Several weeks ago, I had the opportunity to watch a Korean Reality TV show online, "We Got Married." I was watching the show for background info. on an article I was writing about reality television, but as I began watching the show (with english subtitles), I got sucked in quickly. Next thing I knew I was sitting there at the computer for a good 4-6 hours streaming each episode. The show is addictive.
The show is based on Korean celebrities who are paired up by the producers of the show and have to pretend to be married while supplied a budget for food and all of their newlywed purchases. There is no competition or goal like most Western reality shows, but celebrities are interviewed between the filming of episodes to disclose their private feelings about their partner, and in the show's closing each shares if they would want to stay with their fictious wife/hubby. Couples watch the showing of episodes each week in a studio with two hosts, giving their feedback, as the season progresses.
The show opens on a holiday, similar to the Western "Valentine's Day" where each couple begins buying furniture and unpacking in their new apartment. The viewer is quickly sucked in by the endearing couple Solbi and Andy Shinhwa. You a get a warm and fuzzy feeling watching the cute couple. Shinhwa is a musician and Solbi secretly discloses that she has "admired" Andy for years. It is quickly evident that she carries a very flirty relationship with him as they approach their new apartment and take the elevator before arriving.
Like many Korean shows, the season is long. It continues on with several new seasons, each with new couples. I jumped into the 18th episode to see how things were coming along, but it's easy to sit there and watch each episode, waiting for things to progress. Not much had changed between the couples several weeks later (who by the way I found out are only filmed living together about a few days every couple weeks. This sort of killed the illusion a bit, but it's still an endearing show).
Solbi (cute little long-haired blonde) and Andy Shinhwa-handsome musician with penetrating brown eyes, Blonde hair pulled in a pony tail, but when he dies his hair black and cuts it a couple episodes after the pilot...no, the cuteness is gone :(
Solbi and Andy Shinhwa: the adorable "high school" couple, flirty, playful, with childish puppy-love.
In Young and Crown Jay: the conflicted, on the verge of divorce couple.
In Young is a drama queen with a "China doll" cute face and a bob hair cutt. Crown Jay is a famous wrapper who throws in the occasional english phrases, "C'mon Baby" he tells In Young. She's very high maintenance, constantly demanding Crown Jay buy her things and criticizing Crown Jay's actions. He plays a long, broaching her ego and trying to trick her into the doing the dishes for just once.
Alex (singer) and Siney (model): the "serious," gentle, romantic couple. At first appearance, they are shown walking slowly together, trying to make conversation shyly with an instant sign of attraction and Alex's "this is awkward." Alex and Siney become progressively romantic, making goo-goo eyes at one another (and humorously all the other couples live in an apartment, but they live in a mansion together). They carry an intimate conversation and she reveals that she has had her heart broken before and feels it's hard for her to open up again. Still, her gaze reveals an obvious interest in Alex. Alex sings her a lullaby warming her heart, bakes her a chocolate cake and says, "Even though we're a matched couple, I think it could make a good destiny," he tells her.
Saori and Hyung Don: the "comedic couple," the comedic relief of the show. Hyung Don may not have good looks or charm like the other guys, but he's a fat, Garfield like character, who is a very funny guy. He makes humorous comments, but has difficulty showing affection to Saori. He's embarassed to show her any affections, so he eats and sleeps all day. Saori makes a real effort to connect with him, cooking him a birthday meal, trying to get him to exercise with her and convincing him to go rollerblading with her after much begging. Neither one of them know how to rollerblade, and he stumbly rollerblades off to go play basketball without her.
Watch the show!!! : http://www.mysoju.com/we-got-married/
Tuesday, May 19, 2009
Quotes of the Week
"The best thing is waking up every day waiting for the seasons." -Jesse Frias 5/9/09
"Your boyfriend is the person you're supposed to really trust, right?" -5th grader said while I was substitute teaching and he was working on an assignment to illustrate one of his vocab. words, trust.
(My reply) "No, not really...I mean, well sort of." -5/8/09
"Your boyfriend is the person you're supposed to really trust, right?" -5th grader said while I was substitute teaching and he was working on an assignment to illustrate one of his vocab. words, trust.
