Tag Archives: The Sopranos

The Disappointments of Emily Nussbaum

FA Sex_and_the_City_(book_-_cover_art)

Editor’s Note: Following our previous post about books in TV shows, here is a post about a TV show that once was a book, Sex and the City. Our author responds to Emily Nussbaum and her contention in the New Yorker that the show has not gotten its due, especially side-by-side with other shows like The Sopranos. As our author makes clear, “I like Nussbaum.  I like Sex and the City.  I am a man,” we shall also make clear that his views do not necessarily reflect those of everyone at Fiction Advocate (especially in my case, since I have not seen more than a few episodes of either show) though we all agree that they are worth reading. – MM

With the sudden death of James Gandolfini and the return of Breaking Bad for its final season this week, the internet is replete with nostalgia for the golden age of television, pre-obituaries for our era’s amazing serialized dramas and their signature anti-heroes: Tony Soprano, Don Draper, Jimmy McNulty, Walter White.  Writing in the New Yorker, Emily Nussbaum nominates an addition to the list: Carrie Bradshaw.

In her defensive paean to the show that brought zipless fucks into the twenty-first century, Emily Nussbaum argues that both Carrie and her vehicle, Sex and the City, haven’t gotten a fair shake. But the aim of her essay—a pushback against “the reflexive consensus on the show,” that it is merely a “guilty pleasure” inspiring “self-flagellating conversations”—is much broader than the resuscitation of a lone, storied series. It is peppered with implications, never quite made explicit, about the rampant sexism of television criticism and American culture generally.  It’s there in Nussbaum’s complaint that any show will be considered inferior if it’s “stylized (or formulaic, or pleasurable, or funny, or feminine, or explicit about sex rather than about violence, or made collaboratively)” and in her lament that new shows with female protagonists must be distanced from Sex and the City rather than compared to it.  (And yet, reading this, one wonders how many Hollywood pitch meetings have begun, “It’s Sex and the City meets…”?)

But because she is so reluctant to make this argument explicit, what she says is so narrow as to be absurd: that Sex and the City was just as good a show as The SopranosThat SATC’s reputation is unfair and unwarranted and sexist and would be as good as its HBO brother if only so many critics weren’t men. Continue reading


Filed under Hooray Fiction!

Still Available: A Visit From the Goon Squad

Slate’s Audio Book Club has posted an interesting discussion on Jennifer Egan’s “A Visit from the Goon Squad.” In addition to pointing out that Egan was inspired by The Sopranos and Marcel Proust, the reviewers wonder if “Goon Squad” is somehow structured like a Facebook page.

If you want to find out for yourself, the book is still available at Trade Paperbacks. 


A Visit from the Goon Squad by Jennifer EganA Visit from the Goon Squad by Jennifer Egan
Jackie is a punk. Judy is runt. They both got disillusioned by the Information Ay-age.
Status: Hey ho, let’s go.

JENNIFER EGAN’S “GOON SQUAD” TRIED TO SOUR ME with opening chapters about a young New York neurotic and an aging record producer whose primary function seemed to be to reminisce about, i.e. name drop, old punk bands. I’m glad I persevered, though, because “Goon Squad” is an exceptional book about aging, identity and remembering. In subtext, the story is about much of what Proust wrote about (Egan quotes him at the opening of the book). In actual text, “Goon Squad” is loosely about music, which is so effective as a vehicle because 1) it is so readily nostalgic for so many people and 2) because it is the form of media that has gone through the most revolutionary and resisted changes as a result of digital technology, a struggle repeated by many of the people in the novel. Egan weaves together the colliding chronologies of a constellation of characters (can you tell the rum is working?) in different chapters, each written in their own distinct style. This is, at times, as obnoxious as it sounds; but for the most part it’s riveting and expertly crafted. Egan even managed to overcome my strong reluctance to predicted technologies of the near future. In a few of the chapters that spin her narrative forward into years that haven’t happened yet, she draws some not so unreasonable logical conclusions from today’s cutting edge gadgets, and doesn’t push the envelope too far in most of her imaginings. A Nine-Inch-Nails song from some uncertain year ahead is called “Ga Ga” in order to appeal to toddlers and infants who can now download songs with the push of  button; this feels a little extreme. Yet, a chapter from the perspective of an adolescent girl in the 2020s is written in some variation of power point slides. Her mother, who we have met before, complains about this kind of writing, and that seems just about right.

Do you want to trade paperbacks?


Filed under Still Available