Archivo de la etiqueta: Crazy Ex-Girlfriend

Rachel Bloom: musical comedy and spot on feminism

The day I fell in love with Rachel Bloom was actually the first time I ever heard anything from and about her. I was just  in the process of getting over my ex-boyfriend, so, naturally, I was looking for new music for my sad “I’m-over-you-and-I’m-not-sad-at-all” playlist to listen to on an infinite loop. I ran out of options quickly so, as any other lonely guy would do, I searched for songs with the word “dick” on their name and, without realizing, I was rapidly blasting “Pictures Of Your Dick”, by the one and only Rachel Bloom, non-stop. Little did I know that finding this merry tune will be just the tip of the iceberg on my quest to understand and embrace the numerous ways she navigates with her comedy.

For those who hadn’t had the joy of knowing Rachel Bloom, let me break it down for you. She is a comedian who started her career by doing musical comedy on Youtube (Please, don’t miss the opportunity to go to her channel to take a look of what’s she’s capable of) and now she’s the creator, writer and protagonist of The CW’s Crazy Ex-Girlfriend TV show, which recently was renewed for a third season.

She is a feminist who uses musical comedy to make a point and to take a stand on what she really believes in. So, in order to understand her comedy, you will need to see it as a criticism and a satire of the society’s actual state.

The clever ways she  balances her feminism in perfect unison with her comedy is, actually, her greatest statement of all; in fact, Rachel Bloom’s best asset is her particular way she uses the deconstruction of tropes, and social constructs, as strong arguments against sexism. Traditional gender roles and moral values are just some of the topics she likes to toy with on a daily basis.

Rachel Bloom sees society as a one big musical. A staging where the performers live by the narratives they taught themselves to believe in in order to follow the rules the script has laid upon them. A play where some tropes could be just as harmful as labels, but that can also be subverted in the same way.

You will only need to take one glimpse on her trajectory to find three subverted tropes that are present consistently on all the things she does: The Crazy Ex-Girlfriend, The Disney Princess and The Party Girl. Her most famous yet is, and thanks to her TV show, the Crazy Ex-Girlfriend.

This particular trope is pretty complex by itself, not only because it comes from a blatant sexist background, but because women are often labeled with it. You might have heard about this one before, it stems from the outdated idea that women are just emotional individuals that keep making rushed choices with their heart and not with their minds. So, by acting on it, they will always be reduced to this one-note characters that will probably be obsessed with the dudes they had a relationship with.

Rachel Bloom, on the other hand, makes the most of it by really going along with it. She constantly mocks this particular trope by going the extra mile by granting all these particular characteristics to her main character of the show, Rebecca Bunch (played, obviously, by her): she basically moves to her ex-boyfriend’s hometown in order to get back with him, but she’s convinced that that’s not the reason she changed cities.

Rebecca is obsessive, irrational and stubborn. She’s the best caricature of the trope we can get. That’s what’s really enthralling of the show, her character is so exaggerated and over the top that it becomes really easy to deconstruct it in order to identify the flaws behind it. That’s how Rachel Bloom rolls, by exaggerating the stereotype and waiting for the cracks to show.

Her Crazy Ex-Girlfriends are often saying to themselves, and to others, what men would like to hear in order to get back with them, after all, they are hopelessly in love and  very devoted to the man they love. It’s common that they have a really low self-esteem and their personality, and core identity, varies from man to man. They even upload pictures of their ex-boyfriend’s dick online as a form of personal vendetta.

With only two seasons of Crazy Ex-Girlfriend in, we are able to understand, as the audience, that women that are labeled as the Crazy Ex-Girlfriend are, in fact, often constrained by all the high and sexist standards that society have placed on them from the very beginning.  In a certain way, they just acts on it.

Women have to be sentimental — and not tough—, because the gender role they have to fulfill demands them to be like that, but only in small doses and without being too loud, because, without any kind of supervision, it could probably transform into an obsession or, even worst, a direct attack against our very fragile masculinity.

The Disney Princess trope comes right from the same place. Society will always tell us that, in order to have a happy life, women have to become wives, not Crazy Ex-Girlfriends,  and the best way to do it is by drawing the attention of a Prince Charming by being feminine, elegant, selfless and sentimental. That’s why Rachel Bloom’s subversion of this trope is so delicious. Her Princesses are everything but what society likes to call “ladylike”. They like to curse while their sing, and they will certainly talk about poop and menstrual cramps without any decorum. They are, at the end of the day, regular human beings, not impossible standards to achieve.

