Marc Maron: Louis C.K. lied to me before exposé came out | Page Six
Pamela Adlon, in season two of Better Things. Louis CK, Adlon's long-time collaborator is no longer involved, after his sexual misconduct. Louis C.K. confirms New York Times expose good, even when it comes to the show “Better Things,” which he co-created with Pamela Adlon. Louis C.K. and Marc Maron Getty Images Illumination · Pamela Adlon weighs in on Louis C.K. sexual misconduct: 'My family and Universal Pictures and Illumination have terminated their relationship with the . York Post · The Australian · Checkout51 · News America Marketing · elecciones2013.info · Unruly.
Pamela Adlon | Gonna Die
For those of us who often find acceptance and love through making people laugh, there can often be a disconnect between the intimacy of sharing a genuine laugh with a person and the actual reality of a relationship. She likes things the way they are. If she knows how he truly feels, nothing can be the same again.
And yet, Louie wants to finally express his feelings for her.
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The monologue about his feelings for Pamela is particularly heartfelt, genuine and loving, which only makes it worse. Louie is hopelessly in love with Pamela.
He knows the odds are against her feeling the same way, but he wants to finally put it out there. The entire exchange is firmly grounded in the real world. She pats Louie sympathetically and an embarrassed Louie regrets the vulnerability he was showing just seconds before. The entire dynamics of the relationship have changed. Louie promised that he would be fine with just being friends, but the sting of rejection is stronger than the desire to follow social code. When the two get to her apartment, Pamela offhandedly offers Louie a bath, which a scarred Louie rejects.
The final scene of Louie screaming out of frustration when he learns that she wanted to share a bath with him is the first cliched comic moment of the episode. Despite the hobbled finish, the vignette is a familiar story of unrequited love told well. The vignette begins with Louie watching a talented violinist playing a beautiful song in the subway. The credit sequence, like the series, centres on motherhood.
Unlike most depictions of maternity and mothering on US television, Better Things does not present an idealised version of motherhood, rather Sam is flawed and angry, and perhaps most importantly unexceptional.
This resonates with depictions of motherhood from recent American indie films Lady Bird and Tully In response, Max and Franky are shown to enjoy provoking their mother into a rage. Through Sam, motherhood is depicted as love and frustration in equal measures.
There is very little expositional dialogue and the characters rarely explain their relationships to one another or outline why they are in a particular setting.
There is also often a lack of explicit causality between scenes. This is unusual for US television which uses expository dialogue to engage casual viewers. Like Girls, Better Things uses a low-key style of filmmaking whereby the camera work does not make itself overly apparent through framing, editing, or movement.
Occasionally the series does use flashbacks; though, these are momentary glimpses into past events that cast the present in a new light. Better Things prioritises the emotional lives of its central characters over everything else, including, plot cohesion and clarity.
The episodes are structured around themes and ideas rather than plot.
As such there is a lack of solid narrative structure within each episode or across seasons, which is atypical of contemporary television. This lack of causality results in a somewhat disjointed experience both within episodes and across seasons, as the characters move seemingly without cause or consequence across spaces and situations.
Louis CK: Better Things star Pamela Adlon is 'devastated' about comedian's behavior | elecciones2013.info
For example, in the second episode of the first season, a sombre scene of Sam discussing the failing marriage of a friend cuts directly to a scene within a scene, in which Sam is filming a traditional family sitcom.
The tonal shift between to two scenes is stark and it is made more so by the lack of fusion journal www. There is an emphasis on the mundane and the lack of excitement.Pamela Adlon - Louis CK, Being Bobby Hill, Better Things - Jim Norton & Sam Roberts
As seen in the second season when an intense emotional moment between Sam and an old flame occurs while she is shopping for a generator. This mundane moment becomes charged with history and emotional resonance. These spaces are at once private and public, they are intimate yet exposed.
The interstitial spaces are rendered in ways that are distinctly woman-focused, feminist, and Sam-centric. The camera sits with Sam as she waits for Franky to finish soccer practice or Max to finish dance class. The camera holds Sam in the centre of the frame, even as other action begs for attention from Sam, the camera, and the audience. Franky and Duke move in and out of the frame, the camera does not follow them, but stays on Sam, while their voices dominate the soundscape.
This is a visual motif that reoccurs throughout the series. Even if Sam is not always interested in the everyday minutiae of those around her, the series is. Sam is often frustrated with Phil, in particular her hoarding tendencies, but the series takes the time to appreciate her world. Season two features a Phil-centric episode, where the audience spends the day with her as she volunteers at a museum, gets asked to leave after attempting to steal an ancient artefact, and then deliberately injures herself at an unattended worksite.
The camera holds on her face for comedic and emotional affect, emphasising her disappointment and showing how fusion journal www. Better Things moves across literal and emotional terrain in a way that appears effortless and seamless yet loaded with meaning and history.
While the series shows Sam and Max negotiating how her graduation party will proceed, what alcohol will be allowed, and whether Sam will be present, we do not see the party itself. The same can be said of the graduation ceremony, the series shows Max getting ready and the logistical negotiations of who is going to take Max to the graduation rehearsal, but we do not witness the ceremony.
It is the minutiae, the tension and emotions between Sam and Max on this important day, that are given pride of place within the episode, rather than the pageantry and performativity of the ceremony itself. Conclusion Better Things highlights how some feminist cinematic television series are aesthetically, tonally, and narratively in conversation with feminist indie cinema. However, the use of indie and smart styles of filmmaking and aesthetics are not limited to feminist television creators, writers, and directors.
So why focus on women-centric, feminist-authored television series?
Because the aesthetic and cinematic work of male filmmakers on television is rarely marginalised and erased in the same way the work of women is. Using the work of McHugh, Lane, White, and Perkins as a way into women-centric television makes apparent their cinematic-ness and their feminist sensibility. This lack of adequate evaluative and interpretive frameworks, means that these series cannot be accurately categorised as operating within particular filmic or television traditions.
Pamela Adlon is making it up as she goes
Feminist filmmakers and television creators are increasingly asserting themselves, their storytelling, and their politics on television and while television distributors and audiences seem to have made room for them, evaluative and interpretive frameworks also need to be reformulated accordingly. Alexander, Scott, and Larry Karaszewski, developers.
Benioff, David, and D. Figures Traced in Light: University of California Press, The Mary Tyler Moore Show. Campion, Jane, and Gerard Lee, creators.
Top of the Lake. Top of the Lake: Historicizing media feminisms in transnational contexts. Feminism, Culture, and Media Studies, vol. The Poetics of Contemporary Television Storytelling. Murphy, Ryan, and Brad Falchuck, creators. Media Convergence and Cultural Status. Notaro, Tig, and Diablo Cody, creators. Edinburgh U P, The everyday ethics of Nicole Holofcener. National Film Board of Canada. Rae, Issa, and Larry Wilmore, creators. Buffy the Vampire Slayer. Zoller Seitz, Matt, and Chris Wade.
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Journal of Feminism and Visual Culture.