(My reply) "No, not really...I mean, well sort of." -5/8/09
Tuesday, May 5, 2009
Born Yesterday
Early April, I stepped into Mt. SAC’s studio theater, also known as “the black box” on a photo assignment, catching a glimpse of actors rehearsing “Born Yesterday.” I stood behind the director, against the black wooden walls, of the intimate theater setting I had spent so many years at. A female and male actor were sitting on a bench, living a real moment of life. It was a moment of something beautiful, the mysticism and creation of a scene that is acting. My heart sank. I didn’t stay long for the rehearsal. I left, but even though I missed theatrical acting badly, I knew that things were happening perfectly according to plan. I was exactly where I was supposed to be.
April 17, I went to see “Born Yesterday,” at the Sophia B. Clarke theater, but even though I left my heart on that stage, I fully enjoyed myself in the audience. Arthur Santiago (who played Eddie Brock, a short 1940s gangster) walked out on stage with a smile, rosy cheecks, and black slicked back hair. Immediately, his smile drew me in, and his energy, walk and silent behaviors were impressive.
After the show, Ralph Eastman took me back stage to meet Casey Currie (who played Emma “Billie” Dawn), Arthur Santiago, Anthony Rutowicz (who played Jim Devery), Mike Johnson (who played Harry Brock) and Paul Flores (who played Paul Veral). It was interesting to see these actors behind stage because they seemed so different offstage, out of character, makeup and costume. Two of the actors, Flores and Santiago, I almost overlooked.
Getting to meet these actors in person was my chance to connect to the art on stage as well as the art of living, socializing. I perhaps came off as a bit too “star struck,” but I couldn’t help myself. I was so excited. I left on an extreme euphoric high. As I left the school, in the dark night hours, I drove past a gothic guy and his girlfriend who had been sitting by me in the audience. Seeing them, I felt touched by love, and it was overwhelming. I drove home.
I enjoyed seeing the show so much, that I decided to see it again, on closing night. I had criticized Mike Johnson’s performance in Act I of opening night, but he did so well on April 25, that he made me eat my words. Wow, he gave such a solid performance the whole night. His anger and nefarious tendencies were spot on, all night. That was real acting. I realized that Casey Currie still needed to bring more emotionality into her performance, particularly Billie’s crumbling relationship to Brock. But overall, I really enjoyed watching the show again. Even though I was in a hurry to get to a party, I didn’t have to face the disappointment of leaving the theater empty handed. The actors had to be out of the theater quickly because they were meeting with an “edjudicator” from the Kennedy Center American Theater Festival. The organization travels across the country critiquing the work of college actors for educational and competitive purposes.
It was a chance opportunity at a final greeting with Paul Flores, Anthony Rutowicz, and Mike Johnson. I was about to leave the Performing Arts Center, when best of all, I got to speak with Arthur Santiago about his preparation for becoming Eddie, the short gangster with an attitude.
Check out my interview with Mr. Santiago at: http://wendysworld.podomatic.com/
April 17, I went to see “Born Yesterday,” at the Sophia B. Clarke theater, but even though I left my heart on that stage, I fully enjoyed myself in the audience. Arthur Santiago (who played Eddie Brock, a short 1940s gangster) walked out on stage with a smile, rosy cheecks, and black slicked back hair. Immediately, his smile drew me in, and his energy, walk and silent behaviors were impressive.
After the show, Ralph Eastman took me back stage to meet Casey Currie (who played Emma “Billie” Dawn), Arthur Santiago, Anthony Rutowicz (who played Jim Devery), Mike Johnson (who played Harry Brock) and Paul Flores (who played Paul Veral). It was interesting to see these actors behind stage because they seemed so different offstage, out of character, makeup and costume. Two of the actors, Flores and Santiago, I almost overlooked.
Getting to meet these actors in person was my chance to connect to the art on stage as well as the art of living, socializing. I perhaps came off as a bit too “star struck,” but I couldn’t help myself. I was so excited. I left on an extreme euphoric high. As I left the school, in the dark night hours, I drove past a gothic guy and his girlfriend who had been sitting by me in the audience. Seeing them, I felt touched by love, and it was overwhelming. I drove home.
