Beverly Hills Cliches Sent

This Memorial Day weekend got kind of a lazy start thanks to too much fun at Friday night's Kills/Horrors show, plus visions of hot dogs and burgers kept dancing through my head. Good thing that LA Times made my work easy -- The headline "A Novel With LA Cliches" stared me right in the face when I sleepily picked up Saturday's Calendar section.

Literary critic Mary McNamara's as annoyed with LA stereotypes as we are in her review of Jennifer Steinhauer and Jessica Hendra's Beverly Hills Adjacent:

It's pilot season and Mitch Gold, a working actor, is again driving his wife June, a UCLA poetry professor, crazy. This is a terrific setup -- pilot season is a true only-in-L.A. situation (unlike traffic, smog and plastic surgery, which have become depressingly universal)... Unfortunately Hendra (who is married to actor Kurt Fuller) and Steinhauer run this fun premise through a very familiar wringer, giving us clichéd potshots and an over-abundance of anecdotal
scenes.

Love how she just knocks those well-worn cliches right out of the way and moves on. Who has time when so many of the old standbys are featured right in the novel? The best is her recognition of my not-seen-in-a-while personal stereotype fave, LA's Dark Underbelly:

The Hollywood novel was, of course, built on the rather pleasing revelation that the glamorous, with their lovely faces, swell cars and swimming pools, are in fact insecure, narcissistic loony toons, made so by the corruptive force of the industry. But while this was news for Nathanael West, Evelyn Waugh and even Michael Tolkin and David Freeman, it is decidedly less so now.

That's what we've been saying, Mary McNamara! It's too bad these writers have succombed to such an apparently bad case of LA stereotype-itis, because McNamara does like a lot of things about this book:

The most frustrating thing about "Beverly Hills Adjacent" is that the writing is so consistently good, at times lyrical, and there are some very funny scenes and memorable characters -- June's many automotive mishaps, Mitch's encounters with the playwright who once stalked him but is now super-hot in Hollywood, his rivalry with another actor who is invariably also up for his parts, all of which makes a reader wish very hard that Steinhauer and Hendra had done a better job of ignoring formula and written what they actually know. Not predictable "Tinseltown" anecdotes and marketable versions of people they've met, but what they've actually learned from living in Los Angeles. Because, like it or not, Hollywood is more than just a collection of egos jockeying for power and money, just like a novel is more than just a set of scenes.

Right. People who live here should know better. Steinhauer's a New York Times bureau chief (why am I not surprised?) and Hendra's a memoirist daughter of a memoirist (a somewhat depressing seeming one, to boot) -- are we really to believe they never meet literary types or people with depth out here?

Eh, I can't rail any more; I've got sausages to grill with interesting, educated people in lovely weather. But Mary, call us! We're definitely on your side with this one.

Cliche Writer's Blues 2

Okay, Diablo Cody, I hope you're blowing a kiss goodbye because I have had just about enough out of you:

Los Angeles is often described as the nadir of vapidity, a smog-choked space cradle. By contrast, Greenblatt's always feels like an oasis of warmth and substance. Inside the deli, people are buying cheapo vodka, Reubens with Russian
dressing, and bottles of Piper-Heidsieck, which, according to a handwritten placard, tastes better than Veuve Clicquot.

Again with dissing us in your Entertainment Weekly column. You know who "often describes" Los Angeles in this manner? That would be you. You, who chooses to live here and has a very successful career and life that many people would envy. Don't like us? I'm sure Minneapolis will be happy to take you back.

I do agree with her on Greenblatt's, although the above paragraph skates a bit too close to the East Coast Real cliche for my taste. But the most telling part of the article is here:

After I get my soup, plus a corned beef sandwich and a pickle the size of a Wiffle bat, I drive back up the canyon in the hopes of getting home by nine. Daisy of Love is premiering, and as you might infer based on my past coverage of Rock of Love, I'm not going to miss a second of VH1's latest ''dating'' show. As soon as I get home, I settle in with my German shepherd and Chihuahua — the Yao Ming and Spud Webb of the animal kingdom — log on to Twitter, and turn on the boob tube.

