Crooked Fool: Watching Adolescence through an Abolitionist Lens

I’m a sucker for a sad, heavy show, so when I saw the description for Netflix’s new mini-series Adolescence, I knew I was in for one helluva tear-filled binge watch.

Now, I want to note that this is not a review of the show. I thought it was extraordinarily well done from a creative standpoint and the actors killed it. If you want a sad story with some important stuff to say, it’s more than worth it.

But since being exposed to abolitionist thinking, I watch shows like this differently.  There are an abundance of shows depicting crime and punishment floating around. Art and life are caught up in a never-ending feedback loop with each other, so it makes sense. But it’s hard to watch something as heartbreaking as Adolescence and not call certain narratives into question.

The series opens with one trauma after another:  First thing in the morning, 13-year-old Jamie Miller is arrested from his bed. His family is shouted at to show their hands and get on the floor. Jamie is promptly taken away in a police car with little explanation given to his frantic parents. He is taken into custody, strip searched, and put in a cell. The strip searching scene in particular got me: nothing was shown, but the looks on the faces of everyone else in the room and the officer’s voice instructing him to show the most intimate parts of his body made me vaguely nauseous even from the safety of my living room. I appreciate honest art, but that doesn’t make it any easier to watch.

Jamie is accused of murdering his classmate, Katie. By the end of the first episode, we find out it’s true. He’s guilty. The crime is revealed to have occurred against a background of online bullying and incel culture, with Jamie having picked up misogynist ideals in the process.

Our justice system in the US is, of course, a bit different than in the UK where the series takes place, but many of the practices depicted ring true to the experiences of incarcerated folks here, as well. I remember one incarcerated woman I spoke to talking about how she’d seen a list of events that could traumatize a person, and how inmates are subjected to most of those things on a daily basis.

It’s impossible to imagine a 13-year-old boy ever being able to feel safe while incarcerated, and the fact is, incarceration is often not safe for those in custody. Whether it’s a strip search or constantly being snapped at by guards with deadly weapons, prison is not a safe place. It’s certainly not a place to reflect deeply on your actions and heal the wounds that contributed to them.

And that’s the thing about prisons: they don’t directly address harm. They punish wrongs against the state, and that’s not always the same thing.

Sending Jamie to prison won’t bring Katie back. Nor will it address the tremendous pain her family must be experiencing, or any trauma inflicted on the other kids at the school. When one of Katie’s friends gets into a physical fight with another student over his role in what happened to Katie, we see how trauma begets more trauma, possibly leading to the criminalization of yet another child. Incarceration cannot solve any of these things. Punishment as a philosophy cannot heal wounds caused by harm.

A long period of imprisonment for Jamie also fails to address the pain experienced by his own family. They had armed officers break down their door early in the morning and pull their son out of bed to take him away. They were bullied and shunned by their community for a crime that they were not directly responsible for. They have to mourn the loss of a son who, though still living, will likely never be a part of their daily lives in the same way again. Taking Jamie away punishes them, too.

Maybe it’s easier to accept harsh, punitive measures when it feels like justice. But if they fail to actually address the harm experienced by Katie or the community, and if they fail to help Jamie understand and take accountability for the harm he has caused, then what’s the purpose?

And here’s the kicker: the focus on punitive systems takes away Katie’s humanity, too. One of the few criticisms I’ve seen repeated about this series is how little we know about Katie by the end. The entire show focuses on Jamie and his looming punishment, and rather than being an oversight on the part of the show’s creators, this is a perfect reflection of how the system actually works. The tunnel vision on the act of punishing a wrong leaves no space for the person who was harmed in the first place. In the eyes of the criminal justice system, the fundamental issue is that Jamie broke the law, not that Jamie caused another person harm.

Punishing Jamie also fails to address the issue that led to him committing a crime in the first place. There is simply nothing that can fix a child losing their life, but do we not owe it to ourselves and our communities to minimize the risk of it happening again? Thing is, crime never happens in a vacuum. Jamie wasn’t magically born a murderer. One thing Adolescence does well is helping us to understand what could drive a child to hurt another child. Putting Jamie in jail will not take away the circumstances that created an environment where a crime like that could happen. Online bullying and kids getting radicalized on the internet are not solved by locking up a child.

