Taking Back My Life

Total Page:16

File Type:pdf, Size:1020Kb

Taking Back My Life FRAN DRESCHER Taking Back AFTER YEARS OF BURYING HER PAIN, THE STAR My Life SAYS SHE HAS FINALLY FOUND INNER PEACE By CHRISTINA DUGAN Her Happy Place “As life unfolds, you get wiser and more grounded,” says Drescher (with her dog Samson near her Malibu home). Photographs by CHRISTIAN WITKIN HAIR: JON LIECKFELT; MAKEUP: GREGORY ARLT/FORWARD ARTISTS; MANICURIST: CHANTALYNN HUYNH; STYLIST: TERRY GORDON TERRY HUYNH; STYLIST: CHANTALYNN MANICURIST: ARTISTS; ARLT/FORWARD GREGORY MAKEUP: HAIR: JON LIECKFELT; February 17, 2020 55 “I have to be able to ask for help. I have she says. “Peter started to have control 1991 to be vulnerable. I can’t just be strong.” issues that I found somewhat suffocat- CLOCKWISE FROM TOP RIGHT: RON GALELLA/GETTY IMAGES; DIMITRIOS KAMBOURIS/GETTY IMAGES; TRAE TRAE IMAGES; KAMBOURIS/GETTY DIMITRIOS IMAGES; GALELLA/GETTY RON RIGHT: TOP FROM CLOCKWISE Having grown up in Queens with ing, and only in hindsight do we now a father, Morty, who worked with understand that he was working so hard PATTON/NBC; EVERETT; PARAMOUNT/KOBAL/SHUTTERSTOCK; SETH POPPEL/YEARBOOK LIBRARY PARAMOUNT/KOBAL/SHUTTERSTOCK; EVERETT; PATTON/NBC; Fran Drescher isn’t easily ruffled. Take, computers, and a mother, Sylvia, who to control his authentic self, his true ori- for instance, her approach to notori- worked behind the cosmetics counter at entation.” Two years after the marriage ously horrific Los Angeles traffic. Curled a local drugstore, Drescher says her “joy- ended, Jacobson told Drescher he was up in the plush master bedroom of her ful” home shifted the moment her older gay, but their love for one another never beachside Malibu home, the actress and sister Nadine fell horribly ill (Drescher faded. “I now lovingly refer to Peter as comedian remains philosophical. “You declined to elaborate on the nature of my gay ex-husband,” she says. Drescher, could get road rage and think, ‘Oh God, the illness). “That pivoted the family’s who met Jacobson in high school, com- I’ve got to get to where I’m going!’ Or you focus and balance onto [my sister],” pares leaving the relationship to “walk- Fcan think as Buddhists do: Look around, says Drescher, who didn’t want to be ing through fire.” “I had never done take that in, and maybe see something “an additional burden” to her parents. anything for myself that was against that will surprise you,” she says. “It helps “At a very early age I got the message the will of somebody else that I cared you to accept life as it presents itself and to feel bad if something was about me. about,” she says. “And that was part of be grateful for it.” And that’s probably why I’m an actress, L o v e my problem. I kind of had a back seat Not Lost Yet finding calm amid chaos certainly because at the end of the day, nobody in my own life. I was making everybody “We were best didn’t come easily for Drescher, whose becomes an actor if they don’t on some friends,” says else happy but not really myself.” unmistakable laugh and thick New level want to say, ‘Look at me, Ma.’ ” Drescher of One year after her divorce was final- York accent have brought joy to fans Determined to find purpose and a ex-husband and ized, Drescher was diagnosed with uter- still close friend for decades. Reflecting on her darkest sense of self, Drescher chose to fol- Jacobson (right, ine cancer—a diagnosis that required moments—including a terrifying rape in low in the footsteps of television icons in May 2019). an immediate radical hysterectomy, 1985; a very public divorce from her hus- such as I Love Lucy’s Lucille Ball and I “We had the which also opened her eyes. Her old same dreams band of 21 years, Peter Marc Jacobson, Dream of Jeannie’s Barbara Eden and and made each habit of not asking for help “became in 1999 (after which he publicly revealed started