„Orange is the New Black“ season 7

von Marietta Steinhart in der Zeit

Wie sollen Frauen im Fernsehen eigentlich aussehen? „Orange Is the New Black“ hat vor sechs Jahren eine revolutionäre Antwort gegeben. Nun läuft die finale Staffel an.

„Orange is the New Black“: Sehen diese Frauen hübsch und artig aus? „Orange Is The New Black“ brachte einen neuen weiblichen Realismus ins Fernsehen.
Sehen diese Frauen hübsch und artig aus? „Orange Is The New Black“ brachte einen neuen weiblichen Realismus ins Fernsehen.

Der Vorspann wirft unerbittliche Schlaglichter auf die Gesichter unzähliger Frauen. Junge, alte, braune, schwarze, weiße, sommersprossige, tätowierte, breite, schmale, faltige, vernarbte, gepflegte, verwahrloste. Frauen in allen Formen, die das Leben hervorbringt. Und vor allem solche, die im Fernsehen außerhalb von sozialdokumentarischen Reality-Sendungen kaum auftauchen. Die Netflix-Dramedy Orange Is the New Black hat die Vorstellung davon, wie eine Serie über Frauen auszusehen hat, grundlegend verändert.

In sechs Staffeln behandelte OITNB, so das amerikanische Akronym, auf tragikomische Weise Rassismus, Klassismus, Homophobie, Missbrauch, instabile Machtverhältnisse, religiösen Fanatismus und die Privatisierung von US-Gefängnissen. Nicht zu vergessen: die weibliche Sexualität in allen Altersgruppen. Mit der siebten Staffel geht die Serie nun zu Ende und auch diese verweist unverblümt auf die klaffenden Wunden der US-amerikanischen Gesellschaft.

Alles begann 2013 mit der Protagonistin Piper Chapman, einer blonden New Yorkerin aus der oberen Mittelschicht, die wegen einer wirklich blöden Dummheit zur Haft im Frauengefängnis von Litchfield verurteilt wurde. Hier galten andere Regeln als im Yuppie-Brooklyn, und man konnte beobachten, wie sich Chapman, gespielt von Taylor Schilling, langsam mit ihnen vertraut machte und schließlich selbst die Regeln bestimmte. Erst Mauerblümchen, dann Schmugglerin getragener Unterhöschen („Ich brauche euren Vaginaschweiß!“), schließlich unfreiwillige Anführerin einer Neonazi-Bande.

Jenji Kohan, die Drehbuchautorin und Produzentin der Serie, nannte die hübsche Piper ihr „trojanisches Pferd“. „Ich glaube nicht, dass ich diese Serie hätte verkaufen können, wenn ich erklärt hätte, es ginge um Schwarze, Latinos und alte Frauen im Gefängnis“, hat die heute 50-jährige einmal gesagt. „Aber wenn du dieses blonde Mädchen ins Gefängnis bringst, kannst du alle Geschichten erzählen.“ OITNB basiert auf der Geschichte von Piper Kerman, deren 2010 erschienene Gefängnismemoiren als Grundlage für die erste Staffel dienten. Im Laufe der sechs weiteren Staffeln allerdings wurden die Nebencharaktere zu den eigentlichen Stars, für deren psychologische Ausleuchtung sich die Serie viel Zeit nahm.

Jenji Kohans Skript stellte vor sechs Jahren ganz neue Anforderungen an die Branche: minimales Make-up, orangefarbene Sträflingskluft, im Fokus steht also die darstellerische Tiefe. So viele charakterlich differenzierte weibliche Rollen bekommen die meisten Casting-Direktoren in Hollywood während eines ganzen Jahres nicht auf den Tisch, geschweige denn das Fernsehpublikum zu sehen. Frauen über vierzig, dünne, dicke, heterosexuelle, lesbische und Gelegenheitswechsler – gay for the stay. Der Friseursalon im Gefängnis wurde von der afroamerikanischen Transfrau Sophia geleitet, gespielt von Laverne Cox, einer echten Transaktivistin. Die Küche stand unter dem Kommando einer russischen unerschrockenen Matrone namens „Red“ (Kate Mulgrew). Und die Figur der psychisch kranken „Crazy Eyes“, die Piper zunächst verfolgte, entwickelte sich zu der mit großen Augen und Hoffnungen ausgestatteten Suzanne. Uzo Aduba wurde für ihre Darstellung mit Emmys in den Kategorien Comedy und Drama ausgezeichnet.

