Sidney Butler

My Very Complex Relationship With Lena Dunham & Girls

Sidney Butler

I wrote an article about how I love the show Girls and how as a black filmmaker and writer my love of this show is very complex and problematic. Read it below and on Medium.


It’s cool to hate on Lena Dunham.

With this article I am going to try to capture all of the hate she receives, and the hate I sometimes hold toward her, while also telling all of you haters why she has single handedly opened the door for minority women by shutting them out. You’re saying to yourself But Sidney, that’s a paradox, it makes no sense. I know it’s complex.

Hear me out.

I’m a 21-year-old college-educated black girl living in Brooklyn. I have friends of all different races, all of whom are very intelligent and amazing, yet don’t exist in the world of HBO’s Girls. Lena Dunham has a race problem. I know this. She knows this…now.

Time after time, Lena talks about the backlash that she receives for casting four white girls. In her tonal poem for HBO she said:

“They’re beautiful and maddening. They’re self-aware and self-obsessed…They’re my friends and I’ve never seen them on TV.”

Okay, first I’ve never seen my friends on TV, like still, so that’s something I wanted to input. Second, are we really surprised Dunham had no black or minority friends? Third, she couldn’t just use her imagination or just make one of them diverse?

This is when it gets complicated. Because although I really want there to be a woman of color on Girls, I have a feeling that it just wouldn’t have worked as well.

Let’s face it, Dunham would have written a stereotypical race episode that revolved around the black girl’s hair not being able to get wet at the beach, or something about her brother having a big penis. Just all that shit. I feel that she would have done a half-ass job at writing a minority. I think we all know she would have.

Even when she cast the great Donald Glover in the show’s second season, she made his character a Republican. Trying so hard to defy stereotypes, Dunham created a plotline that could have been on a network sitcom. It was too much. But then again, that’s what would have happened if one of the “girls” were any race but white.

Lena never tries to deny her upbringing. She understands that she was brought up in a whitewashed, elitist circle of artists and writers. That’s what she knows, and she’s so good at satirizing that lifestyle, even if it’s intended or not. But in order to write four distinctive and fleshed out characters, to dig deep into what makes them, them, you would need to have known their lifestyle and understand their nuances. This is the exact reason why we need more minority creators behind the scenes of television’s most talked about shows.

We need authenticity and uniqueness when creating characters of color, subtleties that can’t be imagined unless lived through. Lena Dunham was not the white savior we needed nor wanted.

My boyfriend is anti-Lena Dunham to the point that it’s upsetting. The problem with arguing about Lena Dunham is that she polarizes so many people, and I hate it because I also believe she single-handedly opened the gateway for non-conforming women. However, people are unable to see what she’s done due to all of the controversy that has clouded her successes. While her show was very whitewashed to the point of unbelievability, her message still punctured through a very patriarchal Hollywood. She became the poster child for women who aren’t model thin, women who aren’t slapstick funny, but just women. I hate to love what she’s done. I very badly wish she had done it differently, somehow, in a way that made sense, but a bit more daringly.

Anyway my boyfriend said, and I quote, “But she could have just made Shoshana black? Like we go to NYU, she went to NYU, simple.”

Um, not so simple. I feel that just changing the race of the character and keeping everything the same is not the way to go when talking about diversity on television, because it just creates a character with no substance. Because if Shosh was black, we’d need to understand completely who she is, how she fits into this world. It wouldn’t make sense. Now, if Dunham had a more diverse cast, it would have to be just that, more diverse. Women of all backgrounds, being friends in a color collective world. But the world of Girls almost feels like a far off fantasy, detached from reality because their reality doesn’t make any sense.

Every time I watch Girls, I’m constantly aware that my existence in the scope of girlhood is being overlooked. The situations resonate, but the fact that there are no women of color in the narrative is really weird. Now, I feel after all of the backlash, Lena is trying to make it up to us, little by little. She realizes what’s she’s done and wants to include all women going forward. Now, Lena, no longer a Girl but a woman says: “I wouldn’t do another show that starred four white girls.” Oh how much our little baby has grown up in just five years!

