‘Élite’: The ‘Gossip Girl’ alternative

This article is dedicated to Charlotte Bender, Francesca Bender and Hanan Isse: my fellow obsessees

Video essayist Broey Deschanel recently posed the question: ‘Have We Grown Out of Gossip Girl?’ By looking at the class, gender and racial politics of the show, and the wider politics and issues with re-makes, her answer is an unequivocal and undeniable: yes. Whilst aesthetic nostalgia for Gossip Girl is high (because who wouldn’t want to eat lunch on the steps of the Met or venture an embellished headband?) it is a show that does not need resurrecting or an attempt at correction. Her analysis that Gossip Girl sided with elites, demonising working class characters, catching principled characters into a tangled web of deceit and selfishness whilst glorifying toxic chauvinism (Chuck sells Blair for a hotel), demonstrates that Gossip Girl is a show too riddled with the white supremacist hyper-wealth orthodoxy of its time to be worth redeeming.

The show is almost a historical artefact of capitalism’s anaemic attempt at self-criticism, eventually reinforcing itself and seducing everyone in its wake, characters and viewers alike, when arguments for capitalism were becoming increasingly tenuous in the context of recession, economic suffering and burgeoning inequality. This would go on to lay the groundwork for a subsequent decade, and counting, of austerity in the West. No amounts of references to F Scott Fitzgerald’s The Beautiful and Damned, Serena Van Der Woodsen’s favourite novel, could distract us from class-bashing snobbery, rampant aspirationalism and full-bodied immersion and defence of white privilege and supremacy.

Ironically, we are living in a time of studios hyperactively re-making, sequelling and prequelling everything: capitalism is so desperate to reinforce itself to itself and ensure a buck, that it cannot stomach the risk of making something new. I wrote about this in 2014 and there are signs that things are beginning to change. With the emergences of more experimental forms of television storytelling such as Master of None, Fleabag, I May Destroy You, Pose, The Politician and The Good Place against the backdrop of a larger appetite for non-white heteronormative stories centring around race, sexualities, genders and philosophies that have been previously untold in a popular way, we are seeing progressive shifts that render the prospect of shows like Gossip Girl more and more redundant. It has been particularly promising this year to see the number of films and TV shows exploring stories of race and class being feted and nominated for awards, Ma Rainey’s Black Bottom and Malcolm and Marie forming two of my favourite films so far, even if the jangling of white supremacy still echoes and reverberates throughout the creative industries (no Golden Globe nomination for I May Destroy You?)     

So, where can we go for an aesthetically-fuelled glossy teen melodrama? Is there place for such a thing in the twenty first century?

My answer: yes. Do I want to see well-dressed people getting into romantic dilemmas, going on coming-of-age adventures, disappointing people around them, ripping up expectations, finding their voices, breaking up and making up and all set to a fabulous soundtrack? Yes. Whole-heartedly. But it goes deeper than that. This need for stories about teenagehood reminds me of Frank Wedekind’s Spring Awakening, a late nineteenth century German play that sought to express and plug the gap in stories for and about teenagers to navigate the upheaval of adolescence. The play, scandalous at its first performance, covers sexual repression and expression, abuse, suicidal depression, homosexuality and the relentless pressure of morality and achievement in arbitrary school exams: issues that still feel relevant and familiar to teenagers now, with a quintessentially new iteration of perfectionism that entails a life lived through the filters of social media. This rite of passage has been maligned throughout much of Western history, with teenagers demonised and ridiculed for the seismic shifts they experience in their bodies and identities, without any kind of holistic guideposts to nurture and respect them through it. Our experiences as teenagers lay the groundwork for our future relationships with ourselves (and our therapists) and, as explored so well in the documentary Beyond Clueless, secondary school is a charged space to explore a heady mixture of emergent and predominant ideas, with the teenage body a soil, in its perpetual state of flux, expansion and contraction, to do this. I don’t spend my time watching back-to-back teen shows or teen films because the chaos of melodrama and angst no longer feels like an outward projection of my own internal tumult. But I continue to hold the genre in high regard, in much the same vein as Mark Kermode in his advocacy for the Twilight franchise. If we are to live in a society where teenagers are not honoured, then why should we damn genres that appeal and speak to this dramatic, archetypal experience that they are going through? Whether we have anonymous whistleblowers and gossip mongers, vampires or quixotic righteous dudes, teen films and shows are crucibles and allegories for bigger shifts, both personally and societally that are, whether they mean to be or not, both vitally hyperbolic and fascinating. In the case of Gossip Girl, it turns out, we should have been paying more attention.     

As such, we don’t need a new Gossip Girl or, god-forbid, the re-make of Clueless that we keep getting threatened with (the original should remain an untouched gem and deserves respect and adulation not an irrelevant, fatigued re-make). We already have a show that is compelling, compulsive, aesthetically pleasing and playing whack-a-mole with big teenage issues in a critical and entertaining way. Crucially, it also grapples with many of the issues that a new Gossip Girl may want to rectify and reconcile with to itself, which Broey Deschanel predicts will be watered down and disastrous. Issues like race, religion, sexualities and deconstructions of class power structures. My friends, I give you, Netflix original series, Élite.