Okay, so you base your opinion of us on Daisy of Love and Rock of Love, yet you only need go to your own neighborhood deli to find something in LA you love? Imagine what could happen should you venture out even further, to one of our world class museums or parks or 826la (you're a writer, come on!) or Machine Project or the Kogi taco truck. Why, it would be a whole new world.

Plus Snake of Eden are eliminated anyway. Time to expand your horizons.

Honest to Blog!

Oh, Diablo Cody, not you, Ms. Confounding Stereotypes, of all people.

Now, I know Juno isn't everyone's cup of tea, but her good-girl-turns-stripper memoir Candy Girl is hysterically funny and well-written, and her Entertainment Weekly columns are a hoot for the most part -- until you get to this week's edition about her attendance at the Vanity Fair Oscar bash, featuring this particular doodle that can't be undid:

Last year, the legendary Vanity Fair Oscar party was cruelly, shockingly canceled due to the writers' strike. As a 2008 winner, I'd been hoping I'd get to schlep my little gold man to the night's toughest ticket. Where else are you going to see Fran Lebowitz interface with Gwen Stefani? Hollywood generally repels literary types; this is a town where people actually hire other people to write their memoirs. The East Coast intelligentsia rarely leave the shelter of the Waverly Inn to socialize with bubbly L.A. types.

Urgh. Diablo's only lived here for a year or so, but she's got to realize that plenty of authors both well-known and obscure have always populated Los Angeles -- but if she wants to socialize with large numbers of them, the Vanity Fair Oscar party probably isn't the best place. (Or is it? Despite the fact that I am the most popular comedienne of the silent era, I didn't get invited to this shindig, so I'm going by press coverage of glammed-up movie star attendees here. Feel free to correct me if all media accounts are wrong, and the whole thing's a glorified literary salon.)

And the thing about ghost writers is just an unnecessary dig, taking a completely standard publishing practice and somehow turning it into a wry joke about Los Angeles. Because people in every other city are capable of writing a complete autobiography without assistance except the idiots who live here?

But it's okay. We're hearing early reports on Jennifer's Body, and with lines like these, we're sure Joan Didion will be wanting to grab a beer real soon.

Sex and Our City

One of the benefits of being a famous silent-era comedienne is that you go on location from time to time, which therefore means staying in hotel rooms. And that, of course, means watching random things on TV, since you're far from the happy control freakism of your TiVo. While removing my makeup the other night, I caught one of the most egregious LA-cliche offenders in the history of LA-cliche offenders, the two-part Sex and the City episode where they travel to Los Angeles.

Now, Sex and the City isn't known for its grittily realistic portrayal of New York either, unless you live in a New York where nobody takes the subway and snow always stays sparkly clean. But at least, unlike Friends, it did have some sort of New York vibe, and in general, it was a smartly written show that demonstrated its creators had many keen insights into the dynamics between men and women.

However, these two episodes switch the tension from that between opposing sexes to that between opposing cities, and being that one of them is Los Angeles, all reason, reality and tactfulness go out the window. Here's what the ladies choose to do while visiting our wide, diverse city:

1. Stay at the Standard and sunbathe

2. Go to a "dildo release party"

3. Rent a convertable Mustang that Carrie doesn't know how to drive

4. Go to the Saddle Ranch Chop House

5. Try to crash a film premiere

6. Attend a party at the Playboy Mansion

The Facts of Life Go to Paris looks like a documentary in comparison. There's a recurring dichotomy (especially in the voiceover) of "In New York, we do this... in LA, they do some opposing thing that's silly and flighty." But the perplexing thing is that while the four ladies are held up as an example of East Coast realness, they're the ones who consistently act like the shallowest, most cliched Los Angeles stereotypes possible.

Especially Samantha. While a voiceover solemnly informs us that "In New York, we have parties to celebrate the release of a new book; in Los Angeles, they have parties to celebrate a new dildo" (oh, come on!!), a later scene has Samantha shutting down one of her sex conquests because he's also a poet. Keep in mind the contrasting treatment of aspiring literary figures based in New York: Remember Berger the writer? Carrie went back to that doofus repeatly until he finally broke up with her on a Post-It. Yet the sole reason Samantha bails on this guy is his literary aspirations, because of course trying to be intellectual in Los Angeles is something to be considered silly.

