Shameless
It's Time To Kill The Turtle

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Jacob Clifton: A+ | 1 USERS: A+
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Things are totally gross at Sticks & Skates, of course, but Fiona A) Looks gorgeous and hot, for once not in spite of the horrible things they do to her on this show and B) Keeps that smile going no matter what.

Ian's late to work after his date with the entire Milkovich family, but Kash doesn't mind because this month's fertile period is over and he's allowed to fuck Ian if he wants. Ian is vague about it, which just makes Kash want him more, because guys are the dumbest fucking thing on the planet.

But I would point out they've done something smart here, making Kash's whole life above board after the outing, because it broadens his character beyond just cowardice. He's not staying with Linda because of the lie, or even out of some dumb marital duty: He's doing it, and Ian understands this maybe better than Kash does, because even a gay white male is still a gay white male, and even a half-hearted Muslim gay male is still a male, which of the three of them puts a white Muslim single mother absolutely dead last in terms of people who matter in this world. And for a show that is mostly about single moms, that's a very important point to make.

As is this: There is a stereotype, and I fall into it pretty often still, that any passionate devotee of children's literature is either an Etsy-knitting crybaby queerbutt, or mildly retarded, and probably both. And even being all of those things, as I am, I had to think hard about why it is that I still read YA and don't even bother hiding it anymore.

Now, Mockingjay is one of the most searingly subversive works I've read in a while, and I love it madly (especially after the second Hunger Games book, because that was a letdown). Harriet The Spy is worth about three years of therapy if you read it right. Even thirty-some years later Raskin's Westing Game explains feminism and race relations better than most graduate syllabi. And there is partially a link here to the Linda thing above, because of course we make fun of children's literature, girl's stories, because the two people at the bottom of every totem pole are A) Women and B) Children.

Which is why it doesn't matter how brilliant Gossip Girl is, for example, or Pretty Little Liars, because they fail the Tom Hanks/John Updike test of being about what it's like to be a White Male Coming Of Age in 1967, which is what all great literature is about or will ever be about. Or, to speak of a third TV/film project that outshines its source material on every level, Twilight, which is undoubtedly horribly written trash but becomes emblematic of all the ways that a book for either audience, or both, could never ever be important: It's meant to be consumed by people who are barely people.

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Shameless

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