Sophie and the Rising Sun is set in South Carolina at the start of WWII just before and after the bombing of Pearl Harbor. A Japanese-American man, Grover Ohta (Takashi Yamaguchi) is dumped, beaten and bruised, on a bench at a bus stop. Continue reading “Review: Sophie and the Rising Sun”
Sophie and the Rising Sun is a tale of interracial love during WW II. As you know, after the Japanese bombed Pearl Harbor and the U.S. entered WW II, American discrimination against anyone of Japanese extraction grew to a fever pitch. Most Japanese Americans were hauled off to internment camps. Flash forward 70 years, and we’re talking about doing the same thing to Muslims. We seem doomed to repeat the mistakes of the past. Continue reading “Watch This: Trailer for Sophie and the Rising Sun”
Middle of Nowhere is the story of Ruby (Emayatzy Corinealdi). Her husband is in prison. Ruby is ready to attend medical school when he’s incarcerated, and she drops everything in her life to visit him and support his efforts for early parole. Continue reading “Review: Middle of Nowhere”
June 12 and the release of season 3 of Orange is the New Black is just far enough away to let me rewatch the first two seasons in a cozy binge.
This is what fascinates me: the series starts out with the main story being about Piper, the privileged white woman who ends up in prison. The regular cast members listed are Taylor Schilling, Michael Harney, Kate Mulgrew, Laura Prepon, Michelle Hurst and Jason Biggs. By the second & third episode some of the actors like Danielle Brooks, Uzo Aduba, Natasha Lyonne, and Laverne Cox begin to show up as guest stars.
Actors we’ve grown to love from the show such as Dascha Polanco, Selenis Levya and Samira Wiley were listed in the ending credits. They didn’t even show up as guest stars early in the series.
I’m struck by how much of the story of what’s happening in Litchfield Prison has moved away from the white characters and how the minor actors in the beginning like Samira Wiley have moved up to become regulars.
As viewers, we have become attached to characters that we might never have had a chance to like and respond to anywhere else but in Orange is the New Black. It’s brilliant how Jinji Kohan and the other writers let Crazy Eyes and Big Boo and Gloria and Nicky and Morello sneak their way into our hearts by bringing each to the front slowly. Not to mention Sister Ingalls (Beth Fowler) and Maritza (Diane Guerrero), Watson (Vicky Jeudy) and many others.
After two years, the most popular characters on OITNB are played by Samira Wiley, Danielle Brooks, Lea DeLaria and Laverne Cox. We no longer have to be lead into Litchfield stories by holding hands with someone white. Because of great writing, great acting talent, great personal presence, the most “other” members of the cast have become the default stars on Orange is the New Black. The story and the characters took off like a runaway train with a momentum that has carried us far from the original story in the book by Piper Kerman on which the series was based.
There are still white people in the story. Piper and Alex are still there, Red is still around, Nicky and Morello are still there, all the correctional officers and prison bosses are still there. But Piper is no longer the chief focus. In season 2, when Vee (Lorraine Toussaint) was around, much of the focus was on her and her effect on everyone at Litchfield. We’ll see where things go in season 3, but I’m 100% behind the diversity. I’d love to see one of the Hispanic characters become more known and important.
We’ve accepted the rainbow of characters who inhabit the prison, we care about them all. It’s a act of writing and planning by Jinji Kohan that I admire and respect. Diversity on our TV screens has an effect on the culture. I can’t wait to see how OITNB brings more of it in season 3.
What I’m waiting to see is the day when a black woman or a Hispanic woman or an Asian woman can be the lead character to lead us into a drama like this one.
Orange is the New Black mixes a lot of serious themes in with all the stories about individual lives and the comedy that the show uses to make its points. The Orange is the New Black theme I want to explore today is power and how it corrupts.
Let’s explore this theme by looking at individual personalities.
Vee (Lorraine Toussaint) is the most blatantly corrupt user of power. She’s willing to destroy lives without a second thought to maintain her income and her grip on her followers. She recruits people for their weaknesses deliberately, knowing that she’ll want to use that weakness at a later time. Her goal is greed, profit, and purely personal. Her grip on power is not accidental. She works for it.
Figueroa (Alysia Reiner) used her power to steal from the prison system. She didn’t feel she was actually hurting anyone with her misuse of funds. So the prison didn’t have a gym or a classroom – not really a problem, right? She used the money to buy expensive things for herself, but she also used it to promote her husband’s political career and to buy his love. She covered up wrongdoing with lies and rationalizations, but not violence.
