The Official Blog Of Edward Cline

Season Two of Fear and Loathing: A Review

I
endured eleven episodes of the thirteen-episode Season Two of Orange is the New Black, which debuted
June 6th. I can’t watch the rest of the series. The whole series, Seasons One
and Two, leave me numb. No. Indifferent.  See my first review of the series published
last August, “Fear
and Loathing are the New Freedoms
,” for a synopsis of this
naturalistic, rubbish-tossing romp through the garbage bin of contemporary
society and culture.
Orange is on its way to becoming a liberal cult classic,
when it’s simply drawn-out agitprop for the Left.
Set
in a minimum security women’s prison in Connecticut, it focuses on the
conflicts of the female inmates as well on those of those of the security
staff. There are no heroes, nor any heroines in the series. Staff and inmates
alike, they are all criminals of one stripe or another. The series is purported
to be based on Piper
Kerman’s
book about her
time in such a prison.
The
series, both Seasons, boils over with graphic lesbian sex scenes (with a few
heterosexual ones thrown in for “diversity’s” sake), graphic violence
among the prisoners, conniving, lying, and scheming by everyone, racial
tensions between whites, blacks, and Latinos (who have now taken over the
kitchen), competition among “queens” of the roost in bringing in
contraband things like lipstick, cell phones, dope, and even junk food.
The
word “f…k” occurs seven or eight dozen times in the dialogue, the
term “c…t” perhaps half as often. Other obscene slang terms are
sprinkled throughout for good measure, to make sure viewers understand that
they’re not watching Leave it to Beaver,
or the old Perry Mason. Or even a
James Cagney gangster movie. There’s more “realism” in Jimmy Stewart’s
Call Northside 777
than in Orange.
I
reached a point where I don’t really care if any of the characters resolve
their external or internal conflicts. I could develop as little or no empathy
for any of the characters as I could for Jeremiah Wright, Gloria Steinman, or
Vladimir Putin. I felt as though I wanted to put every one of them out of their
misery. Including the head of the prison, a tall, shapely brunette who is the
prison’s administrator and is as corrupt as the rest of the characters.
Including one black inmate character, “Crazy Eyes,” who is turned by
a black witch, dope racketeer, and manipulator of feeble minds, called “Vee,”
from a harmless, mildly amusing whacko into a vicious thug and brainwashed
toady who beats up a fellow black inmate on orders from Vee. Vee also sics her
black girl thugs on the dethroned ruler of the kitchen, Russian”Red,”
whose contraband racket she wants to take over.
Black
racism against especially whites is lovingly approved by Kohan in the series. Her
own “white guilt” and “white privilege” in the series  is frowned upon in no uncertain terms. Vee and
her thugs even pick on a helpless inmate who is undergoing chemo therapy – because
she’s white.
In
the name of racial “diversity,” the inmate cast is almost evenly
divided between whites, blacks, and Latinos. There are English subtitles for
dialogue between the Latinos. Most of the blacks are trash-talking, ugly,
overweight, petulant, and in-your-face aggressive and mean-minded. It can’t be
that the writer, director, and producer of the series, Jenji Kohan, who
herself resembles a cross between an alien from a low-grade science fiction
movie and an apprentice clown, is waging a campaign to eradicate black
stereotypes. The racism of her black and Latino characters is almost palpable.
In
the name of realism, there are plenty of toilet scenes. Some scenes are so
gross I won’t bother mentioning them. I’m surprised I’ve gotten this far in a
review of this apex of cultural expression. As unsavory as watching this series
has been, I still felt obligated to say something about Season Two, even in as
brief a column as this one.
The
most pathetic characters in the series are white males. I don’t even want to
“go there.”
There
has been much politically correct ballyhoo about Laverne Cox, the transgender
