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The Mixed (Yet Uplifting) Message Of “Malcolm In The Middle”

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Not every TV show gets to have a series finale. In fact, it’s fairly rare for any show, be it a sitcom, a drama, or a Saturday morning cartoon, to get to that point. More shows tend to get canceled before a finale can ever make it to the drawing board.

When a show does get to that point, though, it’s still no guarantee that the finale will be satisfying. Ideally, the end of a long-running show should tie up loose ends, create a sense of closure, and reward the audience for sticking with the story since it began. That’s the best case scenario. More often than not, finales tend to be mixed.

Truly satisfying finales like that of “M*A*S*H” are a rarity. More often than not, a series finale is going to leave some fans elated and others upset. To this day, there are still people who argue about the finale of “Lost” and I imagine there will be just as many arguments about the finale to “How I Met Your Mother.”

It’s next to impossible to create a finale that satisfies everybody. The most anyone could hope for is a show that at least creates a complete story, even if it remains open-ended to some extent. That’s how the finale to “Breaking Bad” handled things and while not perfect, I think it worked in the context of the show.

There is another show, however, that didn’t try that hard to make the perfect finale. In fact, the show did something unique in that it embraced the idea that there’s no perfect ending, but there is a path forward. There’s no final triumph or ultimate reward for the characters. There’s only the understanding that life goes on, there’s no easy way to do things, and sometimes the things you don’t like will always guide you.

That show is “Malcolm In The Middle,” a quirky, but entertaining sitcom full of juvenile humor and questionable messages. For some, the show just took family dysfunction to an absurd extreme. Even so, it was pretty funny. Between lovable charisma of Frankie Muniz, the physical comedy of Bryan Cranston before he was Walter White, and the overly dramatic presence of Jane Kaczmarek, this show had a lot to offer.

Like “Married With Children” before it, this show went the opposite direction of the typical feel-good sitcom. Malcolm’s family aren’t the upstanding, upbeat models of society in the mold of “Father Knows Best.” They’re a collection of low-class, ill-mannered, under-privileged brutes who always find themselves in bad situations that inspire bad decisions.

They’re the kind of dysfunctional family that give other dysfunctional families a bad name. Part of their appeal was how they navigated that dysfunction. They rarely learned their lessons, they rarely underwent meaningful growth, and they often screw themselves over with their bad decisions. That’s what made it funny.

For seven seasons, the antics of Malcolm and his family followed a fairly successful formula. Malcolm, his brothers, and his parents find themselves in trouble or in over their heads. They struggle to rectify the situation, but often end up making things worse and incurring plenty of memorable comedy along the way.

In the series finale, however, the show takes that formula and injects something unique into the mix. After seven seasons of wild antics, spectacular failures, and memorable monologues, “Malcolm In The Middle” sent a message that went beyond the forces behind family dysfunction. I would even go so far as to say that message is more relevant now than it was when the episode aired in 2006.

The main premise of the episode revolves around Malcolm graduating valedictorian from high school. Being a certified genius, as revealed in the first episode, his life is the only one within his dysfunctional family that has the potential to be something. There are other assorted side-plots to the episode, one of which involves a giant bag of shit that Reese created, but this is the main catalyst for the ultimate conclusion of the show.

Shortly before graduation, Malcolm is given the kind of opportunity that most people can only dream of. Instead of college, he’s offered a lucrative job at a tech company that would’ve given him a six-figure salary, stock options, and a far less hectic life compared to the one his working class family afforded him.

Malcolm makes clear that he wants that job. He wants that life because, unlike his brothers, he has a chance to escape it. Like so many other times throughout the show, though, his control-freak mother steps in and stops it. She makes the decision for him. He’s going to college. On top of that, he’s going to have to work his way through, drudging along as a janitor instead of using his genius to make things easier.

Naturally, he’s not happy about this. It’s not the first time his mother has made choices that affected his entire life. In fact, that’s one of the most prevailing tropes of the show. No matter what Malcolm or his brothers do, they can never escape their mother’s neurotic control.

She doesn’t just want to control what he does after he graduates, either. She wants to put him and/or shove him down a path towards becoming President of the United States. Both she and Hal, played by Bryan Cranston, reveal that they’ve had this in mind for Malcolm since they found out he was a genius. It leaves him baffled, frustrated, and pretty upset.

Among other things.

However, this time his mother gives meaning to her decision that go beyond the usual “I’m your mother so do as I say” excuse. Instead, she does something that nobody on the show ever attempted to do to that point. She imparts upon Malcolm, and the audience by default, a series of harsh truths within the context of the bigger picture.

Those truths all hit hard as they come pouring out in a memorable exchange that helps encapsulate so much of the dysfunction Malcolm’s family endures. At the same time, it also makes a compelling case for why Malcolm should become President.

Lois: That doesn’t matter. What does matter is you’ll be the only person in that position who will ever give a crap about people like us. We’ve been getting the short end of the stick for thousands of years, and I, for one, am sick of it. Now, you are going to be president, mister, and that’s the end of it.

Malcolm: Did it ever occur to you that I could have taken this job, gotten really rich and then bought my way into being President?

Lois: Off course it did. We decided against it.

Malcolm: What?!

Lois: Because then you wouldn’t be a good President. You wouldn’t have suffered enough.

Malcolm: I’ve been suffering all my life!

Lois: I’m sorry. It’s not enough. You know what it’s like to be poor, and you know what it’s like to work hard. Now you’re going to learn what it’s like to sweep floors and bust your ass and accomplish twice as much as all the kids around you. And it won’t mean anything because they will still look down on you. And you will want so much for them to like you and they just won’t. And it’ll break your heart, and that’ll make your heart bigger and open your eyes and finally you will realize that there’s more to life than proving you’re the smartest person in the world. I’m sorry, Malcolm, but you don’t get the easy path. You don’t get to just have fun and be rich and live the life of luxury.

Beyond simply reinforcing how much Lois exerts control over her children, her words reflect the collective frustration of families mired in dysfunction. From the Bundy family in “Married With Children” to the real people in the world who have kids they can’t manage and jobs that don’t pay enough, she articulated a sentiment that is difficult for most non-working class people to grasp.

Malcolm and his family are essentially trapped in the dungeon of modern society. They’re low-class, ill-mannered people who never got the opportunities to climb the social ranks. Lois and Hal work demeaning, low-paying jobs that don’t provide nearly enough to support a large family, let alone one full of rowdy children that get in trouble every other week. How could they not be dysfunctional in that environment?

