Tag Archives: Television

Happy hour

It’s 3pm and they’re on their second round of margaritas. The Mexican restaurant had lured them in with an unprecedented happy hour special. They’re holding hands at the bar, which gives her less manual control over her wedge of lime. She accidentally squirts juice into his eye when optimizing her drink order. He dabs at his face with a cocktail napkin, but still retains his focus on the bar television set that seems to be powered by decorative chili lights.

“Whoa,” he says.

“What is it?” she says. “What’s wrong?” She knows her boyfriend is watching the local news because she overheard a segment about school closings while staring at the side of his face, willing him to turn his attention back to her. They have so many urgent things to tell each other. How in love they are, for instance. Little jokes.

“A car crashed on the BQE and six people were killed, including a baby.”

“That’s terrible,” she says. She glances briefly at the TV, but decides she doesn’t want to see the footage. Instead her heart goes out to the place on the road where the figurative bomb was detonated. It really is terrible. All those people. The bartender brings them complimentary chips and salsa.

She and her boyfriend are both quiet, drinking, as he continues to watch the news anchor’s concern drift from fatalities to traffic. Maybe she can use this moment to start a conversation that will deepen their romantic bond.

“You know,” she says, “I’ve always wondered what the Dalai Lama would do if he were hanging out, enjoying a margarita, and then he was told that a baby had just been killed in a horrific car accident. Would he acknowledge the suffering, then go back to drinking his margarita? Would he get bummed out and stop drinking his margarita altogether? What’s the mechanism for going from happiness to tragedy and back to happiness, or do you just stay in an emotional place that lacks polarity, so you drink your margaritas in a mental zone that precludes any extreme feelings whatsoever about car crashes? But does that seem fair to dead babies?” Her boyfriend looks at her distastefully from the corner of his citrussed eyeball.

“You’re killing my buzz,” he says.

“Oh,” she says. “Okay.” He tunes into the weather report. Thunderstorms. She had really hoped for a different outcome to her conversation starter.

“You know,” she says, “one could argue that randomly bringing up a dead baby during happy hour is more of a buzzkill than philosophizing about how the omnipresence of suffering might coexist with inner peace.”

“I’m not going to apologize for what’s on TV,” he says. She lets go of his hand and buries it in the basket of tortilla chips.

“And I’m not going to apologize for trying to have a meaningful conversation with my boyfriend,” she says. “Who thinks I’m a buzzkill.”

“Maybe you shouldn’t overthink things so much.”

“So sorry that my reality harshes your mellow. I’ll try to keep my reality to myself next time.”

“Can’t we just have a date without you turning it into an intellectual symposium?” he says.

“Can’t we just have a date where the television isn’t more important than me?” She’s fixing to abandon her boyfriend at the restaurant when the bartender brings them two shots of top-shelf tequila.

“We didn’t order these,” she says.

“They’re from me,” says a cherubic voice to her left. She spins around to find a ghost baby nestled in a Bumbo on the neighboring bar stool.

“Wow, thanks,” she says.

“Cheers,” says her boyfriend, reaching over her to clink glasses with the ghost baby’s bottle of beer before taking his shot.

“You’re not that baby who was just killed in that awful car crash on the BQE, are you?” she says.

“I am,” says the ghost baby. She tears up.

“You must be so distraught,” she says. “Your life was just beginning.” She tries to lay her hand on the ghost baby’s chubby arm in sympathy, but his body seems to be made of a cloud.

“Here’s the thing,” says the ghost baby. “When your mind is disciplined, suffering can only disturb it superficially. Your attitude dictates how badly things will hurt, and for how long.”

“But if a person has graduated to enlightened suffering,” she says, “and his loved one is still devastated by loss because she’s not a Buddhist, can the person still extend the full range of his compassion without being able to feel the full depth of her misery?”

“Yes, because he’s been there before. Maybe even in a past life. But then he trained his mind to transcend pain.”

“Interesting,” she says. “But do I really want a hug from someone who’s better than me?”

“People cross the world to cuddle with the Pope and the Dalai Lama.”

“True,” she says. “But take my boyfriend here.” She points her plastic drink straw to her right, flinging liquid everywhere. “What if there’s a discrepancy between the amount of love I feel for him and the amount of love he feels for me? In time won’t that just increase my suffering?”

