Tom Selleck acts with his mouth.
It’s a subtle but effective talent.
Most actors focus on how and what their eyes convey to the audience. Whether their characters are listening, reacting, retreating or attacking, they project it all through their eyes.
But with Selleck, both his emotions and his authority as NYC Police Commissioner Frank Reagan emanate from the nose down. The dimples appear when he’s caught out asking campus security to watch granddaughter Nicky (Sami Gayle) when she’s at a college party. The lips purse when he’s faced with a fugitive on the run, a potential bomb disaster or a dirty cop. And the mustache – of course the mustache – wiggles ever so slightly when he’s invited back to a woman’s hotel room. (This has happened a few times over 6+ seasons, not that I’m keeping count or anything.)
I never noticed Selleck’s mouth when I was a kid watching Magnum P.I. Back then he often let his eyebrows, his chest and his Ferrari do the talking. I also missed a good deal of his story arc as Monica’s older boyfriend on Friends. But once my 83-year-old aunt introduced me to the Blue Bloods universe (that multi-generational American drama on CBS), I gained a new appreciation for Selleck’s understated charisma and his enduring sex appeal.
Now I know what you’re thinking: rockmom, you watch Blue Bloods? A network drama with a geriatric audience about law and order white folks? Blue Bloods?
Yes, I do. I even purchase seasons on iTunes. Proudly.
While it’s true that Blue Bloods draws the oldest viewers on television – median audience age is 62.5 – and depicts characters who probably lean to the right politically, it’s also a show that I regularly enjoy with my teens. One that always inspires what-would-you-do-in-that-situation conversations and an appreciation for Assistant District Attorney Erin Reagan’s (Bridget Moynahan) tough but tender parenting. So when my kids give me a hard time about curfew times, we can watch the episode where Nicky’s arrested, and I can say: see, it could be worse. Her Mom made her spend a night in jail!
More importantly, in this never-ending, divisive election cycle – Red v Blue, Us v Them, Deplorables v Elites – Blue Bloods is one of the few designated safe conversation zones for me and my far-right, Clinton-hating relatives. There’s also the weather, college football, food and… well, that’s about it.
As an expat living in an international, fairly liberal echo chamber, I always experience a bit of a rude awakening when I return home to Texas for holidays. Mind you, there are a lot of wonderful things I can only enjoy when I’m back: Shiner beer, cheese enchiladas, perfect brisket, old friends and bluebonnets. But then I also have to be around people who tell me, out loud: ‘Blacks are bad tippers’ or ‘Hispanics don’t know how to look after their kids’ or ‘You can’t tell a good Muslim from a bad Muslim’ and of course the iniquitous assertion that ‘Of course, Obama is a Muslim from Kenya.’
It’s wearying. It’s depressing. It makes me wish Frank and his dimples would appear with a bottle of single malt and a couple of glasses.
But what can I do? This is family. I’m sure Father Quinn (Frank’s priest) would counsel: hate the sin, love the sinner.
And just keep watching TV. That great American cure-all.
At this moment in our nation’s unsettled history, I’m sure a lot of other families of mixed political persuasions could benefit from the moral clarity, compassion and generosity that Blue Bloods offers. I’m thinking specifically of Anglo-Saxon families that haven’t forgotten their own religious and immigrant roots. If, like me, you have a Catholic Dad who once bought everyone Christmas presents from the All Things Irish shop then you know exactly what I’m talking about!
With Blue Bloods, I might disagree with Frank’s support for the death penalty, but I can respect his convictions, and admire how good he looks in his sunglasses. I can also enjoy an hour when certain things are reassuringly, crystal clear. For one, according to Detective Danny Reagan (Donnie Wahlberg), there are only two kinds of people in the world: scumbags and not-scumbags. His job is to catch the former and help the latter. Don’t be a scumbag.
Second, there’s no problem so big that it can’t be solved with roasted meat and red wine. A beer and a chat with Grandpa also helps.
Further to that, it’s okay if Sunday dinners are contentious. Talk it out, disagree, argue, but above all, come back next week. We’ll be serving turducken.
Lastly, let’s not forget about the women on Blue Bloods. Because, you know, if this were a Hollywood movie, Moynahan would be playing Selleck’s love interest and not his daughter. So yay (!) to that casting decision. And yay to the other strong-minded women on the show: Linda (Amy Carlson), Janko (Vanessa Ray), Nicky and detectives Baez (Marisa Ramirez) and Curatola (Jennifer Esposito).
Can I also add that, as we all inch closer to Blue Blood’s median audience age, it should give us hope to see that Frank has very likely seen more action in the bedroom than his two single kids – Jamie (Will Estes) and Erin. (Not that my aunt and I discuss these things, oh no, not us!) I mean I’ve never fired a gun and would rather not dwell on Selleck’s association with the NRA. However, the season 2 episode where Frank buys Melanie (his foreign correspondent/booty call) a custom-made, leather thigh-holster for her concealed carry is, I’m not afraid to admit, incredibly hot.
So you see, Blue Bloods can bring liberals and conservatives together!
Now I know what you’re thinking, because I am too: the GOP chose the wrong ‘80s-era personality to top the ticket.
Tom Selleck photo by Dominick D [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)%5D, via Wikimedia Commons.
This week, in a beautiful generational symmetry, EO and I went to Madonna’s Rebel Heart concert here in Hong Kong. My one and only Madonna show prior to this was a floor seat at Austin’s Frank Erwin Center on the Like a Virgin tour, May 1985, a few weeks before I graduated from high school. This spring, EO will attend her first formal dance and ‘graduate’ Y11 before beginning her school’s two-year IB program. Over thirty years between our rites of passage and yet here was Madonna – in fearsome form and wicked wit, middle-aged, twice-divorced, sex-obsessed, foul-mouthed – here was fucking Madonna.