With a New York Times best selling novel, a podcast, a Golden Globe winning television show, and one of the few women to win a DGA, I personally feel that Lena has opened the floodgates for more women to follow.  Vulture said

“Lena Dunham Single-Handedly Created The Think Piece Generation,”

which unfortunately, I believe is true. The Lenny Letter, the virtual newsletter created by Lena Dunham and Jenni Konner directly epitomizes the think piece generation. Women from all backgrounds write on subjects that would otherwise be taboo. Even Jill Soloway explained that the success of Girls gave her the confidence she needed to write Transparent.

It’s true that as a female minority filmmaker, I see Girls as a show that went outside of the box, even a little, and made everyone feel like they had a story to tell. It gave us confidence to tell those stories. It’s the hard truth that without Girls, HBO wouldn’t have taken a risk on Issa Rae’s Insecure, and FX would have been more hesitant to let Donald Glover helm Atlanta. These are two projects that Hollywood executives would have been wary about if “think piece” type shows weren’t in right now. Also, the backlash from Girls opened a dialogue about minority representation in Hollywood.

It showed how little representation we have on television and forced big networks to look for new and diverse voices. While Lena Dunham excluded minorities by making all of the women white, she paved the way for someone else to come along and make a successful show with all types of women, a show that can exist now, post-Girls.

TRIBECA FILM FEST 2016: "All This Panic"

Sidney Butler

The fast paced, exciting lives explored in “All this Panic” make growing up in the suburbs seem ridiculously mundane. The documentary, which made its premiere at the Tribeca Film Festival last week, depicts the lives of seven teenage girls as they navigate adolescence in New York City. Husband and wife duo Jenny Gage and cinematographer Tom Betterton dissect youth in a strangely beautiful way, uncovering what it means to be a young woman in this day and age.  

Betterton uses soft focus shots and claustrophobic close-ups to get inside the mind of each subject. As Ginger, 18, lies on her bed, she talks about how she regrets not making close friends in high school and her decision to not attend college — a moment that is so personal, it feels almost intrusive. Instead of the typical high school narratives that poke fun or satirize teenage problems, “Panic” gives in to the chaotic difficulties of high school in an open and naturalistic way.

As Sage, the only black girl portrayed, talks about being a feminist she says, “They see you but they don’t want to hear you.” Feeling disregarded as a voice, Sage makes a valid point on today’s society. As teenagers, no one wants to hear what you have to say and because of this you feel powerless. These girls may be seen as precocious or vapid but they speak very real truths about being young.

Adolescence is so ephemeral that we rarely reflect back on it. Yet these girls remind us of the insecurities of starting college, worrying about crushes and discovering who you truly are. We see Lena, 18, starting freshman year at Sarah Lawrence as she tries to deal with her family’s economic instability, all while trying to secure her first boyfriend. Another character, Olivia, 18, struggles with who she is sexually and eventually begins dating her first girlfriend.

As a director, Gage brings forward an intriguing portrayal of feeling lost. Throughout the film, each girl struggles to find herself through the eyes of everyone around her — whether it’s through pesky parents, aloof high school boys or even the judgment from their “best” friends. Even as these girls think every major problem is the end of the world they slowly realize their place in the scope of things.

“All This Panic” is insightful in the way it fully engages us into the insular world of New York City adolescence. We soon become obsessed with what each girl is going through mentally and emotionally, only hoping for the best possible outcome for each of them. Gage does a brilliant balancing act, giving each subject the perfect amount of screen-time. Each narrative is relatable and engaging in a way that ultimately showcases the diverse perspectives of girlhood. 

As a film that came out in the post-“Boyhood” era, it tugs at the heartstrings of nostalgia while keeping in touch with the subject matter of youth. Real in every aspect, this documentary doesn’t try to be something it’s not and is surprisingly genuine at its core.