I enjoyed seeing the show so much, that I decided to see it again, on closing night. I had criticized Mike Johnson’s performance in Act I of opening night, but he did so well on April 25, that he made me eat my words. Wow, he gave such a solid performance the whole night. His anger and nefarious tendencies were spot on, all night. That was real acting. I realized that Casey Currie still needed to bring more emotionality into her performance, particularly Billie’s crumbling relationship to Brock. But overall, I really enjoyed watching the show again. Even though I was in a hurry to get to a party, I didn’t have to face the disappointment of leaving the theater empty handed. The actors had to be out of the theater quickly because they were meeting with an “edjudicator” from the Kennedy Center American Theater Festival. The organization travels across the country critiquing the work of college actors for educational and competitive purposes.
It was a chance opportunity at a final greeting with Paul Flores, Anthony Rutowicz, and Mike Johnson. I was about to leave the Performing Arts Center, when best of all, I got to speak with Arthur Santiago about his preparation for becoming Eddie, the short gangster with an attitude.
Check out my interview with Mr. Santiago at: http://wendysworld.podomatic.com/
Saturday, May 2, 2009
Who's Been Sleeping in my Bed?
Elizabeth Montgomery shines as Samantha on the popular 1950’s “Bewitched.” One step backward in time she played Mellisa Morris on “Who’s Been Sleeping in My Bed?” A versatile actress, she embodies real emotion and a distinctly different persona (than Samantha and wicked counter part Sabrina) as Mellisa. However, while Montgomery may seem a good reason to watch “Who’s Been Sleeping in My Bed?”, it isn’t.
The movie has a lousy plot, is unrealistic, corny (which not all old dramas are), has bad acting (which many old dramas do), is SEXIST, and has a poor ending which reinforces sexist themes.
Mellisa Morris (Montgomery) plays an art teacher soon to wed her fiancé Jason Steel (Dean Martin) an actor suffering from cold feet. His days are filled entertaining the wives of his poker buddy pals. These women’s husbands aren’t giving them attention, so they seek it from Jason, cooking for, dancing with, massaging, and seducing him. Morris tries to win her husband back by pretending to marry someone else.
The events of the plot are sparse: man evades marriage; wife tries to win the man with commitment issues back; man gets angry; wife cries; and all is well.
Most of the cast in the film can’t act, displaying the mechanical acting of early Hollywood films. The leading man, Dean Martin, and Morris’s best friend, Stella (Carol Burnett), give poor performances. Burnett’s amateur performance was surprising considering her reputation as a professional comedic actress.
Even though the film is a comedy, it unintentionally makes a joke out of professions (by being unrealistic). Mellisa and Stella ride around in a car plotting to win Jason back (as if these two professionals have all the free time to carryout an elaborate hoax during a work day). Jason goes to a friend psychologist who is eager to turn Jason into a client (which is an unethical behavior as a psychologist). The psychologist eagerly looks at his watch, sits at a desk distancing himself from Jason, and then sedates Jason with a needle injection before beginning talk therapy. It’s absolutely ridiculous, unethical behavior for a therapist. And lastly, acting is mocked in a scene where Jason plays his doctor role carrying out a surgery. Jason’s director stands by saying it is an award-winning scene, even though the actors aren’t saying or doing much.
But the WORST thing about the movie is it shamefully promotes gender role stereotypes. When Mellisa finds out that her husband to be has been spending all his free time with affectionate women, how does she address the issue? BY TRYING TO WIN HIM BACK BY TRAPPING HIM INTO MARRIAGE! There is no punishment for his actions, and she rewards him by taking up all the shameful, submissive female roles that the wives tried on Jason. She spoon feeds him a sweet dish, dances seductively for him while wearing a sexy outfit, and massages him.
Women are shown as seductresses who use their sexuality to get their only need in life: men. The women in the movie are constantly chasing men, while men are shown as disinterested in relationships. Jason sees a bachelor livelihood as the way out. The men spend their free time playing poker and ignoring their wives.
The subtext of the movie script is that marriage and real romantic relationships between men and women are a trap. In a scene where the psychologist lays down and begins unloading his marriage problems onto the secretary, marriage is shown as prescribing psychosis.
The plot rides out as an unwieldy train heading for disastrous crash, as viewers hope it won’t derail. It does.
The movie ends with Mellisa throwing herself on the bed, crying. Her life is over since she can’t have Jason [who doesn’t even really want to marry her] who she needs for a feeling of completion. Again, another gender stereotype, that women are supposed to use tears to get what they want and men use forcefulness. His machisimo saves the day as he aggressively drags Mellisa off the bed and forcefully kisses her.
