Archivo de la categoría: Mixology

Abortion and the decision to be a mother on TV shows.

I think there’s something wrong with our society when, still nowadays, people aren’t able to talk openly of abortion without being subjected to a reprimend. It doesn’t matter if you are in favor or against it, people still would snap out of their minds with the very mention of it and this needs to change.

Women are still having -and will keep having- abortions wether people like it or not, it’s a fact. Our responsability, as active members of a society, is to dig in into this controversial -and troublesome- ideas, no matter how (un)comfortable that makes us feel.

We need informed people, we need individuals to be confronted head on with this subject now more than ever, because we can’t keep avoiding it. Abortion is part of our reality and we need to see that. Wee need to accept that and carry on with our lives.

Lately, I’ve been pleasantly surprised to know that TV shows had surpased us on this very subject. Just last year, I’ve came across with four shows that aired different episodes with a variety of colorful stories were abortion has been treated like it is, a  non-judgmental day-by-day decision made by women about her own bodies. Sometimes accompanied by their partners, other times, alone.

Take Bojack Horseman for example, not only did they succesfully managed to make an entire episode (Brrap Brrap Pew Pew) devoted to treat the subject from diferent angles -controversial song included- but it also singlehandedly managed to create an enthralling story for Diane in which she decides to have an abortion with the full support of his boyfriend, Mr. Peanutbutter, and with no regrets whatsoever.

Within Bojack Horseman‘s world, abortion is a delicate topic to engage with too, thus, women are also demonized. What’s refreshing is the much human take of the situation. There is this strong and confident woman who’s not ready -or doesn’t want – to have a child and her life partner is, nonetheless, by her side all the time. Talk about relationship goals.

Something similar happens in a stelar episode (When Will Josh And His Friend Leave Me Alone?) of the wonderful second season of Crazy Ex-Girlfriend, when Paula finds out that she’s pregnant right after receiving the news that she was accepted to study law in order to follow her dreams of becoming a lawyer.

And the show comes up with an interesting take on the matter and certainly one that a lot of women has to deal with in any given moment in their life: how much self-sacrifice should women have to face in order to achieve their dreams? What happens when life gets in your way? What you shoould do? How it will affect your life and the way everybody sees you?

The answer is, and as Crazy Ex-Girlfriend perfectly sums it up, to go on with it, whatever the finally decision is or would be. Eventually, she decides to go on with the abortion, with her husband by her side, holding her hand and taking care of her. Paula already has two kids and a prominent future looking right at her, waiting for her.

As we can see, motherhood is not, and shouldn’t be, an obstacle in one’s life.  Motherhood it’s neither a burden every women has to carry on their shoulders, nor an obligation that should be imposed on their lives.

This is something that crosses Lindsay’s mind on a poignant episode of You Are The Worst (Talking To Me, Talking To Me) when she is met with a crossroad deciding if she wants to go on with her pregnancy because she really wants to have a baby or just because it’s what her husband needs to be happy.

As an audience, we’re aloud to see through the cracks of Lindsay and Paul’s relationship. They are -and had been- together more out of a rutine than by a shared sense of love or mutual respect, for that matter; and, as later Lindsay realizes, a baby will no help improve it either way. They are not meant to be together, pregnancy aside or not.

Lindsay, as immature and impulsive as she is, ends getting the abortion without consulting it with his husband. Eventually he learns about it and, after a big fight, he too acknowledges that even a baby would not save their relationship.

The series is so nuanced and invested on telling this story, that they manage to make a powerful argument with it: being a mother is, as any other aspect in life, a decision that needs to be made, not by others, but by the couple involved; and, first and foremost, by the woman herself.

Fiona Gallagher, the matriarch and the (somewhat) moral compass of the Gallagher family in Shameless US has to make the same decision on an episode (NSFW) of the sixth season. After she learns she is pregnant she decides, with the help of her boyfriend, to have an abortion. As we can see throughout the whole episode, they are not ready to have a kid, nor they want to.

Praises aside, these four bold series have managed to do what any other show couldn’t, treat abortion not as the main event of an episode, but rather as a part of each of their characters’ stories. By not making a big fuzz about it, they’re really changing the way we should be treating the subject, like a life decision more than a game changer.