Caputo (Nick Sandow) thought he was better than Figueroa. He thought if he could just get her job he would fix all the problems Figueroa created with her embezzlement. Yet his second day on the job he told John Bennett to be quiet about being the father of Daya’s baby and left Mendez in jail thinking the baby was his. He perpetrated this injustice to protect his grip on power. Power corrupts instantly. One day he’s a good guy. The next day he’s part of the problem.
Red’s (Kate Mulgrew) power, when she had it, was almost benign by comparison with the others. Yeah, she starved out Piper for a while, but she didn’t bring in drugs and she didn’t try to cheat anyone. She simply wanted to make life in the prison easier for herself. When she lost power she did something stupid that hurt Gina (Abigail Savage), but it was more of an accident than a disregard for Gina’s welfare. When she thought she could use the greenhouse to regain power she still wasn’t doing anything that hurt anybody. Later, she tried to put an end to Vee but couldn’t go through with it. Red’s saving grace is her weakness.
Pennsatucky (Taryn Manning) is a sad case. She gets violent quickly if she feels disrespected. She wants power because it makes her feel respected and loved. When being the poster girl for the anti-abortion movement went bad for her, she latched on to the idea that she could somehow become powerful as a lesbian because of the the lesbian agenda. She’s dangerous, but not very smart.
The thread that connects every story – prisoners and prison officials – is that the quest for power carries with it corruption, lies, manipulation, and frequent disregard for the good of others. The Ghandis, the Mother Teresas, the characters like Poussey (Samira Wiley) who resist corruption – they are an anomaly. Most human beings, when given power, succumb to the need to keep it no matter the consequences to others.
Whatever message Piper Kerman, the original author of the book Orange is the New Black, or Jinji Kohan, the writer of the TV series, had in mind as they wrote, this is one message I get: prison doesn’t work. The current American prison system doesn’t work. One reason why? Power corrupts.
I didn’t even get into Mendez. How about it? Are there other characters you think make interesting points about power Orange is the New Black?
Say hello to Vee (Lorraine Toussaint). Notice the dangerous headgear. Notice the deadly serious look in her eyes. Notice the nickname “queen” bestowed on her by the Orange is the New Black team.
Bringing Vee into the prison and into Orange is the New Black was a storytelling decision of brilliance from Jenji Kohan’s and the other writers on this Netflix Original Series.
It was such a juicy part – it gave Lorraine Toussaint a chance to move into Emmy Award territory. Why not give such a juicy part to one of the existing inmates? Someone we already think we know?
I have a few ideas about why an outsider, a newcomer, was important to season 2. Vee knew prison. She’d been there before. She knew Red, she knew the power Red used to wield from the kitchen. She knew how to turn prison culture to her advantage, just as she knew how to navigate life outside prison to her advantage.
A strength of season 1, a strength of the writing on this series, is the nuance. The layers revealed about each character in the storytelling, in the flashbacks. Because of that nuance, we thought we knew people.
But we didn’t know people in the way a master manipulator, a psychopathic user of human weakness like Vee knows them.
Vee knows how to spot someone who will be slavishly loyal in return for a glimmer of love, a glimmer of approval. She knows who will respond to family obligations. She knows who will go to the dark side out of a need for power or greed. She knows who will follow without question. She knows who can be tempted by the lure of a longed-for high. She knows who can be bought with bribery, with food, with small gifts.
Just watch Vee manipulate. She takes the sexy foster son she’s always lusted after to bed, then sends him out to be murdered. She comforts Tastee before her foster brother’s funeral by promising to protect her forever. Watch her work Tastee later in the prison when she realizes a piece of cake isn’t enough to win her over. Tastee wants an apology so Vee delivers. Watch her in the bathroom with Gloria where she uses tears to manipulate. Watch her deal with Black Cindy when Black Cindy uses cigarettes to get goodies for herself instead of profits for Vee. Watch her hit Poussey, both literally and figuratively, to keep her from influencing Tastee. Watch her promise friendship to Red and then lock sock her.
Lorraine Toussaint is brilliant in this part. I know I said that already, but damn, it’s worth repeating.
Vee goes into the prison and completely rewrites the culture in a few days. She recruits followers, sets tribes and factions against each other, breaks up friendships, and inflames hatred. She claims power with practiced ease.