“Love is infinite,” says the ghost baby, “in any amount.”

“Well, but at least I don’t watch TV when he’s trying to talk to me about serious shit.”

“In Buddhism there are three mental poisons that lead to suffering: ignorance, attachment, and hatred.”

“No, no,” she says. “I don’t have any of those. I think I’m just a little drunk.”

“Hey babe,” says her boyfriend. “The World Cup game is about to come on. And your girl what’s-her-face is playing.”

“Sweet!” She high fives him, then swivels back around to the ghost baby. “Do you like soccer?”

“I’ve always liked balls,” he says.

“Great! Then this might be your sport.”

“Hey kid,” says her boyfriend to the ghost baby. “Chill out with us for a while. The next round is on me.” She wraps her arms around her boyfriend’s neck and kisses him on the cheek.

“What was that for?” he asks.

“For not being sad or angry anymore. For getting your buzz back.”

“My buzz has always been very resilient.”

“Just like the Dalai Lama’s,” she says.

“Exactly,” he says. She shifts around the bar stools so the ghost baby sits between them. By halftime the Bumbo is gone, and she and her boyfriend’s hands hold on for dear life in the place where the baby had been.

In order to horrify my mother, I have devised the following reality TV show

Way back in 2003/04, when my college girlfriend and I were living together in D.C. and bearing witness to all sorts of bad behavior on the infrequent occasions when we’d go to the Black Cat to drink Diet 7Up and meet with our napkin folding club, we devised the following concept for a reality television series. The concept has come a long way since then, in that I finally wrote it down, and I hear that other people are actually filming it for HBO. I’m going to wait and see if the HBO thing makes money before I inform Lena Dunham that I registered Poor Girls with the Writer’s Guild seven years ago. In any event, I now bring you…

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POOR GIRLS

a derivative, tragicomical, reality-based television series about a trinity of emotionally needy, financially impoverished, artistically confused, professionally aimless, aged-twenty-something female roommates in the big city

Treatment by

Wistar Murray

LOGLINE: Sex in the City meets Little Orphan Annie.

SYNOPSIS: We document the various Brooklyn-themed misadventures of three attractive, charismatic young ladies at the height of their seductive powers as they struggle to keep money in their pockets, get consistently laid, and preserve their dignity in a metropolitan setting. All three heroines issue from middling-class suburban families, but appear to relish being poor, slutty, and bohemian in their Five Boroughs personas. They also view their penury as crucial to maintaining their increasingly slim figures. Series includes an undercurrent of competition to reveal who can debase herself the most for free drinks, as well as some elements of frenemy. From episode to episode, we watch the girls largely succeed in getting by on their charm and sexual appetites, but they occasionally surrender to a valley of tears (see E. 5, a.k.a. “The Heartbreak Episode”). All three heroines are actively looking for the Oliver Twists to complement their Pippi Longstockings, with a preference for the former to play an Instrument and/or write first chapters of novels while waiting to claim his family inheritance.

PRINCIPAL CHARACTERS:

We fall in love with Eleanor when we see her updating her private sex diary in a cubicle at FedEx/Kinko’s, where she writes regularly because the staff there doesn’t force her to buy anything, such as bubble wrap or Post-It Notes.

We fall in love with Ashley when she entertains a rare doubt about the long-term propriety of sleeping with so many assholes, and wonders if her new blanket should be electric, like a fence.

We fall in love with Mary-Katherine when we see her make a pit stop in a Midtown cathedral during a Sunday morning walk of shame. We soon gather that she is not there to atone for her sins, but rather to seek the refuge of a clean lavatory, where she can pee and check her hair for cum without having to a buy a Starbucks coffee.

SEVEN EPISODES:

1. We open on frustrated sex between Principal Character Ashley and an unnamed hipster on her air mattress (see Example #1 of Snappy Dialogue). After the gentleman leaves, Ashley plans her search for a real mattress to replace her erotically disappointing Aerobed™. We see an extensive monologue in the confessional room (Eleanor’s closet) about Ashley’s terror of bedbugs, evinced to the degree that she once abstained from casual sex for two months to avoid catching them. “Bedbugs are the AIDS of the 21st century,” she often tells the camera. She texts last night’s unnamed hipster to find out how he feels about street mattresses. She wonders aloud if she can avoid buying a comforter for her bed by investing in thicker pajamas.