The Party Girl has her origins on the darkest corner of masculine heterosexuality: the fantasies. This stereotype wants women to be sexy, sensual and carefree but without losing any trace of femininity and elegance. This particular trope can be very contradictory by itself, it asks women to be kind of slutty but without losing her prstine image or any respect from the others, especially from herself. You can also find this girl in any party waiting to woo over some random dudes.

In Rachel Bloom’s world, the Party Girl sings at the club about dying from cancer, throwing up a bile, threatening someone’s girlfriend to kill her and use her skin as a dress, or even flying her dirty panties as a kite, all of that whilst using a revealing outfit. As you can see, she’s anything but sexy.

This is what we really need right now, someone who is willing to use her platform to make strong statements about important topics visible,  with creative methods that can help people understand them in a more accesible way. Rachel Bloom is already getting ahead of everybody.

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 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 has 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 is not going to help improve it either way. Their 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.

Las 18 mejores series del 2016, parte 2

9 Lady Dynamite Netflix, primera temporada.

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Si hay alguien adecuado para hablar de una enfermedad mental en una serie y reírse sobre ello definitivamente es la comediante Maria Bamford. Su particular sentido del humor y carisma hacen que cada capítulo de Lady Dynamite sea una nueva aventura.

La serie narra la vida de Maria, una actriz diagnósticada con un transtorno bipolar que se tiene que enfrentar al mundo del espectáculo después de haber estado un tiempo en un hospital psiquiátrico y alejada del medio.

Lady Dynamite no solo se encarga de hacer un estudio profundo sobre las personas que sufren una enfermedad mental, sino que también nos dan una perspectiva realista de las personas que las rodean. Serie esencial para todos los fanáticos del humor negro.

8 The Good Place NBC, primera temporada.

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Desde el estreno del remake de The Office, Michael Schur se ha encargado de crear comedias novedosas, con personajes entrañabales, muy adelantadas a su época y con The Good Place no se queda atrás.

Con este programa seguimos a Eleanor, una chica inteligente que se dedicaba a aprovecharse de los demás en una vida mal vivida, hasta que muere y aparece, gracias a un error, en el paraíso (o The Good Place) y no en el infierno (o The Bad Place). Ahí conoce al ángel arquitecto de ahí, Michael (un magnífico ted Danson) al que tendrá que engañar para poder mantener su lugar.

Si con esa explicación imaginaste una serie muy conceptual, entonces estás en lo correcto, y The Good Place se divierte mucho con eso. Resulta muy interesante ver cómo la serie juega con temas morales y profundos de forma tan natural, algo que lo vuelve un programa esencial esta temporada.

7 Love Netflix, primera temporada.

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Para los que ya conocen el trabajo de Judd Apatow, sabrán que su tipo de comedia se distingue por tratar temas en particular de forma incómoda y directa. En Girls el enfoque fue dirigido a las mujeres jóvenes modernas, en Freaks and Geeks a un grupo de inadaptados y en su más reciente creación, Love, se centra en una pareja totalmente diferente.

En manos de cualquier otras personas, esta serie podría ser otro programa más sobre una pareja dispareja. Sin embargo, con Judd Apatow y compañía, podemos disfrutar de la historia detallada de dos individuos imperfectos que intentan acompañarse el uno al otro a pesar de todo lo que se los impide, sobre todo ellos mismos.

6 Stranger Things Netflix, primera temporada.

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Si hay una serie que dio de qué hablar en este año es, sin duda, Stranger Things. Programa que, por si mismo, logró retomar los mejores elementos del terror y el suspenso de la decada de los 80 y aprovecharlos para crear una historia intrigante que sigue a un grupo de personas que están en búsqueda de un niño que, al parecer, se encuentra perdido en otra dimensión. Imperdible.

5 Veep HBO, quinta temporada.

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Esta es la primera temporada de este exitoso show de comedia política en el que el showrunner es diferente al creador original, debido a la partida de Armando Iannucci. Afortunadamente, y gracias a la fuerza del talentoso cast y de las historias ingeniosas, esta es una de las mejores temporadas de la serie.

A lo largo de 13 capítulos , personajes secundarios, como Catherine, ganan fuerza y el protagonismo necesario para llevar su propio episodio (como el fabuloso Kissing Your Sister) sin perder los arcos argumentales del resto. Muy recomendable.