landing minor TV and film roles, other laugh.” like a real mental block, and I had to he is gay); and a uterine cancer diagnosis including her first major break, in Sat- break through it,” she says. “I think in 2000—Drescher, 62, says comedy was urday Night Fever alongside John Tra- that getting cancer was my opportunity, her way of masking her hidden pain and volta. “I decided I should try and make up running for six years. “That definite- because I couldn’t do it alone. It opened insecurities. But now Drescher—who is my living out of something that comes ly changed me significantly,” Drescher me up to realizing that helping and sup- starring on NBC’s new comedy series really easily to me and doesn’t feel like says. “I wanted to do it all, and I did. It porting and advising other people gives Indebted and developing a stage musi- work,” says Drescher, who was once told was a very fertile time creatively.” you a false sense that you have your cal adaptation of her hit ’90s sitcom The by a theater teacher she would have to Despite the success, Drescher was s--- together. But that’s really the dis- Nanny for Broadway—says she’s taking change her high-pitched, nasal voice if dealing with a secret, unimaginable pain. traction of it all.” Drescher says she was her life back one day at a time. “In order she ever wanted to be successful in the In 1985, at age 28, the actress and a friend able to “gain a lot of clarity” in therapy: for me to be well-rounded, I have to industry. But in 1993 Drescher (along were raped at gunpoint, while Jacobson, “I was in such crisis and feeling feelings sometimes make it about me,” she says. with Jacobson) created The Nanny, then already Drescher’s husband of sev- that I never really allowed myself and which she wrote, produced, directed and en years, was forced to watch. “After the saying out loud things that I felt guilty starred in as Fran Fine; the show wound rape, my friends knew, but I couldn’t about just thinking, for my growth as even call my parents and a human being. Now I’m Rise to Stardom tell them. I had my sister tell ‘Everything not really obsessed with them,” she recalls. “I never that happens being the best, most need- The Nanny wanted to be any additional to you is an less, ever-there caregiver. Drescher became a stress for my parents, hav- Turning pain into purpose household name as Fran ing seen how traumatized opportunity’ pivots you back into the Fine for six seasons (from —FRAN 1993 to ’99). “It’s okay that they were from when my DRESCHER driver’s seat.” I don’t have Meryl Streep’s sister was young and having Now relying on her faith career,”, she says. health issues. So I’d go into my room and in Buddhism and the lessons she’s be by myself and quiet for hours. I didn’t learned has helped conquer more than want to ever have to tell them something gridlock: Drescher says she has a new- This Is was wrong with me.” found love for the woman she’s become. Spinal Tap Meant to Shine Drescher played From there Drescher and Jacobson’s “Getting really connected to myself has “I was always intrigued publicist Bobbi marriage spiraled downward over the been a great journey,” she says. “Now I’m Indebted by acting,” says Saturday Night Fever Flekman in the 1984 course of the next 14 years. “I wasn’t not even feeling like I have to be in a rela- Drescher (in 1975), In her first notable role, in 1977, Drescher film—and reprised “It’s funny and has a great energy,” says who studied theater as Connie asked John Travolta’s character the role on The Drescher, who plays a grandmother named Debbie feeling as happy as I thought I’d feel with tionship, because I’m in a relationship in high school. about his skills in bed. Nanny years later. on the new NBC series, premiering Feb. 6. money and fame and creative control,” with myself. And it’s going quite well.”• 56 February 17, 2020 February 17, 2020 57.
