Category Archives: Entertainment

Suburgatory nears first show; will it offer anything new?

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Yesterday, I ran into a full-page promotional ad for Suburgatory, a new ABC sitcom which first airs on September 28. Here is the ad (image from DisneyDreaming.com):

Suburgatory Full Page Advertisement

Watch the trailer here and also read ABC’s description of the show (these are separate paragraphs but I think they are meant to be two different descriptions):

Single father George only wants the best for his 16-year-old daughter, Tessa. So when he finds a box of condoms on her nightstand, he moves them out of their apartment in New York City to a house in the suburbs. But all Tessa sees is the horror of over-manicured lawns and plastic Franken-moms. Being in the ‘burbs can be hell, but it also may just bring Tessa and George closer than they’ve ever been.

Tessa (Jane Levy) and George (Jeremy Sisto) have been on their own ever since Tessa’s mom pulled a “Kramer vs. Kramer” before she was even potty trained. So far, George has done a pretty good job of raising Tessa without a maternal figure in their lives, but suddenly he’s feeling a little out of his league. So it’s goodbye New York City and hello suburbs. At first Tessa is horrified by the big-haired, fake-boobed mothers and their sugar-free Red Bull-chugging kids. But little by little she and her dad begin finding a way to survive on the clean streets of the ‘burbs. Sure, the neighbors might smother you with love while their kids stare daggers at your back, but underneath all that plastic and caffeine, they’re really not half bad. And they do make a tasty pot roast.

As I suggested back in March, this show at least appears that it may cover typical suburban territory: an innocent person moves to a nice-looking neighborhood but finds that the people aren’t what they seem and hijinks or unpleasant events ensue. The suburbs are full of fake people and I’m sure the show will have some commentary about striving for social status, “authentic” living in New York City, and perhaps even takes a shot or two at McMansions and SUVs. Perhaps this show’s twist is that the main characters are a teenage daughter and a single dad but hasn’t this also been tackled by other shows and movies? A new prediction: if it simply updates Desperate Housewives or Revolutionary Road for the teenage set, I don’t think it will last until the end of the first season.

Thinking about this show, it would be interesting to compile a database of television shows that really tackle suburban living. To do this, one would first have to distinguish between shows that take place in the suburbs (say Boy Meets World – not sure why this popped into my mind) versus ones that revolve around suburban themes and issues. I’ve thought about doing something similar for popular music songs in order to look for patterns. In both hypothetical databases, I suspect I would find a generally critical (or perhaps “satirical”) take on suburbs even as Americans have continued to move into these places.

I’ll be tracking the fate of this show and may also have to watch an episode for research purposes…

David Simon, The Wire co-creator, to receive William Julius Wilson award

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The Wire has been used in a number of college courses (one example here) and now David Simon, co-creator of the HBO series, will be awarded the William Julius Wilson award from Washington State University:

David Simon, co-creator of the HBO television series “The Wire,” has been named recipient of the Washington State University William Julius Wilson Award for the Advancement of Social Justice…

Wilson received his doctoral degree in sociology from WSU and is one of the nation’s leading scholars in the fields of African American studies, race, civil rights, poverty and social and public policy issues. He was the first person to receive the award named in his honor in 2009. He is scheduled to attend this symposium…

“We are honoring David Simon with this award because of his significant and innovative contributions to promote social policy, in particular by raising the public’s awareness of systemic social inequality, poverty and the complex way that social surroundings affect individual-level decisions,” said Julie Kmec, associate professor of sociology and chair of the committee organizing the event…

Three Harvard scholars, including Wilson, recently pointed out that the series has “done more to enhance both the popular and the scholarly understanding of the challenges of urban life and the problems of urban inequality than any other program in the media or academic publication.”

Several questions:

1. I wonder if this award for Simon, also a former journalist, is part of a larger trend (the ASA has been doing this for a few years now – David Brooks was the latest to be recognized) of sociologists recognizing journalists as key people/gatekeepers for spreading sociological ideas.

2. What other television shows accomplish similar things to The Wire?

3. I had forgotten that William Julius Wilson received his PhD from Washington State since he is more commonly associated with the University of Chicago or Harvard. Of prominent sociologists, how many have received degrees from places like Washington State versus the typical top-ranked programs (Harvard, Chicago, Berkeley, Wisconsin-Madison, etc.)?