Read the article on Washington Square News

TRIBECA INTERVIEW: Kodi Smit-McPhee

Interview, ArticleSidney Butler1 Comment

With smaller indies and his recent film “Dawn of the Planet of the Apes” under his belt, Kodi Smit-McPhee is just beginning his acting takeover.

Though only 18 years old, Smit-McPhee has long been involved in the film industry. Even though his credits include bigger films like “Dead Europe” and “The Congress,” Smit-McPhee noted that he holds a close, personal affinity for independent films.

“I’ve been acting since I was eight and it kind of has flourished from the independent community,” Smit-McPhee said. “I started coming to America when I was around 11 or 12. I did ‘The Road’ and ‘Let Me In.’ Everything I’ve done has been right on that verge between studio and independent and I find that it is because those are the ones that have the really great stories and great genuine people connected to them.”

In his latest film “Slow West,” Smit-McPhee plays Jay Cavendish, a man on his quest to find the girl he loves after she flees 1800s Scotland for the Western frontier of Colorado. Michael Fassbender also stars as the mysterious and intriguing Silas, who accompanies Jay on his journey of love. However, Smit-McPhee described the film as an atypical Western and more so a coming of age tale.

“What I loved about it was merging of these two worlds, this European cinematography into the dirty kind of gritty Western America in the 1800s,” Smit-McPhee said.

Born into Scottish royalty, Jay falls in love with one of his family’s crop workers, Rose (Caren Pistorius), and once she flees Scotland with a bounty on her head, he makes it his mission to find her.

“There’s a fine line, I think ,between being brave and being stupid, and love can make us act stupid but for the right reasons, and that made him brave for the right reasons,” Smit-McPhee said. “I really think that from my point of view the passion of love just got him through absolutely anything.”

Previously, Smit-McPhee has worked with other famous actors, including Ben Kingsley in 2013’s “A Birder’s Guide to Everything.” Despite appearing next to big-name stars, Smit-McPhee said he keeps himself level-headed by stepping away from the lure of celebrity and simply admiring the craft.

“I definitely get starstruck but I try to just act normal and respectful,” Smit-McPhee said. “Once I do, I see that it shouldn’t have been any other way because I see that they’re just a real person and that we’re all just artists doing things within our lives.”

Though “Slow West” will not hit theaters until May 15, Smit-McPhee is already working on his next project, “X-Men: Apocalypse,” where he will be playing the mutant Nightcrawler.

“I literally begin filming in Montreal in three days,” he said. “I’m really excited. It’s not really something I’ve dabbled in, I’ve always done these quiet ‘in a world’ type characters so this will be really cool to do — like a superhero.”

Courtesy of Washington Square News. Online version here

TRIBECA REVIEW: "The Wolfpack"

Essay, ReviewSidney ButlerComment

I thought no one could ever truly be or feel alone in New York City until I observed the lives of the Angulo brothers. Living everyday above the hectic metropolitan and isolated from the hustle and bustle of everyday life these siblings grew up in their own reality surrounded by films and imagination. Premiering at this year’s Tribeca Film Festival, documentarian Crystal Moselle conducts an insightful and heartfelt portrayal of an alienated family living life apart yet completely within society in her film “The Wolfpack.”

Going back to the beginning, Susanne and Oscar Angulo moved to the Lower East Side of Manhattan in 1996 and decided for themselves that they would raise their sons at home away from the outside world. From then, the Angulo brothers, Jagadesh (16), Krisna (17), Mukuda (20), Narayana (22), Govinda (22) and Bhagavan (23) grew up hearing from their father, Oscar Angulo that the outside world was dangerous and untrustworthy. Yet by hiding his family away from the reality of society Oscar denied his sons their freedom of normalcy.