Recommended publications
  • 1074 Budapest, Dohány Utca 98. | Telefon: 06-1-887-2344 | E-Mail: [email protected]
    Elementary Read the passage below and then answer the questions. An Odd Spider Most spiders live on land, but this spider is different. It spends most of its time under water. How does it breathe? It breathes by making a tent full of air bubbles under water. First, it spins a web in the shape of a bell. Then, it fixes it to plants under the water. Next, it swims up to the top of the water and traps a tiny bubble of air with its hairy back legs. It drags the bubble to its web. It does this many times until its home is full of air. Then it sits nice and snug in its web and feeds on tiny fish and other water animals. 1. The passage is about a spider that a)cannot spin a web b)lives under water c)lives in plants 2. Most spiders a)fly b)live on land c)live under water 3.It spins a)a web b)a bell c)a tent 4. It fixes the web to . a)fish b)plants c)bubbles 5.These spiders eat a)water animals b)other spiders c)plants 1074 Budapest, Dohány utca 98. | Telefon: 06-1-887-2344 | E-mail: [email protected] Intermediate Scan the TV guide to answer the questions that follow. Channel 4 Channel 7 Channel 9 6:00: News Today 6:00: USA in Sports: 6:00: Everybody Loves In-depth coverage of national News show covering Raymond and inter-national news. competitive team sports at the national level.
    [Show full text]
  • Family Confidentiality Agreement
    CLIENT FAMILY CONFIDENTIALITY AND NON-DISCLOSURE AGREEMENT THIS CONFIDENTIALITY AND NON-DISCLOSURE AGREEMENT (the "Agreement") is made and entered into effective on ___________________ 20___ (the "Effective Date"), by and between _________________________ (the “Client Family”) and _______________________ (the “Nanny”). The Client Family and the Nanny agree as follows: 1. Acknowledgement of Private Family Information. The Nanny acknowledges that during his/her engagement with the Client Family, the Nanny will be exposed to the following secret, and confidential items that constitute the Client Family’s private family information ("Private Family Information"): family members’ medical histories and medical conditions, the Client Family’s financial information, Client Family relationships and family dynamics, family passwords, and other matters related to the Client Family. The Nanny expressly acknowledges that if the Private Family Information should become known by any individuals outside the Client Family, such knowledge would result in substantial hardship, loss, damage, and injury to the Client Family. 2. Nondisclosure of Private Family Information & Confidentiality. The Nanny agrees that the Nanny will not, during the term of the Nanny’s engagement with the Client Family or any time thereafter, directly or indirectly disclose the Client Family’s Private Family Information to any entity or any person who is not a member of the Client Family or an employee of Nannies On The Go! The Nanny hereby agrees that she/he: (i) shall not, directly or indirectly, disclose any Private Family Information in any way and (ii) shall limit access to Private Family Information solely to those persons or entities to whom such disclosure is expressly permitted by this Agreement.
    [Show full text]
  • “How the Nanny Has Become La Tata”: Analysis of an Audiovisual
    Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea “How The Nanny has become La Tata”: analysis of an audiovisual translation product Relatore Laureando Prof. Maria Teresa Musacchio Susanna Sacconi n° matr. 1018252 / LMLCC Anno Accademico 2012 / 2013 Contents: INTRODUCTION 1 CHAPTER 1 – THEORY OF AUDIOVISUAL TRANSLATION 1.1 Translation: General concepts 3 1.2 Audiovisual translation 6 1.3 Audiovisual translation in Europe 10 1.4 Linguistic transfer 12 1.4.1 Classification for the current AVT modes 14 1.5 Dubbing vs Subtitling 22 CHAPTER 2 – DUBBING IN ITALIAN AUDIOVISUAL TRANSLATION 2.1 Dubbing: An introduction 27 2.2 A short history of Italian dubbing 31 2.3 The professional figures in dubbing 33 2.4 The process of dubbing 36 2.5 Quality in dubbing 40 CHAPTER 3 – DUBBING: ASPECTS AND PROBLEMS 3.1 Culture and cultural context in dubbing 43 3.2 Dialogues: their functions and their translation in films 47 3.3 Difficulties in dubbing: culture-bound terms and cultural references 51 3.3.1 Culture-bound terms 54 3.3.2 Ranzato: the analysis of cultural specific elements 55 3.4 Translation strategies in dubbing (and subtitling) 59 3.4.1 Other strategies: Venuti’s model and Toury’s laws 63 3.4.2 The choice of strategies 65 3.5 Other translation problems: humour and allocutive forms 67 3.5.1 Humour 67 3.5.2 Allocutive forms 68 3.6 Synchronization and other technical problems 70 3.6.1 Synchronization
    [Show full text]
  • The Musical Number and the Sitcom
    ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139).