The fourth best-selling musical act of all time. Superseded only by The Beatles, Elvis Presley and Michael Jackson.
The most successful solo artist in the history of the American singles charts. Let that sink right in while I say her name one more time.
Screw the haters. To hell with the ageist TMZ brigade. Go home if her show starts too late for you. I don’t care how old she is or who shares her bed or even what kind of person she is behind the scenes. All that matters is what she brings to the stage, and in that arena Madonna reigns. Unrivaled. Matchless. Supreme.
She transported her full show to Hong Kong – not always the case with touring artists in Asia – and played for over two hours, joined by her band, back-up singers and about 20 dancers. The concert was a button-pushing visual feast of multimedia images, lights, poles, ramps, stairs, hydraulics and dance. Lots of dance. Throughout the show, Madonna moved seamlessly from one cultural theme to another: Samurais to start; Catholicism (of course) to heat things up; Matadors, Greasers and Flappers to express love and more sex, sex, sex; and then “Holiday” fun to finish. I expected the button-pushing and restless cultural curiosity; Madonna has always championed the unusual and the underground, the more provocative the better. She’s a human synthesizer, and I say that as a compliment. What surprised me, however, was the lightness and vulnerability she showed. She chatted, joked, queried and proclaimed to the audience: don’t ask questions, there is no answer. She wore the mantle of Queen both proudly and irreverently.
But if I could distill her performance, nay her entire artistic existence, down to one point, I would say very simply that Madonna is about the body. All shaking ass, thrusting bosom, beating heart. Her hand on a thigh and a head in her crotch. As a dancer first and foremost, she understands the visual power of motion, of open legs and intertwined limbs. Or as her concert showcased, the stunning impact of one shirtless, muscular man moving on an empty stage with only a billowing scarf for company.
Her raison d’être, if I dare to speculate, has always been about celebrating the amazing, ecstatic things we can do with our bodies, alone and in company. She made that statement with her very first single, “Everybody”, which was released in 1982. Every / Body / Come on / Dance and Sing. And she continued that manifesto by shining a light on how others try to stop us from said ecstasy, whether it’s an overbearing patriarchy, Catholic constraints on sexuality or our very own hang-ups. Every / Body / Get Up And / Do Your Thing. Madonna’s body electric is both personal and political, and she makes her stand not only with music and lyrics but movement as well. As if Martha Graham were a pop star…
After the show, EO and I speculated as to what Madonna would do between her two shows in Hong Kong. (If you see her hiking The Peak, tell her I said Hi!) I figured after 2+ hours on stage, in heels, she probably needed some serious physio, or at least a massage. The thought made me a little sad. Madonna’s getting older, her knees must be killing her.
I know a lot of people reckon she’s well past her prime, that the best she can do these days is hitch her wagon to Nicki Minaj or Drake. But I disagree. Though I hadn’t seen her in concert for decades, her Rebel Heart show was indisputable proof that her creative vigor and taste for provocation is alive and well. She still owns the stage, whether she’s alone and singing “La Vie En Rose” or leading her dancers down the catwalk in a fantastic rendition of “Deeper and Deeper”, everyone strutting and vogueing. Even EO said she didn’t think Madonna was trying to be a teenager. The Queen was dancing, singing, doing her thing, and we were lucky to be a part of it.
How many musical icons not only survive but prosper as they head gently in to that good night? How many still have something to say? The list is short. Prince, Jagger, McCartney, Aretha, Bruce? Maybe. Bowie we just lost, Streisand barely sings anymore, Diana Ross has been MIA for years. Sinatra got it right, but then who else? Who changed pop music forever? Who’s left?
*All Hong Kong concert photos courtesy of a lovely and talented friend who had way better seats than I did! 😉
I got a little worked up about things and then I had to stop. I had to watch ‘Vogue’ on YouTube and then I had to ask myself: why am I getting so worked up about this? What a colossal waste of my time and energy. By this I mean Miley Cyrus and all her shenanigans and everything that’s been written about her.
But what needs to be said is it doesn’t make a difference how many body parts Miley exposes because there’s a new sheriff in town and her name is Lorde.
EO and YO and their friends have moved on, fickle by right. And the new stuff coming from Bieber, Perry, Gaga is just same-old, same-old. So go and listen to the first 30 seconds of ‘Team’ from Lorde’s new album, Pure Heroine, and enjoy the future. It is glorious.
If I can paraphrase Willie Dixon here:
Well, the parents don’t know
But the little girls they understand
So this whole hot mess is just a bunch of adults tsk tsk’ing and/or celebrating whatever message of (dis)empowerment Miley’s laying down. Is she savvy? Is she stupid? Is she high? I’m not sure. But I do know two things: 1. She needs to get far, far away from that pervert disguised as a fashion photographer, Terry Richardson. 2. She will never be Madonna.
If there are any Miley fans reading this, you might disagree with the Madonna bit. But when you can find the following references in any Miley videos – German Expressionism, Catholicism, Racism, French New Wave, Andy Warhol, Busby Berkeley, Marlene Dietrich, Marilyn Monroe, Martha Graham, Pro-Choice, Parkour – then we can talk. When Miley references ANYTHING other than porn, I’m happy to have that conversation.
A few years ago, back in the golden, wistful Hannah Montana sunset, I wrote my own open letter to Miley. I was trying to be sympathetic not preachy (but maybe a little full of myself too). I was trying to imagine a young woman who felt she had to go from her age-eight target audience to a sexualized adulthood in one album of pop songs. That can’t be easy. I don’t think Miley ever read my letter, but here it is again:
And for good measure, if you need this in your day: