Category Archives: Entertainment

The case of Graceland: McMansion or not?

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The term McMansion can sometimes be applied retroactively to eras where the moniker did not exist. For example, a description of Graceland in Memphis uses the term:

Graceland and the nearby newly opened tourist centre – clumsily titled Elvis Presley’s Memphis at Graceland – gets fans close to the King, but don’t dare touch anything. In bricks and mortar, the Georgian-inspired mansion is not really that big. These days, it’s more McMansion in scale than, well, a proper mansion.

According to Wikipedia, Graceland is over 17,000 square feet. The original part of the home was built in 1939 and only later did development encompass the large property (still over 13 acres).

This is still a very big house, even by today’s terms. I tend to apply the term McMansion when the size of the home is roughly between 3,000 and 10,000 square feet. Even then, homes of this size may not meet other traits of McMansions such as being too big for their lot (not a problem with Graceland), architecturally garish or poor quality (not a problem with Graceland), and associated with sprawl and luxury (maybe a bit applicable here). Perhaps Graceland might be McMansion in an interior related to pop culture and kitsch – but that is more likely a function of the home once belonging to a music superstar than it being a typical suburban McMansion.

Today, Graceland is still a mansion. Is it really that different than the large homes of entertainment stars and celebrities today?

Quick Review: Egan’s books The Invisible Circus, Look at Me, A Visit From the Goon Squad

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After reading several positive reviews of Jennifer Egan’s newest book, I decided to read her earlier work. Here are my thoughts after reading three of her first four novels:

1. One of the more consistent themes is tying together the past with the present and future, both in the personal stories of the characters as well as broader social forces that are always swirling around and threatening to sweep them along. For example, one of the main characters in Look at Me is trying to connect the past of Rockford, Illinois to a vision of the future. He is convinced that the decline of this Rust Belt city will illuminate important paths forward. Or, the characters in The Invisible Circus are trying to figure out what their actions as teenagers mean for their barely-formed adult lives.

2. All of the characters are flawed – sometimes by their own actions and other times through their family – and they are searching for answers. Rarely do they find them. Dreams are remembered yet lost as the characters can’t quite figure out how they got to this point of adult existence. Relationships burst with intensity and then fade. Success is fleeting. A Visit From the Goon Squad does a lot with this: even as the story lines come together to suggest that our future lives may not be very desirable, we are shown intriguing yet short glimpses of characters and relationships spanning several decades.

3. Across the three books, there are a number of settings ranging from San Francisco to Rockford to New York City to European locations big and small. The communities are present but also not present. They come and go in broad strokes. To illustrate, New York City is featured and the characters stagger around and big landmarks and ideas are mentioned but there is little tangible connection to places. Perhaps this is how people truly do live their lives these days as they focus on their private selves.

4. Much of the time I was reading these three books, I could not shake the idea that these works are heavily influenced by Tom Wolfe. The characters are caught between the cosmos and their day-to-day concerns. The language is loose and evocative. There seem to be larger messages and commentary about societal change though perhaps the clearest message is that modern individuals have no idea of how to figure any of this out.

All in all, I found the stories engaging and thought-provoking. However, they also had an ephemeral quality. Do they provide some deep insights into who we are today and where we are headed? Or, are they a cleverly-constructed yet ultimately common story of human frailty? It may take some time for me to answer these queries in my own mind even as literary critics seem to think Egan is asking the right questions.

 

Closing the blinds when showing home interiors on HGTV

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I watch my fair share of shows on HGTV and I recently noticed something: many of blinds or shades are closed when the interior of the homes are shown. This could be for multiple reasons:

  1. Lighting issues. Windows can produce glare either from interior or exterior lighting.
  2. The shows may be filming at night. Looking out into blackness is not that appealing.
  3. Blocking off the windows means the show can emphasize the interior and perhaps particularly show new window treatments.

These are good reasons to cover the windows. Yet, it strikes me that taking this action means the private nature of the home is emphasized even more. HGTV homes tend to emphasize the actions of the nuclear family inside the new home. Sometimes, the yard is really important to the homebuyers or homeowners but even then, the exterior is far less important than the interior spaces where it is presumed the family will spend more time.