One Remake At A Time

There is no rulebook for a perfect time to premiere a TV show, but, if it were, then the new Netflix series One Day At A Time would’ve ticked all the boxes. In an era where remakes are around the corner, this particular TV show, even though is a remake of the 1975 classic, feels particularly fresh and very aware of the context its living in.

I don’t think that the showrunners, Gloria Calderón Kellet and Mike Royce, would have pictured this particular show as a remedy for the Post-Trump election audience, but it sure feels like it. In this day and time, there’s nothing more radical than a TV show starring a cuban veteran nurse of Afghanistan living in Los Angeles and trying to raise her two kids with the help of her mother, as the life of Penelope Álvarez in One Day At A Time.

Granted, the very idea of the selfless single mother navigating through the challenges of life, has been made countless of times both in movies and TV shows, but, and this is what it makes this serie so profoundly adequate, they have never focused the attention on the challenges of being a woman, specially an immigrant.

Focusing the narrative only on the problems of motherhood without understanding what’s like to be a woman, and on the essence and construction behind a woman’s perspective, has always been an usual problem on stories like this. They have been telling us that motherhood (and especially single motherhood) is something inherent to womanhood, something to suffer about, to embrace as something women must own.

Netflix’s One Day At A Time understands this particular issue and depicts it on a whole new view, by building their characters from scratch. Yes, Penelope is a single mother of two, but in no way the series confines her to portray only that role in her arc. She also is a nurse, a veteran, a divorced woman, a daughter and a single lady looking for love.

Of course that she has problems raising her kids by her own, but what’s really meaningful about this show is that her role as a mother is not the one that is carrying the story along. Her collected experiences as a woman living in the USA are the real focus, motherhood just happens to be one of them.

The same thing happens with the depiction of her mother Lydia and Penelope’s daughter Elena, they are both full and well-rounded characters with their own opinions and agency, trying to understand what does it means to be a woman nowadays. Thus, the more profound and enjoyable episodes are the ones that keeps challenging each and one of their personal opinions with the ones around them, and specially with each other.

Lydia is a catholic woman who migrates to USA in the midst of Castro’s goverment looking for a new place to call home, Elena, on the other hand, is cuban girl born in the United States with a particular interest on social challenge and new ways to improve the world she lives in. They both understand life differently, but because the great love they share, they are capable of grasp their opinions and respect each other.

The show not only finds many ways to give her women a voice, but it also manages to put it front and center with a handful of serious debates, that the characters have in each episode, around women’s rights, sexism, religion, lesbianism and gender pay gap. Make no mistake, giving this women her own voice and agency in no way means that the male roles are overshadowed by them, if anything, it helps them to be portrayed in a happier and more fulfilling light.

One Day At A Time makes an incredible effort to present flawed but caring men, that are usually influenced but not defined by toxic masculinity, capable of having profound discussions about homosexuality, mansplaining and sexism without being subjected or depicted as the villains of the story. Something that, at least in my case, helped me to confront the social perspective around of what’s really like to be a man nowadays.

It feels quite refreshing to find a TV show, with the narrative structure of a sitcom, capable of going to the places that even some serious series hadn’t had the nerve to go. Because in a world full of remakes, the ones that are here to propose instead of playing common patterns are the ones that are more likely to succeed.






Neon lights: the illumination of adolescence in movies

The loss of inocence and the “Coming of age” stories are one of the most used trope often depicted by Hollywood on the mainstream cinema. It’s not uncommon to find movies that circle around that specific moment on every teen life when they transition from being an innocent child to become an empowered adolescent.

Being such a significant time in someone’s life, this rite of passagehas  a lot of symbolisms embedded right into its core. Symbols that some movies like to represent in numerous ways, like with a loss of virginity, or with a big, introspective and literal journey across the country, or even with a Prom dance. You see, the coming of age is something inevitable and very profitable for Hollywood, and this year wasn’t the exception.

From a handful of movies that premiered in 2016, I think that three of them really stand out from the others: The Neon Demon, Nerve  and The Closet Monster, not only because I consider them to be actually  good or because I’m pretty sure they harnessed excelent narrative techniques to tell their story, but mostly because their deep understanding  on adolescence and the transition through this rite of passage.


Of course, each one of them treats different and interesting subjects. Whereas The Neon Demon made a strong argument against the beauty culture, Nerve tried to talk about the dangers of technology and Closet Monster stood against homophobia. But they also depicted certain elements of the coming of age very similarily: using neon lights as a narrative and symbolic tool to reference it.