It’s an environment that keeps anyone who wasn’t born into a good situation from improving their lives. It’s an environment that breeds and reinforces the dysfunction that Malcolm and his brothers so hilariously embody. Any time somebody does get a chance to leave, they jump at the opportunity and never look back. Moreover, they don’t do anything to help those who never get that chance.

Lois knows this. She can already see that happening with Malcolm. If he takes that job, he’ll just get rich and comfortable, forgetting about where he came from and never giving another thought to those who weren’t as fortunate as him. That’s entirely understandable, as Malcolm’s reaction so nicely demonstrates.

Most people do take the easy path out of hardship, poverty, and dysfunction. It’s not just a temptation. It’s a reflex. Growing up poor and dysfunctional is akin to torture and, as is often the case with torture, people naturally do whatever it takes to make it stop. Lois, for all her neurotic tendencies, is pushing Malcolm to endure for the good of every other dysfunctional family like them.

What makes these final moments of the show so powerful is that Malcolm actually listens to his mother in this case. He doesn’t fight her, for once. In the final scenes of the show, he actually follows the path she lays out for him, going to Harvard and working as a janitor to pay his way through. He’ll continue to suffer the effects of his family’s dysfunction, but it’ll help him maintain perspective.

That perspective is something almost no modern President will have. They really can’t because most modern politicians are millionaires. They essentially do exactly what Malcolm suggested, getting rich first and then buying their way into power. The fact that many politicians seem so out of touch with ordinary people, especially the working class, gives further weight to Lois’ words.

Rather than leave his dysfunction behind, Malcolm will carry it with him. He’ll use it to bring a perspective that others either don’t know about or don’t want to confront. Unlike everyone else who tries to raise awareness of working class dysfunction, he’s smarter than them. He’s actually capable of overcoming the traditional barriers that keep people like him from achieving real power.

It’s an unexpected, but satisfying brand of hope. Most episodes of “Malcolm In The Middle” tend to end with a sense of misanthropy that reverts Malcolm’s family back to the status quo. They’re never allowed to get ahead or rise above their dysfunction. At the same time, though, they don’t sink into a defeatist malaise like the Bundy family.

That’s exactly what puts Malcolm in a position to do something more in the end. Everything that held him and his family back is now a catalyst for something greater. He has both the perspective and the aptitude to do great things, such as become a President who actually cares about helping dysfunctional family’s like his.

At a time when income inequality is on the rise and the working class is enduring greater hardship, the world needs leaders who have Malcolm’s perspective. Unfortunately, such leaders are exceedingly rare, especially as powerful institutions become more and more prone to the interests of the rich.

The “Malcolm In The Middle” finale dares people to imagine what we can do when capable people from dysfunctional backgrounds actually get a chance to do something greater. The show doesn’t offer too many details about what happens to Malcolm beyond Harvard, but it’s refreshing and even a little uplifting to think that a show full of so much exaggerated dysfunction could envision a brighter future.

That future may not improve for people like Reese, though, but that’s probably beyond Malcolm’s abilities. Some dysfunction is just too great, even for a genius President.

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Walter White Vs. Saul Goodman: A Tale Of Two Villains

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If the road to Hell is paved with good intentions, then the road to villainy has many paths with similar landmarks. Well-developed villains can be every bit as compelling as their heroic counterparts, if not more so. Ever since Heath Ledger’s Joker stole the show and an Oscar in “The Dark Knight,” great villains aren’t just a complement to the heroes. They’re a journey unto themselves.

At the moment, Walter White from “Breaking Bad” is the ultimate embodiment of this journey. His path to villainy made for some of the greatest moments in modern television and Bryan Cranston has the Emmy trophies to prove it. Since then, it seems as though everyone is just struggle to keep up.

However, there’s one journey that comes very close and is remarkably similar. Fittingly enough, it spins right out of the world of “Breaking Bad.” I’m talking, of course, about “Better Call Saul,” the prequel/spin-off that tells the story of how an aspiring lawyer named James McGill became the morally bankrupt legal guru, Saul Goodman.

I’ve been watching this show closely for a while now. I was originally planning to wait until the conclusion of Season 4 to write about it, but after re-watching the Season 3 finale, I feel like there’s too much to work with. After seeing that episode, I feel like I saw a turning point in the ongoing transformation of James McGill to Saul Goodman. I also saw some important parallels with Walter White that are worth discussing.

At its core, “Breaking Bad” is a story about how a law-biding man goes from an underpaid chemistry teacher to a blood-thirsty drug kingpin. Creator Vince Gilligan nicely summed up Walt’s transformation as going from Mr. Chips to Scarface. That journey, and the story behind it, took an initially unassuming character and turned them into someone they never thought they could be.

The essence of “Better Call Saul” is very different. James McGill is not the same as Walter White. From the very first episode, we can see traces of the unscrupulous con man manifesting in a many ways. The show establishes in Season 1 that James McGill is not some clean-cut straight-arrow like Walt was. His soul was tainted before he ever applied to law school.

James “Slipping Jimmy” McGill is someone who always seems inclined to cut corners, break rules, and cheat to get ahead. That’s something his older brother, Charles “Chuck” McGill, constantly points out over the course of the first three seasons. Every time Jimmy had a chance to do the right thing, he compromised. Just doing the right thing wasn’t enough for him.

Walter White’s decision-making process was similar. In the early seasons of “Breaking Bad,” he showed a reluctance to cross certain lines and go too far. He often found himself pushed or tempted, sometimes by forces beyond his control and sometimes by the consequences of actions. At the end of the day, though, he still didn’t get off that path.

That’s a common thread for many villains in their journey. They find themselves on that path and they see opportunities to leave it, but they choose not to. They don’t seek redemption like a hero would. They just keep making excuses, willfully entering a brutal cycle of corruption and compromise.

Whereas Walt succumbed to that cycle, though, James McGill steadily embraces it. Moreover, he isn’t drawn into that path by tragedy or bad luck. He gravitates towards it. He’s even excited by it. James is at his most animated and charismatic when he’s pulling a con, putting on a show, or crafting a lie. It’s not a necessity like it was for Walt. It’s a thrill.

If James is tempted by anything, it’s the lure of walking the honorable path like his older brother. In fact, Chuck might have been the only positive influence that kept Jimmy from becoming something worse than a sleazy con-man. He and a host of other influence, especially Kim Wexler and Howard Hamlin, play the part of a reverse temptress, trying to keep him off that villainous path.

Early on, there’s a sense that James genuinely wants to be a decent, upstanding lawyer. There are situations where he does the right thing. Some of the causes he takes on, such as a case against an elder care facility that was stealing money from its residents, are objectively noble. In the end, though, doing the right thing isn’t enough for him. The end of Season 1 really cements that.