Samantha's other major plot point is that she meets her hero, Hugh Hefner (apparently the new role model for non-shallow New Yorkers), gets invited to the Playboy Mansion, and purchases a fake Fendi purse off the street which is humiliatingly revealed as a fraud at the party. The sale of fake designer bags is treated as a very specific Los Angeles activity, which is a mind-boggling mindset to give a fashion-minded character who lives in New York City. But don't you know? Everything in Los Angeles is fake! Except Samantha's the one cooing over a ridiculously gaudy counterfeit bag, and even the Bunnies at the Mansion have bags that meet the show's idealized standard of non-LA real.

And Carrie picks a car she can't drive solely because it matches her outfit, opining that "cars are the new handbags" or some other nonsense, which really makes it ironic when, at the end of her hour-long sojourn, she steps back into her apartment with voiceover sighing that at least everything contained within is, again, real. Well, everything except her choice in rental cars, apparently. Oh, and her counterfeit-loving friends, the film option she flaked out on for a ridiculous reason, and the ability to afford that cool apartment on a writer's salary. Got it. Carry on, Carrie!

Ricky-Rolled

Ricky Gervais is promoting his new film in the pages of this week's Time by walking around the Getty Museum with a reporter and commenting on the activities there:

Now he and his girlfriend, whom he met in college, live in London and have bought a second home on Manhattan's Upper East Side because it's close to the museums. At 47, he still has the impishness of someone who unexpectedly made it.
When he spots a sign pointing upstairs to paintings, the L.A.-ness of it cracks him up. "Paintings! That's great. They have to be very specific. Like 'Things Made of Clay.'..."

Okay, I've obviously seen many generalizations of this city or I wouldn't be here. But this is certainly the first time someone's dissed us for a sign directing people to paintings within a museum. I know, he's saying all paintings can't be generalized into one broad category, blah, blah, but come on. Would he walk into Amoeba Records and complain that a sign points people toward the "vinyl"? A department store with a floor dedicated to "menswear"?

Of course not. But you see, this is Los Angeles, where a somewhat non-specific sign isn't simply helping museum visitors get where they need to go. In this case, it's a reflection on our supposed lack of culture: Look how shallow we are! We think all paintings are alike! We just want to look at whatever pretty colors are placed before us!

All right, Ricky, feel free to stereotype however you want, but the Getty is still the fourth top museum in the world (ranked higher than anything in London, incidentally), and Ghost Town still looks awful.

La La Love You, Don't Mean Maybe

The Russell Brand-hosted VMAs have come and gone, and while I found him pretty funny, and he makes Lyndsey want to give up her chastity ring, others weren't that impressed. Most notably the Associated Press:

Russell Brand seemed a little out of place as the host at the MTV Video Music Awards. Not because he's British or relatively unknown in America, as most of the chatter was about before Sunday night's show from Los Angeles.

It was because Brand injected the VMAs with blunt politics, self deprecation, unabashed sexuality, and, yes, plenty of off-color remarks.

Didn't he know where he was? The VMAs? In La-La Land?

No, this was no place to voice anything like an opinion on world affairs or joke about young Christian pop stars. This is a place to look cool and thank the almighty for the honor of little moon man statuettes.

Okay, AP writer Jake Coyle, let's slow down for a sec and make note of the little LA dis you snuck into that third paragraph. Why, all we do is look cool and love our awards from the most superficial cable network around! We're in LA, where we only care about shallow pretty things! Didn't Russell Brand know where he was?

The only problem is that this is the first time in ten years that the VMAs have been held in Los Angeles, spending the intervening decade in Las Vegas, Miami, and New York City, and they've always been frivolous no matter where they're located. Unless you're prepared to defend Madonna kissing Britney and Christina as the height of intellectualism, please don't make this city-specific.

Secondly, you've committed the grievous offense of calling us "La-La Land." Uh uh. I know, "L" and "A" make "La," but there's also the convenient added benefit of making us seem like a bunch of tra-la-la airheads. Tell you what: Until the AP Style Guide says you can refer to New Orleans as "No-No Land," let's do without the cutesy names.