All of three of them have an innocent character living on a bubble as a protagonist. It isn’t until later when they have to face reality when the loss of innocence happens, along with the appearence of perfunctory neon lights on the scene as a part of their environment to aknowledge it.

The Neon Demon presents the perfect epitome of innocence and virginity with Jesse (Elle Fanning), a young model from a small town  navigating through the difficulties and superficialites of Los Angeles. When we first met her, we see a teen struggling to cope with the reality she is living in while trying to accomplish her dream in order to succeed on the beauty bussiness.

Nerve has the incorrupted Vee (Emma Roberts) as its protagonist. An A-grade student looking  for some emotion that can help her to break free from the routine she has put herself into for the last years, trying to be the perfect girl she always imagine would be whilst making an effort to get the attention from the boy she is in love with.

Finally, Closet Monster introduced us to Oscar (Connor Jessup), a guy who has always lived under the shadow of his homophobic dad, that is trying to understand what his role in the world is and where does he fits in it.

They, like every other teen in the world, are looking for meaning  and substance in their lives. The three of them are facing adulthood like fishes out of water: navigating through a sea of emotions and insecurities, but with a lot of curiosity to push them forward.

The Neon Demon is, by far, the most blunt approach to adolescence by using neon lights as a device to understand the coming of age experience. Its director even blatantly compares this blossom in life with a demon transformation. The more Jesse becomes part of this “adult” world, the more demonized her look and her attitude is. She surrounds herself with neon lights with each step she takes ahead.


Jesse’s first confrontation with her own beliefs -a very innocent ones, I must say- happens when Ruby (Jena Malone), one of the makeup artist she works with, takes her to meet another models to a party. There, she realizes what really she is getting herself into, when the girls start to criticize her. From the very beginning of the movie, she feels overwhelmed but decided to triumph on that city that constantly puts beauty and lust before humanity. Of course, the scene ends with Jesse watching with an offish glare a model show surrounded by neon lights.

But its not until her first runway when she fully embraces her demon-ness . As the industry begins to consume her inner light, she slowly starts to feel that she belongs there. She feels empowered and purposeful to be the best model in town, and she doesn’t care about anything or anyone. This realization comes along with a  beautiful scene where Jesse watchs her reflection looking right at her in fully neon lights.


Nerve, on the other hand,  approaches to teen angst and insecurity by tackling it with technology obsession. Vee it’s the typical adolescent looking for an adventure and a change of routine. This, of course, appears in form of a daring app that challenge its users to do risky things in change for money and a bunch of memories to gloat over.

Vee’s curiosity comes across like something natural and organic as all her classmates are experiencing the same feelings of excitement of using the app. At the beginning of the movie she is often surrounded by dim lights and obscure environments, but when she’s ready to accept her first challenge, the illumination changes.

As she enters a restaurant to kiss a stranger, the neon lights that decorate the place begin to shine. In fact, each and every one of the dares  that Vee and Ian (Dave Franco) perform, are surrounded by bright neon lights, getting brighter and brighter as the challenges increase their difficulty.


To Nerve the coming of age means not only to embarce and confront your worst fears, but to live through them and not under the shadow they could cast above your life. Curiosity is, after all, the fire that ignites the neon lights of adolescence.

Closet Monster reflects a lot upon acceptance and sexuality on teenage years. Oscar has always known that something is off in his life, that something’s missing. Living with a homophobic dad and with the awful idea of an absent mom is not easy for him. All of the scenes with his dad are surrounded by opaque illumination that casts a shadow on both of them.

It isn’t until he meets Wilder (Aliocha Schneider) when his surroundings start to change. As Oscar begins to accept his inner thoughts, his character commences to walk through bright places, and when he is finally ready to accept who he is and confess his love to his friend, the neon lights appear in form of party decorations. This type illumination is, after all, the representation of his desires.


If this odd cinematographic technique has something to teach us, is that, in order to turn on the neon lights that could surround our life, we need to be in contact with oneself and one’s needs. If we want to achieve our goal of moving from childhood to adolescence, we must embrace curiosity to outgrow our self-imposed limits.

The powerful narrative behind Idina Menzel’s acting choices.