Élite’s premise seems standard fare: told in flashback, three working class students are given scholarships to shiny, international, private school, Las Encinas, located in an ambiguous area of Spain, but most likely near Madrid. The scholarships are a form of compensation from the rich owner of a building company, who built a structurally inadequate state school that collapsed. The son of the owner of the building company also goes to Las Encinas with his extremely wealthy and aristocratic friends: immediately, as a result, there is discord, resentment and rivalry between the two groups. The backdrop of all of this is a murder investigation, as one of the students is found dead next to the swimming pool at Las Encinas. A heady mixture of Big Little Lies, Skins, Cruel Intentions and, yes, Gossip Girl, it is immediately aesthetically pleasing and riveting. At the very least, along with the rollercoaster ride of dramas and chaos, viewers have the additional pleasure of having learned a variety of Spanish swearwords. And the background reggaetón is always on point.

Without spoiling anything, the show deals with a plethora of teen issues: the standard first sexual experiences, family fall outs, teen pregnancy, ambition and inter-class/clique warfare. Additionally, there are higher stakes of HIV diagnoses, cancer diagnoses, threesomes, throuples, incest, blackmail, revenge porn and drugs thrown into the mix. In short: a whole lot of loco. Across the seasons, however, Élite goes on to explore the intersections of many of these issues in greater depth, most powerfully, the immigrant-working class experience and, in particular, the cultural tensions of growing up Muslim in the West. This includes relationships between faiths, homosexual relationships (the cutest gay couple ever has to be Ander and Omar), the politics of feminism and the hijab, and both subtle and overt forms of anti-Muslim hatred. We have rarely seen a character like Nadia presented on television and it is joyful to watch her unfolding across the seasons.

Even the intersections and illusions of wealth are explored: the differences between no money, new money and old money, with most of the judgment and consternation reserved for the aristocrats. Unlike Gossip Girl, the most despicable characters in Élite are the privileged who lie, cheat and betray others to maintain their social position, closing ranks and perverting justice through their family names and wealth. Self-preservation is constantly at work in Élite: this manifests as working class characters attempting to reject and resist the trappings of wealth and privilege to preserve their sense of dignity and self-respect; whereas, the wealthy pull up their drawbridges and manipulate the power structures to get their own way. They become unredeemable in the process. Yet there are some who do change, and there are some divine redemption arcs at work, the best I’ve seen since Steve Harrington in Stranger Things.

As such, where Broey Deschanel’s criticism of Gossip Girl focuses on the fact that everything, including the viewers, is subsumed by the inordinate toxic influence of power and privilege, in Élite, a form of equilibrium and, dare I say, comradeship between the classes eventually emerges. Of course, we are still based in a powerful, private school only accessible to the privileged few; but it feels like the upper classes are the ones who have had to adapt and give up something, in the form of their power and privilege, in order to survive and not the other way round. The only question that remains, as Season 4 approaches, is whether this will be maintained. My main criticism is that even with the introductions of Yeray and Malik in Season 3, there is plenty more space for black characters in the show, and I think the show has great potential in posing more questions on race. Needless to say: we don’t need a re-make of Gossip Girl. Élite is the show Gossip Girl should have been ten years ago, and I for one think we all need more of it.

Full disclaimer: I watched all three seasons of Élite during Lockdown 1.0 and it definitely became an emotional crutch when many of us, myself included, seemed to regress into a state of teenagehood, confined as we were to our rooms for months on end (explored so well in this article). If there is anything I need to add or qualify, let me know.

Lana Del Rey and whiteness

Beginning on the 21st May 2020, my phone blew up for a few consecutive days with incredulity, anger and disbelief at Lana Del Rey’s numerous statements directed at ‘the culture’. I still don’t really know what she is trying to define by that term. After the first statement, in which she namechecks numerous black female artists who have allegedly been allowed to sing about ‘being sexy, wearing no clothes, fucking, cheating etc.’ when she has not, I declared to one group chat that I would get our thoughts and analyses, which were extensive, down here. I held off writing straight away and I’m glad I did: what followed were even more spurious statements and rebuttals from Del Rey about how people criticising her had begun a ‘race war’, and that people who ‘misunderstood’ her should ‘fuck off’.  We saw her Instagram fill with images of white Hollywood movie stars, including that classic chauvinist James Bond no less, a GIF of her pole dancing in the ‘Gods and Monsters’ music video, and declarations that ‘no one gets to tell your story’. Del Rey claims that she embodies a ‘delicate’ form of femininity that is currently rejected by feminism, bizarrely claiming that it will be the forefront of a ‘new/3rd wave of feminism that is rapidly approaching’. We are, of course, already in the fourth wave and have been since the early 2010s. I aim to discuss Del Rey in relation to feminism at greater length in another essay.

With regards to race, Del Rey has, unfortunately, proven herself painfully unaware of how much privilege her whiteness affords her, and thereby has been unable to show how race and her question of feminism intersect. I can see why Del Rey believes that she is, in the words of  Ibram X. Kendi, ‘anti-racist’: she cast A$AP Rocky as her JFK in the ‘National Anthem’ video and wrote songs with him for ‘Lust For Life’; she has collaborated numerous times with The Weeknd; some of her best friends are black women who have featured prominently in her music videos and on tour from ‘Lust For Life’ through to ‘Norman Fucking Rockwell’; and she is giving all of the profits from her poetry collections as reparations to the indigenous Navajo community.  She has proven, however, that she is not necessarily anti-racist, with each new comment she released digging her heels into her first problematic statement even further until a defence of her is rendered almost impossible.