inmate and house hairdresser. Time Magazine, now on its last legs as a weekly
news vehicle, ran a cover story on him – yes, him, because he had his gender-defining equipment removed, but he
still has male chromosomes, and a new
review
of Season Two. Deal with it, “Laverne.” The Independent on
June 6th asserted in its fawning review:
What OITNB does
differently is simple; it bestows on all its characters the same depth,
complexity and detailed back-story that is usually reserved for the lead. Thus,
the show utilises a large, diverse cast to embrace issues of race, gender
identity, sexism, income inequality, mental health and plenty else besides. Add
to this the fact that it includes more interesting roles for women than all the
other quality US TV dramas combined, and you have some television really worth
getting excited about….
Orange is The New Black is great entertainment, but
it’s also an elegant rebuke to those who grumbling resist on-screen diversity.
They worry it will somehow stifle creativity, when in fact quite the opposite
is true. As Cox told TIME: “There’s not just one trans story,” and the same is
true of every other oft-stereotyped group on television. Here, then, is the
stockpile of original, untold stories drama commissioners always claim they’re
crying out for – and it was right underneath their noses all along.
Why
should anyone care about the fate of these characters? No rational person
would. Orange is the New Black is a
clinical study of a cockroach nest, or of a colony of bagworms. That, however,
is the state of the culture. But, don’t take my word for it. Here is a portion of
Time
Magazine
‘s cultural and racial diversity lapdog-review review of Season
Two:
Having built out dozens of colorfully named characters
(Taystee, Yoga Jones, Black Cindy), the sprawling Orange is like Game
of Thrones
: Prison. In prison, after all, a few square feet becomes
[sic] a world. One new subplot
involves prisoners training cockroaches to carry cigarettes from cell to cell:
in lockup, a hallway can be the vast Sahara and a bug a camel laden with
riches. Like Thrones, Orange is partly a story of territory, allegiance
and clans, here divided largely by race. This tension heightens with the
arrival of Vee (Lorraine Toussaint), a magnetic, leonine recidivist who
promises to restore the days when black women ran the prison. (The Latinas
presently control the kitchen, Litchfield’s Iron Throne.)
New York magazine is
so gag-ga over Orange that it has over twenty-five separate blog sites devoted
to the series.
I end
this review with a reader comment from Media
Research
on a mention of Hillary Clinton in the dialogue, in which the term
“dictator” in reference to Clinton was edited out (before it was, I
heard it). It appropriately captures the conscious, intended illiteracy of the
series:
As people, I know that orange is old European’s black
color represented fascism regime in gypsy Hitler’s time. Orange color
represented flame that, greek fascists in Germany, root in a tribe origin from
Crete Island, Greece would cover in a flame all the world. Orange color was
created by ‘them’ mixed yellow with a red color (jealousy and a love). You can
find to one picture ,who Bloomberg is handling two guns ‘one red, one yellow’
.You can find also orange color to NYC taxi, school bus and some cars or,
motorcycles with a flame design. A gypsy’s symbol is ‘a duck’ who has beak’s
orange, too. La,la,la,la….
I don’t
know if it’s true what the reader meant about the color’s symbolism. It doesn’t
matter.
As
I observed in the first review of Orange
is the New Black
last year, the prison society depicted in the series is
the limit of Jenji Kohan’s “vision” of what American society is and
what she wishes it to be – permanently – so she can get a kick out of
compressing all the wusses, deadbeats, gender-confused “persons,” racists,
and antagonistic tribes together and watch her notion of fireworks.
No
thanks. End of review. I’ve had enough. Excuse me while I wash the cesspool from
myself.