What’s the first thing that comes to your mind when you hear the name Idina Menzel (apart from Adele Dazeem)? For me it must be the certainty to embrace oneself. It’s no coincidence that the singer/actress has been carefully selecting through all these years her acting choices to match a certain type of character: the Other.

Menzel has been depicting for long a handful of individuals that can only be described as the Other: a well-thought character which is immerse in a constant state of being different from the common and very shared social identity. her representations, though, are not victims.

If there is one thing that could define Idina’s singular portrayal of Otherness over the past years is her distinctive and constant refusal to be victimized. She has singlehandedly managed to depict a wide variety of colorful characters  that always have refused to lose their unique qualities in order to be accepted. They, instead, try to do something about it.

Just think about Idina’s most iconic characters to date: Elphaba from Wicked  and Elsa from Frozen. They are both strong and powerful women searching for their true self while coping with a society that values passiveness more than authenticity and independence.


Both Frozen and Wicked revolve around the idea of embracing oneself, of accepting who you are, of not letting anyone to define you, and of taking the Otherness as something that you own and not as something that is not in your control.

Elphaba, on one hand, is a young girl who struggles to cope with the very idea of being a powerful green witch in a place where is not common to have colored people with magic around. Elsa, on the other, is a conflicted woman living with magicals powers whilst trying to do her best as monarch on a kingdom that is not used to have only a queen as their leader.

What’s really daunting about this characters is not just their Otherness, but the way they embrace it as an essential part of who they are. Both Elsa and Elphaba are constrained to fit into a box imposed by the ones around them, but because of their difference, it’s something they don’t want to achieve. They want to be who they are, without any limitations.


Just as Idina’s life, her characters mostly use music as a way to communicate. Songs in  her movies are often used by her characters as a performative device, where inner thoughts, and identity traits, only become real when they are sung.

If you are familiar with pop culture, you should know that ‘Let it Go‘ and ‘Defying Gravity‘ are ones of the most powerful and empowering songs to date. If you are familiarized with Idina Menzel’s work, you’ll know that they are her go-to melodies when talking about the importance of her career. Within their narratives, these songs function as their hymns to Otherness and their way to embrace it. They are Elphaba and Elsa’s ultimate statement.

Idina’s other famous character, Maureen Johnson, has plenty of ways to express her Otherness in the hit Broadway show, Rent. She is a free person that doesn’t understand life as something that could be either black or white, but something more big in between, an outcast that stands for what she believes and a woman that doesn’t like to be put in a box.


Unlike Elsa and Elphaba, she doesn’t have to push through a long and hurtful path before embracing her Otherness. She is who she is and she doesn’t care what any other person could think about her or her actions. She is not defined by people nor does she is a victim of their actions. She even has a Tango named after her that really sums up the way people perceive her, making it her ultimate statement.

Even her brief, but stellar, appearance in Disney’s Enchanted as Nancy Tremaine could easily be described as an empowered woman sidelined by her Otherness. Her role within the narrative is to act essentialy as the Other of the Princess Giselle (Amy Adams). She is, after all, the girlfriend of the protagonist’s love interest.

Portrayed by other actress, her arc in the movie could easily fall over the antagonist place. Instead, on Idina’s hands, we got the perfect Otherness arc for a secondary character: she is a succesfull and confident woman looking for love that eventually ends up marrying a charming prince not because the story told her to, but because she decided to.


There’s something quite exciting and admirable about Idina Menzel’s narrative based on her acting choices: in order to embrace oneself as the Other one must make Otherness visible.

The TV-obsessed-guy’s guide to enjoy Peak TV

We live on an incredible era, one era where audiences  have the opportunity to navigate through countless channels and streaming platforms for them to choose from a innumerable amount of shows that are constantly delving through important issues, like mental illness, gender, race, consent, identity and love, along a great variety of genres and situations. Yes, we are living in one era  that many people are calling ‘Peak TV’.

These days —mostly thanks to the elevated costs of movie tickets and the so called “lack of originality on Hollywood” that is been going on— people are consuming and relying much more in TV shows than in cinema.

Each new year we get a handful of new  (and interesting) shows waiting to be devoured by its audiences. Naturally,  it’s physically impossible for an actual human being to consume so many hours of  new and old TV whilst succesfully managing to maintain a job and a social life.