Vee’s mayhem, Vee’s manipulations, pull back the curtain on all those characters we thought we knew. It gives us new insights. We see flaws, strengths, darkness, beauty in ways that we couldn’t in season 1 when everyone more or less got along. Vee disrupts, she brings an end to everyone just getting along, and personalities are laid bare in the process.
The women in Litchfield are criminals. They did bad things, stupid things, crazy things, violent things. But none of them are evil. Vee is evil. That’s another reason why Vee needed to be someone new to the cast. There was no evil-without-regret character already there.
Vee’s presence moves the story away from Piper. We still have Piper, of course, but her story doesn’t carry season 2 the way it did season 1. Season 2 is about power grabs, and Piper isn’t after power. Because Alex Vause will be back in season 3 in more episodes, Piper may come back into the forefront next season. Or maybe not. This story has taken on a life of its own. The actors, the characters, the chemistry between the actors, the fan response – all of it has carried Orange is the New Black bodily into places Piper Kerman’s original book never went.
So kudos to Jenji Kohan for writing Vee, kudos to Lorraine Toussaint for playing her with such brilliance, and kudos to everyone who got to go deeper and peel away more layers in response to Vee’s presence in the story. Brilliance all around.
A personal note: my nickname is Vee. It’s odd to write about a character named Vee.
This is my overall impression of season 2 of Orange is the New Black. I will talk about performances and high level story lines, without revealing big spoilers. More detailed discussions of particular episodes or events will come later after people have had plenty of time to watch all 13 episodes.
I watched all 13 episodes in two days, and my eyes felt like I’d just finished one of Diana Gabaldon’s Outlander books when I finally looked up. But the eye strain was worth it.*
The Cast and Credits
The first thing I noticed was who is listed in the main credits. Those people are Taylor Schilling, Uzo Aduba, Danielle Brooks, Michael Harney, Natasha Lyonne, Taryn Manning, Kate Mulgrew, and Jason Biggs. These are the names that show up every week. The cast has been shuffled around a bit, some people have moved up into major roles. Other actors, although very important to season 2, are listed in guest roles or are listed after the main titles roll. Samira Wiley as Poussey is a key actor in season 2, and her name should have been up front, in my opinion.
Fan favorite Laura Prepon shows up in only 3 episodes, but the way the season ends it looks like Alex Vause will be back in full force in season 3. Other favorites who are there, but not necessarily for every episode include Laverne Cox, Lea DeLaria, Yael Stone, Selenis Leyva and many others. All the same officers and prison people are still running the place badly, except Pornstache who only shows up in a couple of episodes.
Lorraine Toussaint, who comes in as a character named Vee, is in 8 episodes. In those 8 episodes she manages to throw the whole prison into quite a state.
In Praise of Brilliant Performances
There are so many brilliant performances in season 2. This is so much of what Orange is the New Black is: a showcase for brilliant talent that we don’t see anywhere else. While that isn’t true of the well-known Lorraine Toussaint, I want to call her out for her performance. She simply stunned in every way.
The cast who’ve been there all along were marvelous again this season. Taylor Schilling, Uzo Adubo, Danielle Brooks and Samira Wiley gave noteworthy performances. Really, everyone in this cast gives a noteworthy performance.
The backstory on each character is what makes us care so much about the women in Litchfield. This season we got more backstory on Piper (Taylor Schilling), Morello (Yael Stone), Sister Ingalls (Beth Fowler), Taystee (Danielle Brooks), Poussey, Miss Rosa (Barbara Rosenblat), Gloria (Selenis Leyva), Suzanne (Uzo Adubo), Black Cindy (Adrienne C. Moore) and Vee.
The Current Story
When the season begins, Piper is pulled from the SHU and taken to Chicago to the trial of the drug kingpin who was Alex’s boss. The trip from one prison to another provides an opportunity for a guest star, something that doesn’t happen often on this show. The guest was Lori Petty. Jodie Foster came back to direct again this season and she directed the Chicago trip episode.
At Litchfield, important plot points in this season are the dangerous conflict between Red (Kate Mulgrew) and Vee, the tension between the pregnant Daya (Dascha Polanco) and the C.O. John (Matt McGorry), the tension between Caputo (Nick Sandow) and Figueroa (Alysia Reiner), and the problems between Healey (Michael Harney) and just about everyone.
