Modern Love

As I binge watched Amazon’s eight-episode Modern Love series this week I wondered what part of my relationship with my husband would serve as the jumping off point for our episode.

Nothing came to mind.

That is not because there wasn’t drama, comedy, love, hate and everything in between. (Note: Please, we’re talking about two gay men here).  It’s because after celebrating 32 years together this Oct. 24 there are too many stories.

There are also too many risks that the one story I did choose to tell would only come across to the collective YOU as a painfully self-satisfied humble brag.

what can I say?

Maybe something along the theme lines of:

— See, we almost broke up but then a series of inspired events where we both took chances brought us together!

— You think the perfect mate for you will never come along, well let me tell you about how many toads I had to kiss.

— Share your deepest secret publicly with the world and perhaps get some therapy, or meditate, or give someone a chance that you NEVER would have dated or befriended in the past and you too can be as happy as the ME in MY love story.  Why NOT, right?

I just can’t do it for numerous reasons, and one other, which we’ll get to in a minute.

For those unfamiliar with the world of Modern Love (Note: And which of us isn’t in some shape or form in the broader sense), the series is loosely based on real-life love stories that appear in a recurring column in the NY Times Style section.  It began 15 years ago and grew exponentially in popularity.  Four years ago it became a podcast.  This month it debuted as a half-hour streaming show and this past week it was renewed for season two.

… and that’s not even half the cast!

I guess that means it has good ratings but, seriously, with streaming platforms like Amazon (Note: And Netflix and Hulu and…) we don’t really know.  I mean, would you swear to it?  I certainly wouldn’t.  Maybe it’s a loss leader, like the perfect sized 125 inch Hi-Def TV on sale in limited quantities just to get you into Target on Christmas Day.

Losing interest, already?

Well, don’t.

Before deciding this universe is only for romance novel fans, rom-coms addicts, or those looking for a very special brand of reassuringly Hallmark non-holiday movies (i.e. women and gay men of certain age), not quite.  Actually, not at all.

Modern Love is not necessarily focused on romantic love and not always about happy endings for all concerned.  It can be about weird friendships, familial connections, unsettling dysfunction between parents and kids, old people too close to death’s door or mental illness.  Years ago I read one about a dog that I barely got over, though quickly decided I could have written better from my own experience.   (Note: See humble brag).  Yet on reflection I recently decided the latter was not true, it would have only been different.

Did I mention I love my dog?

The half hour format gives the show a bit of a kick as does the limited space the Times reserves for its frequent Sunday column.  You don’t like that particular story, you won’t be bored or annoyed for long.  But every so often you get whacked upside the head in a great, unexpected way by one of them.

To call them inspiring is to imply too much bathos.  The best ones emerge as unusually true and atypically heartfelt.  In fact, the best ones are the anti rom-com.

This is why actors such as Dev Patel, Catherine Keener, Anne Hathaway, Tina Fey, Jane Alexander, Andrew Scott and Andy Garcia were attracted to emotional season one roles that these days are scarce to sometimes non-existent (Note: Depending on the way you look and your age and your race) on the big screen.

YES, Catherine Keener, YES.

As Martin Scorsese, Francis Ford Coppola and many others have opined in the last few weeks, not everyone – meaning actors AND moviegoers – can fit into the Marvel/DC Universe.

This came into specific focus when I began reading the extremely mixed and varied reactions to Amazon’s eight episodes.  Numerous critics felt at least half of them were flat and phony while others loved most of the entire series.  A reviewer for Entertainment Weekly rated them from best to worst and had the nerve to put MY LEAST FAVORITE at number one.  Imagine!

But that’s the way it is with love, modern or old-fashioned.  What floats your boat is a repellent to someone else.  This is fortunate because if reactions were universal I am fairly confident I would not be in a loving relationship for 32 years.

Very romantic

Which reminds me, towards the end of my binge something happened in my own story that may or may not read like a humble brag but stopped me right in my tracks at the moment.

My husband had come upstairs (Note: No, we didn’t couple binge it together!) for an Energy Drink to sustain him long enough to focus on finishing a chapter for the long overdue textbook he was writing.  He went to the fridge, looked up, poured the drink into a glass and finally noticed I was searching, frantically and frustrated, through the cupboards and drawers for something.

What are you looking for?

Do you have any gum?  I just really need a piece of gum.

Yes, I am addicted to Extra’s sugarless bubble gum.  A nasty habit but certainly better than drugs, McDonald’s or indiscriminate anything at this point in time for me.

Actually, I do.  It just so happens that I keep a secret package downstairs in a drawer in my office for this very reason.

.. and now I’m a puddle #thesweetest

At which point he proceeded to go down and up the stairs in less than a minute and proudly produce that pretty pink pack of overly sweet, plastic-wrapped, chemical deliciousness.

This might not make a good episode of Modern Love but it says everything I could possibly tell you about what might still float your boat after 32 years.

David Bowie – “Modern Love”

Not So Green with Envy: An Oscars Post Mortem

Oscars 2019 proved that you don’t need a host to produce a watchable awards show but you do need at least a handful charismatic stars, inspiring musical moments, unexpected wins and, of course, heartfelt speeches.

This year’s show featured all of the above and often did it quite well – sometimes a little too well.

There was something ultimately schizophrenic about the show, the choices and the moments the evening offered.  It was as if the members of the Academy were so unsure of what they truly loved this year in cinema that they decided to people please and pick almost everyone from as many films as it could.

See: Green Book

Green Book took home the top prize of best picture while its director, Peter Farrelly, was not even nominated in his category.  Roma won Alfonso Cuaron best director and cinematographer but his movie was passed over for best film.  (Note: It did win foreign film, meaning it’s only the best if…you don’t speak English?).

Spike Lee won his first competitive Oscar trophy ever for co-writing BlackKklansman but was passed over in the director category, as was his film for best picture.

But he did give us one of the best shots from the whole show

Glenn Close, who had already won almost everything during this awards season, became the first actress to be nominated SEVEN times for acting Oscars without a win.   Olivia Colman won best actress for The Favourite in a bit of an upset over the heavily favored Ms. Close (The Wife), while Rami Malek swept in as best actor winner for bringing beloved Queen front man Freddie Mercury back to life onscreen in Bohemian Rhapsody.

We know Glenny.

Though interestingly, neither of the two top actor winners appeared in the movies awarded either best film, director or screenplay, either original or adapted.

Rounding out, or perhaps butter knifing around the gold, Black Panther, the biggest box-office hit nominated, took top prizes for score, production and costume design; A Star Is Born (the second biggest b.o. juggernaut) won best song; and Regina King was bestowed best supporting actress honors for If Beale Street Could Talk.

Of course, there is nothing wrong with spreading the wealth around.  But by the time Green Book was announced as best picture, veteran Oscar watchers couldn’t help but recall that time almost thirty years ago when another middle-of-the-road road movie about race, Driving Miss Daisy, won the best picture prize despite the Academy denying its director, Bruce Beresford, even a nomination in his category.

One supposes it is better for voters to widely disperse the joy rather than to ignore artists like Mr. Lee, whose more cutting edge film on race in 1989, Do The Right Thing, failed to gain either a best picture or director nomination and was subsequently overlooked in one of the few categories it was even nominated for – best original screenplay.  It took three decades but in 2019 the Academy managed to give Mr. Lee just a bit of his competitive due while still denying yet another of his masterpiece movies about race a win in favor of yet another rival film that chose the safer, more benign Driving Miss Daisy-ish route.

Look! They are in a car! How genius!

Whether that compromise was enough (Note: Um, no..) and others got too much (Note: Uh, hella yes..) is for each of us to say this week and then forever hold our pieces because that’s about how long the conversation will remain relevant to anyone given what’s in the zeitgeist these days.

What will hang around a bit longer is the memory of Melissa McCarthy entering the stage in a comic riff on The Favourite’s Queen dragging a train strewn with stuffed bunny rabbits, one of which somehow became situated on her hand and helped her to open an envelope.

Personally, I marveled at the age-defying beauty of actors like Angela Bassett and Paul Rudd, who will respectively turn 61 and 50 this year.  As Rosemary Woodhouse once said about her intimate evening with the Devil: IT CAN’T BE!

But like.. HOW?!

Even better was the opening musical number where the remaining members of Queen, aided greatly by Adam Lambert as its fill-in front man, gave us a soaring song in tribute to Freddie Mercury, whose larger than life image looked on from above.

Equally riveting in a totally different way was when Lady Gaga and Bradley Cooper performed a stripped down version of their film’s mega-hit (and now Oscar winner) “Shallow” and managed to turn the Dolby Theatre stage into a master class pairing of artistry and intimacy.

Um… his wife was 5ft away. #icant #THEHEAT

It was also fun to watch Tina Fey, Amy Poehler and Maya Rudolph goof it up in an elongated comic bit early on and actually prove you can still be fresh and funny on any awards stage.  Ditto Awkwafina and John Mulaney presenting best-animated short.

Was any of this indelibly memorable?  Not exactly, but it was fun and watchable. This may or may not translate into a ratings boost from the all-time low numbers of last year’s Oscar broadcast, which is pretty much all the Academy and network seems to care about at this point anyway.

Welp, there it is.

That and no doubt the fact that in giving Universal’s Green Book this year’s best picture Oscar over Netflix’s Roma, both could breathe a huge collective sigh of relief for denying the streaming giant any more of the industry gold it had already managed to swipe right out from under their collective noses.

Cornelius Brothers and Sister Rose (BlacKkKlansman soundtrack) – “Too Late To Turn Back Now”