Here’s another pill that may be hard to swallow: Jamie is not all bad. No human being is. The show has moments where we see his humanity clearly, like when he asks for his dad during intake. He has moments where he’s polite and even kind of sweet. None of that excuses what he did, but it reminds us that no life is made up of a single moment. If he could find healing and learn to understand the harm he caused, could the community not benefit from his good qualities? Would we rather throw a human being away for a mistake, even a massive one, and let all the bad be, or find what opportunities we can to bring good into the world?

I’ve done a lot of volunteer work in prisons and with folks who are formerly incarcerated. Some of them hurt other people. Some of them had life sentences. None of them have ever harmed me. All of them had good qualities. I typically feel very safe in their presence. People can change. Think of the biggest mistake you’ve ever made – what if that moment defined your entire life?

Here in Michigan, we’ve had rulings in recent years that have retroactively eliminated mandatory life without parole for folks who were minors at the time they committed their crime. We know that brains are not fully developed at that age and that trauma can impact behavior. Punishing people forever for mistakes they made as children is not justice.

At the end of Adolescence, Jamie tells his family he plans to plead guilty. In doing so, he certainly forfeits the rest of his childhood, and depending on the laws where he lives, possibly the rest of his life. But even in prison, life does go on. People keep breathing and, in spite of horrific circumstances, they often keep growing. At least here in Michigan, life sentences can, in rare instances, be commuted, and people can come home. I’ve met some of those people. All I can hope is that Jamie’s story will have that kind of miracle. That the ending will be at least as complicated as the crime that began this heartbreaking story, and maybe just a little less painful. That maybe there will be some second chance and he’ll be able to truly reckon with the fallout of his actions, rather than just stewing in them for the rest of his life without learning anything. That maybe he’ll be able to put good deeds into the world to balance out the bad. That maybe we didn’t take his humanity when he took Katie’s life. That maybe two lives don’t have to be lost and two families don’t have to bear that loss.

Right and wrong and harm and healing are not black and white. They are complex sets of actions taken by people who contain multitudes living under systems that harm. Human beings are not all good or bad, they are just whole, and that doesn’t make things easier. It makes them harder. The question we have to ask ourselves is what we are going to do when difficult, painful things happen. Are we going to address the problem, or are we just going to try and lock people up so we don’t have to look at it?

Conan O’Brien Needs a Friend

Most likely you’ve heard of the comedian Conan O’Brien, most well known as the host of the late night TV show Conan, where he puts his abrasive yet endearing personality on display in sketches and interviews. Personally, I’ve never enjoyed late night talk shows; I usually find them to be overly political, extremely shallow, or just thinly veiled advertisements of celebrities and other entertainment. Most of the hosts are too dramatic, as if they were trying to entertain children, or they are just clearly bad at conducting interviews. Conan is no exception: a few of his skits force a laugh, his personality is unique and comical, and his interviews are no worse than any other late show, but I have never been able to sit through an entire episode. Whether it be a lack of interest, or a failure in the talk show formula, I’ve never been able to consistently watch any late night show, let alone Conan. However, I was recently told that Conan hosts a small podcast, which is widely praised and quickly gaining popularity. The name of the podcast is Conan O’Brien Needs a Friend, and each week Conan interviews one of his celebrity contacts in a search to find out who is actually his friend and who is just a professional acquaintance.

Image result for conan o'brien needs a friend"I’ve tried podcasts in the past but they never caught on; I couldn’t be bothered with downloading them, finding them, or finding time to listen to them, so I eventually gave up. Recently it’s been different, ever since I started listening to Conan. It’s the one podcast that I can listen to from beginning to end and still wish there was more, that’s how impressive and unique his podcast style is. First, I find the concept of the show interesting, which considers how famous celebrities often struggle to make authentic friends just like the rest of us, humanizing them and painting them as regular people with extraordinary experiences. Second, I think this is the ideal format for Conan; he can rely on entirely verbal comedy, not childish antics as often seen in his TV show sketches, and I think his interview style is much more suited for the intimate setting of a podcast. When he interviews in front of an audience, both him and the guest are putting on a trained persona, crafted to create a positive public opinion and maintain a certain reputation. On the podcast, Conan becomes authentic, and in doing so he is able to draw out the authentic personalities of his guests.