Walt goes through a similar process early on. Like the “refusal of the call” that heroes experience, Walt attempts to escape the villainous path. However, a combination of circumstances and choices put Walt back on the road towards becoming Heisenberg. By the end of Season 1, there’s a sense that there’s no going back.

Where Walt and James diverge, as villains, it’s how and why they make their choices. Walt becomes Heisenberg because he think he has to, first for his family and later for selfish reasons. James becomes Saul Goodman because he wants to. He tried to be the upstanding lawyer his brother and friends wanted. It just didn’t work for him. Being James McGill just wasn’t enough.

There’s plenty of conflict surrounding those choices. Part of why I love “Better Call Saul” is how it reveals the steady progression from James McGill to Saul Goodman. It doesn’t happen all at once. It doesn’t even happen in a steady, linear narrative. James fluctuates on his journey to becoming Saul. He even hesitates a few times. He still doesn’t avoid it in the end.

That ending, as revealed through the finale of “Breaking Bad” and the flash-forward sequences of “Better Call Saul,” shows one other key distinction between Walt and Jimmy. While both men complete their villainous journey, they both end up in very different places. Walt is dead or at least close to it, as some fan theories predict. However, Saul Goodman’s fate might actually be worse.

In the first minutes of the first episode of “Better Call Saul,” we see what came of James McGill/Saul Goodman after the events of “Breaking Bad.” Gone are the days where he shows up in flashy commercials and hatches elaborate cons on unsuspecting people. Instead, he lives an unexciting, mundane life in Omaha, Nebraska managing a Cinnabon.

Some might argue this is Saul’s personal Hell, trapped in a such a sad and unassuming life. I would say it’s more like his purgatory. In this world, he can’t embrace that villainous persona that gave him so many thrills. Even if he wanted to be that villainous character again, he can’t because it means losing what little he has left.

Just as he frequently did in the early seasons of “Better Call Saul,” James McGill takes the easy way out. Walt tried that too in the last few episodes of “Breaking Bad,” but that didn’t last. He eventually chose to confront the byproduct of his villainous choices. James ran and didn’t look back. The easiest path, in the journey of a villain, is often a coward’s path.

Whether or not James McGill escapes his purgatory or continues wallowing in obscurity remains to be seen. The fact he ends up in this state after undergoing this transformation into Saul Goodman reveals another critical component to the villain’s journey. While the hero ultimately triumphs, the villain eventually loses. It doesn’t always end with them going to jail, but they often endure a less-than-desirable fate.

Breaking Bad” and “Better Call Saul” are both great shows that set a new standard for depicting the evolution of a character into a villain. I won’t claim that “Better Call Saul” is superior to its predecessor, if only because the story isn’t finished. It does, however, accomplish something every bit as remarkable as the story of Walter White.

The process of becoming a villain is a steady, inconsistent journey full of many complications and tough choices. Walter White and James McGill began that journey under different circumstances and ended up in different places. Ultimately, they both crossed lines that sealed their respective fates. It’s tragic in some ways, but it makes for some damn good television.

 

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Five Things I Want From The “Daria” Reboot

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Last year, I wrote an article about how the classic 90s MTV show, “Daria,” is more relevant today than it was back when it debuted in 1997. That special brand of misanthropic monotone conveyed a harsh, uncompromising honesty of the world in a way that felt both genuine and endearing.

Well, it appears I’m not the only one who felt that way because according to The Hollywood Reporter, the newly-minted MTV Studios is looking to reboot the show as part of a push to reinvigorate the MTV brand that seemed to fade along with the appeal of boy bands. While I’m skeptical that MTV can ever become relevant again, I couldn’t be more thrilled at the prospect of Daria returning to TV.

I think I speak for many who watched that show back in the late 90s when I say that this world needs her. Specifically, it needs her critical insights into a world awash in fake news, alternative facts, and political correctness. There’s an entire generation emerging whose reality is shaped by their news feed on social media. It feels as though no one is even capable of seeking the truth anymore.

Daria doesn’t just tell the truth like she sees it. She says it in a way that is apolitical, unbiased, and relatable. She doesn’t criticize. She doesn’t have an agenda, either. She sees something she thinks is a farce and she points it out. At a time when every character needs to be an icon for something or someone, that’s nothing short of refreshing. For a character from the late 90s, that says a lot about our current state of affairs.

There’s a lot more I could say about “Daria,” both as a character and as a TV show. For now, I want to create a wish list, of sorts, for what I’d like to see in a “Daria” reboot. I know that’s a bit premature since MTV Studios is in the very early stages of making this happen, but I think the prospect of more “Daria” at this particular point in our history is exciting.

I know excitement is the last trait anyone would associate with Daria Morgendorffer, but I’m willing channel my inner Quinn to entertain the possibilities. What follows are five things I want from a new “Daria” show. I know any rebooted show is subject to reinvention, sometimes for the worse, but I believe if the new “Daria” delivers on these critical elements, it’ll be a success. It might even get Daria herself to crack a smile.


Wish #1: Build Daria’s Agenda Around Exposing Other Agendas

Let’s face it. Today, everyone seems to have an agenda and social media has given people a platform to pursue that agenda, even when they’re dangerous, damaging, and downright hurtful. In the late 90s, media outlets like MTV got a lot of flak for pushing bloated consumerism around bubblegum pop music and reality shows. Today, social media has created countless outlets for countless agendas of varying absurdity.

Daria Morgendorffer can set herself apart in this chaotic landscape by building her agenda around exposing other agendas. She could see right-wing talking points as just excuses to pay fewer taxes and be a dick to poor people. She could see left-wing talking points as utopian fantasies mixed with a pathological need to be outraged over something. With Daria, no agenda is safe.

In any show that would have her take part in the current climate, it needs to give her opportunities to see all this social masquerading for what it really is. As I’ve noted before, people have a frustrating tendency to believe they’re the hero of their own story. In Daria’s world, there are no heroes. There are no villains. There are just people.

That’s a harsh reality, but one Daria refuses to ignore. Her reminding people of that reality in any show would be both refreshing and cathartic, especially to anyone who is sick of people building their agendas around professional trolling.


Wish #2: Continue Daria’s (Unique) Growth From The Show

Throughout five memorable seasons and two made-for-TV movies, Daria’s character remained remarkably consistent. However, she did undergo her share of growth during that time. It was subtle, much more so than that of characters like Jane, Quinn, Helen, and Tom. However, that’s exactly what made it meaningful.

