Ok Google, say hello to Ellen

So in the gentile world there's this festival called Halloween, and it's based on a pagan festival but we've pretty much reduced it to creepy lights and candy corn.

But Ellen decided to do a special episode, and that Google Assistant thingy that I write had a little guest-starring spot.

The News Anchor Dreams (a short story)

My flash fiction piece "11-6" was just published by Heartwood Literary Magazine at the Low-Residency MFA at West Virginia Wesleyan College. I feel like I've written 4 or 5 pieces that all spin out of visiting the Big Bang Theory set, and you can't really tell it from the piece, but I think this is one of them. It's definitely about moving places with only a modicum of confidence (and slightly more divine faith, but not much) and having your life revolve around your job. 

Here's how it starts.

11-6

11-6

FICTION BY MATTHUE ROTH

The news anchor dreams there is a fire, a very bad fire. The only thing that can stop it is water. Everyone is waiting until the fire reaches the ocean. Until it does, the only thing to be done is to report on it. He reads a list of names, of people and businesses and towns affected by the fire. All the names are foreign. He does his best to pronounce each one correctly, short of putting on an accent, which doesn’t test well with the target demographics and makes him feel insincere.

He reads names. He tries to give gravity to each, knowing that among his audience are people with relatives there, people on vacation from there, people whom he is telling that their families are dead. He can’t linger long, though. There are more people waiting to hear the name of the next town to be incinerated, if it is theirs. He pauses before the next name. It is his own language, his own town—the place where he lives now. He lives two blocks away from the TV studio. He can make it to bed fast after the 11:00 news, and then he can be there bright and early for the morning news at six. It doesn’t feel like it’s burning. This must be some weird quirk of live TV, the way it’s filmed, like the five-second delay in case anybody curses.

But they are. They’re burning, and then everyone is dead.

[ read the rest ]

Goldbergs, Meet the Goldbergs

My wonderful friend Sarah Lefton wrote me an email the other day:

I just want you to know that although I have no idea what your feelings are on the matter, and you've been either surprisingly (or studiously) publicly quiet about the matter, I am enraged on your behalf about The Goldbergs and have found myself talking about your book an awful lot lately.

So actually, yes, my first novel was called Never Mind the Goldbergs and was a book that was about a TV sitcom. I'm told that it's totally nothing like the new TV show, although, when I first found out about it, I started telling people that they utterly ripped off my book for their background color.

I didn't actually think for one second that ABC used or borrowed or even knew about my book. Really, both of us should be dipping our hats to the original Goldbergs, a radio-and-then-TV series in the 1950s written by and starring Gertrude Berg, who was probably one of the most versatile and amazing people who ever worked on TV. (Primary evidence: It takes major cojones to produce an episode about racism and anti-Jewish sentiment in America...during World War II.) Although, hey, I did give the old TV show a shoutout in my book.

Here's the real bummer of it: Never Mind the Goldbergs did really well last year. It sold out its complete first printing -- which, because it's Scholastic, they'll print tons of copies and just expect them to last forever. But this summer, some friends told me that Amazon had stopped listing the book. I called Scholastic to find out what was up. Apparently they had sold out completely, and they don't see a sufficient need to reprint.

BUT DUDES THERE'S A MAJOR TV SHOW WITH THE SAME FREAKING NAME AS MY BOOK THAT'S ABOUT TO BE ON AND--

I did not write that email to them. I also didn't yell at them when I found out they got rid of the last hundred hardcover copies by selling them for 50 cents each to some random store in the Midwest instead of asking me if I wanted them. I love Scholastic -- I mean, Goldbergs wouldn't be in print if it wasn't for them -- but, yeah. Sometimes you get the bear and sometimes you get the bear trap.

On the plus side, I do own the rights to my book again. And my agent is really excited about finding a new publisher. And in the meantime, I have this new book that, if you haven't heard, is doing pretty insanely wonderfully. So I'm in a mostly-good mood. And if you do want to read Goldbergs in the meantime, just email me and I'll send you an ebook of it.

And, if any of you know those people from that other Goldbergs? Feel free to tell them I said hey. And if they ever want to make another series, we can totally reprint it as Never Mind the Goldsteins.