After spending all his free time with married women, Jason is rewarded when his fiancé uses a “feminine,” submissive, tactic to seduce her husband. Then, again, he receives a final positive reinforcement for his bad behavior when he wins back his wife. The viewer can only hope that this isn’t the end of the movie, but it is. The real issue is ignored: if it’s such hard work just to get these two together, then how is their marriage going to play out? Jason isn’t ready to be married, and he probably never will be. He has commitment issues, and they’re not going to go away with marriage.
If this movie was a hard, satiric piece about sexist roles, then it might have some merit, but it isn’t.
The movie has a lousy plot, is unrealistic, corny (which not all old dramas are), has bad acting (which many old dramas do), is SEXIST, and has a poor ending which reinforces sexist themes.
Mellisa Morris (Montgomery) plays an art teacher soon to wed her fiancé Jason Steel (Dean Martin) an actor suffering from cold feet. His days are filled entertaining the wives of his poker buddy pals. These women’s husbands aren’t giving them attention, so they seek it from Jason, cooking for, dancing with, massaging, and seducing him. Morris tries to win her husband back by pretending to marry someone else.
The events of the plot are sparse: man evades marriage; wife tries to win the man with commitment issues back; man gets angry; wife cries; and all is well.
Most of the cast in the film can’t act, displaying the mechanical acting of early Hollywood films. The leading man, Dean Martin, and Morris’s best friend, Stella (Carol Burnett), give poor performances. Burnett’s amateur performance was surprising considering her reputation as a professional comedic actress.
Even though the film is a comedy, it unintentionally makes a joke out of professions (by being unrealistic). Mellisa and Stella ride around in a car plotting to win Jason back (as if these two professionals have all the free time to carryout an elaborate hoax during a work day). Jason goes to a friend psychologist who is eager to turn Jason into a client (which is an unethical behavior as a psychologist). The psychologist eagerly looks at his watch, sits at a desk distancing himself from Jason, and then sedates Jason with a needle injection before beginning talk therapy. It’s absolutely ridiculous, unethical behavior for a therapist. And lastly, acting is mocked in a scene where Jason plays his doctor role carrying out a surgery. Jason’s director stands by saying it is an award-winning scene, even though the actors aren’t saying or doing much.
But the WORST thing about the movie is it shamefully promotes gender role stereotypes. When Mellisa finds out that her husband to be has been spending all his free time with affectionate women, how does she address the issue? BY TRYING TO WIN HIM BACK BY TRAPPING HIM INTO MARRIAGE! There is no punishment for his actions, and she rewards him by taking up all the shameful, submissive female roles that the wives tried on Jason. She spoon feeds him a sweet dish, dances seductively for him while wearing a sexy outfit, and massages him.
Women are shown as seductresses who use their sexuality to get their only need in life: men. The women in the movie are constantly chasing men, while men are shown as disinterested in relationships. Jason sees a bachelor livelihood as the way out. The men spend their free time playing poker and ignoring their wives.
The subtext of the movie script is that marriage and real romantic relationships between men and women are a trap. In a scene where the psychologist lays down and begins unloading his marriage problems onto the secretary, marriage is shown as prescribing psychosis.
The plot rides out as an unwieldy train heading for disastrous crash, as viewers hope it won’t derail. It does.
The movie ends with Mellisa throwing herself on the bed, crying. Her life is over since she can’t have Jason [who doesn’t even really want to marry her] who she needs for a feeling of completion. Again, another gender stereotype, that women are supposed to use tears to get what they want and men use forcefulness. His machisimo saves the day as he aggressively drags Mellisa off the bed and forcefully kisses her.
After spending all his free time with married women, Jason is rewarded when his fiancé uses a “feminine,” submissive, tactic to seduce her husband. Then, again, he receives a final positive reinforcement for his bad behavior when he wins back his wife. The viewer can only hope that this isn’t the end of the movie, but it is. The real issue is ignored: if it’s such hard work just to get these two together, then how is their marriage going to play out? Jason isn’t ready to be married, and he probably never will be. He has commitment issues, and they’re not going to go away with marriage.
If this movie was a hard, satiric piece about sexist roles, then it might have some merit, but it isn’t.
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