Orange Is the New Black hat auch den Mythos demontiert, dass sich weibliche Charaktere nur durch Tugendhaftigkeit Sympathie erwerben können. Hier sind sie Drogenkurierinnen, Mörderinnen, Diebinnen und sehen dabei noch nicht einmal gut aus. Jenji Kohan hat Kriminelle zu Frauen gemacht, die dennoch Empathie verdient haben. Ihre Charaktere sind dreidimensional, mitunter gefährlich, aber immer menschlich. Das ist eine zutiefst humanistische Perspektive, die in den USA selten ist.

Dass OITNB das Fernsehen verändern würde, war den Macherinnen offenbar schon von Anfang an bewusst. „Das hier ist nicht Oz. Frauen kämpfen mit Klatsch und Gerüchten“, warnte ein Gefängnisbeamter Piper Chapman gleich in der ersten Staffel. Er meinte damit die HBO-Gefängnisserie, die 1997 das goldene Zeitalter im US-amerikanischen Bezahlfernsehen einläutete. Oz – Hölle hinter Gittern erregte die Aufmerksamkeit der überwiegend männlichen HBO-Zuschauer, die wegen Sportsendungen und Softpornos ein Abo abgeschlossen hatten und es wegen Die Sopranos und The Wire behielten.

Sowohl HBO als auch der Kabelsender Showtime hatten Orange Is the New Black abgelehnt. Netflix, 2013 noch eine relativ kleine Plattform, erkannte die Chance, mit den Problemen der Frauen in Litchfield ein viel breiteres Publikum anzusprechen. Geschichten marginalisierter Gruppen mit Sensibilität und Humor aufbereitet zu sehen, war bahnbrechend für ebendiese marginalisierten Gruppen – und vor allem für Netflix. Gemeinsam mit der fünf Monate zuvor gestarteten Politserie House of Cards machte Orange Is the New Black den Streamingdienst und auch das Bingewatching erst populär.

Die Fernsehlandschaft hat sich seitdem rasant verändert. Serien, die so wild sind wie Pose, black-ish, Atlanta, Glow, Jane The Virgin, Fresh Off the Boat oder Transparent folgten im Windschatten von Orange Is the New Black. Plötzlich waren Geldgeber in Hollywood bereit, Formate zu unterstützen, deren Heldinnen und Helden nicht der weißen, männlich geprägten Erzähltradition entsprachen.

Jenji Kohan und ihre Autoren haben immer auch aktuelle politische Themen beleuchtet – von den Obama-Jahren bis zu Donald Trump. Es gab die schwarze Insassin Poussey Washington (Samira Wiley), die während eines friedlichen Protests am Ende der vierten Staffel von einem weißen Wachmann getötet wurde; ein Kommentar zu rassistischer Polizeigewalt in den USA. In der Folge wagten die Frauen von Litchfield den Aufstand gegen ein verkommenes Justizwesen und landeten im Hochsicherheitstrakt.

In der letzten Staffel wird nun die von Danielle Brooks gespielte Taystee zur zentralen Figur in dieser hoffnungslosen Geschichte. Sie war zu Unrecht wegen Mordes an einem Wachmann zu lebenslanger Haft verurteilt worden. Der frühere Gefängnisdirektor Joe Caputo (Nick Sandow) erlebt seinen MeToo-Moment, als eine ehemalige Mitarbeiterin in den sozialen Medien schildert, wie schlecht er sie als Chef behandelt habe. Zeitgleich zeigt die Serie, wie Einwanderinnen ohne Papiere in einem Internierungslager festsitzen und von sexistischen Wachmännern belästigt werden.

Komödie und Tragödie lagen bei Orange Is the New Black immer zusammen in einer Zelle. Zum Ende hin wird es nun noch schwieriger, sie auseinanderzuhalten. Und es zeichnet sich ab, dass nicht jede Frau ihr Happy End erleben wird. Warum auch, das gibt es ja schließlich nur im Märchen. Realistisch geerdet war die Serie ja immer. Was aber Orange Is The New Black anfangs so monumental machte, ist inzwischen zum Standard geworden. Eine Frau, eine Latina oder Afroamerikanerin in einer Hauptrolle verwundert heute niemanden mehr. Diversität in der Ausgestaltung der Charaktere ist mittlerweile fast eine Voraussetzung für eine erfolgreiche US-Serie. Revolutionär fühlt sich dementsprechend die finale Staffel nicht mehr an. Und das ist ein sehr gutes Gefühl.

