Nothing to prove
And it's you and me
And all other people
And I don't know why
I can't keep my eyes off of you

"You and Me" is one of my favorite love songs. So....in his head, the singer has separated humanity into two groups - him and the person he loves, and then all other people. And he doesn't even know what to do with this information! He can't even string the right words together, he can barely even think sometimes. Also, I would also like to note that I don't think this song was written in the infatuation stage, where you're all high on life. Nope, it's after you've done all that "getting to know you" crap and you still like being around the other person most of the time. And, even though some of the mystery is gone, you're still kind of in awe of the other person. Strange, I know. Most people turn into assholes once you really get to know them. Or they become boring and predictable. Or, worst of all, they turn into boring, predictable assholes.

Let's talk about the video, because - true to form - I do really love the video for this song. So everyone knows the Romantic Comedy ending - the girl, heartbroken after whatever betrayal the guy has done, decides she needs a change. Usually this change is getting back with her old boyfriend or leaving the country or changing jobs (or quitting prostitution....can I get a holla for "Pretty Woman"?). And - in an incredibly inconvenient twist - this is exactly the moment that the guy decides that he doesn't want to live without her. Thus, the Grand Romantic Gesture is born! Prince Charming pulls his head out of his ass, gets on his motorcycle, and races to stop her from going to....a job interview in DC? Couldn't he just have given her a phone call? It doesn't matter. She was stuck on the Brooklyn Bridge, anyway, so what else was she gonna do? Besides, smack dab in the middle of morning traffic is the perfect place to make out. I'm serious. They've done studies. Some version of that happens in the music video for "You and Me." Girl is headed out of town on the first train (Train? Where the fuck do these people live?!) outta town. Boy, finally realizing that she's his missing piece or something, is racing around the train station, trying to find her....preferably before her train leaves. The thing is....at the end of the video, he shows that he bought a train ticket to go with her. Clearly, he had her itinerary, so why was he freaking out? Boys are stupid.

I think I've ranted your earholes off enough for one night. Please enjoy the beautifully cheesy and almost disgustingly romantic musical stylings of Lifehouse. Video below. Happy Monday!

"You and Me" Video

Monday, October 8, 2018

"Helena (So Long and Goodnight)" by My Chemical Romance

This weekend has been rough and I haven't really had a chance to write because I have family in town. I almost feel like phoning it in but...it's My Chemical Romance. And My Chemical Romance got me through some of my darkest days. I think I've said that before. I forgot how much I love their old stuff (i.e., the first three albums). I haven't really listened to their more recent music but I enjoyed Gerard Way's solo album. But, then again, I love Gerard Way so that was going to happen anyway.

MCR has a few songs from their first album that are vampire-esque and maybe I'll go back to them later in the month. "Helena" was probably the first song I heard by My Chemical Romance, but it was really the video that got me. Honestly, it was Gerard Way. I saw his long black hair, hazel green eyes, pallid skin and thought, "My God! He's magnificent!" I still think he's rather attractive. I should write a Netflix original - "To All the Goth Boys I've Loved Before."


Besides that, MCR had that aesthetic/sound I was yearning for as a teenage girl. Hopelessly romantic but desperately dark at the same time. Maybe those are the same things. Yep, you can probably see where I'm gonna go with the lyrics interpretation.

Can you hear me?
Are you near me?
Can we pretend to leave and then
We'll meet again
When both our cars collide

Gerard Way wrote "Helena" as a tribute to his and Mikey's late grandmother. After she died, he became very depressed and started drinking a lot. He had a lot a guilt about not being around for her when she was alive. The song is an open apology for everything he didn't do for a woman that was so special to him. "Helena" was also the first single from MCR's second album, "Three Cheers for Sweet Revenge." I consider "Three Cheers" as the halfway point of MCR's progression to a full concept album. The first album, "I Brought You My Bullets, You Brought Me Your Love," was pretty much a normal album with songs that weren't really related. "Three Cheers" hinted at a love story, the "Demolition Lovers," which was a re-imagining of the tragic tale of Bonnie & Clyde, but some songs didn't exactly fit into the narrative. Finally, "The Black Parade" was a full concept album, with all songs being sung from the perspective of "The Patient," a dying man examining his life before he succumbs to terminal cancer.

Now, for my interpretation of "Helena," it's a song that always reminded me of the Beautiful Sad Girl movie trope. In male-written indie films, there's always two kinds of girls that the narrator runs into - the Manic Pixie Dream Girl, the perfect girl that reminds the protagonist that he needs to experience life and take risks. And then, there's the Beautiful Sad Girl (and variants, the Fragile Flower or the Broken Bird) - the depressed girl who is so beautiful that it makes the protagonist feel like he must be really something special if he makes her smile. Both of these girls only exist so that the protagonist can reach self-actualization. Then, he can finally move on and leave her to her Fate. For the Beautiful Sad Girl, she almost always kills herself. Like Lux Lisbon in "The Virgin Suicides" - for one brief, shining moment, she thinks she's overcome the darkness when she falls in love with the most handsome boy in school, Trip Fontaine. Then he fucks her and leaves her alone on the football field, which is just the beginning of the end for poor Lux (and her sisters). I really like her name though - if I had a daughter, that's one of the names I would like to name her (unfortunately, The Husband thinks it's weird and if he knew the origin story, there's no way in Hell he'd allow it). Anyway, the first time I heard "Helena," that's who I thought she was. The singer's True Love, who took her life too soon, for unknown reasons. And he's sad because he cannot join her now but maybe in the next life.


Sorry for the ranting. I just got started and everything just flowed. It didn't even take that long to write, if I'm being honest. In retrospect, "Helena" isn't really a Halloween song, per say, but it is about death and the video is sufficiently dark and creepy that I think you'll allow it.

"Helena" Video