Some of my favorite podcasts so far have been interviews with Ben Stiller and Stephen Colbert, both amazing and inspirational celebrities in their own right, but also fascinating people with complicated histories. It was so strange hearing Ben Stiller give a genuine recount of his childhood and cracking jokes, not promoting some new movie or TV show. I got caught up in how normal and hard-working he was, hearing about how he got into comedy and paved his way in the industry. The interview with Stephen Colbert was very similar, as Colbert talked about his rough childhood and related to Conan about the power of suffering to produce comedy. It was something you would never see on TV, since it would be considered too dark and not entertaining, but I found myself more intrigued than I had ever been watching a TV interview. Overall, I think Conan is in a unique position with his podcast: not only does he have the ability to interview other celebrities, he also has a talent for leading sincere and thoughtful conversations through his personality and comedy. I highly recommend giving it a listen, even if you aren’t one to listen to podcasts; Conan O’Brien needs a friend is the gold standard for the power of podcasts.

Game of Thrones

One of the most anticipated shows, Game of Thrones, comes back and starts its final season on Sunday.  It has been two years since the last season, season 7, aired on HBO, and people cannot wait for to see the final season.  There are no rules in the show and everyone is waiting to see who, if anyone, will survive till the end of the show. Game of Thrones is one of the most watched shows in the U.S. right now, so there will be many watch parties for the premier of the final season.  Here are some ideas for a Game of Thrones watch party.

Game of Thrones is a show that you have to devote your entire attention to or else you will undoubtedly miss something important in the show.  But if you think that you can handle multitasking, there are many drinking games that are fun to play to the show. These could be good to make you and your guests watch the show more closely to see when you have to drink.  My favorite list is to drink when: Daenerys dragons appear, someone gets drunk, main character dies, Little Finger schemes, when there is lots of violence, white walkers appear, the Iron Throne is shown, and someone says “winter is here”.  This list will make you drink steadily throughout the episode.

While it is hard to eat while watching game of thrones because of the gore, some snacks would be ideal for a watch party.  An easy snack is to make Game of Thrones cookies, they may be difficult to decorate if you decide to put the houses banners on them.  You could also just decorate them with house colors or with each houses saying, such as “Winter is Coming” and “Fire and Blood”. Another idea is to make cake pops that are shaped like dragon eggs, or even just a cake that is shaped like a dragon egg.  If you have all three eggs guests can choose which dragon they want to eat.

The last thing that you could do for a Game of Thrones watch party is to dress up for it.  It is hard to find any clothes that resemble the characters that are under $70, but shirts are only $20.  There are many shirts that say “Winter is coming”, “You know nothing, Jon Snow”, and “A girl has no name”. You could buy a shirt that represents you favorite character and wear it in the hopes that they will not die.

America’s Got Talent

The tv show Americas Got Talent (AGT) is a popular summer show that the whole family can enjoy.  It has been running for 12 seasons and has gone through many changes in judges, sponsors, and now hosts, but one thing that has remained constant throughout the show is that singers dominate the competition, particularly child singers.

With an abundance of singing shows like The Voice, The X-Factor, and American Idol one would think that someone aspiring to be a singer would audition for one of those shows.  But a very large amount singers audition for AGT. Singers dominate that competition on the talent show to the point that it almost certain that there will be at least one if not two singers in the final three.  Singers have won the show over half of the time. In the past several seasons, child singers have begun to dominate the field. Child singers have won the past two seasons of the show. This has become a trend in the past several seasons but the very first winner of AGT on season 1 was an 11 year old singer named Bianca Ryan.  These children are very talented but they get a lot of their votes on their “cute factor” instead of only their talent. There voices may also change and they can’t grow into an amazing career, which is the goal of the show.

All of the singers present and competing on the show leave less room for the unique and variety acts that AGT was created to discover.  Perhaps there should be some limit on the number of singers that can be let through to the finals, because it’s not that these singers don’t have talent, there are just many other options for them to show their talent.  Where other acts don’t have that platform, like magicians and dog trainers. For true off the wall and unique acts AGT is the only place to show off their gift, and season after season they are overshadowed by the singers who come on the show.

I’m Growing Skeptical of The Marvelous Mrs. Maisel…

[Warning: Spoilers ahead. Please read only if you’re familiar with the show– I don’t want to ruin it for anyone!]

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From the very first episode of Amazon’s The Marvelous Mrs. Maisel starring Rachel Brosnahan, I was utterly, breathlessly hooked. From the cinematography to the flouncy ‘50s costume design to the vibrant pastels to the gorgeous New York landscapes– from the premise of a high-spirited, hilarious young mom who finds herself suddenly divorced by her flighty jerk of a husband, to her assent into New York’s comedy scene as a woman– from her caustically funny manager to her down-to-earth father and her new season 2 boyfriend– the jokes, the conversation, the writing– everything about this TV show, at first glance, is extremely well done. I loved it, and still do. But Season 2 made me suddenly weary of all its flaws. I found out, moreover, that the show is written by Amy Sherman-Palladino, of Gilmore Girls fame. From where Season 2 of The Marvelous Mrs. Maisel ended, knowing the poor large-scale writing for Gilmore Girls, and after deconstructing the subtly problematic premises of Midge’s character, I’ve come to seriously fear for the fate of the rest of The Marvelous Mrs. Maisel.

The last episode of Season 2 ended with Midge getting a call from a famous singer asking her to tour with him in Europe for six months. This is big break she’s been waiting for a year now since she’d seriously started doing comedy. However, by the end of the episode and season, she realizes that her focus on her career necessarily means she’ll lose her domestic family life. The last minute of the series shows Midge going back to her ex-husband to spend only one night with someone who she knows loves her. Theoretically, a woman being torn between domestic, conventional life and pursuing a career in comedy in the fifties could be a very compelling and believable conflict, especially in the midst of a divorce– but this really isn’t the case for Midge. If there’s anything that Susie Meyerson reminds us of over and over again, it’s that Midge is extremely well off and has multiple support systems. She doesn’t really need to choose between her career and her family– she has parents and a maid at home who basically provide totally free child care and housing, she has an ex-husband who is still gaga over her and willing to beat up any blundering male comic who gets in her way, a boyfriend who– on top of being an accomplished surgeon and owning a mansion of a New York apartment– is head over heels for Midge and wants her to live out her dreams of being a comedian, she has a manager who works tirelessly to book her in the best gigs in and out of New York– and yet– you really expect me, an intelligent audience member, to believe that Midge has to choose between her career and the rest of her life? It’s bullshit.

And… this is where I remember that the show was written by Amy Sherman-Palladino. She’s a fantastic writer and director, always seamlessly building engaging and funny dialogue, directing gorgeous scenes and settings. It’s all fun to watch episode to episode. But her work breaks down upon closer inspection, and, if there’s anything I know from watching Gilmore Girls, Palladino’s writing meanders and gets lost somewhere in the middle of the series, and I’m worried this will also be the fate of The Marvelous Mrs. Maisel. Both series center around a powerful female character archetype– like smart, good-natured, and hard-working Rory Gilmore and lively, stunning, hilarious Miriam Maisel– who have huge networks of support, wealth, and privilege, and whose only downfall, apparently, is being a woman. These characters don’t seem to have a lot of flaws, they’re perfectly poised. In short, it’s just a fantasy that it becomes a little hard to believe at some point. Emily Nussbaum in an article called “Hello, Gorgeous!” for The New Yorker sums it up perfectly: “The verbal anachronisms (“totally”), the sitcom clams (“Good talk!”), the cloying Disneyfication of Midge’s Jewish family…. Her marvellousness comes from the fact that she’s immune, a self-adoring alpha whose routines feel like feminist TED talks, with some “fucks” thrown in.”

The Marvelous Mrs. Maisel, is, like Gilmore Girls, a sweeping, glittering fantasy of a powerful and ambitious young woman storming the world that Americans, and especially American women, seem to want to right now. It’s not a bad fantasy– in fact, it’s quite good and engaging and hilarious, a distraction from exhausting dystopias like The Handmaid’s Tale. But like all fantasies, it’s not an accurate reflection of sexism or the stakes of chasing a reckless dream. I’ll definitely keep watching the show– but not without a grain of salt.

