February 28, 2012
‘Community’: Alison Brie, Yvette Nicole Brown, Gillian Jacobs & Megan Ganz Roundtable - The Daily Beast

synecdoche:

Ganz: There have always been funny women. But in some ways, it takes a while for there to be women who were watching women on television for years and then grow up and think, “I could do funny stuff.” I grew up watching I Love Lucy. She was doing funny stuff.

Brown: It’s the same for minorities, too. Until we get black writers in writing rooms and as studio executives, it’s going to be a while before people of color get to have the breakout that the Bridesmaids have had. It’s not that someone of another gender or race couldn’t write these words, but if you don’t have the experience, what you think I would say and what I would say are two different things.

Ganz: Even socially, too. When women are seen on TV being crass or funny or making jokes or undercutting someone, then you feel it’s socially acceptable for a woman to do that. More women are growing up feeling, “I can speak my mind and say what I want.” For me, I was maybe 15 before I started being like, “I’m just going to start saying things out loud. Why can’t I say what I think?”

This interview, you guys:

If Community isn’t renewed and this is your last day on set ever, what will you take away from this experience and what will you miss the most?

Jacobs: I’m going to cry. It so far exceeded my expectations of what the show would be. This is one of the best pilots I’ve ever read, so already my expectations were high. Then shooting the pilot—

[Jacobs begins to cry.]

Brown: Oh, it’s OK, Stinkers. She’s such a pretty crier. My God, she’s a pretty crier.

Jacobs: I’ve never worked with a group of people that have impressed me so consistently on such a daily basis. I feel like given the nature of this show, we’ve been thrown everything from an action movie to a noir to My Dinner With Andre. Everybody rose to it every single week. The writing and the creativity and the scope and the ambition of the show has been—

[Jacobs’s sobbing becomes ragged.]

Brown: Oh, well. I can’t sit here and not hug you.

[Brown and Brie embrace Jacobs.]

[…]

I never thought any show could pull off an entire episode about a missing pen. There must be a fear that whatever is next might not be as gonzo or genius as Community.

Brown: Nothing’s ever been done like this before.

Ganz: Particularly my episodes. Every one that I’ve done is a total [departure]. I did a bottle episode and then I was writing a mockumentary the next time. For somebody who loves puzzles, this has been the best possible experience.

Brown: Whether we come back or not, whatever happens, this will be a show that will be studied. There are people studying Community. The totality of this show, people will look back and go, they really did change every week.

Jacobs: Yeah. For all the people that have only heard about our show—it’s spoofs, it’s pop culture, it’s genre—they’re missing the fact that these are different, new characters on television that people have grown to love. So even when we do an episode which is set in the apartment and there’s no obvious spoof or takeoff, people still want to watch it because they love and care about these characters.

[Brie begins to cry.]

Brown: Oh, Stinker, what’s happening? Oh, my girls. Oh, my little pumpkins.

Brie: This is so cliché for the women-of-Community interview. “Then they all cried.”

Jacobs: And they got their periods simultaneously!

February 9, 2012
"I understand that sexualized female characters on television are a dime a dozen, and for a viewer not familiar with the original source material, the amount of character assassination at work in A Scandal in Belgravia might just go over their heads. It’s a shame, because the fact that the series chose to take its first major departure from Doyle’s characters with Irene says a lot about what our current media expects of women. Yes, women can be powerful, but that power must be expressed in an inherently sexual way. Yes, women can be smart, but they are also more emotional than men and therefore not equally brilliant. And they usually need some rescuing. It’s pretty ironic that these antiquated messages are actually a revision of a text from the 19th century! I gather from his treatment of Irene Adler, as well as the many other smart, capable, and badass women who appear throughout the Holmes stories, that Doyle had progressive ideas regarding gender. What does it say about our current media, that our narratives are taking a step back?"

Sherlock Goes Sexist: Arthur Conan Doyle is Very Disappointed  (via sparkamovement)

Oh wow, I found the Irene Adler episode super annoying before I realised (just now) that Irene Adler is not a sex worker and doesn’t fall in love with Holmes and then need him rescue her in the original. This doesn’t even get the chance to get to the part where Moffatt also wrote her as a self-described gay woman who makes an exception for Holmes and how gross that is? I assumed that they had tried to progressify a 19th century story and the result was kind of a mess, but uh, apparently that is not actually the case?

(via feministfilm)

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