As he championed "the new journalism" in the late sixties, Tom Wolfe suggested no one ever would write anything truly compelling"”fact or fiction"”about the suburbs; he asserted, "There is no life there." During the New Depression, however, the suburbs have gone ghetto, suddenly teeming with life and depravity; and television writers are producing all kinds of compelling stuff about what they have discovered beyond the white picket fences. Witness Showtime's smash-hit "Weeds," the life and times of a "proper" suburban widow keeping-up appearances while she deals more dope than a six-pack of Mexican cartels. As in "The Office," the basic premise for "Weeds" is an import from Great Britain, adapted from the British film Saving Grace which showed a widow and her gardener conspiring to maintain the widow's lifestyle by supplying the locals with their favorite herbal refreshment. Critics frequently compare "Weeds" with American Beauty for its exploitation of the idea "Normal is the face we wear to cover how f***ed-up we are." By contrast with "Desperate Housewives," Nancy Botwin, our entrepreneurial heroine, has far more good reason for desperation than her difficulty achieving orgasm; she has a house, a mortgage, two sons, and a reputation. Since Bonfire of the Vanities tanked and "Weeds" flourished, Tom Wolfe may have to consider the distinct possibility that there is no life in Manhattan.
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Undoubtfully, cinematography has been my passion since a very young age. Even now, watching a new movie or series always prompts me to ask a lot of questions to the author. Thus, every little essay about a title is definitely not a spoiler, but rather an attempt to explore the idea.
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