Additionally, blocking off what is outside the windows ignores one of the most important features of homes: location, location, location. HGTV shows spend little time showing the neighborhood. Again, even when the characters are really tied to a location or neighborhood, this is primarily conveyed verbally and then the rest of the show focuses on interiors. Thus, not only do we not see much of the neighborhood, we also do not always see what the homeowners would see out their own windows.

All of this makes more sense when it is placed into the larger context of the American ideal of a single-family home on its own plot of land inhabited by a nuclear family. This is a powerful ideal, particularly for HGTV’s target demographic.

 

 

Are TV portrayals of NYC housing realistic? An (incomplete) analysis

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Earlier this year, the Washington Post ran an interesting analysis of how realistically the housing for numerous New York City characters was portrayed:

TVhousinginNYCWashingtonPostApr17

The article has a detailed breakdown of the housing in Girls and then has summaries for everything else.

Although this does not include every major television show depicted in New York City (I could think of a number off the top of my head), there are two noticeable patterns in the shows discussed in this particular article:

  1. Three popular and influential shows from the 1990s, all ones that supposedly made the city attractive to new generations, showed unrealistically large apartments. The city may look like a fun place to be when everyone has plenty of space and cool stuff.
  2. The number of working class shows here is limited. Television does not do a great job in general portraying the working class – see the documentary Class Dismissed – and this article deals mostly with shows with higher class aspirations.

Additionally, it seems like it would be important to also discuss the field of housing prices within New York City over the last sixty years. Manhattan is one of the most expensive places in the world now but was it always this bad? Additionally, the fates of the boroughs have changed over time.

 

Maybe Suburbicon failed because it has a well-worn suburban storyline

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Suburbicon did not do well in its opening weekend: low box office receipts and abysmal responses from critics. While critics had a variety of concerns, could one of the issues be that the film has a suburban plot that is familiar? View the trailer here and the Google summarizes the plot this way:

Suburbicon is a peaceful, idyllic, suburban community with affordable homes and manicured lawns — the perfect place to raise a family, and in the summer of 1959, the Lodge family is doing just that. But the tranquil surface masks a disturbing reality, as husband and father Gardner Lodge must navigate the town’s dark underbelly of betrayal, deceit and violence.

Even with the Coen brothers presumably putting their own twist on things, plenty of novels, movies, and television shows (from the The Crack in the Picture Window to The Stepford Wives to American Beauty to Weeds) have explored a similar premise: beneath pleasant-looking white middle-class suburbia are deep secrets, unrest, and residents waiting to be violent and exclude others. It is even a regular theme in horror films. To stand out from this crowd, the new cultural product needs to be pretty interesting.

Additionally, I am not sure that all suburban residents take kindly to such portrayals. Some of these depictions are thinly veiled critiques of all of suburban life. While they may contain a grain of truth, the majority of Americans live in suburbs. Many of them feel that they worked hard to make it to their suburban location and will put up quite a fight if they feel their quality of life is threatened. Put it another way, with all of the negative portrayals of suburban life in six decades of mass suburbia after World War II, it may be surprising that Americans still moved there and often stayed.

“[P]eople with tiny house budgets often have McMansion dreams”

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The title of this post is part of a larger quote – “On Tiny House Hunters it is painfully transparent that people with tiny house budgets often have McMansion dreams” – as a writer reflects on HGTV’s portrayal of tiny houses:

They too yearn for an open floorplan. They want storage. They want privacy. They want sleek kitchen amenities. They want room to entertain. That desire, to entertain, is the most delusional. In a home built for one, that may, with some dieting and sucking in of the gut, accommodate two, there is no entertaining. When you buy a tiny home, you are also making a commitment to socialize with your friends elsewhere if you hope to keep those friends.

