High Maintenance is a web series which allows glimpses into people’s everyday lives in a diverse and insightful way. It is available on the website ‘Vimeo’, with four of the ‘cycles’ (seasons) available for free and the fifth one for a low price, with the episodes varying in length (usually shorter than 15 minutes). The series follows the character known as ‘The Guy’, a marijuana dealer who delivers to these people’s homes. Each episode features a different person, couple or group and “The Guy” acts as the audience’s ‘window’ to each, although he often features very little in each episode. This essay analyses High Maintenance through the episodes of “Rachel”, “Helen” and “Matilda” and discusses how the episodes uses space while linking it …show more content…
This portrait of the ‘dad’ in an otherwise ‘normal’ family (that is involving a heterosexual couple with a child, mirroring a ‘nuclear family’) can be seen as ‘queer’, as it deconstructs the idea of hetereonormative normality. The episode itself is self-reflexive in the way in acknowledges its ‘queerness’ when the writer’s mentor tells him to re-write the emasculated main character in his script as someone more manly. Needham negotiates ‘space’ through the idea of ‘temporality’ in which queer storylines occupy spaces of strange temporalities (151). High Maintenance occupies a space of strange temporality as it’ characters often don’t have a future. Normative time and space relies on its characters being given a linear progression, one that makes sense within the heteronormative context (Needham 150). With ‘Rachel’ and indeed all episodes, the time given to characters is ephemeral, often robbed of having satisfying conclusions in terms of their future. No episode is better at demonstrating this than ‘Helen’. Although ‘Rachel’ demonstrates a character within the institution of “family, heterosexuality, and reproduction”, ‘Helen’ introduces the viewer to a character who is agoraphobic, buying marijuana with the goal of making humanistic and romantic connections to ‘The Guy’. The character lives with just his sick mother and does not venture outside of his apartment. Already he disrupts the idea of normative television scheduling that privileges the rhythms of family discourses, as the temporality of the family does not factor (Needham 145). The only space which exists is the domestic space, where the progression of time is warped as there is no way to tell the days apart. ‘Helen’ ends with the character standing alone in the kitchen, the off-screen
Recently, I saw a movie about female tennis champion – Billie Jean King, and although I have never been into the feminism (neither can I say that I quite understand it), her character woke up some other kind of sensitivity in me. After this – to me significant change – I could not help myself not to notice different approaches of John Steinbeck and Kay Boyle to the similar thematic. They both deal with marital relationships and it was quite interesting to view lives of ordinary married couples through both “male” and “female eyes”. While Steinbeck opens his story describing the Salinas Valley in December metaphorically referring to the Elisa’s character, Boyle jumps directly to Mrs. Ames’s inner world. Although both writers give us pretty clear picture of their characters, Boyle does it with more emotions aiming our feelings immediately, unlike Steinbeck who leaves us more space to think about Elisa Allen.
Janie’s previous husbands—Logan and Joe—and Arvay’s husband, Jim Meserve, “sometimes play more the role of substitute parent than that of a husband” (Roark 207). Clearly, this type of relationship impedes one’s self-actualization (including the recognition of one’s personal desires and aspirations). While a father figure is completely...
Throughout a lifetime, one can run through many different personalities that transform constantly due to experience and growing maturity, whether he or she becomes the quiet, brooding type, or tries out being the wild, party maniac. Richard Yates examines acting and role-playing—recurring themes throughout the ages—in his fictional novel Revolutionary Road. Frank and April Wheeler, a young couple living miserably in suburbia, experience relationship difficulties as their desire to escape grows. Despite their search for something different, the couple’s lack of communication causes their planned move to Europe to fall through. Frank and April Wheeler play roles not only in their individual searches for identity, but also in their search for a healthy couple identity; however, the more the Wheelers hide behind their desired roles, the more they lose sense of their true selves as individuals and as a pair.
In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
Curley’s Wife experiences extreme exclusion from society. However, in her case, it is her gender and her husband that are the
This essay sets out to distinguish how male characters can be portrayed in the same fashion as their female counterparts, and therefore become subjected to the same erotic objectification. This will be researched under the circumstances that the production revolves around gay characters and the assumed audience is exchanged from a homogenous crowd of heterosexual spectators, to a homogenous crowd of homosexual spectators. To support this claim there will be references to a segment from the American remake of the television series Queer as Folk (USA, dev. Ron Cowen, Daniel Lipman, 2000-2005) where Brian Kinney (Gale Harold) and Justin Taylor (Randy Harris) first meet.
