Sunday, October 18, 2009

Larry David: A Real Character

On HBO’s Curb Your Enthusiasm I like to watch Larry David in his socially awkward situations and his foul attempts at mending broken walls in such situations. The hilarity of the show dates back to he was growing up and his standup career. Larry began as a standup comic, holding several odd jobs to pay his bills such as bra salesman, and limo driver. He got his start in writing in ABC’s Fridays and SNL. While at SNL he only had one of his sketches air, which was pulled last minute. Fed up, he marched into his bosses office and cursed him out and quit only to return the following Monday as if nothing ever happened. He moved on to co-create Seinfeld, where he wrote for 7 seasons. Several shows in Seinfeld were based upon David’s real life experiences including the characters Kramer and George Costanza. Following Seinfeld, Larry moved to HBO in order to have total control over his own show, Curb Your Enthusiasm, in which he writes and stars. David is a very emotional and spontaneous person and his work reflects almost exclusively that behavior. It’s evident that he writes himself into his characters. His most well known signatures in his sitcoms are mainly poking fun at everyday things, social awkwardness, and stubbornness.

Larry David has a great sense of humor and loves to poke fun at everyday things. Jerry Seinfeld has a very similar style of standup and the Seinfeld series has been coined “a show about nothing.” In other words all they do is go about their lives and pick apart the strange things in life. In Season 3 Episode 10 George and Jerry are in the drug store discussing the difference between cold medicines. “You got isobutene-30?” George asks. “I got isobutene-20.” Jerry responds. “A-ha!” George exclaims. In Curb Your Enthusiasm Season 4 Episode 2 Larry and his manager Jeff discuss the ritual of singing happy birthday at birthday parties. In both instances the transcript reads as if Larry David were sitting next to you at the dinner table. He has a very philosophical way of delivery when it comes to these bits, which are carried out in a very methodical way. “I don’t sing the happy birthday song,” Larry says. “Well I’ve never seen you sing the happy birthday song.” Jeff replies. “It’s a stupid song, I don’t like it.” Larry says. “Well you’re entitled.” Jeff says. The hilarity of both instances is the fact that Larry has to have an enabler right alongside the main character. Jerry enables George’s ridiculous shenanigans and Jeff enables Larry’s every action. It can be found in nearly every episode that David writes and is key in the sets where he is complaining, venting or downright poking fun at everyday things.

In David’s work we can peg George Costanza in Seinfeld and Larry David in Curb Your Enthusiasm as very awkward individuals. When there is an awkward moment in Seinfeld often times Jerry will roll his eyes or raise his hands in the air or purse his lips. In Curb Your Enthusiasm there is usually a musical cue in the form of a tuba solo in the background. In both shows awkward moments are quite the motif, or running theme of a show. An example is when George leaves an embarrassing message on a girl’s answering machine. He proceeds to stake out her apartment in order to swap the recording before she can hear it. That was an actual situation in Larry David’s life, and it made for the perfect fit for George. In Curb Your Enthusiasm Larry is flirting with a woman at a karaoke bar. He moseys over to her and talks to her about karaoke and bowling. Clearly uninterested, Larry holds his ground and sticks to his standup like conversation. In utter rejection he wanders back to his friend Jeff to the tune of a tuba playing. Larry David’s socially awkward life has earned him millions of viewers and two of the highest rated shows ever aired.

In reality, Larry David is a stubborn man. While writing for SNL, after half of a season without one of his sketches airing he finally earned the 12:50 slot, only to have it cut at the last minute. He stormed into his boss’s office and cussed him out only to return the following Monday. His then neighbor Kenny Kramer suggested he act as if the whole thing never happened. He actually finished out the rest of the season! An example from his work occurs during season 3 episode 22 of Seinfeld when George fights Kramer’s friend Mike for several hours into the night over a parking space outside Jerry’s building. In Curb Your Enthusiasm Season 4 Episode 5 Larry notices that his friend Marty has placed his 5 wood golf club that he had lent him in his fathers casket during a wake. Rather than let it go and buy a new one Larry forces Jeff to replace the club with his club. This was undone when Marty noticed the switch at the end of the episode. In both sitcoms George and Larry respectfully represent Larry David’s real life stubborn self makes the writing seem that much more natural.