At the beginning of the show, Daria is already her anti-social, misanthropic self. She’s a teenager and a high school student, though. Teenagers go through changes. Even Daria isn’t immune to that. She developed her first crush, had her first serious boyfriend, and even improved her relationship with Quinn, a character who might have been the least likable person on the show.

The show ended with Daria graduating high school and going to college, culminating in one of the most memorable graduation speeches ever made. However, college is rarely the endpoint for anyone who survived high school, even someone as jaded as Daria. Any new show that expands her story should also follow that evolution.

Whether it takes place in college or shortly after, Daria always expressed a desire to get out of Lawndale and do something with her life that she wouldn’t hate. That’s a process a lot of people go through, but few could endure it with the same attitude or crass as Daria. That’s exactly why that story is worth telling.


Wish #3: Keep Her Apolitical And Unbiased

No matter how much she grew over the course of the show or what she encountered, Daria Morgendorffer may very well be the only character in the show, or in real life, who can call themselves truly unbiased. She doesn’t have a political affiliation. She doesn’t identify with one group or the other. She’s just Daria. Her opinions and leanings are her own.

That’s an important facet to preserve in any new “Daria” show. That may prove challenging, though. If you go by current stereotypes, Daria’s age and education levels put her in line with the kind of left-leaning archetypes that Fox News whines about every half-second. However, in terms of her overall worldview, Daria would be just as cynical about the MSNBC crowd.

The core of Daria’s politics is that all politics are stupid. Politics is just one big exercise in people gathering around others who think like they do so that they can rely on someone else to do the thinking for them. That is not Daria’s style. She believes in thinking for herself. Anything beyond that is a waste of time.

Moreover, her worldview is as simple as it is plain. The real world doesn’t care about your beliefs, your principles, or how hard you fight for them. The real world is harsh and whining about it doesn’t change anything. That would put her at odds with liberals, conservatives, and everyone in between. The idea of her getting into debates with some of the politically-minded trolls in the world would certainly be worth watching.


Wish #4: Give Her Supporting Cast A Chance To Support Her

Like any great character, animated or otherwise, a big part of what made “Daria” such a great show was its diverse cast of colorful characters. From her annoying younger sister to her uptight mother to her charismatic classmates, Daria was surrounded by a lot of memorable individuals who helped highlight just what a unique persona she was.

Daria’s closest relationships were with her friend, Jane Lane, and her family that could never understand her. To maximize the strength of her persona, those relationships should definitely be part of a new show. There can also be room for new relationships that put her in entirely new situations.

That may already be in the works. Within the announcement surrounding the possible reboot of the show, there’s a mention of giving Jodie Landon a significant role in the show. That has a lot of potential because Jodie was a great character who didn’t get a chance to develop until the last two seasons of the show. A new show could give both her and Daria new opportunities in a world full of new controversies.

Within the existing cast, there’s also potential for Daria to forge connections with characters other than Jane. There’s also potential to form new romantic entanglements. She does have the capacity for affection, despite what her demeanor may imply. In an age where romantic entanglements are fraught with complications, that could bring out the best in her and the worst in everyone else.


Wish #5: Put Her In The Middle Of Controversial Issues (And Let Her Work Her Magic)

The original “Daria” was a great show in that it didn’t take sides in a controversy or preach to the audience. In fact, those kinds of public service announcements would’ve been antithetical to Daria’s persona. She doesn’t think that it’s the job of other people, be they animated or otherwise, to tell you how to feel about an issue. That’s something you’re supposed to figure out for yourself.

At the same time, however, I felt as though “Daria” avoided too many major issues that could’ve helped make the show even more relevant. While it lightly touched on issues of teen sex and out-of-control consumerism, it didn’t get too deep into the kinds of topics that inspire hashtags and hate mail.

I think that worked well for “Daria” in the late 90s. I don’t think it’ll work as well in today’s hyper-political climate where a new outrage is just a click away. A new “Daria” show won’t succeed if it avoids hot-button issues like the anti-harassment movement, gender inequality, and an emerging generation that may end up being the most nihilistic of all time.

I’m not saying the show has to be built around those kinds of serious topics every other episode. Shows like “South Park” already do that. The biggest appeal to this show would be Daria offering her misanthropic take on those issues to help expose them for what they are.

I believe that there’s definitely a market for that kind of nuance in our current political climate. I also think there’s a growing need for a voice who can sift through the endless shit storms that get kicked up every day for one reason or another. Whether it’s something the President tweets or some dumb comment a celebrity makes, we all need a harsh, but sincere voice to speak the honest truth.


Daria can be that voice. I would still argue we need that voice now more than we did in the late 90s and early 2000s. I hope that this show, assuming it gets made, provides that voice. “Daria” was ahead of its time, as a how and as a character. It’s time we finally catch up with one another.

Daria” was a great show in that it didn’t take sides in a controversy or preach to the audience. In fact, those kinds of public service announcements would’ve been antithetical to Daria’s persona. She doesn’t think that it’s the job of other people, be they animated or otherwise, to tell you how to feel about an issue. That’s something you’re supposed to figure out for yourself.

At the same time, however, I felt as though

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How And Why It Became Trendy To Hate “The Big Bang Theory”

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There was once a time in the mid-90s when Hootie and the Blowfish was the hottest band in the world. They’re music was everywhere. You couldn’t listen to the radio for more than five minutes without hearing one of their songs. I didn’t consider myself a huge fan, but I found plenty of their songs catchy and fun. I still have “Hold My Hand” on my phone.

Then, for reasons I still don’t quite understand, it became cool to hate them. Suddenly, admitting that you enjoyed your music was akin to admitting that you did shots of paint thinner to win a five-dollar bet. It got to the point when even “The Simpsonsmade a joke about them in an episode.

The same thing happened to Nickelback in the 2000s. They went through an early period of intense success. Their fourth album, “The Long Road,” sold over five million copies. That’s success that most artists only ever dream of. I even admit I have that album and I love it. Their song, “Feelin’ Way Too Damn Good,” is on my workout playlist.

Then, for reasons that I’d rather not speculate on, it became cool to hate them too. While that hasn’t stopped them from selling over 50 million albums and becoming one of the most successful acts of a decade, it’s still trendy to despise them as everything wrong with music. It doesn’t seem to matter how successful they are. For some strange, esoteric reason, they embody everything wrong with the world.

If I would write that with more sarcasm, I would. However, this piece isn’t about Hootie and the Blowfish or Nickelback. I reference them because they’ve already gone through what’s happening to “The Big Bang Theory” seems to be enduring right now. They’ve risen to the top, defying the odds to achieve a level of success that most can only dream of. Then, it becomes cool to hate them for any number of reasons.