There’s a contest between Big Boo (Lea DeLaria) and Nicky (Natasha Lyonne) that leads to lots of funny lesbianing, but hang in there to the end of the season for the best Pensatucky lesbianing laugh of the year. Nicky has serious challenges to face as the season progresses, too.
Piper gets involved in tracing down corruption and finding proof of embezzled funds while dealing with Larry (Jason Biggs), Alex, a death in the family and more than one huge betrayal.
One of my favorite episodes revolved around Valentine’s Day. It revealed so many deep, meaningful insights. Another favorite was an episode where a good bit of the plot dealt with the fact that most of the women were unaware of their female anatomy and the construction of their lady parts in particular. The few who knew enlightened the others in some pretty funny ways.
I’m a ukelele player. I was highly amused by the C.O. (Joel Garland) who played a banjo ukelele while making up songs about nuns and bad mothers. Ukes forever!
The finale was written by Jenji Kohan. It wrapped up some problems, it opened up new problems for next season, and was a terrific way to end the season. It left us wanting more, it satisfied with poetic justice, and it left me convinced that season 3 can’t come soon enough.
*In one scene, Tastee recommends Outlander to Poussey.
A couple of decades ago I realized everything in my life up to that point had been determined by men. I can hear my friend Denise shouting, “It’s the patriarchy, stupid!” That’s not it – at least not completely. The patriarchy is still with us. But inside my head, things have changed.
Let’s start with ancient history. I grew up when the movies were westerns with Roy Rogers or Gene Autry. Or they were war movies with Aldo Ray and Montgomery Clift. Stories were about men. Books were about men. In college, I majored in English and I read dozens of books by dead white men. Men were supposed to rule the world and women were supposed to let them. I lived with a man who controlled and manipulated everything about my life. And I let him.
Then I stopped letting him.
After that, I wanted to think some new thoughts. I wanted to learn about feminism, which had passed me by. I wanted to read books by women, I wanted to see movies about women, hear songs sung by women, and see TV shows about women.
I’m not saying I started hating men. I like men. I have a son who is the finest man you could ever know. It wasn’t about men. It was about women, about finding the feminine, about understanding the female heart and mind, about finding the essence of what it is to be a woman.
The first thing I did was start reading books by women: Alice Walker, Toni Morrison, Edwidge Danicatt, Margaret Atwood, Sara Paretsky, Amy Tan, Mary McCarthy, Annie Proulx, Leslie Marmon Silko, Jeanette Winterson, Sandra Cisneros, Dana Stabenow, Rita Mae Brown, Zora Neale Hurston, Joan Didion, Gloria Steinem, Diana Galbaldon, Nora Roberts, Elizabeth Berg, Janet Evanovich, Sarah Waters, Rita Dove. I didn’t care if it was great literature or a speed-readable romance as long as it was by a woman.
No more war movies, no more westerns, no more guys coming of age (girls coming of age are acceptable), no more buddy films about guys. I became attached to films like “The Secret of Roan Inish” and “Practical Magic” and “Thelma and Louise” and “How to Make an American Quilt” that told stories about women. I decided what to go see based on who the female star was – the male star didn’t matter. Did it have Meryl Streep, Susan Sarandon, Queen Latifa, Sandra Bullock, Meg Ryan, Julie Christie, Angela Bassett, Shirley MacLaine, Holly Hunter, Halle Berry, Alfre Woodard, Julia Roberts? I was there.
I started to get a bit picky, a little more demanding. The woman had to really be there. Be a person who added to the film. If “The Fugitive” advertised Sela Ward and she got offed in the beginning so all we could do was watch the hero run around, I was pissed.
Television had some women to offer. There was Mary Tyler Moore. Carol Burnett. There were shows with a lot of male characters and a few memorable female characters. “China Beach” had both Dana Delany and Marg Helgenberger. “Northern Exposure” had Janine Turner and several other interesting women. “The Days and Nights of Molly Dodd” was all Blair Brown. “Cagney and Lacey” – Woohaw! “Any Day Now” with Annie Potts and Lorraine Toussaint – double woohaw! The four fabulous women on “Sisters” – a quadruple woohaw.
In the last couple of years some really good female led TV has come along. “Saving Grace,” “The Closer,” “In Plain Sight,” “Hawthorne,” “The Good Wife,” “Weeds.” I’m loving it.