Deconstruction Means “Freddy Got Fingered” and “School Days” Are Good, Actually

I grew up being exposed to gross-out comedies, so even though I can’t remember specific movie titles, the opening sequence to “Freddy Got Fingered” feels extremely familiar and tired. It’s almost laughable how lame the movie’s beginning is, and I was concerned this bad movie wasn’t going to reach a level where it was so bad it became good. I’m not surprised that there is debate over whether or not the movie is parody. However, I’m convinced this is intentionally left unanswered because the movie is satire. The man-child cartoonist called Gord who is unfortunately the protagonist of the film put my concerns to rest 30 minutes in, right when he begins to spread pain and suffering on a wider scale in his quest to have his cartoons adapted into a TV show.

Gord (Tom Green) storms an animation studio by force, bypassing security and harassing a secretary in an effort to meet the TV executive who runs the company (Anthony Michael Hall). When informed that the executive is at lunch, the public nuisance goes to the restaurant and harasses diners until he finds the person able to turn his dream into a reality. While this is off-putting to Hall’s character at first, he immediately listens when Gord begins to sell his comics.

Gord being given the chance to pitch his work despite being a terrible writer and a threat to society. Source: IMDB

This is amusing to me only because Gord had a hard time finding the exec after running into many men who look and are dressed like the one from the animation studio. The fact that Hall is just one of many blond-haired, blue-eyed men eating at Movers and Shakers restaurant is transparent criticism of the lack of inclusion in Hollywood and, by extension, powerful institutions in America. The way the TV executive turns away in disgust from Gord’s ridiculously unprofessional proposal but automatically turns around again to give the desperate cartoonist a chance when Gord starts to beg to sell his cartoons suggests that influential people in the media are more open to giving opportunities to some people more than others, even when it is undeserved…

In this scene, Gord is giving up on his cartoons at the same time Green is giving up on his movie. Source: IMDB

Despite his generosity, the TV executive is not blind to how talentless Gord is. He tells the artist that while the art of the comics is good, the stories and humor behind them are awful and would never sell. This pushes Gord over the edge, making him pull out a gun and lament that his characters are losers so he is a loser. He threatens to kill himself right then and there, which is shocking and completely unexpected if not for how this situation would be played straight in a normal comedy movie with the hero getting the job and the girl at the end. It is extremely funny to me how the stepping stone of Gord’s career is when our protagonist declares he needs to die, because this is the most illustrative way possible for Tom Green to scream about how much he clearly hates gross-out comedy movies and explains why the 90 minute run-time is used to push tropes of the genre to their most grotesque and absurd limits in order to make a point.

The infamy of “Freddy Got Fingered” reminds me of the reputation of “School Days”, an anime that I think wasn’t intentionally satire but ended up criticizing the short-comings of harem animes anyway. The formulaic show is based on a video game where a painfully average young man named Makoto suddenly finds himself becoming the most eligible bachelor in his high school after creating a love triangle. The video game has many endings determined by how well you navigate having multiple girlfriends, and the majority of the outcomes are good. However, “School Days” is infamous for its few bad endings that depict the absolute worst possible consequences of someone playing with the affections of a group of people.

Makoto easily guilt-tripping Otome, the third girl he’s cheating on, in order to keep their relationship a (poorly kept) secret. Source: MyAnimeList

The value of this criticism I think is highlighted in the anime when Makoto goes from being too shy to talk to an attractive girl in the first episode to having romantic encounters with three girls in one day by the end of the show. He is warned by his latest conquest, Otome, that problems will arise if the fact he is seeing several women at the same time becomes known. He tells her what he has already told his other girlfriends, that she is as responsible for the delicate situation as he is and that she should just let things happen. The anime adapts the worst possible endings of the game and illustrates that in real life it would take someone to be extremely narcissistic and emotionally abusive to sustain a harem like in anime.

I think these two works were poorly received because fans of these comedy genres weren’t expecting the deconstruction of the tropes they have come to love. The shocking violence and overall bad taste is only believable as the work of professional writers if the intention is to show how ridiculous the cliches expected from viewers are. It is difficult to make a parody or satire of something, especially with film, without being mistaken for the real deal, but as someone who thinks they’re in on the joke I think I have the right to laugh along.