Now, I know I’ve criticized “The Big Bang Theory” before. I’ve cited it as the show that contains one of the worst romances in all of fiction. I don’t deny that it’s brand of humor and reliance on nerdy, socially inept men can be dry at times. That said, I do consider myself a fan of the show.

I watch it regularly. I even laugh at it. It has flaws, but I think the things it does well do plenty to overshadow those flaws. Sheldon is eccentric, but funny. Amy is quirky, but endearing. Howard, while creepy in the early seasons, has really grown up in all the right ways over the years. I would even go so far as to say that the show is worth watching just for Raj Koothrappali.

It’s not the best show on television, but like Nickelback and Hootie and the Blowfish, there’s no denying its success. It’s been syndicated and regularly ranks as one of the highest rated prime-time shows. Then, somewhere along the way, it became cool to hate the show as much as Nickelback.

You don’t have to look far to find articles of people whining about the show. Even Cracked, a site I often reference, once wrote a scathing article that flat out insulted anyone who dared enjoy the show. This is a direct quote.

Who are you people? The people watching The Big Bang Theory, I mean. Show yourselves. The world demands explanation. I mean that, too. In every way, shape, and form, this is the Justin Bieber of television shows.

I know the internet is full of this kind of trolling, but we’re not talking about snuff films and public crucifixion here. It’s a goddamn TV sitcom. It tries to be funny and entertaining. It doesn’t always work for everyone, but it still works for some. Are those people, which I guess includes me, somehow damaged just for liking this show?

I could probably ask the same of those who enjoy music from Nickelback and Hootie and the Blowfish. I could even offer a partial answer if I only use the basis of personal taste. That is, after all, what the consumption of all media is, be it music, movies, or TV. You tend to consume what you like. It’s that simple.

However, for an issue like this, there are added complications when something becomes cool to hate. Suddenly, it’s no longer a matter of just liking something different. It’s a matter of having some inherent personal flaw for liking something that has a vocal contingent of critics.

Call those critics whatever you want. Call them hipsters, trolls, or any number of other names that would warrant fines from the FCC. They’re still driven by the same focused outrage that dominates politics, religious disputes, and Overwatch tournaments. The only real question is why a show like “The Big Bang Theory” gets singled out.

It’s a hard question to answer and I’m not qualified to answer it completely. However, I do think something strange happens to movie, TV show, or band when they get so successful and so acclaimed that those who don’t like the show just can’t stop at not watching it.

It’s rare for any show to achieve the kind of success “The Big Bang Theory” has garnered. Success makes a show a bigger target. If shows like “South Park” or “The Simpsons” weren’t so successful, nobody would care how bad some of their jokes were or how controversial a certain character might be.

Some of that might be out of envy. There’s only so much success to go around. The fact “The Big Bang Theory” is so successful means, in the eyes of those who hate it, that it’s robbing success from shows that might be funnier or more worthy of it. Never mind the fact that the humor and worthiness of a show is completely subjective. Fans of that show will see “The Big Bang Theory” as a thief and a fraud.

Like it or not, envy can be a pretty powerful source of emotion. It’s underrated compared to outrage and hate, but still potent in its own right. However, I don’t think that’s the sole reason why “The Big Bang Theory” gets more hate than most prime-time shows that don’t involve CSI spin-offs.

I suspect there’s a deeper reason driving the hatred towards “The Big Bang Theory” that even Nickelback doesn’t have to deal with. I think part of that reason has to do with the archetypes the show uses. I don’t think it’s a coincidence that the combination of nerdy, socially awkward young men and a cute ditzy blonde conjures some heated emotional reactions, to say the least.

There’s no doubt that combination is contrived and relies heavily on old stereotypes. Then again, you could say that about a lot of other shows. The fact this one uses nerds and cute blondes, though, just makes it seem more overt. It makes every joke, every plot, and every gag seem cheap or forced.

It makes some of the resentment to the show understandable, but I think that resentment is even more compounded by trends in political correctness. Chief among those trends is a growing aversion to stereotypes. Characters and archetypes once considered inoffensive are now controversial. Jokes that were once just in poor taste are now the source of intense outrage.

Since its inception, “The Big Bang Theory” has relied a lot on stereotypes for its characters and its humor. Like all shows, it exaggerates certain personas. Sheldon Cooper, alone, is a testament to a character whose quirks are taken to a ridiculous extreme.

By relying on these stereotypes, though, it makes itself an even bigger target. Laughing at the show, in the eyes of some, means accepting some of these stereotypes and having the audacity to find them funny. That appears to be the undertone of the Cracked article I cited earlier. It seems to be the undertone of a lot of the hatred the show gets.

Now, I don’t deny that “The Big Bang Theory” can go overboard with cliches and stereotypes. There are a number of episodes in “The Big Bang Theory” that even I find bland. However, for the most part, I still laugh. I still find myself enjoying the story. Even when I can apply some of those stereotypes to myself, I still laugh.

At the end of the day, “The Big Bang Theory” is still just a TV show in the same way Nickelback is just a band. Nobody forces anyone to watch it. It’s easy to just change the channel and watch something else. However, when a show becomes so successful while relying on a premise that is getting more politically incorrect with each passing year, it’s bound to attract criticism and not just from the hipster crowd.

I still enjoy the show and I intend to keep watching it. I also intend to keep all the songs by Nickelback and Hootie and the Blowfish on my phone for the foreseeable future. If that makes me uncool in the eyes of some, then so be it. To me, it doesn’t matter if something is cool to hate. Petty hate is still petty hate.

I also expect to see plenty more hatred directed at the show for how it treats nerds, women, minorities, and humor. It’s just too successful and too big a target to avoid that kind of scrutiny. In that situation though, as with Nickelback and Hootie and the Blowfish, sometimes the best you can do is just laugh and enjoy it on your own terms. Bazinga!

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Why We Should Be Excited (And Worried) About A “Y: The Last Man” TV Show

y-the-last-man

There are certain announcements that certain kinds of comic book fans have been waiting to hear for years. Most people who don’t have boxes and bookshelves full of comics probably won’t appreciate the importance of those announcements when they finally arrive. Ideally, everyone eventually comes to acknowledge how important it is in the long run.

Just recently, one of those announcements hit the entertainment wire and comic book fans like myself are still trying to catch their breath from the excitement. It has to do with a series called “Y: The Last Man,” one of the most critically acclaimed comic book series of the past 20 years. According to The Hollywood Reporter, FX has officially ordered a pilot for a TV series based on this comic.