    [Show full text]
  • Sabotage! and Other Stories
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2010 Sabotage! And Other Stories Gregory Elliott Luther The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Luther, Gregory Elliott, "Sabotage! And Other Stories" (2010). Graduate Student Theses, Dissertations, & Professional Papers. 853. https://scholarworks.umt.edu/etd/853 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. SABOTAGE! AND OTHER STORIES By GREGORY ELLIOTT LUTHER Bachelor's of University Studies, University of New Mexico, Albuquerque, NM, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Fiction The University of Montana Missoula, MT December 2010 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School Chair Deirdre Mcnamer English Kevin Canty English Maria Bustos-Fernandez Modern and Classical Languages and Literatures Luther, Gregory, M.F.A, Fall 2010 Creative Writing Fiction Sabotage! And Other Stories Chairperson: Deirdre McNamer Co-Chairperson: Kevin Canty This is a collection of short fiction written between 2008-2010. ii Schooling Somehow I was the last to get the news. Eric Sullivan knew a guy in Modesto that was friends with the son of the teacher, the actual dude, Mr.
    [Show full text]
  • Making and Managing Class: Employment of Paid Domestic Workers in Russia Anna Rotkirch, Olga Tkach and Elena Zdravomyslova Intro
    Making and Managing Class: Employment of Paid Domestic Workers in Russia Anna Rotkirch, Olga Tkach and Elena Zdravomyslova This text is published with minor corrections as Chapter 6 in Suvi Salmenniemi (ed) Rethinking class in Russia. London: Ashgate 2012, 129-148. Introduction1 Before, they used to say “everybody comes from the working classes”. I have had to learn these new practices from scratch. I had to understand how to organise my domestic life, how to communicate with the people who I employ. They have to learn this too. (Lidiia, housekeeper) Social class is a relational concept, produced through financial, social and symbolic exchange and acted out in the market, in work places, and also in personal consumption and lifestyle. The relations between employers and employees constitute one key dimension of social class. Of special interest are the contested interactions that lack established cultural scripts and are therefore prone to uncertainties and conflicts. Commercialised interactions in the sphere of domesticity contribute to the making of social class no less than do those in the public sphere. In this chapter, we approach paid domestic work as a realm of interactions through which class boundaries are drawn and class identity is formed. We are interested in how middle class representatives seek out their new class identity through their standards and strategies of domestic management, although we also discuss the views of the domestic workers. As the housekeeper Lidiia stresses in the introductory quotation to this chapter, both employers and employees have to learn new micro-management practices and class relations from scratch. The assertion that class is in continual production (Skeggs 2004) is especially true for the contemporary Russian situation, where stratification grids are loose and class is restructured under the pressure of political and economic changes.
    [Show full text]
  • Nannies, Au Pairs, Children and Parents
    CARE FOR CHILDREN IN AN ERA OF PRIVATE MARKET SERVICES A STUDY OF NANNIES, AU PAIRS, CHILDREN AND PARENTS Research team Associate Professor Sara Eldén [email protected] PhD Terese Anving [email protected] Research facts This research project has been funded by The Swedish Foundation for Humanities and Social Sciences (Eldén P13-0603:1), and has been hosted by the Department of Sociology, Lund University Sweden. Selected publications During the last decade, Swedish families have started to employ nannies Book: and au pairs to an extent previously never experienced. Political initiati- Nanny families: Practices of care ves such as the RUT tax deductions (2007), together with global trends by nannies, au pairs, parents and of ‘care chains’, have created a new private market for private child care children in Sweden; (2019) Bristol services. University Press In this study, we have analysed how families ‘do family’ when parts of Research articles: the care for children are bought as a service on the market. By inter- New ways of doing the ’good’ and viewing all categories of actors – nannies, au pairs, parents and child- gender equal family: ren – and by using innovative methods, the project has made unique Parents employing nannies and au contributions to international research debates on global care chains and pairs in Sweden; (2016) Sociologi- cal Research Online paid domestic care work. Furthermore, this is the first extensive study internationally to include children’s perspectives on care from nannies Precarious Care Labor: Contra- and au pairs, and one of few studies that gathers data from several dictory Work Regulations and Practices for Au Pairs in Sweden; actors involved in the same care practice.
    [Show full text]
  • Saturday Morning, Jan. 19
    SATURDAY MORNING, JAN. 19 FRO 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 COM Good Morning America (N) (cc) KATU News This Morning - Sat (N) (cc) Jack Hanna’s Wild Ocean Mysteries Born to Explore Recipe Rehab Food for Thought Sea Rescue (N) 2/KATU 2 2 Countdown (N) (TVG) Chili. (N) (TVG) (TVG) 5:00 CBS This Morning: Saturday Doodlebops Doodlebops Old Busytown Mys- Busytown Mys- Liberty’s Kids Liberty’s Kids Paid Paid College Basketball Regional Cov- 6/KOIN 6 6 (cc) (Cont’d) (TVY) ukulele. (TVY) teries (TVY) teries (TVY) (TVY7) (TVY7) erage. (N) (Live) (cc) NewsChannel 8 at Sunrise at 6:00 NewsChannel 8 at Sunrise at 7:00 AM (N) (cc) Poppy Cat (TVY) Justin Time LazyTown (cc) Paid Paid Paid 8/KGW 8 8 AM (N) (cc) (TVY) (TVY) Sesame Street Elmo and Rosita Curious George Cat in the Hat Super Why! (cc) SciGirls Habitat Research Rescue Squad Students The Victory Gar- P. Allen Smith’s Sewing With Sew It All (cc) 10/KOPB 10 10 sing about the letter G. (TVY) (TVY) Knows a Lot (TVY) Havoc. (TVG) do research. den (TVG) Garden Home Nancy (TVG) (TVG) Good Day Oregon Saturday (N) Elizabeth’s Great Mystery Hunters Eco Company (cc) Teen Kids News The American The Young Icons Paid 12/KPTV 12 12 Big World (cc) (TVG) (TVG) (N) (cc) (TVG) Athlete (TVG) (TVG) Paid Paid Paid Paid Paid Paid Paid Paid Paid Paid Atmosphere for Paid 22/KPXG 5 5 Miracles The Lads TV (cc) Auto B.
    [Show full text]
  • Vietnamese Parents and Czech Nannies: Second-Generation Immigrant Children and Their Educators
    DOI: 10.15503/jecs20141-320-333 Local cultures and societies Vietnamese Parents and Czech Nannies: Second-Generation Immigrant Children and their Educators Adéla Souralová Department of Sociology, Masaryk University in Brno, Czech Republic. E-mail adress: [email protected] Abstract Many second-generation Vietnamese immigrant children in the Czech Republic are bro- ught up by Czech nannies. While their parents are incorporated into the labour market in order to provide their children with sufÞ cient economic capital for their education, the role of caregivers is relinquished to nannies. Both parents and nannies become important actors in the children’s educational process, from the stage of acquiring Þ rst words, through primary school, to the moment they are admitted into university. This paper analyses the roles of parents and nannies in this educational process. It draws upon 60 interviews conducted with Þ rst-generation immigrant mothers, second-generation immigrants, and Czech nannies. The perspective of all three actors are presented here in order to reveal the interviewee’s under- standing of the role of education in the parent-child and nanny-child relationships. How is education manifested in the deÞ nitions of parenting and caregiving? The paper illuminates the educational strategies taking place outside the educational institution as being an inherent part of everyday life. Simultaneously, the article reveals the meanings of education for the immigrant families as being linked both to past experience and future expectations. Key words: second generation immigrants, education, caregiving, parenting “For their future, education is the most important.” (Ms. Duong,4 mother of two children) “I know she loves me because she cares about me and she provides me with money for my education.” (Lien, 18-year-old) “They like learning, these kids.