Lana’s original namecheck of predominantly black and Hispanic women, Doja Cat, Ariana Grande, Camila Cabello, Cardi B, Kehlani, Nicki Minaj and Beyoncé, was used to highlight how these women have been celebrated and rewarded by ‘the culture’ for being sexual, provocative and complex whilst she has been maligned. In doing this, she demonstrated a lack of awareness about the more significant barriers that Women of Colour (WOC) face in getting to a prominent position in the music industry in the first place, as well as equating these women, who are already exposed to latent racist exoticisation stereotypes, purely with sexuality and sexual mores. This is deeply ironic coming from someone who has both Nina Simone and Billie Holiday’s names tattooed onto her clavicle and has regularly referenced Holiday in her music, for example in the music video for ‘Summer Wine’ and on the song ‘The Blackest Day’ from the album ‘Honeymoon’.

Blackest Day Higher QUality

Simone and Holiday both famously used their art to fight racism and empower black youth throughout their careers, for example in the songs ‘Young Gifted and Black’ and ‘Strange Fruit’ and in numerous other contexts. This video of Simone talking about the artist’s duty to reflect the times, particularly with regards to fighting racism, is one that Del Rey has shared herself on her Instagram:

Nina Simone

It is bizarre, then, that Del Rey, who so idolises these black women who spent their careers and lives fighting racism, is unable to acknowledge and concede that bringing WOC into a conversation about how she has been hard done by the music industry is problematic. It does not matter how may times you tell people that you are not racist: if you are making racially coded comments and comparisons, even and especially unconsciously, then refusing to accept the fact that your white ignorance and privilege have been exposed by those very comments, you are being racist. For white people, our racism is often unconscious and unthought of: our work is to bring our assumptions and everything we take for granted as white people into consciousness, to learn, listen and ultimately become allies in the fight against racism, racial inequality and injustice. Not to dig our heels in, take offence and accuse others of starting ‘a race war’.

This need for clarity and consciousness has become even more sickeningly potent in the days after Del Rey’s flurry of racially coded and unapologetic statements. The video went viral on 25th May 2020 of Amy Cooper threatening Christian Cooper (no relation), a black man, that she would call the police and tell them that he was threatening her life when he had asked her to put her dog on a lead in Central Park’s protected nature reserve ‘The Ramble’. Amy Cooper chillingly showed how America’s law enforcement system, well known for its extensive brutality of black people, was geared in her white favour, and that she was more than willing to use it to get her own way at whatever genuinely life-threatening cost to Christian Cooper. Within days, we saw what the outcome could have been: George Floyd, an unarmed black man, suffocated to death by police officers in Minneapolis. In recent weeks, we have already seen how the American justice system values the life of Ahmed Aubrey, who was lynched by a white father and son in Georgia. It seemed serendipitous that we had this public genealogy of white supremacy and racism unfold so compactly this week:  from Lana Del Rey accusing people of starting a ‘race war’ when what she had articulated was racially coded and, yes, racist; to a white woman using her whiteness as a weapon to threaten a black man who left the altercation, thankfully, safe; and yet another terrible and all too familiar example of police officers murdering an unarmed black man. Even though what happened with Del Rey can be interpreted as a celebrity scandal, it does not exist in a vacuum. Every single part of the events of this week are connected, and are expressions of what is normalised and still accepted in a white supremacist society.

This is not, of course, a problem that only exists in the USA. As writer and journalist Reni Eddo-Lodge argues in her amazing book ‘Why I am No Longer Talking to White People About Race’, by focusing on race as something that happens on the other side of the Atlantic, Black British history is ‘starved of oxygen’ and not given the attention it needs. Racism and white supremacy are alive and well in the UK, and we cannot fall into complacency, believing that it is only in the USA that racism exists. I have spent the past few weeks writing an inquiry project for my teacher training qualification (PGCE) about race and curriculum in the UK and there is no doubt in my mind that the National Curriculum devised by Michael Gove, particularly in Key Stage Four English, serves to perpetuate white cultural hegemony, erasing, denying and ignoring the communities and cultural identities of Black, Asian and Minority Ethnic (BAME) pupils and anyone else who identifies as non-white British. White people are profoundly ignorant of the way in which we accept whiteness in all parts of our lives as standard and normal, as though our entire country’s history was not built off the back of slave labour and colonial oppression of BAME people. Now more than ever, white people need to be doing the work to make our unconscious privileges and ignorance, conscious. This is a battle, in part, because ideological vehicles like The National Curriculum hit us when we are young; but as responsible, conscious adults, we must actively educate ourselves. Too many people continue to suffer and we must do our part to fight and stop that.