Geeks Vs. Nerds. Vs. Self Respect

Of the many reasons I love Eric Linus Kaplan, here is the most recent:

[–]Smalz22 1 point 8 minutes ago

I love Futurama, its one of the greatest shows written and I thank you for being a part of that. That being said, I hate Big Bang Theory and cannot stand watching it. Most of its criticism from the actual nerd community is that its a show about geeks and nerds made solely to make fun of them, not a show for nerds and geeks that partakes in humor and inside jokes that only the nerds would understand.

Do you feel like that's an accurate criticism to have? and what do you do as a writer to make the show like that/avoid that?

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[–]ericlinuskaplan[S] 1 point 6 minutes ago

I don't think that's true. It is a show about scientists. We have lots of jokes that are specifically about science. I don't think "geeks" and "nerds" should call themselves that -- it's disrespecting yourself. Say that you're scholarly, or you like to read, or you don't care about fashion. I don't know that humor that only nerds would understand means. I put in jokes about Frege and logicism -- that's humor that only people who know about that might understand, maybe. But you don't have to be a "nerd" to like science. I know analytic philosophers who dress great and love sports. Why are we allowing this hostile classification to make divisions among us?

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He's doing an AMA on Reddit now! Go ask him questions!

The Orthodox Jersey Shore

When Frum Satire showed me In Over Our Heads -- billed as "the first unscripted Jewish reality television series" -- my knee-jerk reaction was, is it good for Orthodox Jews? The first episode followed women on a trip to the mikveh, a bath used for, uh, spiritual cleanliness (or, "ending the period of not having sex and transitioning into having sex," as one character puts it).

The second episode is less abrasively sex-centric, but manages to be even more sexual: Our heroes leave their religious community for the night, go into the city, and stay up all night at a dance club.


The verdict's still out. When new, odd Orthodox articles or stories or videos come out, I get a surge of overprotectiveness, because if you're Orthodox, every non-Orthodox person you meet over the next month will make all sorts of sweeping generalizations that your life is exactly like the thing they saw on YouTube. (If you think I'm exaggerating, I'm not -- you won't believe how many people asked me which Hasidic folk song Lady Gaga stole the hook to "Bad Romance" from.)

The show has its stronger and weaker moments. I'd be the last person to argue that dancing isn't a form of spirituality, but I cringe watching one Orthodox character struggle to defend her spiritual practice, eyelids fluttering from being up all night while scarfing down coffee, while sitting next to some non-Orthodox guy who keeps cutting her off and cursing at her. "A lot of people are afraid of what's inside them and don't express it," she says. "But if you express it, then you're free." On the other hand, it's flippin' reality TV. Of course these people aren't at their most coherent state.

The series has some moments of blinding clarity, and they've picked strong, smart, and likeable characters. We want to know these people. In some way, we do know them. Not just those of us who have friends, family, or who've even been those kids sneaking out at night from Monsey to the city, but for all of us who've been different.

I think I will keep watching In Over Our Heads, even if I'm not totally with it yet. It feels like we're watching a rehearsal for something. I'm not sure what it is yet -- they might not know either, either the producers or the stars -- but I'm excited to see it when it happens.

Lost Season 6 Spoilers

After you listen to this, you'll know just as much about the final season of "Lost" as you do now. Which is to say: There aren't really any spoilers.

This is just a poem. It's my fan-fiction version of what's going to happen in the next 18 or so weeks.

I hope you like it.

(If you can't hear it here, go to http://matthue.bandcamp.com.)

The Good Wife: Who You Callin’ Extra?

Matthue Roth worked on the set of the new CBS drama The Good Wife as an extra, and blogged about it Friday and Tuesday. The episode, "Unorthodox," is about the Hasidic Jewish community in Chicago. It aired yesterday.

If you who don't know, the main use of extras in film and TV is as background. Our job is to make reality look normal, or at least palatable, and fill it with much the same grouping of people who would otherwise exist on the very same street or park or police station -- only we are specifically hired, instead of gaping at the movie stars or straining to overhear the story, to completely ignore all of it.

So it's not surprising that, when they were originally casting this, they didn't think to call real Hasidim.You don't have to have an intimacy with God or an extensive knowledge of esoteric kabbalistic teachings to be able to walk down the street in a fur hat. As a matter of fact, it's probably better if you don't. A bunch of us were hassled by wardrobe people for having our tzitzit on the side, covered by our coat, instead of sticking out in front like a weird sort of phallic symbol. Authenticity gives people a reason to worry. They want to make things look right, not be right, and rightly so -- they're in the business of visuals. Instead, we give them roadblocks.

