Between the ages of 14 and 15, I was unhappier than I’d ever
been. Not coincidentally, I also managed to memorize all the words to the
episodes of ‘The Muppets Take Manhattan’, which had previously been situated in
my grandmother’s house, primarily for the viewing and enjoyment of my little
four year old cousin. Ironically, I still have the DVD due to the
prospect of returning a DVD which; 1.) Should have been returned two years ago,
and 2.) For the further embarrassment of it being a children’s series, and
appearing as a big kid, who incidentally has prospects of going to university. The juxtaposition of my Grandparents’ exquisite floral tapestry carpet and the DVD
laid out across its surface was a strange one. There was very closely 10 years
difference in our ages. But yes, I fell into a period of adoration for
pop-culture comfort food. Except my fuel was through endless episode watching,
and in doing so, having the chance to reminisce of my former self and the
emotions involved when placed in front of that run-down VCR TV.
Fourteen was a bad age. With friends who were no longer willing to
give me the time of the day like they used to, and the genuine state of anxious
mess which occurred as a result of placing my trust too firmly in the hands of crappy people, I entered a period of deep isolation and misery. I had gone from being the barely noticeable girl in my year to gaining a false reputation, and it seemed to get worse each year; I had no friends, no social life, and not a lot of hope. I felt deeply vulnerable.
Actually, I memorized The Great Muppet Caper, too. And The
Muppet Movie. That whole trilogy was on a fairly constant loop in my family’s
VCR, the first thing I turned on when I came home from school. I knew the
plots, the words, the jokes, and the punchlines to the jokes; I could probably
have recited them from memory. But I kept watching.
My point is: I was not exactly gifted with an abundance of
people who were happy to see me, when I was 14. But Kermit always was.
Together again, he sang, every time The Muppets Take
Manhattan started up—just that one fuzzy little green puppet, against the black
screen, singing directly to the audience. "Gee, it’s good to be together again.
I just can’t imagine that you’ve ever been gone!"
Yeah, well: that’s because you saw me yesterday, Kermit. But
I’ll take it.
I knew I was too old for these movies. I knew it was weird
to watch them so much. But the Muppets made me feel safe. Their world was about
warmth and bright colours and corny jokes; nobody in the Muppet movies would
call anyone a “stupid bitch,” or a “stuck up cow,” not even the bad guys. They
just sang about friendship and being yourself and following your dreams; they
felt comfortable, like getting under a big, warm blanket on a cold night. They
took away the chill.
I’ve since learned that I am not alone in this taste for
pop-culture comfort food. This is stuff that you don’t watch (or read, or
listen to, or whatever) because it’s good - often, it’s sort of embarrassing - but
because it makes you feel good. You want to hide this aspect of your
personality, from people. My dad knew a colleague at work - a grown-up - who would deal with a
rough week by purchasing some sugary cereal on Friday night, then getting up
early to eat it while he watched Saturday morning cartoons in his pyjamas. My
mother prefers ancient BBC sitcoms and Jane Austen adaptations.
So the years progress, as time refuses to stop for any dilemma. I have naturally seemed to transition into more challenging material; my recent favourite has been 'Goodnight Mr Tom', but this does not fully encompass
I sometimes find myself wondering
My current boyfriend’s
bad-day go-to is, as he puts it, “spin-offs in the Cheers-o-verse,” like Wings
and Frasier; he appreciates them, he says, for how “predictable and formulaic”
they are. My favourite example: I once had a friend who was a hardcore goth,
who actively scared people with her multiple facial piercings and tendency to
black leather outfits, and whose favourite entertainment, on a good day, was
grown men screaming about how much they identified with Satan. She confessed to
me that when she was really bummed, she watched Mad About You re-runs. This,
for those not in the know, is the sitcom where Paul Reiser and Helen Hunt play
a married couple who wear lots of khakis, have a large, loving family, and
encounter various problems along the lines of, “Oh, no! Our Thanksgiving turkey
has been eaten by our adorable dog!” To be fair, I guess, even Satan would be
frustrated by that one.