4 Black Mirror Netflix, tercera temporada.

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Fue un gran alivio que el monstruo del entretenimiento Netflix decidiera retomar esta increíble serie antológica que centra sus episodios en los peligros de el aprovechamiento de la tecnología en exceso y la forma en que ésto afecta directamente a nuestra humanidad y relaciones personales.

Resulta refrescante que dicho programa contara con el respaldo y la fuerza creativa de Netflix para abrir las puertas a nuevas e impresionantes historias y a figuras importantes en el medio, como Bryce Dallas Howard y Gugu Mbatha-Raw.

3 You’re The Worst FX, tercera temporada

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Después de haber tenido una de las mejores temporadas del 2015, You’e The Worst tenía demasiadas expectativas que cumplir. esta vez, a pesar de no haber alcanzado el mismo puesto que el año pasado, contó con uno de los arcos argumentales más interesantes y profundos sobre el Transtorno por estrés postraumático, los efectos que tiene en las personas que les aflige y las consecuencias que viven los que lo rodean.

A mí parecer, este show sigue siendo la serie que trata con más profundidad y seriedad las relaciones amorosas y a los integrantes de las mismas. Un verdadero ejemplo de lo que debe ser el humor negro.

2 Bojack Horseman Netflix, tercera temporada.

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Quien diga que los dibujos animados no deberían de tomarse en serio debería de ver inmediatamente Bojack Horseman. Esta serie no solo enfocó su tercera temporada en tratar de entender a sus (de por si) complicados protagonistas, sino que también entró en el debate del aborto y la otredad sin problema alguno.

Para ser una serie protagonizada por un caballo con problemas de alcoholismo y depresión, Bojack Horseman es uno de los programas más sinceros y sencillos que podrás encontrar en la televisión actual.

1 Crazy Ex-Girlfriend The CW, segunda temporada

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Con tan sólo 6 capítulos de la segunda temporada, Crazy Ex-Girlfriend logró encabezar esta lista sin problema alguno. No es solo porque cuenta con uno de los personajes más interesantes de la televisión actual, y antiheroina autoproclamada, Rebecca Bunch, sino que también es una de las series más ingeniosas de la televisión actual.

Acompañada de una lista impresionantes de musicales y un cast muy fuerte, la segunda temporada de Crazy Ex-Girlfriend continua modificando los estereotipos de la mujer loca y el hombre superficial, mientras desarrolla una de las más grandes historias de amor: el de dos mejores amigas que se pierden en el camino.

 

Y ahí lo tienen, este es el listado de series del 2016 que, en mi opinión, tuvieron motivos suficientes para sobresalir de entre el mar de programas que se estrenan cada año, ¿ya viste alguna? ¿qué te pareció?

 

El concepto del amor ha cambiado en las series: Kimmy y Rebecca version.

¿Qué es el amor? Evidentemente es la pregunta que maneja nuestra vida, nos ronda continuamente y se encarga de muchas de nuestras decisiones. La televisión y el cine no son ajenos a desarrollar historias y centrar narrativas en todo lo que el amor representa (incluso me atrevería a decir que un 90% de ellas surgen y terminan en eso). Lo cual nos brinda una infinidad y enorme variedad de respuestas a esta pregunta, en la riqueza de la subjetividad y las diferentes voces que dichas perspectivas conforman.

No hace mucho, dediqué una entrada a tratar de entender las concepciones actuales del amor en la televisión. Gracias al desarrollo de personajes menos perfectos y más reales, con defectos y problemas, obtenemos relaciones difíciles y compromisos irreales con las personas que los rodean. Nuevas ideas del amor.

Ideas que son la tesis central de las series creadas, escritas y producidas por Rachel Bloom y Tina Fey: ‘Crazy Ex-Girlfriend’ y ‘Unbreakable Kimmy Schmidt’. En ellas vemos a personajes ordinarios, con historias similares por contar: Kimmy se re-descubre después de vivir 15 años encerrada en un bunker, mientras que Rebecca intenta hacer lo mismo después de vivir una fantasía de lo que  ella creía que su vida debía ser. Ambas están buscándose así mismas, mientras enfrentan contextos nuevos y totalmente ajenos a ellas.