This essay has been fuelled by anger, to be sure. But I also offer it in the spirit of generosity. I have been critical of Lana Del Rey because I think it is important for white people to call each other out and educate one another about the way our unconscious privilege and ignorance is a form of racial violence. As such, I want to provide a list of materials that have helped and continue to help me, as a white person, to recognise and check my own privilege and ignorance, which, I hope, help me to be an ally to all BAME people and actively fight racism. I recommend the following to all white people:

‘Why I am No Longer Talking to White People about Race’ by Reni Eddo-Lodge

‘About Race’ podcast by Reni Eddo-Lodge

‘Natives: Race and Class in the Ruins of Empire’ by Akala

‘The Hate U Give’ by Angie Thomas

‘Americanah’ by Chimamanda Ngozi Adichie

‘I Know Why the Caged Bird Sings’ by Dr. Maya Angelou

‘A Raisin in the Sun’ by Lorraine Hansberry

‘White Teeth’ by Zadie Smith

‘Becoming’ by Michelle Obama

‘The Ministry of Utmost Happiness’ by Arundhati Roy

‘The Wretched of the Earth’ by Frantz Fanon

‘Orientalism’ by Edward W. Said

‘OJ: Made in America’ by Ezra Edelman

‘Black Panther’ by Ryan Coogler

‘Straight Outta Compton’ by F. Gary Gray

‘Get Out’ by Jordan Peele

‘Mississippi Burning’ by Alan Parker

‘Lemonade’ by Beyoncé

‘Homecoming’ by Beyoncé

‘To Pimp a Butterfly’ by Kendrick Lamar

‘Kiwanuka’ by Michael Kiwanuka

Gal-dem

The Runnymede Trust resources

‘Let Them Drown: the violence of othering in a warming world’ chapter in ‘On Fire: The Burning Case for a Green New Deal’ by Naomi Klein

‘Episode 102: Empire State of Mind: overhauling the history we teach’ by ‘Reasons To Be Cheerful’ podcast

‘Episode 59: Black Revolution and Whiteness Psychosis with Kehinde Andrews’ by ‘Under the Skin’ podcast

The International Slavery Museum, Liverpool

 

Here are some works that I am yet to start:

‘How to be Antiracist’ by Ibram X. Kendi

‘Brit(ish)’ by Afua Hirsch

‘Things Fall Apart’ by Chinua Achebe

‘Bury My Heart at Wounded Knee’ by Dee Brown

‘Girl, Woman, Other’ by Bernadine Evaristo

‘Women, Race and Class’ by Angela Davis

‘Sister Outsider’ by Audre Lorde

‘If Beale Street Could Talk’ by James Baldwin

‘Ain’t I a Woman: Black women and feminism’ by bell hooks

‘Bad Feminist’ by Roxane Gay

‘Hamilton’ by Lin Manuel Miranda

 

I am absolutely in need of more recommendations, particularly films, so please do send me anything that you are aware of that will help me in my learning.

Love Note – Corona-party

On Tuesday 17th March 2020, I was told at 15:20, after a full day of teaching, that my placement was to be suspended with immediate effect. At this point, I am aware that my course will continue with online learning and seminars, that I have up-coming assignments that I will need to prepare and I have a stack of journal articles to read, but that I will be housebound for the foreseeable future. This has presented me with something of a paradox: being at home is both unnerving and reassuring; liberating from the busy-ness of normal life but may also create a void of emptiness that will leave me climbing the walls. As such, I am doing my best to come up with a daily routine of interesting things to do that will keep me calm. I think that, in spite of all the chaos, this is a really pertinent opportunity for me to dig into some of my interests and hobbies, learn some new things and keep staying curious. At this point, and it is still early days,  I have three books on the go, which I can barely believe myself, I am filling my days with interesting tasks and activities that prevent me from binging on television, and I am keeping positive and cheerful in light of a perfect storm of governmental confusion, media confusion and general upheaval.

‘What Would Boudicca Do?’ by E. Foley and B. Coates

Boudicca

This was a New Year’s gift from a dear friend and is a fun whistle-stop tour of remarkable women from history. I have decided to read a chapter a day over the course of whatever it is that is happening (am I self-isolating, in quarantine, living out a course suspension? Who knows). So far, I have read condensed histories of Boudicca and Mary Wollstonecraft. Tomorrow, Mae West. The book is fun, digestible, full of nuggets of important intersectional feminist history and reading just a chapter a day gives me something to look forward to for tomorrow.

Duolingo

Duolingo

I downloaded and started learning through Duolingo before the corona-party started, and I am now even more committed to keeping at it. Currently, I am refreshing and building up my French and I have started learning Welsh from scratch. I was inspired to start by a friend who is on a 200-day streak and I loved his commitment to the cause. Additionally, I was stunned by the fact that whilst I’ve been chugging away nonchalantly speaking, reading and writing in English alone, over half the world’s population is bilingual. Language learning is going to become more and more essential for Britons, especially in light of our new (sob) relationship with the EU, so I think it’s important that learning new languages and, by proxy, understanding the cultural contexts of different countries and their peoples, becomes more of a priority. French has always been of interest to me (I have delusions of grandeur about moving to Paris) and Welsh is an important part of my own personal heritage. My mum is a native speaker, as is my Grandma on my Dad’s side. Hilariously, they speak different dialects so can’t communicate with one another. Nevertheless, learning Welsh has been an absolute joy. I can just about tell people that I am a vegetarian from memory (dw’in ddim yn bwyta cig) and it is just delightful learning how to speak and write a language that so liberally uses the letters ‘w’ and ‘y’. Duolingo isn’t perfect, but it’s exactly what I need it to be right now: good for my brain, good for my cultural awareness and a diversion from binge-watching TV. Speaking of which…