And more than a few additional problems.

We were supposed to have a sukkah. It is the middle of the Feast of Tabernacles, and observant Jews don't eat anything outside of a small palm frond-covered booth. Okay, anything is an overstatement. In severe cases, there's dispensation for eating snack food in small amounts. And it has to be certain kinds: only foods that satisfy the most general blessing, which means they basically have to be either completely ground up or chemically based. (Potato chips, for instance, are a question, because they still sort of look like potatoes.**) But that doesn't change the fact that the catering crew is putting out the lunch buffet, and it smells really good. Even when the menus are posted, and they're serving -- wait for it -- barbecue pork loins. It's not offensive. It's just funny.

Rabbi Elli grabs me by the kapote and whisks me out of there. We head to a local bodega, where we secure the most healthy choices we can muster with our restrictions: tortilla chips and hummus. When we return, everyone's looking at us. When we sit at our own table, with the other Hasidim-for-a-day, and start digging into our Garden of Eatin' Sesame Blues, it does nothing to diminish our conspicuousness. We might all be playing Hasidic Jews, but one thing never changes: the more Jewish you are, the more you stick out.

By the end of the day, playing a Hasid has run its course. I'm a little edgy, since people told me the shoot would take half a day, we've been here since 6 am, and it's already 4:30 pm. I told work I'd be in a few hours late. The other actors laugh at me. "'Half a day' means till 5!" they exclaim. "A full day will take you till midnight or one am" Then everyone takes turns telling their nightmare stories -- Elli was once filming in a concrete tube off the river in the middle of winter until 4 am -- and trade fables of Golden Time. Union pay scale provides for time-and-a-half for hours 9-10 in a day; then double-time up to hour 16. After that is something they call "Golden Time" -- for every hour worked past the 16th hour of a day, actors earn an entire day's pay. Possibly the only thing more legendary than getting paid Golden Time is the tradition of telling set stories itself.

For the final scene, the producers bundle all the extras out into the sidewalk. A truck pulls away from the curb; Ms. Margulies and Ms. Panjabi stand in the center of the street, watching meaningfully as it zooms off. I'm again paired with my wife (sans kids, this time), and we take upon ourselves the now-familiar goal of walking down the street and pretending to talk to each other. Now, though, we actually talk. Either I'm getting to be a passable actor, or we have enough shared experience that we can.

She tells me how she started out as a stage actor, got into this area. How she's good at this, how it's kind of become her regular schedule, how being stereotyped is an advantage. (Her agent says she looks "ethnic," which means that she's often called upon to play Jews, Greeks, and Arabs. Recently, she purchased her own burqa and learned to tie it, which means that, like my beard and sidecurls, she's paid $18 extra a day for "authentic attire.")

Last year, she scored the dream of dreams, a recurring role on a TV show that happened to be made by one of my favorite TV writers (Rob Thomas, who did Veronica Mars). The show was canceled, however, and she was back to doing this.

"It's not a bad life," she told me. "I get to stand in front of cameras. I get to be recognized. And sometimes, occasionally, when I get thrown a line or placed in a good spot in front of the camera, I get to really flex my acting muscles. I get to be somebody else."

My first book, Never Mind the Goldbergs, was the story of a girl who starred on a sitcom about an Orthodox Jewish family. The girl, Hava, was Orthodox herself -- but being Orthodox was one small part of who she was. You'd never tell by looking at her: she was also a punk-rock New York kid who dressed in different outrageous outfits every day. On the sitcom, however, she wasn't playing the sort of Jew that she was; she was just playing a Jew, an everyman sort of stereotypical Jewish girl. For the time that the camera was on her, the rest of her sort of disappeared.

All day, I've been going through the same sort of thing. The pretty and familiar-looking girl who'd been walking down the other side of street all day -- as soon as the last cut was called, she whisked off her wig. Her jet-black wig was replaced by a shock of bright red Manic Panic-ed hair. Her Jewish features now could have been Turkish, or Greek, or Arabic or just straight-up generic American. She was a Jew for the day, and now the day was over.