Die letzte Staffel von „Orange Is the New Black“ läuft ab 26. Juli bei Netflix.

russian doll

‘Russian Doll’ (nyt)
The “Groundhog Day” premise of the eternally resetting day has itself — somewhat ironically — been done over and over in movies and TV shows. But nothing that’s come before is quite like “Russian Doll,” an innovative comedy co-created by Natasha Lyonne, Leslye Headland and Amy Poehler. Lyonne stars as Nadia, who finds herself continuously looping around to the same party, where something disastrous always happens. With every do-over, “Russian Doll” proves constantly delightful and surprising.

Venezia backstage

Venezia non è solo una scenografia. È anche una città abitata, dove ci sono attività produttive, trasporti e servizi. Ma come funziona il „sistema Venezia“? Come si comportano le maree della laguna? Come sono fatti i rii? E le sponde? Cosa c’è sotto i palazzi? Venice Backstage, progetto nato da Insula spa braccio operativo del Comune per quanto riguarda la manutenzione urbana, racconta il „dietro le quinte“ di Venezia, per far apprezzare ancora di più la bellezza fragile di questa fantastica città.

Viennale 2018

Aquarela (08.11.2018)
A stunning documentary that might perform well at the box-office and should be definitely seen on a big screen with appropriate sound system. It was shot in 96 frames per second, “because the rain could be seen as separate drops of water, so it was clear that this was the right speed for water” (Victor Kossakovsky). Siberia, Greenland, the Atlantic Ocean or Venezuela are some of the locations the director picked to show the beauty and the power of water in any shape and conceivable color. There is no voice-over and no plot.
In AQUARELA human presence is mostly relegated to insignificance, but nonetheless the audience experiences a wide range of emotions from ecstasy to fear. Water is, of course, a source of life, but the movie depicts more often its force of destruction. At the beginning, while showing how a car is pulled out of the frozen waters of Lake Baikal, the camera catches another car in the distance cracking through the ice. A certain sense of danger keeps lingering throughout the film despite all the gorgeous imagery. (Ferdinand Keller)

Blaze (07.11.2018)
Ethan Hawke’s BLAZE is a lyrical, meandering portrait of a life that was short and raucous. Recounting the story of hard-living, larger-than-life country musician Blaze Foley – a.k.a. Michael Fuller, a.k.a. Deputy Dawg – BLAZE is a film full of memories and memories-within-memories. Through a vivid lead performance by newcomer Ben Dickey, the film tracks the legendary singer’s path through back roads and honky-tonks with plenty of Blaze’s own characteristic blend of dirty jokes, tall tales, and country-and-western folklore along the way. And then there’s the songs: uncannily performed by Dickey as well as Texas musician Charlie Sexton – who inhabits the ghostly persona of another doomed country great: Townes Van Zandt – the film’s soundtrack spin its own yarns of regret and heartbreak. Central to these Blaze’s bittersweet romance with Sybil Rosen (Arrested Development’s Alia Shawkat), who follows him from a small shack in the idyllic Texas wilds to seek fame along the slow road to Austin. Co-written by Hawke and Rosen herself, BLAZE is a tender and melancholy rumination on that classic dilemma of country music: the choice between home and the road. (Leo Goldsmith)

Leave no trace (07.11.2018)
Will, a psychologically fragile Iraq War veteran, lives in the woods of Oregon with his teenage daughter Tom. They are neither homeless nor criminal; like others nearby, they have chosen to live apart from society. But when government rangers force Tom and Will out, they must try to adapt to civilisation and community. LEAVE NO TRACE is the third fiction feature by Debra Granik and, like DOWN TO THE BONE and WINTER’S BONE, it takes an observational, realist approach to an intriguing, marginal aspect of contemporary American life. Its characters are not militant right-wing survivalists shooting guns; they are ordinary, damaged people helping each other to cope. The social workers who intervene by relocating Will and Tom are benevolent; but to live in society means for Will to “eat their food, do their work” – to conform, crushing his freedom. Superbly acted by Foster and McKenzie, and rigorously eschewing any sensationalist possibilities (there is no sex or violence here), LEAVE NO TRACE eventually zeroes in on a universal human drama: the bond between father and daughter, which must ultimately arrive to the painful crossroad of separation, Tom wanting to think and act independently. (Adrian Martin)

