How TV comedies are leading the way on #MeToo | Little White Lies

Not Movies

How TV come­dies are lead­ing the way on #MeToo

04 Oct 2018

Words by Caspar Salmon

Cartoon illustration of a horse chef in chef's hat and a pink cat chef in the kitchen.
Cartoon illustration of a horse chef in chef's hat and a pink cat chef in the kitchen.
Shows like BoJack Horse­man, GLOW and Unbreak­able Kim­my Schmidt are tak­ing a bold, com­plex approach to tack­ling sys­temic misogyny.

It wasn’t nec­es­sar­i­ly to be expect­ed that the most potent respons­es to the Har­vey Wein­stein scan­dal and #MeToo move­ment would come from the world of tele­vi­sion, much less sit­coms – but in 2018, three Net­flix come­dies have led the way in address­ing themes of sex­u­al vio­lence, gen­der dis­par­i­ty, and male tox­i­c­i­ty. BoJack Horse­man has had the most to offer so far, giv­ing its lat­est sea­son over almost whole­sale to the issue, while Unbreak­able Kim­my Schmidt and GLOW have also shown that tele­vi­sion offers the best for­mat for tack­ling sys­temic misogyny.

In Kim­my Schmidt and GLOW, the sto­ry­lines impli­cat­ing abu­sive men came at a quite bril­liant tan­gent, being more of a sub­plot than an over­ar­ch­ing sto­ry­line. This is impor­tant, because by slot­ting these sto­ries into pre-exist­ing uni­vers­es, the shows are able to high­light how a patri­ar­chal cul­ture of abuse lies behind every­thing, is sim­ply part of the scenery. In a remark­able episode of GLOW appar­ent­ly writ­ten before the Wein­stein sto­ry even broke, Ruth Wilder (Ali­son Brie), the prin­ci­pal wrestler in the female wrestling troupe, is sum­moned to din­ner with the head of the TV net­work host­ing their show.

Ruth attends in the com­pa­ny of a male agent, who sub­se­quent­ly makes him­self scarce, leav­ing her to the atten­tions and mer­cy of the lubri­cious exec, in an exact mir­ror­ing of Weinstein’s pre­ferred sce­nario for intim­i­dat­ing and sex­u­al­ly abus­ing actress­es. Ruth flees the scene at the first oppor­tu­ni­ty, but then finds her show rel­e­gat­ed to a grave­yard slot. More per­ti­nent­ly still, when she reveals her ordeal to a fel­low (female) cast mem­ber, she is met not with sym­pa­thy but with deri­sion: Deb­bie Eagan (Bet­ty Gilpin), her rival on the show, clear­ly sees male abuse as some­thing to be dealt with, and is furi­ous at her career being jeopardised.

A woman with dark hair wearing a pink and burgundy dress, standing in a garden setting with trees in the background.

BoJack Horse­man enacts a sim­i­lar sce­nario, sev­er­al times over, show­ing sev­er­al women who are not espe­cial­ly alarmed or dis­gust­ed by male pre­da­tion, but rather resigned to it and ready to work with it as best they can. In BoJack the Fem­i­nist’, Princess Car­olyn is the pro­duc­er who knows she has employed a dis­graced actor – one Vance Wag­goner, who is fig­ured as a mesh­ing of Mel Gib­son and Alec Bald­win – but has to work with the sys­tem. Angela Bas­sett voic­es anoth­er agent who is sim­i­lar­ly deter­mined to have a suc­cess­ful career by work­ing with some­one she pri­vate­ly condemns.

Towards the end of the show, Gina – one of two new female char­ac­ters in sea­son five – swal­lows her pride after being choked by BoJack in a drug-addled fit, because she wish­es to con­tin­ue her career rather than see it derailed by a man. These con­clu­sions are des­per­ate­ly bleak, but they are nec­es­sary and real­is­tic, giv­ing a sense of the ambi­gu­i­ties of mon­ey, per­son­al ties and pro­fes­sion­al connections.

Kim­my Schmidt does fea­ture a con­fronta­tion – such as nev­er real­ly mate­ri­alis­es in BoJack Horse­man – with some­one called Fran Dodd, who works as a sting­ing par­o­dy of aggriev­ed Red­dit-dwelling men’s rights activists. But the con­fronta­tion, in which Kim­my final­ly defeats Fran in an elbow-wrestling con­test, makes clear that his ilk can be called out but per­haps nev­er defeat­ed. More sick­en­ing­ly, even though the show couch­es this in dark humour, Fran is a defend­er of Jon Hamm’s con­vict­ed abuser.

Again, this aspect remains a mere facet of the show, pre­sent­ing the vio­lent idio­cy of his argu­ments as a back­drop to the prin­ci­pal action. Kim­my Schmidt, like BoJack Horse­man and GLOW, is well placed to dis­cuss this sex­ism because of the invalu­able ground­work it laid in ear­li­er sea­sons, par­tic­u­lar­ly in its treat­ment of male abuse.

Four individuals, two men and two women, speaking at a press conference before a crowd of people.

BoJack Horse­man has been lay­ing this ground­work for four sea­sons now, in its acidic depic­tion of Hol­ly­wood and its treat­ment of a rich actor who destroys every­one around him. The show is able to deal with the top­ic of male tox­i­c­i­ty pre­cise­ly because it is in the midst of wrestling – in an almost unbear­ably raw way – with its own lega­cy and cul­pa­bil­i­ty. It’s clear­ly a mat­ter of some dis­gust to Raphael Bob-Waks­berg, the show’s cre­ator, that his anti-hero is beloved of fan­boys, rather than seen as dam­aged and poisonous.

To see him and his writ­ers attempt to tear this down by tun­ing up the char­ac­ters’ evils and giv­ing the pro­gramme an active­ly more female voice, is to wit­ness the very act of reck­on­ing that we so need from male actors and cre­ators in Hol­ly­wood. BoJack Horseman’s bril­liance lies in recog­nis­ing that an abuser might be not just an evil, heart­less per­son, but an every­body – a rel­a­tive­ly good guy who wants to change. In allow­ing its main char­ac­ter to embody these ques­tions, and not just the ordure that is Vance Wag­goner, the show breaks new ground.

These respons­es had to come from tele­vi­sion, because they need­ed to take place in a recog­nis­able and intri­cate­ly built world. They need­ed to come from come­dies, too, because in a dra­ma these sto­ry­lines would have to occu­py the total­i­ty of a dra­ma, rather than weave in and out of the sto­ry­line, as so much back­ground noise. Cin­e­ma may still pro­vide full and robust drama­ti­sa­tions of or respons­es to the impor­tant issues, but for a com­plex look at #MeToo, it’s shows like these that we need to look.

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