The sociology of Star Trek

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Occasionally, I run across more unusual sociology courses. Here is a summer class that examines Star Trek:

In order to understand more about why the Star Trek cannon has continued to be popular and respected since its creation in the 1960s, I took a class this summer at Portland State University entitled “The Sociology of Star Trek.”  I learned about how the Trekkian visions of the future offered a lens through which to examine the culture of its time and about the vision of Star Trek creator Gene Roddenbarry, who highlighted enlightenment ideals and ‘exploration without conquest.’  Additionally I learned about the obsession and culture surrounding the show.

One of our assignments was to review an event that occurs annually in Portland: Trek in the Park. At this event, a full-length original episode is performed by the Atomic Arts theater company. For one month a year, Portlanders gather to show their Trek Pride.

Big sociological themes that you could play with in such a course:

1. The social change of the 1960s and how this was reflected in popular culture.

2. American fascination with:

a. Technology and progress. Even in space, we can’t escape some basic problems.

b. Utopias or idealized communities. This could be tied to a number of utopian communities that were actually built or perhaps even the suburbs, the space where Americans seek the elusive American Dream.

3. The subcultures that form and are maintained based on objects in the popular culture.

4. Cultural narratives as displayed in television (all the versions of Star Trek) plus movies.

See a draft of the syllabus here and comments from the Internet public about what the class could include here. Apparently, you can cover all sorts of topics through the lens of Star Trek…

Are sociologists more likely than the general population to be Star Trek fans? And is the competition to Star Trek, the Star Wars franchise, too low-brow for sociologists?

Time magazine: “100 Best Nonfiction Books”

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Perhaps you have seen the popular Facebook questionnaire where you are asked how many of the 100 great works of fiction you have read. Now someone can start one of these lists for non-fiction books: Time has put together a list of the “100 Best Nonfiction Books” – since Time first started publishing in 1923.

I would really like to know how these books were selected. Fast Food Nation? Ball Four? No sociology books? For example, The Truly Disadvantaged influenced a lot of policy about inner-city neighborhoods and public housing.

While people probably read some of the best 100 fiction texts in English classes, where would the average student or American run across these non-fiction books? Many are not used in school. Non-fiction books don’t seem particular popular compared to genres like mystery or romance novels.

It would be interesting to see sales figures for all of these books.

The morality of termination rights

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Raustiala and Sprigman over at the New York Times Freakonomics blog take on the morality of copyright termination rights, “an obscure provision of U.S. copyright law…[that] allows songwriters and musicians to…take back from the record labels many thousands of songs they licensed 35 years ago”:

In general, if you decide to sell or perpetually license a piece of property, you can’t later take it back, no matter how much you might want to. So If I sell my house and two years later the city decides to build a lovely public park in my neighborhood, the value of my former house may rise substantially. But no one contends that I can take the house back, or that I’m due a bonus payment from the lucky buyer.  A deal is a deal.

So why the exception for copyright owners?

I have to start somewhere, so it might as well be here:  it’s disingenuous to invoke a home-sy (literally) analogy, show that it fails, and use that failure to “prove” your point.  Raustiala and Sprigman note that “in general,” residential homes are sold outright.  So what?  Equally “in general,” commercial property leases for retail outlets (e.g., stores in shopping center developments) explicitly vary rent payments based on sales (i.e., higher store sales this month/year = higher rent).  Both systems are unobjectionable, assuming one simple fact:  the parties know what kind of deal they are making at the time they make it.

Thus, Raustiala and Sprigman’s analysis falls apart right off the bat.  Termination rights are not a recent phenomenon that nobody knew anything about until a year ago.  Unlike, say, Congress’ decision to re-copyright works that had already fallen into the public domain, termination rights have clearly been a part of U.S. copyright law since 1976.  They may have been “an obscure provision” to the general public reading the Freakonomics blog, but they certainly weren’t obscure to artists and labels.  Raustiala and Sprigman’s characterization is like calling the infield fly rule “obscure”–and then implying that a bunch of MLB players should be out because they didn’t know it existed or how it worked.

They go on:

Think for a moment about the economic effect of the termination provision on the behavior of parties to copyright transactions. Because buyers can expect, on average, to make lower profits when the law contains the termination provision, they will offer less in the initial transaction. Thus, sellers will be more willing to accept less, because they know that if a work later proves valuable, they can terminate and demand some additional payment. So the most likely effect of the termination provision is to force deal prices down across the board….Put differently, the termination provision is a regressive tax.  And in that light, the “fairness” justification for the termination provision is less than overwhelming.

Even assuming this is true, the record labels’ supposed “offer [of] less in the initial transaction” has already happened–35 years ago.  Changing the rules at this point to favor the labels over artists would also seem to invoke its own set of fairness issues.  To put it mildly.