As a result, women were stuck at home, usually alone, until their husbands got home. In the story, Jane is at home staring at the wallpaper in her room. The wallpaper’s color is described by Jane as being “repellent, almost revolting” (3) and the pattern is “torturing” and “like a bad dream” (10). The description of the wallpaper represents Jane’s and all women’s thoughts about the ideologies and rules upheld by men prior to the First World War. It is made evident that this wallpaper represents the screen made up of men’s ideologies at the time caging in women. Jane is subconsciously repelled by this screen and represents her discovering continuously figuring out what she wants. Metaphorically, Jane is trapped in that room by a culture established by men. Furthermore, Jane compares the wallpaper’s pattern to bars putting further emphasis on her feelings of being trapped and helpless. Later in the narrative, she catches Jennie staring at the wallpaper’s pattern and then decides to study the pattern and determine what it means herself. Her study of the pattern is representative of her trying to analyze the situation in which she’s in. By studying the pattern, she progressively discovers herself, especially when she sees the woman behind the
Finally, I will now discuss the repercussions of the wife role and the mask of motherhood on Eva’s relationship with Kevin. Ruddick states, “a ‘good mother’ may well be praised for colluding in her own subordination, with destructive consequences to her and her children” (104). Accordingly, the mask of motherhood strips Eva of her authenticity and integrity, and as it becomes her way of life, it diminishes her power (Maushart 463). Her “anger at the conditions of motherhood…become translated into anger at the child,” so that her relationship with Kevin becomes controlled by the wife role and mask of motherhood (Rich 52). Subsequently, even the act of loving him becomes problematic for her. Eva notes, “the harder I tried, the more aware I became
Unable to conform to society’s norms, Richard Eugene Hickcok is raised by his parents who are modest farmers. In spite of his family’s hardship Dick’s childhood is pretty typical, he is popular throughout high school, plays sports, and he dreams of going to college. Due to his family’s lack of resources, Dick is unable to fulfill his dream of attending college. In spite of Dick’s unfortunate drawbacks Dick lives an average life, he marries has three children, and becomes a mechanic. Dick lives a typical American life, but soon after his third child is born Dick has an extramarital affair which ends his marriage. Shortly after his divorce from his first wife Dick remarries, but his second marriage ...
In Alison Bechdel’s graphic novel entitled Fun Home, the author expresses her life in a comical manner where she explains the relationship between her and her family, pointedly her father who acts as a father figure to the family as she undergoes her exhaustive search for sexuality. Furthermore, the story describes the relationship between a daughter and a father with inversed gender roles as sexuality is questioned. Throughout the novel, the author suggests that one’s identity is impacted by their environment because one’s true self is created through the ability of a person to distinguish reality from fictional despotism.
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
Susan, the protagonist in “To Room Nineteen” feels trapped by her life and her family, and afflicted by her husband’s infidelity. Everyone assumes Susan and her husband are the perfect couple who have made all the right choices in life, but when Susan packs her youngest children off to school and discovers that her husband has been having an affair, she begins to question the life decisions she has made. Susan chooses to isolate herself from her own family by embarking on a journey of self-discovery in a hotel room that ultimately becomes a descend into madness. Unlike Susan, the woman in “The Yellow Wallpaper” initially wants contact and interaction with people, but is
The longing for sexual connection inflicts psychic as well as physical pain in Munro’s fiction. Betrayal is common. From the high-school girl of ‘An Ounce of Cure’, so mortally depressed over being dropped by the boy who played Darcy in the Christmas production of Pride and Prejudice that she gets hugely drunk, to Prue, a woman in her forties who practices cynicism in a winningly lighthearted way and drowns her sorrow in a small revenge strategy of pilferage, Munro’s stories are filled with women- and sometimes men- who have smelled love and hope and suffer for it. (Bloom 3)
Society has always had an influence on the way people think and act. Many beliefs and actions viewed as unique are many times shunned upon by members of society. This constraint on being an individual is explored in Gilman’s “The Yellow Wallpaper” and Joyce’s “The Boarding House.” Both authors show how society’s constraints put stress on individuals’ lives. In some cases this stress is good for the characters, but for some characters society’s constraints are too much.
Society has changed a lot in the last couple of decades, though, at the time set in the play Who’s Afraid of Virginia Woolf?, the stereotype was very much alive. Even today echoes of this archaic family model still exist. Being normal, and adapting to society, can often lead a person to feel a sense of belonging in the short term. However, the penalty for conforming is that the individual can be lost. Giving up your personal goals, in the pursuit of those passed down from your family can lead to a lifetime of regrets. Basing decisions on societal norms can also have devastating consequences, leading the individual to become lost in a mundane life that is not of their choosing. Martha and George created a fictional son for their private needs to take away from the failure they felt as married individuals by not being able to conceive a child. Nick and Honey started their marriage to fill their roles as future parents in the expected family dynamic. Confronting each couple is a personal failure resulting in an unrealized future. Neither couple has a desire to admit their shortcomings for fear of judgment from the other couple. The play, Who’s Afraid of Virginia Woolf? displays how the desire to be normal and successful, in the eyes of our peers, impacts our life