I know that may not sound like ground-breaking news in an era when TV shows based on comic books account for a sizable chunk of programming. There are shows featuring famous superheroes like “The Flash,” “Supergirl,” and “Daredevil.” There are also shows based on non-superhero comics like “Preacher” and “The Walking Dead.” Why is adding yet another show to that list such a big deal?

Well, as someone who has thoroughly read and deeply enjoyed Y: The Last Man, I can attest that this is one of those comics that is special for all the right reasons. It’s compelling, dramatic, mysterious, and emotional on so many levels. It doesn’t just tell a great story. It builds an entirely new world around a truly catastrophic event.

The premise of Y: The Last Man is simple in concept, but grandiose in implications. One day, all the men in the world just die. They don’t get sick first. There’s no mass pandemic. They all just start bleeding from their mouth and eyes before they keel over and die. It’s not just human men either. Everything with a Y-chromosome just dies.

It happens so suddenly and so quickly. It’s not the flashiest apocalypse, but it’s every bit as brutal and traumatic as it sounds. In the midst of this massive gendercide, only one man survives for mysterious reasons. His name is Yorick Brown, an amateur escape artist who also happens to have a male pet monkey, who also survives.

The story about how he survives in this post-apocalyptic world, while also trying to uncover the mysteries of the plague that killed all the men, is full of intrigue, sorrow, hope, and drama. The fact that it manages to achieve all this without zombies or superheroes makes it all the more remarkable.

Add on top quality writing from by acclaimed comic writer Brian K. Vaughan and top-notch art from Pia Guerra and it’s easy to see why this series received multiple awards, including the coveted Eisner Award back in 2008. The fact that Y: The Last Man wasn’t made into a movie or TV show earlier is both shocking and outrageous.

To be fair, there have been multiple attempts to make a movie based on the series, all of which failed for a wide variety of reasons. Given the scope and nature of the story, though, a TV series is probably more suited and there has been interest in making one since 2010.

Now that there’s finally a pilot in the works on FX, a network that is less inclined to water down the harsher elements of the series, there’s are plenty of reasons for comic fans and fans of apocalyptic dramas to be excited. At the same time, however, there are also a plenty of reasons to worry.

Had this been announced five years ago, I don’t think those worries would’ve been major. Then, gender politics began getting exceedingly heated. From scandals born from video games to new concerns about female representation in movies to the anti-harassment movement, things have gotten a lot more hostile between genders.

This is an era where every action between men and women are subject to greater scrutiny. It’s an era where attempts at rational discussion are overshadowed by ever-present outrage. Buzzwords like mansplaining, social justice warrior, soy boy, and toxic masculinity are now part of our lexicon. I’ve expressed my dismay over such terms and why they’re empty in meaning, but I don’t expect them to disappear anytime soon.

It’s because of these ongoing trends in gender politics that I’m concerned about what form Y: The Last Man will take in this era. I don’t expect a perfect, panel-for-panel recreation of the 60-issue comic series. That’s not always necessary, as the success of “The Walking Dead” has proven.

However, I do worry that the greater meaning and dramatic impacts of the story will get lost, somehow, under the weight of ongoing gender politics. Some of those concerns are even articulated in the Hollywood Report’s announcement. Mr. Vaughan is even quoted as saying this when he met with potential show-runner, Michael Green.

“When [Green] first pitched his take on it to Nina Jacobson and me a long time ago, he came in saying he wanted to do something about toxic masculinity. It felt very relevant, and unfortunately, I think it’s only become more relevant with each passing day. His take on it was really brave and very different, but exciting as well. I really admire how audacious he’s been with his translation.”

It’s the bolded part that really has me worried. I’m not entirely surprised that producers of the show would want to tap into ongoing debates about toxic masculinity, no matter how asinine a term that might be. Like it or not, it is a relevant issue and for a premise that involves killing nearly all the men on the planet, it’s going to influence the story.

It’s just a matter of how different those involved want to make the narrative in Y: The Last Man. What matters most, however, is keeping with the overall theme of the story. Y: The Last Man is not just about an apocalypse involving gendercide. It’s part of a much larger world full of colorful and, at times, eccentric characters.

What happens to these characters is downright traumatic, as is to be expected in the face of a global apocalypse. The world, as they know it, is shattered. Their sons, fathers, husbands, and brothers are all dead. The pain, the loss, the sorrow, and the anger surrounding that trauma is what helps drive the story.

That’s especially true of the lone male survivor, Yorick Brown. In the comic, he’s not a superhero or even a multi-talented super-genius. In fact, he’s painfully human and downright inept at times, especially compared to some of his supporting cast. However, he never comes off as a whiny beta male or a brutish meathead. He’s the kind of character we see in real men throughout the real world.

Any effort to subvert that by turning him into some sort of superhero or some beta male weakling will remove a core aspect of Yorick’s appeal, not to mention the appeal of the overall story. It’s not just Yorick’s story either. The female characters in this story are every bit as rich and diverse, but as we saw with the female characters in “Star Wars: The Last Jedi,” that can be badly mishandled.

There are no Mary Sues in Y: The Last Man. There are no Lara Crofts or Wonder Womans either. These characters, especially Yorick’s sister, Hero Brown, and his bodyguard and traveling companion, Agent 355, are all as human as he is. They fight, struggle, fail, and suffer like real people navigating a traumatic apocalypse.

That’s not to say there aren’t some elements of gender politics in Y: The Last Man. There are aspects of the story that lend plenty of fodder to the radical feminist part of the political spectrum. There are a few characters who go so far as to celebrate the death of all men. The fact that some women in the real world have advocated killing all men shows that this sentiment is very present.

At the same time, there are parts of Y: The Last Man that will appeal to the men’s rights crowd, as well. The way society collapses with the death of all the men will give plenty of credence to those seeking to highlight men’s role in society. As with the radical feminists, though, it might be tempting to take it too far.

The story is not defined exclusively by toxic masculinity or radical feminism. It’s a story that puts men, women, and society in an extreme situation that brings out the best and worst in them. That would be the ultimate failure for a show like this and an egregious insult for a series as celebrated as Y: The Last Man. If it becomes driven by gender politics and not the spirit of the actual story, then that’s tragedy for all genders.

 

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Five TV Shows That Could NEVER Be Made Today (Thanks To Political Correctness)

It’s amazing how much our culture can change in such a short period of time, relatively speaking. It wasn’t that long ago that mixed-race couples were considered scandalous, depicting a toilet on a TV show was taboo, and Bill Cosby was a respectable public figure. Whether it’s decades, years, or just a few weeks, things can change quickly.