Music can work this way, too. I know quite a few women with
a secret Tori Amos stash—she’s not the most fashionable singer in the world,
but sometimes she sounds like the only person in the world who knows why you’re
in such a bad mood, and what to do about it. I’m also a fan of Fiona Apple, in
her earlier, angrier moments. This stuff—which I’ve heard referred to, by more
than one dude, as “whiny chick music”—seems embarrassing, when you’re in a
better mood. But when you’re down and out, getting permission to “whine,” even
just via your iPod, can be a lifeline.
Which is not to say that it’s all heavy: silly pop music can
also work wonders. Admitting that you can be pulled out of a funk by “Party in
the USA,” or Ke$ha, or even (shudder) Blink-182, feels goofy. Yet all of these
musicians have been described to me as pop-culture comfort food: simple,
familiar, and uplifting. In your worst moments, you don’t want to be
challenged. You want something that reminds you of growing up, or that feels
safer and cleaner than the mess you’re in. You want to be taken care of,
basically. And who’s to say that’s a bad reason for watching or listening to
something? Why is it necessary to always want Great, Sophisticated Art?
Pop-culture comfort food gives you permission to be sappy. It lets you enjoy things
that are too young for you, or too silly, or too sentimental, or too dumb.
Pop-culture comfort food isn’t the stuff you consume on your best day, to prove
how cool you are. It’s the stuff that you save for your worst day, the stuff
that pulls you through.
I wasn’t completely cut off from pop culture, during my year
of Muppet movies. I had lots of Sonic Youth albums. I watched My So-Called
Life, and even dyed my hair Angela Chase maroon, like every other would-be
alterna-girl in my grade. I’d heard about Welcome to the Dollhouse, and I was
interested. But that year—the year when I was alone, scared, overwhelmed,
hopeless—I didn’t want to hear about yet more harshness or alienation. And I
didn’t have the energy to be cool. In that moment, I didn’t need Thurston Moore
and Kim Gordon; I needed Miss Piggy and Kermit.
I haven’t watched the Muppet movies in a very long time. It
turns out, after you’ve watched three movies for 365 days—about 121 times
apiece—fatigue does, in fact, set in. But this fall, the Museum of the Moving
Image in Queens had a Jim Henson exhibit. I went. It had concept drawings for
the Muppets, and clips from Jim Henson’s experimental films, and a plan for a
weird hippie nightclub that he’d apparently designed after seeing it in a
nightmare. But, more important, it had Kermit. The actual Kermit puppet! I
think it had even been used in The Muppet Movie. There he was, perched on a
little log in a glass display case, right as you walked in.
I paused there, for a moment. Tried to wrap my head around
it. Here was this tiny little object—nothing more than a stuffed animal,
really, made out of foam and felt; you could see the seams—about half as long
as my arm. And it was what had pulled me through the toughest year of my life.
I’d known Kermit’s name since I could talk. He was always there. When they
stole my binder, wrote “SLUT” on it in Sharpie, tore my science notes out of
it—Kermit was there. When they slipped me notes about how no one liked
me—Kermit was there. When that guy told me I’d just swallowed his semen, when
the vice-principal told me I would have to be punished for not reacting
nicely—there was Kermit, with his gentle, chirpy little voice, singing
lullabies, making me feel safe. And now, here he was. I just can’t imagine that
you’ve ever been gone, the song goes. It’s not starting over, it’s just going
on.
I invested the concept of ‘escapism’ and the media to a
degree, in my AS Art coursework. As I intend to carry on my 4 subjects next
year, I would like to explore pop culture comfort further.
Twenty years after he took Manhattan, Kermit and I were both
in Queens. And he was a stuffed animal. A doll. Not a real creature, in any
sense. But I don’t know if I would have been OK, without him. It felt important
to stand there, in front of him. To let him know that I was safe now. I had
turned out fine.