The problems with white stereotypes in movies like The Help and To Kill a Mockingbird

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Here is an interesting take on how the presentation of white people in The Help (and To Kill a Mockingbird) obscures the existence of racial systems in the Jim Crow South:

This movie deploys the standard formula. With one possible exception, the white women are remarkably unlikable, and not just because of their racism. Like the housewives portrayed in reality television shows, the housewives of Jackson treat each other, their parents and their husbands with total callousness. In short, they are bad people, therefore they are racists…

To suggest that bad people were racist implies that good people were not.

Jim Crow segregation survived long into the 20th century because it was kept alive by white Southerners with value systems and personalities we would applaud. It’s the fallacy of “To Kill a Mockingbird,” a movie that never fails to move me but that advances a troubling falsehood: the notion that well-educated Christian whites were somehow victimized by white trash and forced to live within a social system that exploited and denigrated its black citizens, and that the privileged white upper class was somehow held hostage to these struggling individuals.

But that wasn’t the case. The White Citizens Councils, the thinking man’s Ku Klux Klan, were made up of white middle-class people, people whose company you would enjoy. An analogue can be seen in the way popular culture treats Germans up to and during World War II. Good people were never anti-Semites; only detestable people participated in Hitler’s cause.

Turner is arguing that the Jim Crow South was a system supported by much of Southern society of all social classes. In contrast, movies can portray racism as being the opinion of particular individuals or of people of smaller social groups. This “whitewash” perhaps helps us feel better today – only bad people were racists – and also reflects our own moral calculus where racists can’t be good people.

But we know from American history that this was not exactly the case. Many “virtuous” and celebrated Southerners supposed slavery and Jim Crow laws. And the North is also complicit: “sundown towns” were the norm and segregation were quite high (and still are). Overall, racism and discrimination still takes place within systems that require beginnings and maintenance provided by people living within the systems and also those in charge.

Looking for Chicago in movies and television

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This Chicago Tribune piece reviews some movies and TV shows that have used Chicago as a setting.

Here are a few takeaway points:

1. Movies and TV shows like to draw upon Chicago’s colorful police and politics.

2. Many film elsewhere. Interestingly, the creator of Against the Wall says, “you can’t fake Chicago as well as you can fake other cities.”

3. Many focus on known quantities, like the Chicago River or the El. The writer suggests this ignores Chicago’s real side.

And a few questions:

1. Compared to other American cities, is Chicago over or under represented? If so, why?

2. What are the best movies and TV shows for making use of their setting? It is one thing to have a backdrop (think of the credits of Family Matters which clearly shows Chicago) and another to really anchor the action within a particular place.

Quick Review: Universal’s Islands of Adventure & The Wizarding World of Harry Potter

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We recently were in Florida and spent a day at Universal Studio’s Islands of Adventure. While this is more of a theme park than the regular Universal, it also includes the 1 year old Wizarding World of Harry Potter. Here are some thoughts on this park with pictures:

1. I’ll start with Harry Potter. This area was a lot of fun: from the ride (more of a Universal type ride than a roller coaster) to Hogsmeade to seeing Hogwarts from a distance, it was exciting. By far the best overall area of the park. In addition to the main ride (which was fun but we only did it once), there are two dueling roller coasters, the Hungarian Horntail and the Chinese Fireball, that were the second and third best rides in the park (and I went on each of these twice).

We spent a good amount of time in Hogsmeade. The scene of a small village in the snow looked good even on a 90 degree day and Hogwarts looks imposing off in the distance. While Olivander’s wand shop was overrated (and the longest wait of the day at 45 minutes), Zonko’s, Honeyduke’s, and The Three Broomsticks were worthwhile. The butterbeer was tasty.

This was the most crowded part of the park and we went there at least four separate times to try to avoid some of the crowds.

2. The best roller coaster in the park is The Incredible Hulk. While it is not the tallest or fastest coaster in Florida, it has some good features: you are shot out of the tunnel, the first turn/corkscrew is great, and it has an interesting part where it goes through some mist and under a bridge. The waits weren’t that long and I rode three times.

3. The park has three water rides which we rode all in a row. The Jurassic Park ride was entertaining (an extended big boat ride with the big drop at the end). The best was Dudley Do-Right’s Ripsaw Falls which was whimsical, wet, and had a couple of small gotcha drops.

4. Other parts of the park I liked:

-Perhaps other parks have this now but all of the rides had lockers that were free and locked/unlocked by your fingerprint. We didn’t have to pay anything for this all day, the lockers were conveniently located near every ride, and we didn’t have to worry about a key.

