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Abj e c t i o n
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I n t er t ex t u al i t y
(Intertextual take on Aimee Mann’s “Magnolia” Soundtrack.)
This segue's into a song titled: "I'm Not Crying." Which sung as a duet between Jemaine and Bret (like every other song), each of them making excuses for why they are crying, insisting they are not. Society frowns on heterosexual males showing emotion, especially crying. The joke being that they are both so obviously crying, because they miss each other, very "gay." Then you are reminded that they are crying over a girl! They are straight! They challenge the social norm!
Jemaine is dressed in what appears to be drag but is actually an homage to David Bowie in the episode "Bowie". He is wearing make up caked on and his flailing around femininely. In this particular episode Jemaine (As Bowie) visits Bret in his sleep multiple times to give him advice about looking good and being attractive to people.
Bowie's sexuality, being questionable and a topic of discussion at the time makes this extremely relevant. The element of jouissance here being â€œintertextuslâ€? is prevalent because of the appearance of drag as a sexual means of communicated a sexuality foreign to the associated gender.
- Bret and Jemaine cuddle sexually.
- Intertextually intentional. - Sexual. - Playful. - Comedic.
(Jemaine Clement and Bret MCKenzie impersonating a famous Roling Stone cover)
(Famous photo of John Lennon spoongin Yoko Ono on the cover of the Roling Stone)
I rony Within the Flight of the Conchords. The viewer is immediately introduced to the lifestyle and relationship of Bret and Jemaine. On the surface, the spectator immediately realizes the two are male, best friends, roommates and bandmates, very normal. One quickly realizes that this is everything but a traditional friendship, full of behavior that American society would highlight as homosexual.
Jemaine goes on what appear to be dates - Sally is not enjoying herself - while Bret falls into a depression from missing Jemaine. Bret displays acts of jealousy and desperation and clearly misses his "partner" in crime, Jemaine. The audience sees shots of Bret playing frisbee alone in the park, trying to play music but can't with Jemaine, Bret cannot live without Jemaine. The behavior then turns away from sadness and into jealousy, Bret will not give Jemaine and Sally the time alone that Jemaine so desperately wants. There is a quick montage of Bret relentlessly tagging along with Sally and Jemaine on each date that they have. The montage concludes with the three of them waiting to eat at a Chinese restaurant. The tone of the scene would suggest not that Bret was the odd-man-out, but Sally. It almost feels that the date is now between Jemaine and Bret, Sally is on the outside and "interrupting.â€?
d e p t h l e s s n e s s
In the episode "New Fans" the two band mates find themselves in the apartment of two women who have been following them around to different shows. This episode is very spot on to our point because of its straight forward and "in your face" way. Mel walks in on bret in the bathroom and we see a picture she has created of the two of them sharing a body with a large penis. The draw of such an image regardless of personal sexual identity is remarkable and noticeable.
Liminality In my opinion, this is the clearest sociopolitical statement in the first season. In a country grounded so deeply rooted in Christianity, with biblical excerpts such as "thou shalt not lay with another man." Which Bret and Jemaine are challenging so obviously and intentionally, literally lying in the same place with another man. The brilliance lies in the shows reality that the two are not homosexuals, they are acting almost exactly opposite to how traditional, American men are condition by society to behave.
Bret and Jemaine I believe are well aware of the controversy and awkwardness in their show. They use soft comedy and awkward silence to pull away from the central issues in a scene/ episode. They really make the viewer think about the world we live in before we can see the world they live in. They address our sociopolitical issues, put them in the very front of our consciousness, yet display them in a fashion that has zero significance in a world nearly identical to our own. It is like seeing my life without all the negative judgments and stereotypes. In my opinion, it is a foundational piece of The Flight of the Conchords to give a stage and challenge sociopolitical realities in the United States of America.
Bi bl i ogr aphy 1 . " F l i ght of t heConc hor ds . "Wi k i pedi a. Wi k i medi aF oundat i on, 1 5Apr . 201 3. Web. 1 7 Apr . 201 3. 2. Gi bs on, Andy . " Ht t p: / / onl i nel i br ar y . wi l ey . c om/ doi / 1 0. 1 1 1 1 / j . 1 4 67 984 1 . 201 1 . 0051 5. x / abs t r ac t ; j s es s i o ni d=287 5B4 F A35C8CB1 229552A55B1 D5E 980. d04 t 01 ?deni edAc c es s Cus t omi s edMes s age=&us er I s Aut hent i c at ed=f al s e. "N. p. , 25Nov . 201 1 . Web. 3. " Sex i s m, Homophobi aandF l i ght of t heConc hor ds ?"Sweet es t Dr ai n. N. p. , n. d. Web. 4 . " Wi ngi ngI t . "F l i ght of t heConc hor ds . N. p. , n. d. Web. 1 7Apr . 201 3.