Ninguna de las dos tiene una idea de lo que significa el amor en sus vidas y siguen viviendo con una mentalidad un tanto infantil e inocente de lo que es la vida. Kimmy no tiene referente alguno aparte de lo que veía en la televisión antes de ser secuestrada, Rebecca, por otro lado, sigue enamorada -y atorada- con la relación de fantasía que vivió con su ex-novio en la preparatoria.  Las dos perpetúan lo que aprendieron en su contexto más cercano, lo que ellas creen que es correcto y necesario en su vida.

Ambas aún idealizan el tipo de amor que vivieron al crecer: el del cuento de hadas donde existe un príncipe que llegará a sus vidas para complementarse y vivir felices hasta el fin de los tiempos. Por eso Rebecca decide mudarse a la ciudad donde Josh vive, para tratar de recuperar esa sensación de felicidad que tenía cuando estaba con él, mientras que Kimmy se aferra a Dong y la chispa que alguna vez sintieron, aunque la situación en la que ambos se encuentran diga todo lo contrario.

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Para Kimmy y Rebecca la felicidad se encuentra, en gran medida, en el amor de pareja, en la alegría que atrae a tu vida el hecho de estar con otra persona, de complementarse el uno al otro. Por ello dedican gran parte de sus esfuerzos a ser felices con sus contrapartes masculinas, a que ellos entiendan las razones detrás de sus actos (por más egoístas y maníacos que suenen).

Sin embargo, a lo largo de la primera temporada de ‘Crazy Ex-Girlfriend’ y las dos temporadas de ‘Unbreakable Kimmy Schmidt’ (La segunda acaba de estrenarse en Netflix) vemos cómo estas ideas preconcebidas cambian. Rebecca y Kimmy -después de varios golpes de realidad- confrontan sus problemas y dan la cara a su ansiedad, a los problemas que llevan arrastrando, a sus pasados y a sus nuevos presentes. Josh y Dong dejan de ser aquellos fines para alcanzar su felicidad y pasan a ser parte de ella.

El amor de pareja cambia  de ser un último fin a la parte esencial de una felicidad que no es inamovible ni estática, sino que se modifica constantemente. El concepto del amor crece y da entrada a otras formas de entenderlo: al propio, al de familia y al de los amigos. Nuestras protagonistas entienden que el amor llega de diferentes formas y en variadas presentaciones.

Para Rebecca llega en forma de su amistad con Paula, aquella persona tan importante en su vida como ella misma, su amor por la interpretación de musicales y su estabilidad emocional. Para Kimmy aparece en forma de Jacqueline, Titus y Lilian: su nueva familia, la que estará ahí para lo que necesite, su amor por ella misma que representa dejando atrás su pasado y su paz mental.

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Como menciono en el post anterior, el concepto del amor evoluciona mientras los personajes comiencen a perfilarse a ser más reales, con defectos, dispuestos a confrontar sus miedos y estando abiertos a encontrar la felicidad en lugares donde menos lo imaginarían.

Sí, el concepto de amor en las series ha cambiado, pero eso sólo significa que ha evolucionado para aterrizar en un nivel mucho más real. Un lugar donde los príncipes y princesas pueden quedarse dentro de sus fábulas para dar paso a personas de carne y hueso con sueños, metas, miedos y defectos.

 

Mental Illness on Television: A real depiction.

TV has given us a lot of great stories to talk about, from extensive thesis of love to raw depictions of certain groups of individuals. Notwithstanding, mental illness had never been part of this particular interest before, until now.

2015, as I thoroughly explained before, saw the blossom of a new and greater TV era. Whilst characters, narratives and platforms improved subsequently their quality, with consistent achievements in their stories, actors, writers and producers sought for better and extraordinary ways to portray reality as real as possible.

Thus, we got down-to-earth trans characters like Maura  on ‘Transparent’, Sophia on ‘Orange Is The New Black’ and Nomi on ‘Sense8’, flawed and broken families looking for better ways to communicate with each other like the Rayburns on ‘Bloodline’ or the Gallaghers on ‘Shameless’, and even simple individuals looking for some peace of mind in their lives like Josh on ‘Man Seeking Woman’ or Sharon and Rob in ‘Catastrophe’.  Thereby, characters suffering from a mental illness  -a topic so typically overused when it came to mock people on TV- hit last year right in the bull’s-eye with their magnificent performance.

Mental illness is nothing to laugh about, nor its depiction on a TV show. With more than 450 million people around the globe suffering from it, it was only a matter of time for (american) television to get their act together around their faulty representation they have been managing on their narratives for so many time before.