As the reality of tiny living sets in, the hunters often lament how tiny a tiny home actually is. Or they are in complete denial and exclaim that there is just so much space. In one episode of Tiny House Hunters a man sat in the “bathtub” in the tiny bathroom. He looked ridiculous, his knees practically in his mouth as he contorted himself into the improbable space. He, the realtor, and his friend, who were all viewing the property, were nonplussed, as if the goings on were perfectly normal. And there I was, shouting at the television, “What is wrong with you people?”…

Shows like House Hunters and Tiny House Hunters flourish, in part, because even now, after the mortgage crisis and financial collapse, home ownership and the American dream are synonymous. Home ownership represents success and the putting down of roots. Home ensures the stability of the American family. When you own a home, there is always a place where you belong, and where you are the master or mistress of your own domain…

A cheerful television show about homebuying isn’t going to sully itself with a frank examination of economic realities or the fallout from predatory lending practices that made so many people believe they could afford to live beyond their means. Instead, Tiny House Hunters allows people the trappings of a middle-class lifestyle, regardless of their actual economic circumstances. The homes the hunters look at are often stylish, modern reinterpretations of the cookie-cutter prefabricated homes that inspire so much cultural derision. They may not have much space but what space they have is well appointed and chic or quirky. Tiny house hunters can soothe their class anxiety and stay just within reach of what they so very much want but cannot afford to have.

This leads me to two thoughts:

  1. As the piece notes, there is an important connection here to social class. People on this show want to have a middle-class (or higher) lifestyle in a small package. They are often unwilling to give up on certain items just because they are pursuing a smaller house. Additionally, I would argue that this quest to downsize is a largely middle- to upper-class phenomenon. The people on the show are not ones driven to tiny houses solely because of economic necessity. The cost savings may be nice but they also talk about reinforcing familial bonds, being able to move a home around more easily, consuming less, and helping save the environment. As the writer notes, they are not seeking after mobile homes and the class implications associated with them. Instead, they often want customized tiny houses that continue to display their higher than lower-class lifestyle.
  2. Some might applaud these people for realizing they don’t need such a large house. Instead of purchasing a McMansion or even the average size new home (around 2,500 square feet), these people are consuming fewer resources and resisting the strong pull of consumerism. At the same time, they still find something valuable in owning their own home. Why does this interest in home ownership continue? if people truly wanted a more environmentally friendly option, shouldn’t they go move into a small apartment in a dense urban area where they don’t need to drive much? (Many of the tiny houses on HGTV are frequently in more rural settings and still require a lot of driving.) In other words, even having a tiny house still allows these homeowners to participate in the middle-class American Dream which largely revolves around owning your own detached home.

And just as a reminder, there is little evidence that many Americans desire a tiny house. As of now, they largely appeal to a small subset of the population that does not necessarily need them.

Experimenting with shorter TV commercials

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Shorter commercials are on the rise:

Commercials of non-traditional lengths have been increasing. Almost 6% of all commercials aren’t 10-, 15-, 30-, or 60-seconds long during the first half of 2017, according to Nielsen’s 2017 Commercial & Advertising Update…

On TV, Fox debuted the first six-second ads earlier this year at the Teen Choice Awards for reportedly $75,000 each. Online, social giants like Facebook and Snapchat are commissioning research that touts the effectiveness of ads in the first two seconds.

I am trying to think of whether long commercials – whether in the 30 second format or 60 second format – hold my attention more than a series of 6 second commercials could. Not a whole lot can be communicated in six seconds but perhaps the mind is fresher when it is consistently seeing new pitches. Now, imagine a 2 minute commercial break broken into at least 8 commercials of 15 seconds. Or, a shorter break of 1 minute split into 10 six second commercials. The contrasts could get pretty interesting.

Quick Review: One Big Home

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A documentary involving McMansions on Martha’s Vineyard I blogged about earlier – One Big Home – has now been released. Here are some thoughts I had after reviewing the film:

  1. This is an engaging story. The promotional material says it was filmed over 12 years yet the time goes quickly as it puts together interviews, public meeting footage, and striking images of both natural and man-made settings from Martha’s Vineyard.
  2. The documentary does a nice job representing multiple points of view. While the filmmaker clearly dislikes these trophy homes – though there is a point where his public activism regarding the issue wavers after the birth of his first child – the film presents local workers, ranging from carpenters to architects to builders, and residents defending property rights and expressing concern about a community imposing regulations on construction.
  3. The filmmaker’s personal story also enriches the film. As he and his soon to be wife learn they are expecting a child, they see a need for more space and a more permanent home. They employ an architect and end up constructing a home around 2,500-3,000 square feet (depending on whether the lofts are used). The film displays some of his own personal quandaries regarding how much space they really need and whether it is worth it to have upgrades in the home. This leads to a basic question: when Americans do feel they need more space, how much space should they be able to acquire?
  4. If there are two parts of the film that could use a little expansion or more explanation, here is what I would vote for.
    1. At the end, the community debates a cap on the square footage for new homes. This is an important part of the entire process yet it goes by pretty quickly in the documentary. It feels like an epilogue when there is a lot of process that might be interesting to show. Ultimately, how exactly did the public conversation develop to lead to an overwhelming majority in the end? What were some of the successful and less successful steps in putting this cap in place?
    2. We see a lot about Chilmark but hear very little about the rest of Martha’s Vineyard. How does this small community interact with the other doings on the island? From the footage, this part of the island is more rural but there are likely some interesting comparisons to be made.