Forced to define and create their own personal escapism in the form of re-enacting films, mostly from director Quentin Tarantino, these brothers began to find happiness in their own crafted illusions. As the viewer watches the “wolfpack” shoot fake guns while reenacting “Pulp Fiction” and creating Batman costumes out of yoga mats, they may wonder if ignorance can truly be bliss. Raised at home, they were educated by their mother Susanne, and while they were unable to attend public school they were also able to avoid the harsh interactions that come with growing up different; away from the bullying, the teasing, the insecurities, the Angulo’s grew up above the difficulties of adolescence.

Towards the end of the film the boys find their own way outside of the demanding shadow of their father, able to travel to Coney Island, go to the movies and branch out on their own. Like a long lost tribe, one that has been locked away since the dawn of computers, the introduction of Facebook, the fall of DVDs, these siblings realize how much they don’t know and how sheltered they have truly been. Yet their world of television and movies still overtake them. At his new job Mukunda Angulo, the alpha of the pack and arguably the most outspoken, asks, “Who here watches ‘Game of Thrones?’” and then “I finished three seasons of Breaking Bad in two days.” Even immersed in the outside world his insular obsession with film commands his psychology and prompts his conversations. 

The harsh reality of “The Wolfpack” is how easily it is to get lost in a world of your own. A film that is genuine at its core and entertaining throughout, documentarian Crystal Moselle conducts a heartfelt exploration into a lifestyle that is so far removed from society that it teaches its audience that it is never too late to change who you are and expand what you think you may know about the world. 

The Wolfpack Won the Grand Jury Documentary Prize at the 2015 Sundance Film Festival

Ballet 422: A Review & Interview

Review, Interview, ArticleSidney ButlerComment

Jody Lee Lipes’ newest film “Ballet 422” is hypnotizing and inclusive as it guides its viewer behind the scenes of the revered New York City Ballet. The film is elegant and majestic like the subject it portrays, giving a more distinguished quality to the art of ballet. Shot in cinema vérité style, this documentary shadows the 25-year-old New York City Ballet performer Justin Peck as he faces the challenge of creating the company’s 422nd ballet.

Lipes graduated from Tisch School of the Arts in 2004, and he credits his education there for the production of “Ballet 422.”

“I would not have been able to make this film without going to NYU,” he said. “Many people who worked on this film, I met at NYU. Nick Bentgen, Anna Rose Holmer, Mark Phillips, Joe Anderson and I all met while attending Tisch.”

Lipes first conceived the documentary, after he and his wife went to see Peck’s second ballet, “Year of the Rabbit.”

“After that, we began talking about documenting his next piece, because I knew one day he would become an important choreographer,” Lipes said. “I just know I would have loved to see what renowned choreographers were like earlier on in their careers.” 

Peck is quiet and contemplative in his planning; the gears of his mind are perpetually working to make improvements to his ensemble. He never looks directly at the camera or acknowledges its presence. Like a fly on the wall, we see him but he never sees us.

“The subject matter definitely required [cinema vérité], because ballet is such a physical art form,” Lipes said. “I loved how it was active and able to communicate without people having to talk. With vérité, it’s also like a ticking clock, so I also enjoy the style because you’re able to be physical while having a timeline
for structure.” 

Lipes, who became instantly immersed in the world of the New York City Ballet, followed his subject everywhere. The audience glimpses the entire process of creating a ballet ensemble. From costume design fittings to conversations with the orchestra, Peck controls every aspect of his piece to the best of his ability. 

“Most people don’t understand the inner workings and mechanics of the institution,” Lipes said. “A lot of people outside of the production never think about how many people go into the process, the intricacies, and the costumes. The orchestra, particularly in ballet, is overlooked a lot as a creative partner; the audience doesn’t usually think about its importance to the piece.” 

While creating this new piece, Peck also had to fulfill his role as a dancer in the Corps de Ballet. As soon as the curtains closed on the New York City Ballet’s 422nd production, his responsibility as choreographer came to an end and he returned to his role as a dancer. Like a chameleon, a jack of all-trades, he eases right back into his home onstage.