That change, however, isn’t always logical or in the right direction. Hell, I’m still trying to figure out the appeal of fidget spinners. While I like to think that most change in society is progress, I don’t deny there are instances where we all take a step backwards and sometimes fall on our asses.

This brings me TV, an undeniable catalyst for cultural change. For more than a half-century now, TV shaped, re-shaped, and upended our culture in all sorts of ways. From Elvis’ scandalous hips to the rise of music videos to shows like “Breaking Bad,” TV has been a force for better, for worse, and for just pure entertainment value.

There have been any number of shows, specials, and moments from TV that have come to define our culture. However, there are some shows that, if they happened today, would generate a very different response than they did when they first aired.

I’m not just talking about shock value or controversy either. I mean that if some these shows debuted in the current year, they would generate the kind of outrage, whining, and protests that flood social media and spur the kinds of debates that can only ever end with someone comparing someone lese to Nazis.

These are sensitive times for reasons I don’t think I have to articulate. We’ve made progress in some ways, but may be regressing in others. Some blame feminism. Some blame toxic masculinity. Some blame greed, bigotry, or political correctness. Some even blame the illuminati, but that may be pushing it.

Everyone seems to see something wrong in the culture of the past and the present. Everyone likes to blame someone or something different. More often than not, it’s a confluence of forces that make certain TV shows of the past ill-fit for the present.

Some of that is due to seriously outdated views and stereotypes. It’s entirely understandable why those shows would never work today. Most sensible people wouldn’t argue that. There are some shows, however, that would generate enormous outrage for petty, asinine reasons.

What follows is a list of classic TV shows that, whether due to content, style, or theme, would never air today. It would just be too controversial and not necessarily for the right reasons. It may reflect a lot about the sensitive nature of our culture today, but in many respects, it also shows just how erratic our collective tastes can be.


“All In The Family”

This one should be pretty obvious. “All In The Family” was already controversial in its day. It subverted the whole idea that a father figure in a sitcom should be respectable, upstanding, and just. Archie Bunker is none of those things and the show was memorable because of it.

Much of the show was built around Archie being a bigot, but a lovable bigot. In this day and age, that sounds like an oxymoron. At the time though, the early to mid 1970s to be precise, it worked for the same reason Sheldon Cooper works in “The Big Bang Theory.” You can be an asshole in a sitcom, but you can still be lovable.

Unlike Sheldon Cooper, though, making Archie’s bigotry lovable today is next to impossible without making him a B-list villain in a Tyler Perry movie. In nearly every episode, he says a line that would’ve caused legions of anti-racist, anti-sexist, anti-bigot crowds everywhere to erupt on social media. Anyone who even pretended to laugh at that show would be crucified as a Nazi sympathizer.

Beyond Archie Bunker’s bigotry, though, the overall themes of the show would be enough to make it too controversial for TV. The show routinely mentions “the good old days.” Today, though, that idea has been taken to mean the days when people could be assholes to minorities and get away with it. However anyone may feel about the show or its message, it just would just cause too many shit storms to air today.


“South Park”

I know this seems odd because “South Park” is still on the air, having just completed its 21st season. However, even long-time fans of the show can probably appreciate why it should be on this list, especially when you consider how different the show was in its early days.

Even back in the late 90s, this show generated more than its share of controversy for its vulgarity, profanity, and tendency to kill Kenny every episode. It’s the finer details of those controversies, though, that ensure the “South Park” we saw in those earlier seasons could never air today.

Eric Cartman alone would’ve made the show too controversial. Like Archie Bunker, his overt racism, anti-Semitism, and attitudes towards the poor would’ve triggered plenty of outrage. Add depictions of sacred religious icons and characters like Big Gay Al to the mix and the show wouldn’t have made it past the first episode.

The fact that “South Park” is still on the air is less a testament to its staying power and more a testament to its ability to adapt. It is not the same show it was when it debuted in that it doesn’t confront controversy the same way it used to. Even with that adaptation, it still couldn’t debut today, not with someone like Eric Cartman on the cast.


“Two And A Half Men”

This is another show that ended in 2012, which isn’t that long ago in the grand scheme of things. Even so, a lot has changed since “Two and a Half Men” debuted in 2003 and not just with respect to Charlie Sheen’s public persona. In terms of the premise and structure of the show, it could never air today without generating way too much backlash.

This is one of those shows that would enrage both feminists and men’s rights activists, alike. Beyond Charlie Harper’s blatant womanizing, treating nearly every female character a disposable sex toy, there’s also his overly emasculated brother, Alan. In addition to having an ex-wife who routinely screws him over, Alan is needy, submissive, and constantly mooching off of everyone around him.

Even by beta-male standards, Alan Harper is an affront to any man with any measure of self-respect, just as Charlie is an affront to any woman with a shred of feminist inclinations. Granted, that didn’t stop the show from being funny. I admit I loved this show while it was on, even after Charlie Sheen got replaced by Ashton Kutcher. However, its brand of humor would just never work if it aired today.

That says nothing about the depiction of the dim-witted kid, Jake Harper. His depiction would come off as more tragic than lovable than it did in 2003. In terms of the sheer volume of people this show would offend in the current year, “Two and a Half Men” is in a league of its own.


“Baywatch”

First off, I need to make clear that I’m not referring to the sub-par movie that never should’ve been made in the first place. I’m referring to the original “Baywatch” TV show that debuted in 1989, much to the joy of straight heterosexual males everywhere. The show, with its premise built around beautiful women in bikinis and David Hasselhoff’s chest hair, had plenty of appeal.

That appeal is still there today. There’s always appeal for beautiful women and manly men. However, these days it’s become distressingly taboo to admire beautiful women in any capacity that isn’t associated with Wonder Woman movies. We’re at a point where just looking at a beautiful woman is considered harassment by some people.

It’s for that reason that “Baywatch” would never work today. I can already imagine the various angry protests it would incur. People will claim the show contributes to female objectification, rape culture, toxic masculinity, and all sorts of buzzwords meant to make anyone feel guilty for committing the terrible sin of admiring a beautiful woman.

I’ve made clear how absurd this trend is. However, I don’t see it changing anytime soon. As a result, “Baywatch” would just be way too controversial and would probably draw the ire of every feminist or uptight religious zealot with internet access. It’s sad that this world would deny us a show that so nicely depicts Pamela Anderson’s bouncing breasts, but that’s the world we live in.