This is a well put together documentary that asks questions facing many American communities: what should be done regarding the construction of large homes? The future of many American communities and the residents affected therein will be affected by these choices.

Another horror film set in suburbia; same old story?

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The new horror film Super Dark Times treads some familiar ground in its story:

Director Kevin Phillips stunning feature debut is true to its title. An unnerving and bleak examination on teen angst, Super Dark Times turns a horrific tragedy into a ticking time bomb of violence. In Brad’s review, he raves, “Super Dark Times is tragedy in its purest of forms, removing the safety blanket from suburbia, tormenting the town with a morbid tale that will leave scars on each and every person who lives there.”…

That Super Dark Times takes place in mid ‘90s set suburbia is fitting; the lack of cell phones and the internet as we know it today meant growing up during this time amounted to boredom. Teen angst and boredom in the quiet suburbs was a recipe for destruction, especially if there’s already an underlying darkness as there is within Josh.

The article then goes on to list other notable horror films set in the suburbs but does not get to the obvious question (at least obvious to me): how many horror films can cover this same ground? There is no doubt that bad things do indeed happen in suburbia and often they feel worse because residents and outsiders do not expect them to happen in the suburbs. After all, that is why many of them moved there in the first place. Yet, more broadly, how many times can it be original or interesting to rehash the typical suburban critique that peeling back the curtain on perfect looking suburban lives reveals pain and horrors? Perhaps each generation has to tackle this issue but the more times a trope is used, the ante is raised on how it is going to stand out this time.

See earlier posts on this topic here and here.

The same LA bridges in many car commercials

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One interesting set of locations is fairly common in car commercials: bridges in Los Angeles. This is not what you might expect: how many people know that bridges are even necessary in Los Angeles? (The Los Angeles River does exist.) This has a long history: a 2004 New York Times story suggests the presence of production companies in southern California plus good weather leads to many shoots in Los Angeles.

One of the past bridge locations was the Sixth Street Viaduct which closed in 2016:

According to Film L.A., the organization that helps the film industry book municipal locations, over 80 movies, television shows, music videos, and commercials are shot on or underneath the Sixth Street Viaduct each year. That’s partially because of the bridge’s swooping metal arches, perched on an art-deco concrete platform; and partially because of the river underneath and that access tunnel: if you want to film something set in Los Angeles that makes reference to the city’s automotive culture, or if you’re just looking for a place to shoot a car chase that’s cheaper and more available than a clogged freeway, the channelized, concretized bed of the Los Angeles River is your best choice.

Except that the bridge officially no longer functions that way, as of last week. It’s going away completely. And the river? It’s on its way to becoming a river again.

Here is a short montage of the bridge being taken down alongside iconic images from films.

The Fourth Street Bridge is also home to a number of shoots and features Art Deco columns as well as views of the downtown skyline. Here is a Google Street View image:

FourthStreetLosAngeles

Are viewers of car commercials more likely to purchase a vehicle if it is shown in Los Angeles compared to other settings? Los Angeles has its own aesthetic which may or may not match with many other places. (In urban sociology, Los Angeles is often held up as the prime example of decentralization. Yet, it also does have a downtown as well as numerous other scenic sites such as the hills behind the city.) In the Chicago television market, we see some car commercials shot in Chicago. Might this help viewers envision themselves driving a new car when they see it in a familiar location? It would be more difficult to do this for all of the metropolitan markets in the United States.

Here are some other common car commercial locations with several more in the Los Angeles area.