The film is a subtle portrayal of metamorphosis. Lipes follows Peck’s transformation from beginning to end, as his subject becomes a quiet-yet-masterful butterfly taking on the challenging waters of the New York City Ballet.

Courtesy of Washington Square News. 

Read the online version here

The Imitation Game: A Review

ReviewSidney Butler1 Comment

Cyphers and mathematics have never before been so emotionally triumphant than in the Imitation Game. Set during the Second World War, this film is not your average biopic. Told in a series of flashbacks and flash-forwards, The Imitation Game tells the story of the genius mathematician Alan Turing and his mental pursuit to decipher the German Enigma codes.

While other World War II films show the deep and enduring struggle of soldiers that physically fought against hatred, The Imitation Game tells the other side of that historical coin. Instead of fighting it out on the battlefields of Normandy or Stalingrad, five mathematicians try to defeat the Third Reich with wit and smarts. Nestled behind the iron gates of Bletchley Park a military operating camp in the South of England, Turing and his intellectual counterparts Joan Clarke, Hugh Alexander, John Cairncross and Peter Hilton fight their own private intellectual and emotional war. From day to day these geniuses are put up to the task to solve an impossible code that would take nearly twenty million years to complete, in approximately eighteen hours.

Turing himself is portrayed as an isolated narcissist that is as much as an enigma as the Nazi code he is trying to solve. Benedict Cumberbatch plays Turing almost too well, we see him collapse and become broken inside as he is seen as a robotic monster. However, in a layered and poignant screenplay from beginning screenwriter Graham Moore, The Imitation Game does not keep the action of the story at surface level but dives deeper into the emotional struggle of its protagonist, Alan Turing. As Turing loses himself to his work, his past and personal life illuminates the screen. The audience finds out about Turing’s homosexuality and later sees him persecuted for his actions. 

With its beautifully conducted score by Alexandre Desplat and vintage style images The Imitation Game transports its audience into the past of World War II but also to witness another side of a revolutionary event. While the outside world of WWII is shown as earth shattering and apocalyptic the quiet and composed arena of Bletchley Park shows a different war to be won.

Solving Enigma is the goal in this film but it is not the resolution. The audience realizes that even after Turing and his peers decipher Enigma they are still forced with the challenge on how to stop oncoming German attacks without drawing attention to their discovery. In a way this group of well-dressed and clever mathematicians are given the opportunity to play God; deciding what cities are destroyed and which are saved, who lives and who dies. Ultimately their efforts assisted the military in a clandestine fight to halt the war two years earlier than predicted, saving millions of lives.

The story is one of bravery and acceptance and overcoming the odds to produce remarkable and life changing results. The film gives heart to an otherwise non-feeling and technical field as viewers witness that the greatest of heroes were found in the most unlikely of places, snuggled in a tiny village in the South of England.

 The Imitation Game hits theaters Nov. 28th

Courtesy of Washington Square News

Read it online here

Chelsea Peretti's "One of the Greats": A Review

Article, ReviewSidney Butler
Do you think it’s worse to wear a fedora or kill fifteen people?
— Chelsea Peretti

This generation has a new female heroine, and her name is Chelsea Peretti. The Netflix comedy special “Chelsea Peretti: One of the Greats” is truthful and undeniably relatable to millennials everywhere. Peretti, who stars as the outgoing and witty Gina on Fox’s “Brooklyn Nine-Nine,” gives her comedic commentary on everything from the #nomakeup tag on Instagram to her desire for a fulfilling marriage.

Peretti’s humor is over-the-top in a satirical way, which adds to her effortless charm. “One of the Greats” begins with an intro that looks like it was taken from the deleted scenes of “Fast and Furious.” Peretti zooms down the San Francisco streets on a motorcycle while a grizzled, overly serious voice-over narrates her journey to the theater. This segment sets the tone for the hilarious hour that ensues.