-The Dr. Seuss area was fun to walk through but the rides are for kids. Humorously, we saw a brochure in the Orlando area that claimed one of the tram rides from this area was actually in Disney World.

-Spiderman was okay – a typical Universal ride with lots of noise, lights, a 3-D screen. Doctor Doom’s Fearfall could have been taller but at least the line was short.

-We saw three shows: the BMX/skateboarding/motorcycle stunt show was fun while Poseidon’s Fury and the Eighth Voyage of Sinbad were lame.

-The food wasn’t bad. We ate at The Three Broomsticks for lunch and Mythos for dinner. Mythos claimed to be at the top of theme park food and I can’t say that I disagree.

5. Some things I would change:

-There are a few areas that need to be spiced up: Jurassic Park and The Lost Continent. Perhaps this has changed recently with more resources and space going to Harry Potter but these areas were noticeably lacking.

-The park needs one or two good rides to be fantastic. Another roller coaster would be fantastic. We had ridden all three roller coasters (and The Hippogriff kiddie coaster doesn’t count) and all three water rides within four hours of being in the park.

6. A note: we stayed in a Universal hotel the night before and it seemed to pay off. Though the hotel was pricey, we were able to get into the park an hour early (and therefore had no line for the Harry Potter ride) and also had an Express Pass so we could bypass some of the lines. The longest wait we had for a ride all day was probably twenty-five minutes and this was to be in the front row of The Incredible Hulk.

On the whole, we enjoyed the day. All amusement parks these days are expensive but I found this to be more interesting than Disney World, Epcot, or the regular Universal Park. Compared to the other nearby options, this park has exciting rides and doesn’t have to rely on characters, tradition, and tricks. With a little bit more, this park could be fantastic and I would then enjoy returning.

Here is the official website and the Wikipedia overview.

(Side note: the Harry Potter souvenirs were flying off the shelves including wands and school robes. With this success, how come some park hasn’t shelled out big bucks for a Lord of the Rings theme?)

From luxury item to throwaway good: cable TV

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Following up on Joel’s post from Wednesday, Figures from the last quarter suggest the cable TV industry continues to lose customers:

The phone companies kept adding subscribers in the second quarter, but Dish lost 135,000. DirecTV gained a small number, so combined, the U.S. satellite broadcasters lost subscribers in the quarter — a first for the industry…

Sanford Bernstein analyst Craig Moffett estimates that the subscription-TV industry, including the untallied cable companies, lost 380,000 subscribers in the quarter. That’s about one out of every 300 U.S. households, and more than twice the losses in the second quarter of last year. Ian Olgeirson at SNL Kagan puts the number even higher, at 425,000 to 450,000 lost subscribers.

The second quarter is always the year’s worst for cable and satellite companies, as students cancel service at the end of the spring semester. Last year, growth came back in the fourth quarter. But looking back over the past 12 months, the industry is still down, by Moffett’s estimate. That’s also a first.

The article goes on to mention a number of reasons for this: a bad economy so consumers are cutting back, younger people don’t see the necessity of cable, and there is a lot of content available through the Internet.

More interesting to me is the idea that cable TV is no longer the luxury good that it once was. Once the industry began in the 1970s and later consolidated, cable moved from being a rarity to being a necessity. As late as mid 2009, “11% of U.S. TV homes only have the capability to receive TV reception “over the air”.” Having cable simply became part of how Americans spend their disposable income. Cable became prism through which many Americans viewed the world. Certain channels arose, such as MTV which has been getting a lot of attention recently because of its 30th anniversary or ESPN which was the subject of an interesting book, and became part of the national consciousness. These channels, for better or worse, came to represent American culture and were exported around the world. I wonder if having cable at home signaled a middle-class lifestyle even if other traits don’t match this standing.

But now the world may have moved on. (At the same time, despite all the articles suggesting people stop paying for cable, bad economic times, and more competition, the drop in subscribers was only 0.2-0.3%.) How exactly will cable companies convince people that their product is a necessity, particularly among the younger generations? What will be the new narrative regarding cable that will push people to include this in their lives?

AP: “Cord cutting” is real

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Associated Press is reporting its analysis that, for the first time ever, both cable and satellite providers fell:

The U.S. subscription-TV industry first showed a small net loss of subscribers a year ago. This year, that trickle has turned into a stream….The phone companies [Verizon and AT&T] kept adding subscribers in the second quarter, but Dish lost 135,000. DirecTV gained a small number, so combined, the U.S. satellite broadcasters lost subscribers in the quarter — a first for the industry.

I guess cord cutting is more real than some would like to believe…