True Detective, S 2

True Detective, S3 (Rachel McAdams, Sabrina Grdevich, Slings & Arrows, Acorn Media)

I’m now working on a female-centered version of True Detective, which I will produce under the name Chick Titzolotto.

Just as the first season was preoccupied with cisgender white men’s desires and the second is preoccupied with their potency, the third season will center around cisgender white women’s bodies, featuring pervasive and powerful vaginal imagery; unsurprisingly, it will take place in the vast subterranean subway system of a major metropolitan center.

The central mystery of Chick Titzolotto’s True Detective S3: Do women exist when men aren’t looking, or do we wink out like a fridge light when you close the door?

[SCENE: A DARK BEDROOM. FEMALE LEAD lies in bed, staring moodily out a window at a light in the distance. Her male companion, whose name is not important, lies propped up on his elbow next to her, listening in attentive silence. She does not look at him.]

FEMALE LEAD: It’s all so uncertain. It’s like particle physics, or like a refrigerator light. It’s all so uncertain. It’s all so uncertain. It’s all so uncertain. Am I a particle or a wave? Do you know where I am, or what, or when? If you stop looking, do I still light up? Or do I just… wink out, like the light in the fridge?

[The distant light goes out. FEMALE LEAD exhales gustily, closes eyes. AND SCENE]

Thanks in advance for the Emmys.

note: Dennis Perkins gets a contributing creator credit on this project, but only under the stipulation that he’s credited as Penis Derkins.


mm right guard

At The A.V. Club, I examine how Mad Men uses images of cowboys and astronauts as symbols of freedom — and just as often, as avenues of imagined escape:

These superficially discordant visions of cowboy and astronaut are fundamentally similar: exploring a frontier, expanding the mapped world, and returning home to tell the tale. Astronauts orbit and return to Earth. Cowboys ride the range and bring the livestock home. These connotations of repetition and return undermine the frontier’s twin promises of opportunity and escape.

That contrast is at the heart of Mad Men, which asks whether people are capable of change—and whether they want to be. Amid the show’s flamboyant parade of changing styles and social mores and its characters’ shifting families and career trajectories, it’s easy to ignore how often they lapse into repeating old patterns and recreating the relationships they learned in childhood, no one more than Don Draper.

hey, hi, hello

Engaging in conversations about street harassment on Twitter is like saying that reluctant “Hello” back to a strange man who says “Hi!” on the street: sometimes it’s fine, but mostly it just means he latches on and follows you, yelling, for the next five blocks, and you never know which it will be until it’s happening.

Women don’t owe men their attention, on the street, on the subway, or on Twitter…

… but Twitter has a block button.

overnight in Ferguson

“I don’t want to put the group in danger. I was trying to go in deeper with this. At this point, it’s clear that they’re trying to exterminate folks.” Elon James White‘s overnight coverage (Tuesday, August 19th) in Ferguson, Missouri.

“Outside, they’re just gassing everyone. If they see a human being, they throw a gas canister at it.”


The #1 piece of advice I give to nieces & nephews: HEY KIDS, only date people who like you and whom you like, who are nice to you and to whom you can be nice.

You’d think it would be obvious, but it really, really isn’t, especially when you’re young. To young people schooled in the brand of romance sold in songs and movies, drama and acrimony can seem like the inevitable companion to romance. Drama and acrimony can seem like the definition of romance.

But they aren’t. At least, they don’t have to be. Only date people who treat you well, whom you can treat well, and only date people you genuinely like. It’s simple, obvious advice, and it needs to be said a lot more than it is.