As I pulled off my hat and coat and pulled on my actual cold-weather puffy coat -- still Hasidic, just a little less obviously so -- I felt the barest shudder of a Hollywood wish. Would Hasidim ever be more than that? Would anyone in television ever be more than a cliché of themselves? Did we even want to be?

The answer is, in some ways, embodied by Archie Panjabi, who plays Margulies's sidekick, the show's investigator. She might be the only Punjabi Sikh actor on prime-time American television. She is smart, sassy, flirty and just a touch mysterious. She doesn't have any trouble manifesting her cultural identity -- by which I mean, it isn't like she's acting white on the show -- but it's more that she is so many other things in addition to that.

Maybe that's why the knee-jerk reaction of Hasidic Jews to seeing Hasidic Jews on television is to be offended. Not because they're stereotyping us, but because they're reducing us. And, just like every Hollywood actor who gets glamorized in every inch of their lives, from their cellulite to their multiple adoptions -- and just like, I suppose, everyone, in their own way -- we just want to be adored.

____
** -- I'm grossly oversimplifying it, I know.

The Good Wife, Part II: Hurry Up and Wait

Matthue Roth worked on the set of the new CBS drama The Good Wife as an extra, and first blogged about it Friday. The episode, "Unorthodox," is about the Hasidic Jewish community in Chicago. It airs on Tuesday, Nov. 10 at 10 EDT.


The Good Wife takes place in Chicago -- fictionally, anyway. There are three Hasidic synagogues in Chicago that I can think of, having lived there for a year, but even the mostly-Jewish neighborhood, West Rodgers Park, is scarcely a hotbed of Hasidic culture like they're portraying it today, with dozens of Hasidic families swarming down the streets. And they definitely don't live in the stately downtown brownstones that we're filming in front of today.

It's kind of bizarre, but it's also kind of flattering. I mean, over the course of the day I will listen to Julianna Margulies inquiring again and again about the meaning of an eruv. Up-and-coming actors are dressed in the cultural garb of my people. What's not to like?They bring us out to the street where they're filming. Fake props abound: clip-on payos (for kids and adults), fake beards, strollers packed with plastic kids. It's particularly disorienting to hear a bunch of ten-year-olds, all payos-and-yarmulked up, talking about the Wii games that they want for Christmas. But, in a way, it's kind of nice to not get stared at by everyone on the street for the way I look. Or, at least, that the staring is divided up between me and all the fake Hasidim.

We are told to wait. I know about this part because everyone's told me that this is the cardinal rule of being an extra: "Hurry up and wait." In a fit of nervousness, I asked my token Hollywood-star friend Mayim Bialik for advice before the filming. She starred on a TV show in the '80s, but more recently has recurring roles on Curb Your Enthusiasm and The Secret Life of the American Teenager. She told me two things to remember:

1) Expect a lot of waiting (unrelated to your being Hasidic, just that's what it may be like), and
2) Expect to be poorly treated (ditto)

She also told me: "People may ask you random questions, and you are representing all of us, Hasidic and not, so do us proud!"

A production assistant grabbed my shoulder and started steering me down the street. He grouped me with two other Hasidim (the real ones, that is) and told us, when they called action, we were supposed to walk down the street.

I looked down the street. There, for the first time that day, I catch sight of Julianna Margulies. She's standing in front of the crane, inhaling wisps of coffee and talking to the other principal cast member there, Archie Panjabi. The director is telling them about the scene. I edge closer to the curb until I'm able to overhear, a process which causes several other extras to look at me like I'm crazy, but they do this for a living. They're used to it.

I overhear, and the plot for this scene is thus: They are going to climb out of a car. Then Ms. Margulies is going to walk around to Ms. Panjabi's side, and they are going to walk over to the curb together.

There's a tiny moment of disappointment in my chest. I was hoping for big spoilers. Juicy spoilers. Or possibly a moment where Ms. Margulies makes eye contact with me, something passionate and familiar is sighted, and she decides that the show needs a recurring Hasidic character. In this moment, I realize that walking down the street with two other long-coated dudes, as badass as we look, will probably not make that happen.

Not that it matters. That's not what I'm here for. I'm here to represent my people positively, and to look good. "Action!" the PA calls. We fall into step.