The Good Place, Netflix *slight spoilers*

The Good Place

Of course a bit of Netflix was going to feature. MW and I are on the final series of this hilarious sitcom that incorporates trashbagism with the central tenets of moral philosophy. The writing is sharp, effortlessly condenses complex philosophical ideas into twenty minutes segments, has truly mind-blowing twists and a range of characters that I absolutely adore. Up there for me is Jason Mendoza, a hapless dimwit from Jacksonville, Florida, who has a heart of gold. Jason is one of the most stupid and naive characters I have ever encounterd but is extraordinarily emotionally intelligent. Whilst head haunch Michael has to scam and manipulate everyone else to get them to do the right thing, Jason is receptive, honest and the most in touch with what he needs. Our time with the show is coming to an end and I am going to miss it enormously.

Going for a walk

The Park Nottingham

MW and I went for a half an hour walk around the Park Estate in Nottingham today. We saw the first of the cherry blossoms coming out; a cute dog with a bandage on its paw who was still tugging its owner along; beautiful Lady-and-the-Tramp Fothergill architecture; my favourite cedar tree; and we talked about everything and nothing. It started trying to rain at one point and we both arrived home with rosy cheeks. Going for a walk was such a nice break from the work of the morning. We felt refreshed by it, we’d had some good exercise, and it helped us to disengage from our screens.

Staying connected

Meme FINAL

I don’t mean this in a mindless, compulsive way: more like checking in with friends and family members on a regular basis, if you can. I have had hilarious and lovely chats with my mum and Grandma today, as well as touching base with a variety of WhatsApp groups where the memes, bad jokes and cute pet photos are flowing. I think it would be quite easy to become very insular and isolated at this time. As much as it is nice to hole up for a while, we need to stay connected and active in a healthy way. Additionally, we need to be mindful of the isolation others may be feeling, particularly older people who are having to self-isolate. Age UK run a befriending service that I volunteered for last year, and I am sure they would appreciate more people signing up at this time. I wrote more about the importance of building relationships with older people here

 Yoga with Adriene, YouTube

Yoga With Adriene

As many of you know from my incessant ramblings, I have sworn by Adriene Mishler’s YouTube channel for years. It is free, full of warmth, wisdom and fantastic yoga practices, and is a go-to for grounding and exercise. Life is always uncertain, but we are experiencing that all the more keenly at this point: yoga is an amazing way to breathe into the uncomfortable feelings, emotions and sensations that may arise, especially if you are prone to anxiety. Her 30 day yoga journey, released in January and prophetically entitled ‘Home’ (where I am spending an awful lot of time at the moment), is one I will be gravitating towards. She also announced today a new yoga playlist that contains videos of practices that pertain to uncertainty and crisis. Just twenty minutes of tuning into my breath and dropping down into my body makes such an incredible difference to my day.

Pema Chodron

Pema

I couple my practice with reading a chapter of Pema Chodron’s ‘The Places That Scare You: a guide to fearlessness’. Chodron is a cornerstone of Buddhist wisdom and guidance, encouraging us to see our fears, anxieties and stuck points as opportunities for growth, self-knowledge and integration. Instead of pushing away or resisting old patterns that no longer serve us, we can get to know them, allow them to pass through, and grow our compassion for ourselves and, as a result, all human beings. We all struggle. We all have our edges that push us to our limits. In this time of collective uncertainty, chaos and fear, we have a real chance to see our lives clearly: we may not like what we see, but that’s OK. It’s better to be conscious of our choices than to live in ignorance or stuck in cycles of self-abandonment.

Music

Music

Over the past couple of days, I have revisited a lot of my musical favourites. I was partially inspired by Daniel Radcliffe’s ‘Desert Island Discs’ which was an absolutely delight. Since then, I have been listening to Father John Misty, Bob Dylan, Sade and Agnes Obel, with a little bit of Andrew Lloyd Webber thrown in (he did a Twitter poll for a song to perform and ‘All I Ask Of You’ from The Phantom of the Opera cam out on top. The whole thing is lovely: check it out). Normally at this time of the year I have my annual Stravinsky Rite of Spring binge due to the impending seasonal transition: it definitely still freaks me out even after all these years, but I wouldn’t be without it. I have started reading Tolstoy’s description of the Russian spring in Anna Karenina as a companion to Stravinsky. The violence and the vibrance of spring, with its renewal and rebirth, is both excruciating and profoundly beautiful.

