Devin and I started recording an episode just after finishing the 2018 Oscars. This is not that episode, but it’s close enough.
Kanye West closed Sunday’s Billboard Music Awards with a medley of his current hit “All Day” and his two year-old album cut “Black Skinhead.” The performance elicited boos in the room and online, for different reasons. The audience objected to the introductory remarks from pop culture pariahs Kendall and Kylie Jenner and the blinding light that radiated from West’s stage setup, obscuring the performance from view.
Viewers at home objected to ABC’s decision to bleep out substantial portions of the audio from the performance. Such bleeps typically cover words the FCC has deemed profane. In this case, the bleeps covered entire verses of West’s two songs. The biggest ironies: the people let at least two swears slip amid the reckless bleeping.
The world gives us lots to be cynical about every day. But today’s Thanksgiving, so I want to take a brief pause from frustration, indifference and indignation to marvel at the treasures on our massive pop culture landscape. Here’s a look at some of the pop culture (and pop culture criticism) that I’m thankful for right now:
Last night, I watched all three hours of the 2014 American Music Awards. It wasn’t always a fun experience. Head over to The Eagle for my grades of each performance.
Saddled with the unreasonable task of attracting an audience in a toxic timeslot (Tuesdays at 9:30pm) with little promotion, ABC’s Trophy Wife was doomed to fail from a commercial standpoint. As of two weeks ago, it did – the network announced that it had cancelled the show after its first season of 22 episodes.
From a creative standpoint, the show seemed doomed to fail based on title alone. The idea that in 2014, a physically fit young woman who marries an older man could be described with a phrase as derogatory as “trophy wife” gave no one optimism that Trophy Wife would be a show worth championing. Yet the show quickly established that the title is an ironic commentary on the assumptions that people would make about Malin Akerman’s title character based on her appearance. Irony doesn’t always translate well into casual conversation, and indeed, when I tell people I like a show called Trophy Wife, I frequently get looks that would be more appropriate if I had just said that I willingly stepped in dog waste.
But enough about the title. Let’s talk about the show. It was a good one, and I’m going to miss it. I can imagine an alternate reality in which this show became a timeslot complement to ABC’s relatively highly-rated Modern Family and survived for four or five seasons of gleeful hijinks before retreating to a lifetime of syndication on cable. That would have been a far more appropriate fate for a show that married traditional sitcom standards with a modern perspective on family life as well as Modern Family at its very best. Not everything worked – some of Kate’s ongoing struggles to prove that she’s a worthy parent grew repetitive, Jackie’s antics often strained credulity, and Natalie Morales’ Meg usually seemed like an enjoyable character who belonged on a different show. But when it worked, and it frequently did, Trophy Wife showed far more promise than any other new comedy on the networks this season, save Fox’s Brooklyn Nine-Nine and Enlisted.