Beautiful Things by Giorgio Ferrero (06.11.2018)
Eine hybride Filmfuge, die den exzessiven Hyperkonsum auf diesem überhitzten Planeten über vier Individuen umkreist, die an verschiedenen Stellen der globalen Verwertungsketten auf paradoxe Weise insuläre, ja mönchische Pole inmitten des rasenden Stillstandes markieren. Die Stimmen des Ölarbeiters, des Schiffsingenieurs, des philosophierenden Industrieakustikers im echofreien Studio und des Verbrennungstechnikers mit einer Vergangenheit im Glücksspielgewerbe verbinden sich zum Libretto einer zeitgenössischen Doku-Oper. Am Ende dann ein ratlos-virtuoser Paartanz in der Shopping Mall. In genau diesem Gebäude, räumt Regisseur und Komponist Ferrero ein, erledige er seine eigenen Einkäufe. (Stephan Settele)

Oscars 2018: Jimmy Kimmel’s Opening Monologue

Oscars 2018: Jimmy Kimmel’s Opening Monologue, Transcribed (by Sopan Deb)
And greetings from Hollywood to our viewers all around the world. Thank you for watching. Thank you very having me. It is a great honor to be invited back for a second time. It is a great honor to be here among so many talented women and men. Congratulations to all of you. You made it. We’re at the Oscars. Some of you will be going home tonight with an Academy Award. What could be better than that? Nothing, right?
So — oh. I do want to mention. This year, when you hear your name called, don’t get up right away. Just give us a minute. We don’t want another thing. What happened last year was unfortunate, and I’ve not told this story in public because I wanted to save it for tonight. But here’s what happened. This is true. Last year, about a week before the show, the producers asked me if I wanted to do some comedy with the accountants. And I said, “No, I don’t want to do comedy with the accountants.” So, then the accountants went ahead and did comedy on their own.
And I have to hand it to them, it was hilarious. But it won’t happen again. This year, the chairman of PricewaterhouseCoopers said, and I quote, “Our singular focus will be on the show and delivering the correct envelopes,” which is — does make sense. Just out of curiosity though, what was your focus the other 89 years? I’m hopeful that things will go smoothly tonight. We can’t ruin this one. This is a special year. This is a big one. These are the 90th Academy Awards. This is history happening right here.
Our friend Oscar — Oscar is 90 years old tonight, which means he’s probably at home right now watching Fox News. Of course — no, Oscar is here with us. After all the years, after all the awards given for achievements in show business, Oscar is still No. 1. No question about it. Oscar is the most beloved and respected man in Hollywood. And there’s a very good reason why. Just look at him. Keeps his hands where you can see them. Never says a rude word and most importantly, no penis at all. He is literally a statue of limitations. And that’s the kind of men we need more of in this town.
Here’s how clueless Hollywood is about women. We made a movie called “What Women Want” and it starred Mel Gibson. Kind of all you need to know.
The Academy, as you are no doubt aware, took action last year to expel Harvey Weinstein from their ranks. There were a lot of great nominees, but Harvey deserved it the most. And — oh, that’s nice. That’s very sweet. So, I’m sure he’ll appreciate that applause. The Academy kicked him out and after they did, I was curious, so, I looked it up. You know the only other person to be expelled from the Academy, ever, was a character actor named Carmine Caridi. In 2004, he was kicked out for sharing screeners. Carmine Caridi got the same punishment as Harvey Weinstein for giving his neighbor a copy of “Seabiscuit” on VHS.
But what happened with Harvey, and what’s happening all over, was long overdue. We can’t let bad behavior slide anymore. The world is watching us. We need to set an example and the truth is if we are successful here, if we can work together to stop sexual harassment in the workplace, if we can do that, women will only have to deal with harassment all the time at every other place they go.
Over the course of this evening, I hope you will listen to many brave and outspoken supporters of movements like “Me Too” and “Time’s Up” and “Never Again,” because what they’re doing is important. Things are changing for the better. They’re making sure of that. It is positive change. This is a night for positivity and our plan is to shine a light on a group of outstanding and inspiring films, each and every one of which got crushed by “Black Panther” this weekend. Which, that’s — that’s okay. The success of “Black Panther” is one of many positive stories this year. Especially for African-Americans and Bob Iger. “Black Panther” and “Wonder Woman” are — were massive hits, which is almost miraculous because I remember a time when the major studios didn’t believe a woman or a minority could open a superhero movie. And the reason I remember that time was because it was March of last year.
But — this year, we have a lot to celebrate. Ceilings have been shattered. Ceilings in screenwriting. We have our first ever female nominee for cinematography, Rachel Morrison, which is historic. So many of tonight’s nominees are making history, and, in fact, if you are a nominee tonight who isn’t making history — shame on you.