 

N.B

I genuinely believe that coronavirus is forcing us to re-assess our social structures and our places within them. At no other time has such a compelling case been made for Universal Basic Income; the free childcare labour of grandparents has been shown to be so underappreciated; the undervaluing of the NHS, teaching, and ‘low skill’ jobs such as cleaning and delivery work has been exposed and challenged; rates of pollution dropped in China because of lockdown etc. This is a confusing and uncertain time, but it can be a fascinating time. I think it is giving us the chance to evaluate what most certainly is not working for us and what we can change in the most positive way. Business as usual wasn’t working before coronavirus, it certainly isn’t working now, and we would be fools to let this opportunity to enact progressive, socially aware and compassionate policies post-coronavirus to just slip away. I am not completely fluent in politics, I don’t know what the right answers are; but it is clear that we are in a unique situation where we can move to build a fairer, more just world where everyone is taken care of. I wish that people would stop worrying about market volatility as though it were something that wasn’t invented and perpetuated by humans in the first place. Let’s build something else.

Love Note Year in Review: 2019

Like 2016, 2019 has, in many ways, been a stellar year for me, but has been societally shambolic and difficult to digest. Here, I have written about some of the films, music, TV shows and podcasts that have been my companions along the way. These have all inspired me, taught me new things, expanded my thoughts and given me a richer understanding of the world and the people in it. Enjoy and do let me know what you think.

Book: Crudo by Olivia Laing

Crudo 2

I have read a few books this year that have completely blown me away, including Americanah by Chimamanda Ngozi Adichie  and Circe by Madeline Miller. Here, however, I want to discuss dearest Crudo. I bought this book from Shakespeare and Company whilst in Paris on the recommendation of a great friend with great taste. Crudo is a very short book but it is an absolute gut punch of hilarity, darkness and tenderness. Indeed, it’s hard to really pin down exactly what happens in it because it is such a heady mixture of consciousness, recollection, projection and commentary. For me, this spells perfection: I have always loved character studies and don’t think an exacting plot is always necessary all the time. What I can get to with Crudo is that it centres on Kathy, who is getting married but has all sorts of qualms and skeletons to negotiate with first. Almost every page I declared ‘I LOVE THIS BOOK’ as it twisted and turned unpredictably through the mental chaos of anxiety, exhaustion, eating, friendship, loss, Twitter and drunken chaos in beautiful Italian locations. It is a love letter to anyone who is in despair at recent political turns of events, sardonically laughing at the ridiculousness of the situation whilst also grieving and mourning the rise of hatred, fear and intolerance in the West. I think this book will benefit from many readings, and I cannot wait to sink my teeth into it again.

Film: Apocalypse Now

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I was horrendously late in joining this film’s bandwagon, but was so glad when I did earlier this year. From that first shot of palm trees and the withering notes of The End by The Doors floating in like a breeze before the chaos, I was completely enthralled. This film is one of the greatest examples of a disorientating, arthouse viewing experience blended with the hallmarks of an epic: dramatic helicopter sequences and iconic lines offset with simmering delusion and madness all the way throughout. One such line, ‘I love the smell of napalm in the morning’, is a case in point: the line is delivered so much more softly than I thought it would be. I imagined that line to be a yelled declaration in the heat of conflict, but it is almost a tender revelation: an insight into how war and nationalism has warped and disfigured these men’s emotional engagement with the world around them. Amongst a host of spectacular performances, and there really isn’t a bad one in the whole film, Dennis Hopper stood out for me. With cameras draped around his neck like beads, Hopper plays a sycophantic, voyeuristic photojournalist, an unnamed self-declared ‘little man’ who has been brainwashed by Colonel Kurtz and is always ready to get a picture. An embodiment of a culture and a media that will transmit horror without reflection, Hopper’s photojournalist is the keenest harbinger of the shit state that is our current retinue of communication and media affairs.

Music: Beware of the Dogs, Stella Donnelly

StellaDonnelly_BewareOfTheDogs

Music-wise, this year has been a stunner. With the returns of Lana Del Rey (who I wrote about here), Michael Kiwanuka, fka Twigs and Nick Cave amongst many others, and Billie Eilish’s brilliant debut, this year has felt particularly golden. I want to give my attention here to singer-songwriter Stella Donnelly, whose album Beware of the Dogs is undoubtedly one of my favourites from the brace of brilliance that was 2019. If there were to be any soundtrack to the #MeToo movement, it would be this album. From a sassy , beachy opener that holds a ‘grabbing’ middle-aged man to account, in what I would argue is a direct middle finger up to the likes of Donald Trump, to the searing and devastating ‘Boys Will Be Boys’, Donnelly keenly and devastatingly  confronts rampant toxic masculinity and a patriarchal culture that is riddled with sexual assault and violence. And yet, even with these serious concerns, the album is undeniably fun. With a contents list that features the maddening performativity of relationships, the deconstruction of awkward family dynamics and cake allergies in a register that nods to Noughties Lily Allen and Kate Nash (but with plinky plonky music exchanged for a wilting easy-breezy Australian nonchalance), this album feels assured, mature and endlessly witty. I can’t recommend it enough.