    [Show full text]
  • Pbs Quarterly Program Topic Report
    July 2005 PBS QUARTERLY PROGRAM TOPIC REPORT ------------------------------------------------------------------------------- QPTR Category: Abortion ------------------------------------------------------------------------------- NOLA Code: NOWD 000130C1 Series Title: NOW Distributor: PBS Release Date: 7/29/2005 7:30:00 PM Length: 30 Format: Interview/Discussion/Review; Magazine; News In a controversial reading of the state's statutory rape law, Kansas Attorney General Phill Kline has pushed to mandate reporting of any sexual activity of people under the age of 16 and subpoenaed medical records of abortion patients. Kline maintains he just wants to enforce the law and protect children, but critics charge that he's attacking a woman's right to an abortion and putting more kids at risk. NOW examines Kline's policies, which have made Kansas ground-zero for the reproductive rights debate in America. The report looks at both sides of the issue and at the implications for the nation. ------------------------------------------------------------------------------- QPTR Category: Agriculture ------------------------------------------------------------------------------- NOLA Code: MLNH 008314C1 Series Title: The NewsHour with Jim Lehrer Distributor: PBS Release Date: 7/20/2005 6:00:00 PM Length: 60 Segment: 00:08:55 Format: Interview/Discussion/Review; News Cultivating Controversy: Betty Ann Bowser provides a report on Minnesota farmers' differing opinions on the Central American Free Trade Agreement. -------------------------------------------------------------------------------
    [Show full text]
  • ANN HAMPTON CALLAWAY - Biography
    ANN HAMPTON CALLAWAY - Biography ANN HAMPTON CALLAWAY is one of the finest singer/songwriters of our generation. The statuesque performer dazzles music lovers as a singer, pianist, composer, lyricist, arranger, actress, and educator. Her talents have made her equally at home in jazz and pop as well as on stage, in the recording studio, on TV and in film. She is best known for starring in the hit Broadway musical "SWING!" and for writing and singing the theme to the internationally successful TV series,” THE NANNY". Ann is a devoted keeper-of-the-flame of the great American songbook. She brings fresh and original interpretations to these timeless classics and works to uphold the canon by writing songs with Cole Porter, Carole King, Barbara Carroll and others. Her spontaneity, intelligence, and soulful charisma have won her a diverse fan-base including notables as Barbra Streisand, Clive Davis, Carly Simon and Wynton Marsalis. The New York Times writes, “For sheer vocal beauty, no contemporary singer matches Ms. Callaway.” Ann attributes her voice and love of music to her mother, Shirley, who throughout her childhood sang and played torch songs, Gershwin and German lieder at the piano. Of the uniquely musical household she says, “I didn’t know it at the time, but we were sort of the Von Trapp family of Chicago.” After a music teacher discovered her unusually mature soprano voice, Ann was encouraged to study classically, honing the pitch-perfect control and expressive three octave range she is known for. While her voice teachers suggested she could have a career in opera, Ann eventually realized that she would be happier singing the music she most loved.
    [Show full text]
  • The Case of Bartu Ben
    Transformation of Comedy with Streaming Services: The Case of Bartu Ben Nisa Yıldırım, Independent Scholar [email protected] Volume 8.2 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.300 | http://cinej.pitt.edu Abstract Comedy has always been one of the most popular genres in Turkish cinema and television series. As the distinction between film and series has begun to blur in the post-television era, narratives are transforming according to the characteristics of the new medium. Streaming services targeting niche audience offer more freedom to creators of their content. This article aims to study the comedy series Bartu Ben (Its me, Bartu) which is one of the original series of Turkish streaming service Blu TV, in order to interpret the differences of the series from traditional television comedies, and contribution of streaming services to the transformation of the genre. Keywords: Comedy; streaming services, Turkish cinema; Turkish television series; Bartu Ben; Netflix New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press Transformation of Comedy with Streaming Services: The Case of Bartu Ben Nisa Yıldırım Introduction In the recent era, the distinction between cinematic and televisual narratives has been blurring due to the evolution of these two media with the impact of digital technologies. Streaming services have been threatening cinema and television lately in terms of both production and distribution by creating their original films and series, besides offering wide-ranging archives including films, series, and documentaries from various countries with subtitles and dubbing options.
    [Show full text]