And, there was “The L Word.” A show that was practically all women. I so, so loved it. I thought I loved it because I liked Jennifer Beals. I watched every old Jennifer Beals movie that I’d missed over the years. I found dancers, cops, crooks, a naive housewife, a madam, a psychic, a blind wise woman, singers, liars, the bride of Frankenstein and a whole lot of other people, but I didn’t find Jennifer Beals. I only found characters. That’s when I realized the thing that really attracted me was the character of Bette Porter on “The L Word.”
Bette Porter. A strong woman who stands up for herself. She’s not perfect, but she’s powerful and inspiring and a leader. She seems very real there inside the TV. She’s who I’ve been looking for in all the books, in all the movies, in all the TV shows. She’s in the courageous politicians I look up to. She’s in the tech savvy leaders I admire like the founders of BlogHer. She’s in the organizers for charity and the women who fight against injustice. She’s in the writers who tell stories that change the world. She’s in my daughter, who’s raising a kid with no help from the father. She’s in my granddaughters, who don’t take shit from anybody.
Real women I know have courage and strength and power. Maybe even I do. I’ve been trying to figure that one out for about 20 years. I could be close to an answer.
[Reprinted from Two decades of women on First 50 Words. This post was first written in August 2010. I decided to repost it here as well because it’s relevant to why I started this blog.]
From 1998 to 2002 a series called Any Day Now captured my devoted attention. It starred Annie Potts as Mary Elizabeth (M.E.) Sims and Lorraine Toussaint as Rene Jackson. The two grew up together in Birmingham, Alabama in the 1960’s. Despite their difference in race and the upheavals and violence of the civil rights movement swirling all around them in Birmingham, they were best friends.
Years have passed since those childhood days, which we see in frequent flashbacks. M.E. has been in Birmingham the entire time and has a husband (Chris Mulkey) and kids. She’s a housewife and aspiring writer. Rene has been gone, working as an attorney in Washington. She returns to Birmingham after her father’s death and they strike up their old friendship.
Any Day Now was about friendship and marriage and family. It was set in a crucible of the civil rights movement. The reverberations of race and the struggle for equality that affected the two friends’ childhoods and continued into their adulthoods made for powerful storytelling. Even though there were heavy themes involved, the stories were told with warmth and understanding.
While I loved it for the characters and the stories, it’s safe to say that it was a groundbreaking story of civil rights and race relations.
These two actresses – Lorraine Toussaint and Annie Potts – worked together to weave stories with a message about equality and human rights. Any Day Now ended over 10 years ago.
This week on ABC Family’s new series The Fosters, these two actresses will be together again.
The Fosters is about a multi-ethnic family of foster and biological kids raised by two moms. The moms are Stef Foster (Teri Polo), a police officer, and Lena Adams (Sherri Saum), a school Vice Principal. ABC Family emphasizes the family relationships and downplays the two mom aspect of this show to present it as just another family.
Much as ABC Family doesn’t make the lesbian couple the focus of this family drama, there’s still the lesbian issue right in your face. And the race issue. Lena is bi-racial. Two of the adopted children are Hispanic. While I love it for the characters and the stories, it’s safe to say that it is a groundbreaking story of civil rights and race relations.
Monday night on ABC Family, in the season 1 finale of The Fosters, Stef and Lena are getting married. Their parents will be in attendance. Their mothers will be played by Lorraine Toussaint and Annie Potts.
On the very day the Supreme Court of the United States struck down the Defense of Marriage Act, the wedding scenes in the series finale were filmed.
When the civil rights struggles began in the 60’s, no one knew how long the fight would last or how hard the battles would be. A movement that originated around justice for African Americans has grown to include women’s rights and gay rights and encompasses numerous social justice issues. It isn’t over. We still struggle, despite all our progress.
It’s a long and painful history of struggle and progress that I will remember when I see the wedding of two women on The Fosters. A history that is tangibly tied to the early struggles in Birmingham and the South by the presence of two women who worked on a show called Any Day Now. This episode of The Fosters represents much more than a modern love story. It represents 50 years of the fight for equality in America.
Bravo to ABC Family and The Fosters for pulling these threads together into this powerful television moment with two brilliant casting choices – Lorraine Toussaint and Annie Potts.
Lorraine Toussaint and Annie Potts images via Lifetime.
Update: This post was syndicated on BlogHer.com.