TV: The Politician, Netflix

The Politician

As the Golden Age of Television enters its late period of peak saturation, this year has once again been brilliant, if not slightly exhausting. Shows I loved included Stranger Things, Big Little Lies, The Real Housewives of New York City which, quite frankly, deserves an Emmy (that trip to Miami, in particular the first night, was the trip to end all Bravo trips), The Last Czars, which expertly wove dramatic reconstruction with historical analysis, and His Dark Materials. The Politician, made by the producers behind Glee (which I never much cared for) is an absolutely hilarious, obscene, outrageous drama which follows a group of Californian uber-rich teenagers taking part in a high school election campaign. Whilst this may ring with all the hallmarks of another glossy, predictable teen drama, The Politician is hilarious, piercingly dark and shocking, with some of the biggest knots of twists and turns I have seen on a TV show. We had to take a break after watching the first couple of episodes because it was so intense. Yet, the show’s astute political and social commentary feels absolutely essential in a ravaged post-truth Western world, in particular the stand alone episode ‘The Voter’, which serves as a microcosm of the lives of undecided and politically disaffected members of the electorate. With a soundtrack reminiscent of Western revenge tragedies and dramas, and a wardrobe department to rival seminal teen show Gossip Girl, The Politician is a sensory riot, and one of the most groundless viewing experiences I have had: I had absolutely no idea what was going to happen next or which bizarre direction the drama was going to take. This all serves to make it utterly compelling and brilliant television.

Podcasts

I have found it impossible to pick one podcast that has stood out as my favourite this year. Different podcasts serve very different moods and purposes, and there is no singular podcast to be drawn from my list of regulars and favourites.

Reasons

Reasons to Be Cheerful – Ed Miliband and Geoff Lloyd’s podcast forms the audio backdrop to my Monday mornings. This podcast has introduced me to many exciting concepts and policy ideas that I hope will become a part of the fabric of our politics in the future. Favourite episodes included topics like social care for the elderly, tax on frequent fliers, music and history education, the power of protest, community organisation, architecture and town planning and sustainable fashion. I am also exceedingly proud that my email on green fashion alternatives and tips was read out by Ed himself. #goals

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Dressed: The History of Fashion – This podcast fills the gap that glossy magazines have left in my life (I still buy the September issue of Vogue and the December issue of Harper’s Bazaar but that’s just about it). Instead, I have a podcast full of incredible interviews and explorations into the personal and cultural stories of my favourite designers and some of the clothes I wear on a day-to-day basis. I have enjoyed listening to episodes on The Met Gala, fashion and physique (mapping the female body), the history of the penny loafer, the biography of Cristóbal Balenciaga, the history of the French haute couture industry (Worth, Vionnet and Louis Vuitton being some of the most interesting stories) and a compelling conversation with Dr Monica Germanà about Bond girl style, looking at sexual, racial and colonial implications of women’s bodies and women’s dress in the franchise. I have shunned James Bond for many years but this conversation, with its focus on masculine and imperial anxiety, has shifted my perspective entirely.

DIDs

The Desert Island Discs Archive – This year, I discovered the delights of conversations and the musical favourites of some of Western culture’s greats. Tucked away in the archive, I found Powell and Pressburger, Leonide Massine, Tennessee Williams and Lauren Bacall amongst others. Gregory Peck was as dreamy as I hoped he would be and had a great story about the filming of Moby Dick, which coincidentally was shot down the road from where my grandparents lived in Wales; Jessica Mitford was hilarious and sassy; Roald Dahl was a bit of a snob; and P L Travers wasn’t as scary as I thought she’d be and picked a list formed exclusively of recordings of poetry being read aloud. One such recording was of Alec Guinness’s reading ‘Little Gidding’ from T.S Eliot’s Four Quartets, which was a balm I never knew I needed. Utterly transporting listening.

One last thing…

Joseph Campbell and the Power of Myth, Netflix

Joseph Campbell

Originally broadcast in 1988, and which I watched on Netflix this year but has now been removed, this series of six conversations in six episodes between comparative mythologist Joseph Campbell and Bill Moyers is one of the most fascinating TV shows I have ever seen. Combining conversation, story-telling, animation, archive footage and film clips, this series takes a deep look into the psyche and collective unconscious of human beings. Campbell takes us on a bewildering but utterly brilliant journey through indigenous ritual, Jungian archetypes, the world religions, Western capitalism, the sacred feminine, the interplay of symbols and allegory, the sublime, the liminal passage and many other areas to present a multi-faceted, deep and intriguing portrait of human behaviour, interconnectedness and culture. Every single episode had something profound to learn from it, but the episode that stood out to me the most centred on animal-human relations, including the role of sacrifice, the transcendence of Death and the horror of a world where human beings are divorced from where they get their food, their clothing, almost everything. Additionally, I loved Campbell’s ideas that stemmed from the Buddhist teachings: that the present is all there is, and in the present, when you sit wholly aware, unblinkered and unfettered from trappings of ego (fear, envy, jealousy, anger, boredom etc.) we are witness to and subjects of, what could be called, the divine. I have never thought of myself as a religious person, and I still don’t think I am, but I found immense power in what Campbell had to share. There are iterations of ancient behaviours and beliefs all around us, and Campbell’s myth work is a great source of inspiration and an anchor when the ocean of chaos, anxiety and societal disruption feels too overwhelming. His work prioritises the power of metaphor beyond what is material, and it has enriched my life immensely.