From her first few minutes on stage, it is evident that the live audience and the Netflix audience are seeing different perspectives of the act. The Netflix audience can look inside Peretti’s mind as various edits show her in the audience or off-stage in a clown costume, mocking herself as a strange version of herself. “One of the Greats” in some ways plays out like a stylized sitcom, one where the in-house audience is also a part of the production. Every cut to the audience is planned and adds to the humor in a bizarre way. Clips of dogs, babies, people sipping tea and even strange janitors interrupt the performance on stage to add their own comedic reactions. It is like a kitschy alternate reality, showcasing that the comedy does not stop where the stage ends, but continues into the velvet seats of the arena.

While Peretti is open and spews out what is on her mind for her audience’s pleasure, she adds relatable commentary for the modern world.  She fearlessly states her opinions on various topics, such as what she dubs “comment culture” and online bullying. In one bit, she makes her audience imagine all of the inventions that would not have happened if people were allowed to comment on social media when Einstein was around. She says that he would have gotten picked on for his “Jew-ness” and mocked for not figuring out the theory of relativity in a timely manner. Through all of the raunchiness and political incorrectness, it is impossible to not be charmed by her truthful perspective on today’s society.

In addition to the incisive commentary, Peretti also showcases her emotional side when she states that she is in love. She is open about her life and her father’s various marriages, and expresses her wish to have a happy life and a long and loving marriage. She covers these desires with humor, but it is endearing to see a confident woman unveil her secret dreams and pains — “I want to be a good person,” she says at one point in front of hundreds of people.

One will find an array of unpredictability in “One of the Greats,” a sarcastic title that holds some form of truth. Peretti is a rare comedic gem who puts on a truly unforgettable performance.

Courtesy of Washington Square News. Read it on the website here

The New Feminism: "Broad City"

ArticleSidney Butler

Broad City brings a new sense of equality to comedy television — it’s as if Seth Rogen and James Franco wrote HBO’s “Girls,” but better and with an interest in three-dimensional female characters. The show, which premiered on Comedy Central last year, follows two 20-somethings as they navigate post-graduate life in the Lower East Side without stable employment.

Unlike the manic pixie dream girl or sophisticated rom-com sweetheart characters, Ilana Glazer and Abbi Jacobson’s protagonists, who share their actors’ first names, singlehandedly break expectations of what is considered ladylike. They are not polite, nor do they have their lives in order, but there is something empowering about the way they behave. Every episode, they are faced with a new quasi-adventure, during which they use their comedic charm to showcase the fact that women can be just as juvenile as men. In one episode, they clean a man’s apartment in their underwear for money.

Every episode of “Broad City” takes down gender stereotypes. As writers and stars of the show, Glazer and Jacobson portray themselves as unsophisticated, goofy and earnestly comedic. They are not trying to fool the world into thinking that they are mature adults — they are just being themselves.

These women are more honest, gross and content with themselves than any other female comedians on television — even “30 Rock’s” Liz Lemon could not have competed with these two. Abbi and Ilana are oblivious to the situations around them, but it is refreshing to see two women trying to navigate young adulthood in the most honest and improper way possible.

Courtesy of Washington Square News: Read it here.

 

"Obvious Child" or The Unlikely Hero We Find in Pregnant Women

ArticleSidney Butler

Obvious Child managed to fly under the radar of most moviegoers but resonates deeply with a particular type of twenty-somethings. Writer and director Gillian Robespierre tells the unique story of Donna Stern (Jenny Slate), a comedian who finds herself pregnant after a drunken one night stand.

The film is not sad or judgmental nor is it preachy and overly inappropriate, however in its own heartfelt and raunchy way Robespierre makes a controversial topic relatable to the modern woman. Jenny Slate gives one of her best performances as ballsy and adorable comedienne Donna Stern who becomes one of the most unlikely heroes for this generation of millennial women. 