There are so many TV shows and not enough time to weigh in on all the options. Every day I constantly find myself asking a lot of questions: Is this show gonna be worth of my time? Am I going to enjoy it? The premise looks fine, but, is it original enough? Does the characters look interesting?

If you ask yourself the very same questions every time you want to catch on with a TV show, then we share the same problem, but fear no more! I have some useful tips for you! Follow me through and by the end of this post you will be able to decide which show is worthy of your time and which one isn’t.

  1. Spring, summer and fall TV

The first thing you need to know before picking up the shows you are going to watch is that TV scheduling is really weird.  You either could wait for one or two, even three, years between season or you could watch two seasons of the same show on the very same year, something that happened with Shameless US this year.

Much of the time this has to do with network budgets ans the actor’s free time to wrap up a season. Benedict’s Cumberbatch and Martin Freeman’s busy schedules are the reason why Sherlock’s seasons have so many years of separation within each other.

But some other times this often happen due season’s scheduling. Typically, the networks distribute their shows between spring, summer and fall. The latter is always destinated for the most watched and rated shows, whilst the former and the one in the middle are more prone to be used to premiere risky shows. That way, you could only catch American Horror Story  on fall TV and Girls on spring TV.

My advice here is to never forget this scheduling, that way you could watch tons of different shows between seasons without missing the ones you are more interested about. Search for awesome new options and prioritize them between each season.

2. TV previews

If you follow any platform that is dedicated to write about pop culture, TV and movies you already should know that they usually post their TV previews before the beginning of each new season. Seize it.

What I tend to do is to look after this lists to search and select the shows that will draw on my attention. Entertainment Weekly and Filmschoolrejects are the ones that I am more prone to check and the ones that are most likely to be very helpful with their shows summaries.

3.  Helpful apps

I know, keeping up with a lot of shows could be a bit overwhelming and it could turn out to be a really difficult  task to accomplish. Notwithstanding, there’s a really useful life hack that has made my binge-watching experience a lot easier: Apps.

There’s actually a full catalogue of helpful apps made with the sole purpose of organizing and scheduling the shows you’re watching currently. My personal favorites are iTV Shows for apple users, and Next Episode for Android users. In them you can look for the synopsis of each episode, the day and time of the premiere and, in some of them, a list of the shows that are trending right now.

But the most important feature, at least for me, is the notifications. You can personalize your app to alert you when your favorite show is going to start, when it’s cancelled and even when it gets a premiere date. This will help you to follow each episode and to prevent you to miss out on a new one.

4.  The three episodes rule

Even if you already have selected a handful of shows to watch, you must prioritize the ones that you really want to keep on watching and discard the ones that you don’t. Otherwise, you will find yourself in the middle of a tricky situation between a lot of episodes to catch on and no time to do it whatsoever.

I have the theory that if a show doesn’t manage to captivate you and capture your attention in the first three episodes it will never manage to accomplish it in the near future.

Typically, the first three episodes of a show must give their audiences enough information, character-wise, story-wise and arc-wise, to really know what kind of show they’re getting into and what they can expect of it. Three episodes, in my book, are more than enough.

So, with that in mind, you either keep on watching it after episode three, because you like it, or you don’t, because you didn’t like what you saw, or you didn’t get enough information to enjoy the show by episode four.

Don’t waste your time on shows that doesn’t fulfill your needs as a viewer and stop doing senseless hate-watching. If you do this, you’ll see how easy will be for you to get rid of a show you felt obligated to watch and how rewarding will be to keep the ones you really loved on the first three episodes.

5. Enough is enough

Look, I love to watch a show from the very first season through the last  like the next person, but sometimes we have to accept, and then realize, that some shows could, and would, lost their way, and that’s fine. We don’t have to stick around until the very end of a show.

Precisely this very year I had to stop watching Pretty Little Liars because it became so tiresome and predictable that I ended up not enjoying it at all,  and I don’t even feel bad about it. I had my time loving it and I got some pretty good episodes, but that’s it.

So, if you feel like a burden to wacth  one of your favorite shows, then stop doing it. It will make you some room to enjoy a new one and you will feel much better with yourself by stopping all that hate-watching you’ve been doing lately.

6. Enjoy the experience

There’s nothing better than finding a great show to hang on to. Enjoy it and embrace it. Peak TV is really upon us and the best way to honor it is by consuming all the great things that are airing and streaming out there.

Have a great day and an awesome binge-watching season!