Greta Gerwig is the first woman to be nominated for director in eight years. And that’s important. Only 11 percent of movies are directed by women. And that is nuts. We still have a very long way to go in that department, and a very long way to go when it comes to equal pay. Especially when you look at what happened with Mark Wahlberg and Michelle Williams. We all know the story. Mark Wahlberg was paid a million-and-a-half dollars to reshoot his scenes while Michelle Williams for her reshoots got a per diem. She was paid 80 dollars a day for the same thing. And what made it especially unfair is that Mark and Michelle are represented by the same agency. And I have to admit, this story really surprised me. This one shook me, because if we can’t trust agents, who can we trust?
To his credit, Mark Wahlberg announced he would be donating all $1.5 million to the Time’s Up Legal Defense Fund. That’s right. So, I guess now the ball’s in your court, Michelle. What are you going to do with that 80 bucks?
In the meantime, triple congratulations are in order for the kid from Comedy Central, Jordan Peele, who had a huge success with his movie, “Get Out.” Jordan is only the third person in 90 years to be nominated for directing, writing and best picture for his debut film. And what — what a debut it was. None other than President Trump called “Get Out” the best first three-quarters of a movie this year.
Margot Robbie had a great year. Margot scored her first nomination for her portrayal of Tonya Harding in “I, Tonya” and was terrific. Whose kneecaps did Tonya Harding have to break to get this dream casting? Because, I mean, that was — if they made a movie about my life, best case scenario, I’d be played by Jim Belushi. Another exceptionally gifted young actor who is nominated for the first time is Timothée Chalamet, who looks very dashing tonight. Wow, look at that tux.
Are you having fun, Timothée? This is a big deal. He’s missing “Paw Patrol” to be here tonight. Don’t worry, Ryder and his team of pups saved the day, so. Timothée is the star of a small but powerful story called “Call Me by Your Name,” which did not make a lot of money. In fact, of the nine best picture nominees, only two of them made more than $100 million. That’s not the point. We don’t make films like “Call Me by Your Name” for money. We make them to upset Mike Pence. Right?
Timothée is the youngest best actor nominee in almost 80 years, and on the other end of the abacus, we have our oldest acting nominee ever: The magnificent Christopher Plummer is 88 years old and still going strong. Maybe this is not the place, but there’s something I want to ask you. How does Lin-Manuel Miranda compare to the real Alexander Hamilton?
And once again, right here in the front row, maybe the greatest actor of all time, Meryl Streep is here with us. She earned her 21st Oscar nomination. Meryl’s film career started in 1977. The longest she ever went without being nominated was from 1992 to 1995, which — and that’s only because those were the years she was in prison, and that, I think, is amazing.
The most nominated movie tonight, a film that’s up for 13 Oscars, is “The Shape of Water,” written and directed by Guillermo del Toro, a wonderful man. Congratulations, I’m very happy for Guillermo. You made a beautiful movie and thanks to Guillermo, we will always remember this year as the year men screwed up so badly, women started dating fish.
O.K., before we start handing out the awards, some history, because we’re going to do things a little bit differently. The first Oscar ceremony lasted, and this is true, 15 minutes, from beginning to end. And people still complained. But — so, if you do win an Oscar tonight, we want you to give a speech. We want you to say whatever you feel needs to be said. Speak from the heart. We want passion. You have an opportunity and a platform to remind millions of people about important things like equal rights and equal treatment. If you want to encourage others to join the amazing students at Parkland at their march on the 24th, do that.
If you want to thank a favorite teacher, do that. Or maybe you just want to thank your parents and tell your kids to go to sleep. What you say is entirely up to you. You don’t have to change the world. Do whatever you want. But with that said, this is a really long show. So here’s what we’re going to do. Not saying you shouldn’t give a long speech, but whoever gives the shortest speech tonight will go home with — Johnny, tell them what they’ll win.
[ANNOUNCER’S VOICE]
It’s a brand new jet ski! Easy comfort on the 2018 Kawasaki ULTRA 310-LX. The No. 1 choice for watercraft enthusiasts. Retail price, $17,999. Back to you, Jimmy.
[BACK TO KIMMEL]
Thank you, Helen. Helen Mirren not included. So — there you go. Why waste precious time thanking your mom when you could be taking her for the ride of her life on a brand new jet ski? This is not a joke. I will be timing you. I have a stop watch. The moment you are handed that Oscar, the clock will start ticking, So, get up here, grab it and go. And in the unlikely event of a tie, I need to say, the jet ski will be awarded to Christopher Plummer, so — let’s get the show going.