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3 Comments

  1. revereridesagain

    I don't know how you stand watching five minutes of that rot, let alone 11 episodes, but thanks for having the fortitude to act as our early warning system. There is practically nothing worth watching as entertainment on tv now with the exception of a few quality movie reruns and the rare and elusive genuinely engaging "real life" series, which are usually short-lived because the couch potatoes would rather watch Bigfoot hunts. To use the term "elegant" with reference to this trash is to nullify the meaning of the word.

    Nearly 50 years ago philosopher Ayn Rand summed up the "cultural value-deprivation" of the mid-1960s.

    http://aynrandlexicon.com/ayn-rand-works/value-deprivation.html

    Compared to what exists today one can feel nostalgia for what was still available back then in entertainment and the arts. If we turn away from the madness unfolding on the news outlets today, we must pick our way through the minefields of horror, sleaze, and boredom that consitutie "entertainment" in an all too often vain search for fuel to keep our inner motors running.

  2. Edward Cline

    Revereridesagain: "Orange" was worth enduring because it represents the state of the culture. It is nihilism in practice. I reviewed Season One of "Orange" and thought it necessary to review Season Two, which is measurably worse than One. It is anti-man in the extreme. Speaking of which, the anti-man element — in this sense, the anti-male — was to be expected. All the male characters are pallid, sorry excuses of that gender. Looking at the writer-producer, Jenji Kohan, and her credits ("Weeds," "Will and Grace"), she is a freak and "Orange" will be emulated by other hacks and nihilists.

  3. An eye opener

    Radical Farrakhan-nists and Fee-Palestine bigots:

    Do Brown, Black matter…if they're Israelis?

    BLACK, BROWN, WHITE, YELLOW ISRAELIS

    Since color has become a language somehow, and anti Israel bigots distort, then let's remind, most Israelis are "brown," in terms of stats. You have also many Ethiopian Jews.

    No wonder the propagandists will never show democratic multiracial Israel in day to day lives.

    Or elaborate on anti-black racism in the Goliath Arab world. Though all non Arabs have been through racism in that world.

    SECURITY VS RACISTS

    But of course Israeli security concerns are just that. Unrelated to any "color" or "race." Actually, speaking of racism, yes, Arab Muslim attackers target only Jews. Talk about real racism.

    BACKGROUND ON HIJACKING TERMINOLOGY

    True, hijacking of term 'it's racism," is as old as Palestine propaganda emerged by holocaust denier Issa Nakhleh who began in June-17-1949 the "like the Nazis and worse than nazis" line (and by Nov-14-1972 said all 6,000,000 were alive and Hitler "didn't" kill, and represented 'Muslim Congress' at Holocaust deniers convention in 1981), then picked up in 1960 by Nazi Tacuara saluter Ahmad Shukairy who by Oct-17-1961 added that garbage-touch apartheid slur too and questioned Catholic Uruguayan rep. Enrique Fabregat's loyalty, stating because he's (supposedly) a Jew. And both, of course were Hitler's ally ex-mufti Islamic leader al-Husseini avid fans. With Shukairy his aide.

    Speaking of ex Mufti's admirers… Sufi Abdul Hamid, infamous 'Black Hitler' in NY who called to drive out Italians and Jews in the 1929-30, was also his admirer.

    RE FARAKHANNISTS & FAKE "PRO-"

    One might begin to argue there is such a thing as "pro Palestine", (only) when Farrakhan linked Ilhan Omar / Linda Sarsour / Rashida Tlaib will have a routine of decrying Arab Muslim suffering when it's not in context of Israel (who has been facing existential threat ever since) but suffering when by Arab Muslim entities. One would then hear about a real en-masse massacre. Such as hundreds of thousands in Syria, current example. And if they begin to do anything along the line, then no lip service please. But with that same "passion" as in fake "sympathy" played at the 'other' case.

    The absentee reason is clear. Self explanatory. Because pro Palestine is a cover for anti Israel and often anti ALL Jews.

    A note re L Farrakhan, that guy with his "blue eyes are the devil," when he uttered his "termites" venom, his genocidal hint was clear under the veil. For more about Dehumanization in radical Islamic Arab or even mainstream racist "Palestinian" education and sermons, search for "apes and pigs, Palestinians". Or see PalWatch and MEMRI.

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