“Married With Children”

Once again, this show finds a way to be relevant on this site. I’ve mentioned it before in breaking down other topics. I’ll probably mention it again because it touches on so many important aspects of men, women, and family life. Despite that relevance, there’s no denying that “Married With Children” could never be made today.

The list of people this show offended, beyond the angry woman that tried to get it canceled, is as vast as it is comprehensive. This show cracked jokes about women, teenagers, marriage, genitals, animals, fat people, minorities, transsexuals, homosexuals, and pretty much every other minority group you can imagine.

It cracked these jokes in the backdrop of a sitcom that went out of its way to subvert every feel-good family drama that ever existed, so much so that it was originally called “Not The Cosbys.” In many respects, “Married With Children” went even further than “South Park” and “Two and a Half Men” in crafting a sitcom around every offensive trope in the book. It did this with a bravado and glee that you can’t help but respect.

That kind of antipathy to everything that’s supposed to make a sitcom endearing is a big part of what made “Married With Children” so successful. It came along at just the right time to subvert existing trends in TV, creating characters and icons that were raw, unfiltered, and offensive. That timing is also why it could never be made today.

Between the fat jokes, Al joking about shooting his wife, and Kelly Bundy being a stereotypical dumb blond, “Married With Children” would find a way to upset everyone. However, I still think those same upset people would laugh at the show. It was just that funny. It’s a big part of why the show still ranks as one of my personal favorites.

Even if “Married With Children” could never be made today, it still reflects an attitude that I think many people feel whenever anyone gets upset over a TV show. In a sense, it serves as the model for how a show can be so offensive, yet so funny. The fact we’ll probably never see anything like it again makes it all the more special.

 

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Truth, Lies, And Why “Daria” Is More Relevant Now Than Ever Before

For the past couple of days, I’ve been talking about the best and worst when it comes to fictional female characters. Since I deal in fictional characters as an aspiring writer, it’s a relevant topic of discussion. I want to create great female characters for my novels. I think I’ve made some strides with novels like “The Final Communion” and “Holiday Heat,” but I always feel there’s room for improvement.

That brings me back to Daria Morgendorffer from the classic MTV show, “Daria.” In both my lists discussing the best and worst female characters of fiction, “Daria” found a way to the top of the list. There’s a damn good reason for that too. Daria, as a character, represents something that is more relevant now than it ever was in the late 90s.

As I said in my past posts, Daria is one of those characters who was just ahead of their time, but not in a Nikola Tesla or Elon Musk sort of way. She came during an era when dial-up internet was still popular, boy bands were still relevant, and pagers were still in use. It was a strange and different time.

It was also a time when concepts like “alternative facts” and “fake news” were more associated with skits on “Saturday Night Live” than actual concepts that the general public has come to dread. In that sense, Daria is downright prophetic in the sense that she highlights a concept that become increasingly obscure over the past decade.

Throughout the five seasons of “Daria,” as well as two movie specials, one Daria’s most defining traits is her ability to point out the harsh truth that nobody wants to acknowledge. She doesn’t shy away from it. She doesn’t celebrate it either. She just points it out and lets the harsh truth do its thing.

For the overall narrative of this series, this is kind of necessary because Daria is often surrounded by those who constantly avoid the harder truths of life. Sometimes, as with air-headed dumb-asses like Kevin Thompson and Brittney Taylor, it’s out of ignorance. Other times, as with her sister Quinn and her eccentric teachers, it’s out of hopeless self-delusion.

Daria, being an outcast who isn’t afraid to think for herself, sees all of this from a distance and isn’t afraid to point it out. She doesn’t care that it alienates others. Even her sister, Quinn, refused to publicly acknowledge that they were even related until the final season.

Her parents constantly think something is wrong with her. Her teachers and peers constantly think she’s weird. Everyone thinks there’s something wrong with her. Daria even acknowledges that. However, as crass and callous as she may be, Daria may actually be the most sane person in her world.

This is best shown in Season 4, Episode 47 entitled, “Psycho Therapy.” In this episode, Daria’s family undergo a psych evaluation as part of a screening process for her mother’s promotion. It makes for some odd and entertaining escapades, but the most revealing moment comes when he doctors reach a remarkable, albeit unsurprising conclusion.

Daria, despite being so emotionally withdrawn and overtly sarcastic about everything around her, is by far the most well-adjusted person in her family. She understands and acknowledges all of her family’s quirks, but she doesn’t obsess over them or lament over them. She just accepts them and moves on with her life. I’m not a psychologist, but that’s way more healthy than we can expect of most teenagers these days.

In fact, Daria might as well be a unicorn dipped in gold with diamond-encrusted hoofs. She isn’t just accepting, understanding, and well-adjusted to her surroundings. She actively thinks for herself and no one else. She doesn’t shy away from the facts, nor does she avoid their implications. She is, by all accounts, the very antithesis of this current era of buzzwords, fake news, and alternative facts.

That’s what makes her so much more relevant now than she was back in the early 90s. She came at a time when people who said the cold, hard truth didn’t get it twisted through internet memes, social media feeds, and hashtags. Daria doesn’t do beat around the bush or try to twist the story. If something is true, honest, and blunt, then that’s the end of the conversation.

In an era where everyone, from our politicians to our gym teachers, has to have some kind of personality, Daria Morgendorffer is a breath of fresh air and from 1999 no less. What’s that say about our current state of affairs? I could spend the next 38 blog posts discussing it, but that wouldn’t be very sexy for a blog run by an aspiring erotica/romance writer.

I will say, though, that the attitude Daria embodies is something that’s a lot more critical now than it was in 1999. We live in an era where everyone seems intent on joining a trend, becoming part of a movement, or denigrating those who oppose your movement. Daria, being the consummate realist and independent thinker, would roll her eyes at both.

The idea of someone who just thinks for themselves shouldn’t be such a radical concept, especially when it was the core of a successful animated show that ran for five seasons on a network best known for documentaries about teenage mothers. However, that idea couldn’t be more important in 2017.

We current live in an unpleasant convergence, of sorts, where truth and brutal honesty are easily circumvented by fake news, alternative facts, and online trends. It’s too easy for someone to insulate themselves from the harsh realities of life. We all need a Daria Morgendorrfer in our lives to keep us anchored and too many don’t have one.

Being the optimist I am, I believe Daria’s words of wisdom will one day pierce the many veils of bullshit that permeate our culture at the moment. It may take a while. It may be painful, arduous, and distressing in the process. However, that’s exactly why it’s worth doing.

Thankfully, Daria herself gives us some memorable words of wisdom to make the process easier. In the spirit of celebrating everything Daria represents, here it is.

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