2. We see Principal Character Mary-Katherine embrace a new sexual identity as a Craigslist Unicorn. This endangered species is willing to hook up with couples to indulge the wife’s last-ditch efforts to save the marriage. The couple is typically so grateful to its Unicorn that the husband will shower it in gifts and free restaurant dining experiences, often without the wife’s knowledge. Mary-Katherine is empowered by her humanitarian role and we see a montage of her flirting quietly on the internet at a neighborhood cyber-cafe.

3. We watch as Principal Character Eleanor is forced, for an entire week, to wear the whorish boots she bought last Sluttoween because her more practical winter boots are in the boot repair shop and she doesn’t have the cash to get them out. She feels awkward going babysitting in three-inch, transparent heels, although she has to admit that the boots do a fine job of protecting her feet from inclement weather. In this episode’s psychodramatic subplot, Eleanor is disappointed to discover that her new crush’s adult Asberger’s also manifests itself in lovemaking. She had wrongly assumed that her new crush would land on the higher end of the orgasm spectrum.

4. We watch as Ashley copes with the daily trials of being cold and hungry and bored with all her outfits. In this episode she discovers that if she sweet-talks a junior associate lawyer she’s been seeing (“Ryan,” a recurring minor character who fits awkwardly into the Poor Girls universe except on the nights when he’s doling out gratuit lines of coke), she can exchange fitting room blow jobs for cute clothes from Topshop. In a series of rapid cuts, we see Ashley order nothing but hot tea at expensive restaurants and then take the complimentary creams and sugars home to make her lunches with later.

5. Informally known as “The Heartbreak Episode.” When Mary-Katherine meets a man who is poorer, sluttier, and more beautiful than she is on the subway platform, we are right there with her. Three days after their steamy makeout session in the rear of a Dunkin’ Donuts, when he doesn’t respond to her flurry of obscene text messages, she is comforted/vindicated by finding his indie band’s CD in the dollar-bin of a used record store.

6. We watch as Eleanor goes on a quest for cheap condoms, finds Truth along the way.

7. We watch as the girls prepare for an elegant dinner party hosted around their dumpster-dived coffee table. Mary-Katherine, who is responsible for the salad (and bad at keeping up with her laundry), pats dry the romaine lettuce with the same towel that she’d earlier used to dry her hair. We watch with horror as the dinner guests pick damaged, dyed-blonde strands out of their first course. But then the night is redeemed by cheap karaoke around the corner and we rejoice along with the girls, who have by this point become our dear friends.

EXAMPLES OF SNAPPY DIALOGUE:

1.

“This mattress needs more juice,” Ashley says to her latest one-night stand.

“You’ve got to be kidding me,” says the one-night stand.

“Don’t worry, doll,” says Ashley. “It’s not as uncomfortable as it looks. It’s like sleeping on a water bed, except with air.”

We hear the roar of the bed’s engine when she plugs it into the wall.

“Voila,” says Ashley, disposing of her bra and panties. “Inflated and ready for fucking.”

2.

“That douchebag came all over my t**s last night,” says Mary-Katherine.

“I thought you were into that,” says Ashley.

“Normally, yeah, but he stained my sheets and you know I just went to the laundromat. Quarters don’t grow on trees in Brooklyn.”

3.

“Who the fuck took my earblugs?” screams a wasted Ashley at 7am after she returns home from a long night of partying.

“Your what now?” says Mary-Katherine, who is making ramen dinner in the kitchen/living area.

“My earblugs! I can hear the family in the wall!”

“Why don’t you just have an orgy with them?” screams back Mary-Katherine. “You do with everyone else!”

Cut to Eleanor’s bedroom, where she’s straddling a groggy, half-naked bartender.

“We’ve got time for a quickie before I have to shower and go to work,” she purrs as she fiddles with what could either be a mole or his third nipple.

The bartender stares up at her blankly, stupidly, as if she is a ceiling tile.

“Did you hear me?” says Eleanor. “I said wake up and fuck me before my babysitting job.”

At his leisure the bartender removes the earplugs one by one from his ear sockets.

“Hm?” he says. “Are you talking?”

“Jesus Christ,” says Eleanor, and jumps up to borrow a condom from one of her roommates.

THE CLINCHER:

Eleanor’s Truth (see E. 6) turns out to be scabies.