Unlike Katherine Heigel’s character in Knocked Up or Ellen Paige’s juvenile persona in Juno, Slate’s character decides not go through with her pregnancy and gets an abortion. However, Slate is able to portray a character caught between an intense controversial dilemma with charisma and charm. In the film Stern tells her comedy club audience that she is pregnant by saying, “I remember seeing a condom, I just don’t know exactly what it did.”

There’s an assertive quality about pregnant women in today’s comedies. They tend to be in complete control of their lives and the path they take, and are never apologetic about their decisions. Isn’t that why Juno MacGuff waddles around the cult classic Juno, delivering witty zingers at anyone who tries to undermine her choices?  Or why Amy Poehler in Baby Mama sits around all day carefree while her counterpart Tina Fey runs around stressed? These women hold a confidence that is empowering and comedic, daring and endearing.

In Obvious Child, Donna Stern is independent, unapologetic and determined to live the life she wants. Call it selfish? Call it earnest and strong. 

Courtesy of Washington Square News: Read it here

Dan Harmon: An Interview

Interview, ArticleSidney Butler

I interviewed the comedic genius and overall amazing person Dan Harmon (Community, Rick and Morty) this past weekend at New York Comic Con for his new documentary Harmontown which is in select theaters now! 


When Dan Harmon was fired  in 2012 from “Community,” the show he created for NBC, he was not going to spend his unemployment pitching scripts. Instead, Harmon filled his time by going on tour for his podcast “Harmontown,” which was then known only by Hollywood locals and the most avid “Community” fans.

“Harmontown,” a documentary that was released on Oct. 3 and shares its name with Harmon’s podcast, is the journey taken by a gang of misfits who set out to help Harmon discover himself and the people who adore him. Harmon, along with his podcast partner Jeff Davis, his now-fiancée Erin McGathy, director Neil Berkeley and gaming enthusiast Spencer Crittenden, went on tour across the United States and recorded the entire process.

“Harmontown” humanizes the “Community” creator — it portrays the internal struggle of a complex man in a comedic way. Through Harmon’s interaction with his fans, his psyche and personal self is illuminated. In an interview with WSN, Harmon spoke about why he decided to go on tour.

“I think I went out looking for those pats on the back,” Harmon said. “But I also think I went out looking for self-destruction, and for people to boo me off stage. I wanted to worship myself, hate myself, love myself and go out in front of people, and succeed or fail and have them judge me for who I was instead of what I’ve done.”

Harmon is as self-aware and brutally honest with himself as he is with those around him. His persona is illuminated in “Harmontown,” and Harmon admitted that the documentary was meant to help him self-reflect.

“I feel like I’m always navel gazing,” Harmon said. “I’m particularly addicted to epiphanies, and I’m really resilient to them as well. I keep announcing things I’ve learned.”

Harmon’s show “Community” has a cult following and offers its viewers a breath of fresh air with its inside jokes, diverse cast and quirky situations. Harmon, who was named the showrunner again before “Community” was cancelled by NBC, stands at the reins for its sixth and final season on Yahoo.

Harmon spoke about the transition from NBC to Yahoo, which has a very different target audience.

“To go from a network where every new boss is like, ‘What is this show and how do we get rid of it without offending crazy people?’ to a home where someone actually paid for us [makes me] feel like little orphan Annie,” Harmon said.

Even though Harmon is often confident in his artistic decisions, he still has his doubts about whether Yahoo will like the show’s sixth season.

“Sometimes, in the middle of the night, I wake up thinking, ‘I’m going to disappoint Yahoo. This show isn’t good enough for them, they love me too much,’” Harmon said.

There is no doubt that “Community’s” loyal fan base will follow the show as it transitions from television to online. Much like Harmon himself, the show continues to please its fans with its unique style, even if network executives or critics are not as happy with it.


Check out the interview here.

Read the original here

Courtesy of New York University's Washington Square News