Larry David brings a lot to the table when it comes to writing. During Seinfeld’s run he created the role of George Costanza who is intended to emulate David from real life. In Curb Your Enthusiasm David plays himself, which mirrors Costanza very closely, though he is able to ad lib much more on Curb. In his work, David is known for poking fun at everyday life, he is known for being socially awkward and he is very stubborn. In his writing and acting roles he is a perfect example of an auteur, or someone who writes themselves into a television show. David can clearly be seen in Seinfeld and Curb both on screen and off.

Wednesday, September 9, 2009

If I'm Wrong...Criticize Me!

Many critics in modern society hold their beliefs very near and dear to them and many others try their best to stay as unbiased as possible. I, however am a combination of those two styles. My name is Mike Anderson and I will be critiquing television through the means of this blog. Throughout the semester I’ll do my best to create a better understanding of the social effects television creates in modern society. To do that I will draw on a few theorists of television, all of whom have different opinions on how to go about criticism. I will draw on the theories of O’ Donnell (2007), Sillars and Groenbeck (2001), and Corner (1999) most frequently and occasionally rely on Brunsdon (1993) and Butler (2002) for other areas of expertise, as my personal view of television is most closely tied to the first three. My goals for criticizing TV are simply to understand it better myself, create more understanding for other people, and to engage with my audience.

As I said, the three television criticism theorists I most closely associate with are O’ Donnell, Sillars and Groenbeck, and Corner. I most prefer to look at television as an object of study in terms of the effects it has on society. As Corner alludes to TV displaces culture and that displacement is felt locally, regionally, and even internationally. It will be my job to study those inward and outward forces and how they expand across the population. Though I believe that TV displaces culture, I also know that television never has the same meaning for everyone. Though displacement occurs universally, it can be viewed differently. It is very important for me to persuade my audiences, as O’ Donnell mentions in her piece but also to analyze media coherently in a way that makes a connection with my audience as Sillars and Groenback state. When I look at television, I see very specially targeted niche markets. Demographics are clearly fragmented into channels across the dial and it seems that there is something for everyone on TV. But the way I see it, TV has become so big that it becomes the way we see reality. We think that so much is represented on TV that it must be an accurate representation of reality. The more we study TV and look into what goes into making many of these shows and news programs we can see that is hardly the case. I agree very much with the way Corner put it when he said that television displaces culture. But TV really is as big as it seems, the centrifugal forces of television allow it to spread to every corner of the Earth. So it really does begin to take on a life, and reality of its own. When we as viewers start to think that everyone in the Bronx carries a gun due to watching too much CSI: New York, or Law and Order, it could lead to higher sales of firearms. The same could be said for Midwesterners who think that everyone in California surfs all year long from watching too much Baywatch. The standpoint that O’ Donnell, Sillars and Groenbeck would take would be to, as a critic, make an argument. As this semester progresses I’ll do my best to write about how I feel, but I’ll also make a clear, coherent argument for you, my audience to best understand.

In addition to my view of television I also look at myself as a hegemonic critic, as Charlotte Brunsdon articulates in her piece. I look at myself as more than just an ordinary critic, but I definitely hope to hear from what you like best about television. I think that your thoughts are the best way to stay in touch with reality. I hope that your comments and opinions can help develop an accurate reflection of television effects that I write about. Back to Sillars and Groenbeck, I must describe, interpret and evaluate everything that I write about. That includes making a case, making an argument that is worthy of reading about. But while I’m a subjective author as O’ Donnell points out, I’ll try my best to remain coherent.

References

Brunsdon, C. (1993). Identity in feminist television criticism. Media, Culture and Society, 15: 309-320.

Butler, J. (2002). Television: Critical Methods and Applications (2nd ed). Mahwah, NJ: Lawrence Erlbaum Associates.

Corner, J. (1999). Critical Ideas in Television Studies. New York: Oxford University Press.

O’Donnell, V. (2007). Television Criticism. New York: Sage.

Sillars, M. O. and Gronbeck, B. E. (2001). Communication Criticism: Rhetoric, Social Codes, Cultural Studies. Prospect Heights, IL: Waveland Press.