This happens two or three times. Then another PA, our original PA, walks up to us, shaking his head. "Something's not right," he announces, finally, after looking each of us up and down. "You. Come here."

He is talking to me.

He takes my coat again, pulls me back down the sidewalk to the other end. There's a young, short woman there who's been doing exactly what we've been doing from the other end, walking down the street pushing a stroller. Three small kids are in tow. "Walk with her," he tells me. "Be a family. Hustle your kids along. You know -- help out the wife."

I actually do have a wife. She's small and Hasidic and dark-haired. I have a daughter, too. I peek inside the carriage. Yep. Plastic. This is not my wife. This is not my child.

But, hey, I am an actor. That's why I got here. Because I can lie so well, I can even fool myself.

Again, someone calls action. We hustle.

One thing I never thought I'd have to do on a film set: babysit.

My new wife and I have four kids -- three real, one plastic. The real kids (the youngest is five, the oldest is eight; improbable, even for a Hasidic family) are pretty clearly not Hasidic. One boy is flicking the other's payos. The girl is trying to reach into the baby carriage without us noticing and turn the baby upside down. "What's your name, sweetie?" asks my ostensible wife. "Charlotte," says the girl, sweet as pop rocks. "Well, Charlotte, sweetie," she says, "please stop messing around with your little baby brother, or else you'll never work in the industry again."

Her lips curl back in a cruel smile. She manages to be elegant, polite, and unflinchingly brutal. She could completely pass as a Hasidic mother. Well, she could if it weren't for the hair and the hat. She introduces herself as Beatrice, and offers her hand -- a telling sign (as if everything else wasn't) that she's only Orthodox for the day.

And now, a note about the clothes: She's wearing her hair short, tucked up under a cloche, which is a '50s-style hat that's become weirdly fashionable in Modern Orthodox communities in recent years, but is next to anathema in most Hasidic circles. All the women are wearing flats (correct) and dark tights (depends which neighborhood you're in, but, okay, potentially correct) and long skirts, which definitely are Hasidic...although there's something unspoken, something intangible about some long skirts that is Hasidic, and something about others that isn't. I can't tell you what it is. Maybe I've been Hasidic so long that I have some sort of Hasid-dar, like when I had a gay roommate and developed really good gaydar? But right now, I am ostensibly surrounded by Hasidim, and it ain't goin' off.

One thing I will say that they got accurate: the kids aren't wearing Hasidic clothes. For some reason, although men are required to wear white shirts and black pants, and women have to have their wrists and nostrils covered, young boys can wear Gap jeans and girls can wear two-inch skirts and spandex everythings. (As a parent, my hypothesis is that kids will ruin clothes as fast as they wear them, so you're better off just getting the cheap stuff.) Similarly, these kids were dressed in their Children's Place best -- except for the fake payos and (real) yarmulkes, you couldn't tell they were Jewish. As a matter of fact, the next time that Beatrice tells the kids to be quiet and pay attention, they're discussing what Halloween costumes they're going to wear.

A costuming person runs up to us in a frenzy, stopping the action just as it's about to be called. "Your rings!" she yelps. She empties a variety of small gold bands into her palm. The PA grins at us wickedly. "Wouldn't do for that baby to be born out of sin," he says, gesturing toward our plastic progeny.

Beatrice chooses a ring swiftly. With me, it's harder. "I'll wear one," I offer. "But married Jewish men don't wear rings."

The costuming person doesn't believe me. I tell her, I'm married -- do you see a ring on my hand? We go back and forth a bit. Eventually, she shrugs it off and leaves.

"Typical," Beatrice says -- gently, but unmistakably critical. "The women get marked, and the men get let off easy."

"That's not true!" I insist. "There are ways to tell if a man's married, too."

"What are they, then?"

I flounder. The 5 a.m. curtain call is catching up with me. Then I recover: "By this coat," I say, remembering for the first time in a while how I'm dressed. "Only married men wear coats like this. There are also special kinds of hats, and socks"--well, okay, stockings, but I don't want to get too (ahem) technical--"and unmarried men don't wear a tallis when they pray…"

We both fall silent. The Hasidic guest stars for the episode arrive on set, and everyone is checking them out.

The woman looks legit. Her clothes are a little frumpy, but manageable; at least, they don't scream I'm a backwater shtetl girl from the 18th century like the Hasidim in Stranger Among Us. She actually looks pretty decent. And pretty, well, pretty. That's another unexpected development, that the Hasidim are young and actually sort of cool-looking. (She's also in a clochet, though.)

The guy, though. He has a three-day beard as if he came from the other half of Williamsburg. His hat would look more appropriate on a snowman. His jacket is buttoned the wrong way on top. He has long curly hair--not long, but much longer than a Hasid would--and his stuck-on sidecurls aren't much longer than the curls of his actual hair.

When the scene cuts, the Hasidic actors crowd together to complain. One of the younger ones is all afire. "He looks ridiculous!" he shrills. "He looks like a moron!" The older actors laugh at his outburst. "It'll never show up," they say. "When people watch on TV, they'll edit it out of their heads."

In Part III: Pork loin for lunch. Never Mind the Goldbergs. And a push for Hollywood's first Hasidic sitcom.

Yoo-Hoo, Mrs. Goldberg!

If you haven't schooled yourself on The Goldbergs -- one of the first American sitcoms, a virtual one-woman show created by writer/producer/director/star Gertrude Berg, who won the first Emmy Award for Best Actress ever given -- there's no better time than now to start.

For one thing, MJL just posted its history of The Goldbergs. It's a series that was on the radio for the better part of two decades, and television for five years -- and, today, barely anybody knows about the program. Hey, I didn't even know about the existence of The Goldbergsuntil I was halfway through writing a book about them.

The new film Yoo-Hoo, Mrs. Goldberg doesn't do penance for this oversight, but it's a great place to start. Documentarian Aviva Kempner's previous film, The Life and Times of Hank Greenberg covers the same time period and territory -- that is, the early 20th century, where Jews have already come over to America in large numbers and are just starting to deal with the question of what it means to be here. It's that question, and the various answers that are posited, that Kempner manages to express so eloquently.

If Yoo-Hoo has any major flaws, it's that it doesn't dwell long on the actual Goldbergs series. While Berg was a wild, compassionate, and multi-talented character -- she was a writer/director/actor "triple threat" before a label existed for such things -- so much of her public persona came from Molly Goldberg that it's hard to minimize the fictional Goldberg's influence on the real-life Berg. As Berg was fond of saying, she spent more time in her day writing, acting, and talking about Molly Goldberg than she did being herself.

That's not to say that Berg's struggle with her identity, as well as the struggle with the identity of her most-prized creation, don't come across in the film. It's exceedingly hard to follow the narrative rule of "show, don't tell" in a documentary, but Kempner accomplishes it masterfully. One scene, which combines file footage of Berg showing a TV interview crew around their house with Adam Berg talking about his grandmother's spending habits, it paints a picture that's both understated and incredibly vivid. Berg was both a modern, material woman and a first-generation American, and she combined the two in a personality that was equal parts regality and awe -- almost as if she couldn't believe the life she'd stepped into, but still wanted to do it right.

With a rollicking pace and a bunch of different voices, the film feels almost like an episode of The Goldbergs, telling a story that's warm and funny and existing just on the verge of believability...but always with that undercurrent of wonder that keeps you not just invested in the story, but cheering for the characters.

A bunch of first-person accounts -- from Berg's biographer and grandson, as well as some of the original actors and random people, among them Supreme Court Justice Ruth Bader Ginsburg, recounting their own memories of listening to the Goldbergs -- round out the documentary. There's also an awesome slate of guest appearances -- including the director, Aviva Kempner, as well as Mrs. Berg's grandson (who appears in the film, and tells some great stories), and the granddaughter of the actor who played "Uncle David" (of course) -- to go with screenings of the movie.

It's not an exaggeration to say that virtually every television show that's come after The Goldbergs, from the faintly Jewish tone of anti-Semite Archie Bunker's kvetching to the wacky plot twists of Full House and Arrested Development, bears in some way the genetics of its Jewish ancestor. When I wrote my own novel about a TV sitcom centered on a Jewish family, I called the book Never Mind the Goldbergs and the fictional TV show "The Goldbergs"--in the words of one character, it sounded "Jewish, but not too Jewish." I only learned halfway through writing that there already was a sitcom with that name. After contemplating changing the title, I decided to leave it untouched--both as an homage to the show that I never knew about, and as an homage to the idea that I'd somehow already connected with.