Long gone are those bipolar characters whose only purpose on the story was to serve as a comical relief, or the clinical depressive  individuals who only made an appearence every now and then to remind the protagonists the dangers of self-medication.

Nowadays, we can learn about mental illness from well-constructed characters like Rebecca Bunch from ‘Crazy Ex-Girlfriend’ whose anxiety permeates and drives every aspect of her life (even in her show title), or Gretchen Cutler whose clinical depression merely cost her her job and love life in ‘You’re The Worst’, or Ian Gallagher whose bipolar disorder almost got him into jail on ‘Shameless US’.Yes, they suffer from a mental ilness but neither of them are limited by it or reduced to it in any kind of way.

When we first met Gretchen, in ‘You’re The Worst’, she’s a cynicall, carefree young woman whose only goal in her life is to get wasted every day. Indeed, Gretchen’s not a lovable character, she’s totally devoid of empathy and respect for others, something that, in a way, makes her even more real, that, later, on season two we learn about her mental illness and the ways she depicts it in her life. If ‘You’re The Worst’ were an entire different show, the writers could readily go with the easy way out and punish her actions with it, but, in this world, mental illness does not translate to some cross she has to carry, it’s really part of her life.

YOU'RE THE WORST -- "Born Dead" -- Episode 203 (Airs Wednesday, September 23, 10:30 pm e/p Pictured: Aya Cash as Gretchen. CR: Byron Cohen/FX

Gretchen’s clinical depression is that shameful aspect of her life that she has no control over,  whatsoever. So, when it hits her, there’s nothing she can do other than embrace it and try to live through the end of it. She knows it’ll consume her, but she also realize that it doesn’t define her. She doesn’t want to be saved, she only wants people to understand the situation she’s in and, for that matter, she doesn’t wallow around feeling like a victim. Even when sadness pervades every aspect of her life, she doesn’t allow people to feel sorry for her. She had already overcame it before and she’ll certainly do that again.

Whereas Gretchen welcomes her illness in a very familiar way, Ian Gallagher denys it constantly,  because they’re just in a whole different moments of their lives. Whilst we have the opportunity to met an already clinical depressed Gretchen we also have to witness the awful process Ian is in with his bipolar disorder. By being inherited, he does think his mental illness is a cross he has to bear and for a whole season we live through his suffering.

Ian Gallagher does not want to be ill and he doesn’t want people to treat him in that way or any special way, for that matter. As Gretchen, and everyone living with a mental illness, he didn’t choose to live with it, and he does everything in his hands to avoid reality, to extricate himself from his family and everything that constantly reminds him that he’s ill. Once again, we have a character who doesn’t want to be defined by his illness and who just wants to be himself. His old self. His sane self.

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I could only imagine that Gretchen hadn’t had an easy time dealing with her depression, but the way we see Ian fight through it is just devastating. He can’t gloss over the fact that his bipolar disorder is, and always have been, part of his life and, by disclaming it, he’s not only running away from his problems, but stockpiling new ones too.

Finally, we have Rebecca Bunch, a.k.a The Crazy Ex-Girlfriend, a character whose constant insecurities and over-the-top anxieties manipulate her life in ways she can barely understand. After all, she didn’t only move her entire life to her ex-boyfriend’s hometown just because it’s a great place -no matter how many times she repeats that to herself- she also ran away from her problems, her old self and her ‘stable’ life.

In a show where fucked up lives are core, and central, to the writers agenda, Rebecca’s illness is the best depiction of all. Thanks to the magic of the musical-style narrative, we get to see how her anxiety consumes her day by day. Either with a catchy song about ‘Sexy French Depression’ or with a glorified anthem for self-loathing like ‘You Stupid Bitch’, we have the opportunity to understand Rebecca’s anxiety levels.

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Rebecca, above all things, is in constant denial. She  doesn’t want to be seen as a crazy person -‘The situation is more nuanced than that’ she explains to us on the opening- and she’s continually reminding every single person that surrounds her, and, to some extent, herself,  that she doesn’t have a problem,  that she’s not ill and in any way ‘crazy’.

Each and every single one of this characters are on different stages of acceptance of their illness, but they certainly aren’t upstaged by them on no means. Yes, they suffer from it, but, at the same time, they’re looking for alternatives to cope with it, to deal with it.

In a world where representation and depictions on media are key to understand the world we live in, I found very refreshing the presence of this characters on their shows. Their portrayals are nothing but real and we must certainly ask for more individuals that people can relate to without that godawful feeling of being mocked.