Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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The single girl is by no means the new girl in town. In fact, as a culture, we’re kind of obsessed with her.
She’s been the subject of chatter throughout 2011 and 2012. Women’s magazines have catered to the single girl by creating lists of cities most likely to end her unaccompanied plight or techniques for keeping a boyfriend. When that didn’t stick and the collective started to realize “Single Girl” wasn’t an affliction to be cured, but rather a state of being to be acknowledged, we switched to praising her for her strength and for changing the makeup of the single man and traditional relationships, like in Kate Bolick’s 2011 Atlantic cover story. The U.S. Census bureau reported that a record 17.8 million women were living on their own in 2011, bringing some much needed numerical support to this supposed phenomenon. Plus, women's health issues were some of the most hotly debated topics in the 2012 presidential election. But throughout all of this, we’re often talking about the upper echelon of single-ladydom – the benefits of being on one’s own, kicking ass and taking names in what used to be a “man’s world,” so to speak. But in 2012, the topic of the single girl reached new levels of legitimacy, especially on television.
The exalted (and equally despised, as Fox News recently reminded us) Single Girl of cultural note gained layers and stages within her seemingly one-note solo path. The most notable layer being that of the Poor, Single Girl life stage.
Series like HBO’s Girls, CBS’ 2 Broke Girls, Fox’s New Girl, and even reality shows like Bravo’s Gallery Girls bring the plight of the broke girl into homes across the country. (In its heyday, Sex and the City may have been all about the single girl, but certainly never the financially strapped one.) It brings into relief the fact that women exist in this space where our hair isn’t always perfect. Our makeup doesn’t look like it does in the movies. Our socks don’t always match and sometimes we struggle to pay the gas bill. It’s not just a punchline and it doesn’t make us deadbeats or outliers, it’s simply a life stage. Bringing that fact into the stark light of television for the masses brings an air of legitimacy to what is very much a reality for many girls in the no-man’s land between college and middle age.
When it comes in the form of Zooey Deschanel’s doe-eyed New Girl, the pop culture advent isn’t universally embraced. The polka-dot-loving, grade-school-sing-a-long, Christmas-morning-pajama-loving girl becomes a beacon of infantilism. In fact, Deschanel’s on-screen and off-screen personas are to blame for the notion “that it's never been easier, more fun or more acceptable to remain locked in the warm, comfy embrace of childhood,” according to a Jezebel post by Girls writer Deborah Schoeneman.
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But in Season 2 of the Fox series, Deschanel’s Jess added another characteristic to her former Manic Pixie Dream girl: a lack of cash flow. Jess lost her job, and with it, her schoolgirl antics. She became a penniless weirdo struggling to find a sliver of happiness in a reality that just handed her a fresh dose of harsh reality. This manifested itself in Jess’ multi-episode quest to displace her unhappiness by finding an emotion-free sex-friend set-up with a Creed fan, which took over and let the foundation of the problem take a back seat until Episode 7, when Jess’ financial constraints finally caught up to her. Schmidt cut off the gas to the apartment and Jess finally had to face the music and get a job that probably wasn’t going to pay her big bucks so she could suffer along with the rest of us.
Of course Girls has been throwing down the broke lady gauntlet since day one. Lena Dunham’s Hannah is cut off by her parents, sending her on a journey through awful job interviews, thankless jobs, unpaid internships, and uncomfortable discussions about where she’s going to get money for her next rent payment. The series brings into focus a range of circumstances that might befall a single, broke girl living in Brooklyn, and the diverting and rarely blissful moments that help to distract from the truth of her precarious lifestyle. It’s cathartic for those living the awful (and sometimes awesome) truth, and comprehensive enough to allow for audiences at different life stages to embrace the reality they may not know themselves.
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But the broke girl isn’t a phenomenon pegged to the folks willing to shell out 15 bucks a month for HBO or risk the virus-ridden expanse of pirated Internet television. Even sweeping, broadcast audiences get a watered-down, broad stroke version of the broke girl thanks to Whitney Cummings' 2 Broke Girls sitcom. However, Max and Caroline get a punchline-chasing raw deal. It’s one thing to be broke and scraping by, allowing oneself to be tempted by the evil incarnate that is a pre-approved credit card, it’s quite another to dine out at a soup kitchen to save some dough. However, CBS’ broke girls have done both in Season 2 of the hit series. But broad strokes or not, the series is bringing the plight of the poor girl into the larger pop culture consuming consciousness.
Of course, the true mark of the poor girl as a trend is that she’s even infiltrated the realm of reality television. It’s a place that generally embraces personalities in three distinct categories: the rich and/or famous, the ridiculous and wacky, or the suckers competing for some overblown prize. Gallery Girls is admittedly a subject for hate-watching, but its content raised a question about this “poor girl” trend. Could it be a real movement in television?
Yes, it could. Not everyone in Bravo’s set of art-world ladies treads the broke girl line, but for the most part, finance as a struggle is a recurring theme for the series. Freelance photographer Angela Pham has to supplement her sporadic income with a waitressing job and modeling jobs here and there. Gallery owners Chantal Chadwick and Claudia Martinez Reardon struggle to pay the bills for their business and Reardon frets about making good on a business loan from her parents. Kerri Lisa works two full-time jobs in order to pursue her art world dreams… and keep her dream apartment in the West Village. By most stretches of the imagination, these reality starlets aren’t exactly the picture of the broke girl that we’ve come to expect (how many struggling ladies can drape themselves in such luxurious couture?), but the way in which their struggles are picked out and emphasized in the editing room before the episodes hit the television is an indication of the stories audiences are seeking.
It’s not enough for a post-graduate girl to be fun and fancy-free, wearing high-wasted pinstripe skirts and twirling her hair. That’s not what a “girl” is anymore. In 2012, the definition in popular culture evolved and diversified. Girls, in the non-pig-tail-appropriate sense of the word, became pre-adults, with all the faculties of a full-fledged grownup, but none of the practical experience. She’s a gawky fawn, learning to stand on her own two feet. Every once in a while, she won’t have enough dough for the electricity bill. She’ll hoof it home to mom and dad to get a short-term loan to stay afloat. She’ll accept a series of odd jobs to stay in the black. But all the while she’s growing; she’s working toward something other than a big, handsome man to hold her hand. Television series like Girls and New Girl have taken even the most adorable little lady off her pedestal, bringing her down to the level at which we feel free to explore, dissect, judge, and be entertained by her journey to full-on adulthood.
It’s a product of a changing environment – Pew Research reports that the number of nuptials has decreased by 29 percent since 1960, the average marrying age has risen from early 20s to 26.5 for women, and since the early ‘90s U.S. Census data has shown that there are more women than men attending college. That girl isn’t an anomaly and she isn’t hiding. She’s sitting next to you on the subway. She’s unavoidable. But the shift is also a product of acknowledgement. Every time audiences tune into one of these shows touting a broke girl heroine, they’re buying in. They’re accepting this financially-challenged, almost-adult. She’s not a stoned slacker or lost little lady. She’s a human, dealing with the struggles of early adulthood and she’s getting there.
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Patrick McElhenney/FOX; Cliff Lipson/CBS]
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