 

Love Note – TV 2019

After watching the first season of Netflix’s Master of None in 2015, I casually appropriated Dev’s declaration that we were living in the ‘Golden Age of Television’. I mostly bring out this phrase when I want to irritate my boyfriend with semi-pretentious cultural musings, but I think it has fairly accurately described the creative output for the small screen over the past few years. Of course, there have been great television series prior to the Noughties and Teens of the 21st Century, but the quantity of high-quality and compelling drama available to binge watch and tune into every week is at an all-time high. Indeed, I feel like I’ve reached a personal saturation point with all this television. There’s always something I feel like I ‘have’ to watch, that I ‘can’t miss’, a show that’s absolutely amazing. I’m sure they all are, I really do. I just don’t have the time or the emotional energy to spend on them all. When I watch a TV show, I get utterly and overly enthralled and involved with what’s going on, which means that I just can’t commit to all the ups and downs and twists and turns to all these shows all at the same time. It’s just too darn much! Additionally, I spend a lot of my waking time at work or getting to and from work and, as a result, my down time feels very precious to me. Watching TV every night of the week just isn’t the most valuable use of my time. I’ve consciously tried to read more, do cooking, go to the gym and catch up with friends over the phone or face-to-face so that I really make my free time meaningful.

Having said all of that, I am really looking forward to 2019’s TV offerings. They are all returning shows that I have become very emotionally attached to over the past few years. Continuing these stories, or re-emerging myself in the style of the anthology shows, is a very exciting prospect. I may be a bit of a stick in the mud when it comes to watching TV, but these shows are going to have my undivided attention. Obviously, writing a Love Note before watching the shows is pretty presumptuous, because they may all turn out to be crap. This is as much a Love Note to healthy anticipation as it is to the good stuff on the box.

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True Detective – Season 3

I watched the second series of True Detective before the first and hold the perhaps unpopular opinion that it is as every bit as amazing as its predecessor. True Detective season 1 saw the birth of the McConaissance, was thrilling to watch and brought existential malcontentedness to the small screen in an utterly compelling and accessible way. Yet, season 2 was every bit as fraught and tense, if not moodier. The inner turmoil of the main characters was drawn out like a long spool of string, with episode 6 in particular providing revelations and the most heart-stopping escape scene I have ever watched on TV. Additionally, Vince Vaughn’s performance was transformative.[1] After a long break, we have the next series starring Mahershala Ali and I am very excited for the broody detective and emotional work to commence.

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Big Little Lies – Season 2

There’s no denying that Big Little Lies was a commercial and critical success when it was released in 2017, with its haul of awards at the Emmys, SAG Awards and Golden Globes a testament to the fact. It’s set to get even bigger with the arrival of Meryl Streep playing Alexander Skarsgard’s mother, as we inevitably witness the fallout of the chaos that revealed itself in the last series. I loved Jean Marc Vallee’s direction of the first season, with its patchwork, dreamlike construction of the women and their entangled, complicated lives; but I am as excited about Andrea Arnold who has taken up the mantle this time round.

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Game of Thrones – Season 8

Last season ended with a hell of a ‘holy shit’ moment. Spoiler alert guys, but The Wall is down and personally, I am terrified that that has spelt the end of Tormund who was on The Wall at the time. We’ll just have to wait and see. What we have been building up to since the first moments of the first season is coming to fruition and there’s no doubt that the final twists and turns of this amazing series are going to be epic. I have long had a sneaking suspicion that Game of Thrones is an allegory about climate change (stupid humans fighting amongst themselves, burning children, catching greyscale and having sex whilst ignoring/unaware of the Night King and his army of the dead accumulating momentum) – but maybe that’s an article for another time. I am slightly sheepish about the feature length episodes that we will have to commit to, but it’s the biggest conclusion to a TV series, perhaps, ever. I’m here for that.

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Stranger Things – Season 3

I was so glad that the Duffer brothers decided to take a break between the second series and the third. Whilst I loved season 2, it felt like there had been a slight rush to get it out after the unbridled success of the first. As such, it was suffering a little from what I’ve called Star Wars Syndrome: there were a few new characters and a few new tensions to explore, but the main premise and action was very similar. Instead of exploding another Death Star, the cast were once again turning Joyce’s house into a living and breathing map of The Upside Down and Eleven used her powers to stop the monsters. Now that the writers have had some breathing space, I think Stranger Things 3 is going to be a cracker. In particular, I’m looking forward to my faves returning to the screen: Steve, Erica and Joyce.

The Real Housewives of Beverly Hills Season 9 CR: Bravo

The Real Housewives of Beverly Hills and New York

My beautiful beloved trash. I have so many questions: what the hell happened between Lisa Vanderpump and the rest of the Beverly Hills gang? What on EARTH is Brandi Glanville doing back? Will Lisa Rinna’s pill bag make an appearance? How will Carole Radziwill’s exit affect group dynamics in New York? Will Dorinda get messy after another dirty martini? Will Bethenny Frankel stop picking on Ramona and just accept that she’s slightly unhinged but the best thing since sliced bread? SO MANY QUESTIONS.

 

[1] My friend and I watched episode two first by accident, which opens with Vince Vaughn delivering a monologue about his father whilst staring at a mould stain on the ceiling. We thought this as an unbelievably audacious way to begin a series and were totally here for it. We soon realised that the disorientation we experienced soon afterwards was not a narrative construction but the fact that we’d missed an entire hour of set-up. Nevertheless, Vince Vaughn’s acting here is just amazing.