Category Archives: Advertising

Shooting Our Daughters’ Boyfriends: Toyota Camry Edition

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J.C. Schildbach, LMHC

In the race to sell cars by appealing to (the stereotype of) overprotective fathers (aka fathers who are obsessed their daughters’ sexual behavior/fathers who threaten other peoples’ sons) Toyota manages to get in maximum gross-out in minimal time with a disturbing 15-second ad for the Toyota Camry.

Dad enters the Toyota dealership, phone-gazing tween daughter in tow. He approaches Toyota spokeswoman/pretend car salesperson “Jan,” telling her “I need a safe car.” Apparently dad just up-and-decided to head out and buy a car without doing any research beforehand, and thought it was a good idea to start off his negotiation for a new car by immediately notifying the sales staff of just how ill-informed he is.

Jan’s response, “The Camry’s really safe. It has ten airbags. It even has a backup camera,” is almost as bizarre as dad’s clueless request. Is Jan implying that other cars in the Toyota line are not safe? Have fewer airbags? Don’t come with a back-up camera? Is there some reason Jan didn’t ask normal salesperson-type questions, like, “How big is your family?” Or, “What do you need the car for?”

But the strangeness of the initial exchange pales in comparison to what happens next.

Dad says, “That could come in handy.” The commercial then cuts to a scene in dad’s imagination. Dad is sitting in the Camry in a driveway, watching the image from his backup camera. It’s his daughter and a boy, standing awkwardly, leaning in to kiss each other. Dad gives two quick blasts of the horn, breaking up the kiss. Tween daughter emotes, “Da-ad!” Tween boy freezes for a second, then bolts.

Toyota what dad saw

What dad saw.

Toyota’s ad agency apparently expects everybody to take this in without question, to chuckle at dad’s stealthy intervention, and to come away with the impression that the Camry has a lot of great safety features.

The ad begs so many questions, though, not the least of which is, doesn’t dad know how to work a rearview mirror? If dad had pulled the car in facing forward, instead of backing in, wouldn’t he have been able to completely avoid this situation altogether? After all, he would have been facing the kids as they said goodnight.

But the really big question is just what the hell is going on in dad’s mind that when somebody mentions a backup camera, his first thought is that he can use it to watch his daughter as she and her date try to have a goodnight kiss? Does dad imagine a number of other situations where he can use that backup camera to watch his daughter engage in physical contact with boys?

Probably shouldn’t answer that.

Toyota dad hands

Where are your hands, dad?  Show us your hands!

We cut back to the showroom, where dad throws his arm around his daughter, and says, “Gotta keep my little girl safe.” I’m not sure what form of virulent sexually transmitted disease dad thinks is lurking on the lip of his daughter’s 12-year-old date that he concludes he is keeping his daughter safe by using his car’s backup camera and horn to break up a quick peck.  If anything, dad’s actions just convinced those two kids to be much more careful about where they engage in any physical contact in the future—and to do all they can to hide it from dad.

Still, maybe that’s all dad wants—to make a little show of what he’s done to keep his daughter safe, so that he can feel better about himself for having such disturbing fantasies. Unfortunately, dad, your daughter doesn’t need you intervening in such a way—forever causing her to associate your leering…er…watchful eye with any romantic thoughts she might have toward another person. She might benefit from you being able to speak openly with her, and to move beyond your own shame about basic biological functions, so that she knows you are a safe person to turn to, rather than a controlling jerk who is likely to blow up at her if she admits to—I don’t know—let’s just call it ‘making a mistake’—of whatever kind—in her relationships.

You can just hear dad storming around the kitchen as his daughter sobs at the results of a pregnancy test. “How did this happen?!! I bought a car for Christ’s sake! It had a backup camera and everything!!” I’ll spare you whatever other thoughts dad might be having about backup cameras and his daughter getting pregnant.

But the commercial closes out instead with Jan ‘sympathizing’ with the tween daughter, saying, “He’ll only be like this for another 10 or 15 years.”

Pervy toyota dad

I’m so sorry, dear. I had no idea your dad would go there at the mention of a backup camera.

Wait. Does Jan have any idea what dad was just thinking about?   She has to, right? Otherwise, why would she specify 10 or 15 years? She is suggesting that in 10 or 15 years, the daughter might have gotten married, or moved away from dad, or whatever it is that supposedly is going to get dad to quit pointing backup cameras at her and her boyfriends, right?

Oh, Jan. You could’ve done so much better by this girl—by all girls. Don’t just encourage her to suck it up and put up with dad’s troubling attitudes and insecurities. Don’t just let dad get away with his pervy thoughts and car-based voyeurism.

Who am I kidding, though? Jan’s just trying to sell cars, not change the world. She’s just reading the words other people scripted for her—the stupid, stupid words, in a tired, awful, and nonsensical scenario.

You can see the whole commerical here (it has a “private” setting on Toyota’s own Youtube site for whatever reason).

…

Toyota. Let’s go places. Like the hell away from your dad. I think he’s trying to check us out on his backup camera.

 

 

Shooting Our Daughters’ Boyfriends—Chevy Malibu Edition

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J.C. Schildbach, LMHC

One of the ad industry’s favorite stereotypes is that of the overprotective father…perhaps more appropriately described as the father obsessed with his daughter’s sexual behavior. Currently, there are a number of commercials airing that—to varying degrees—make use of dear old dad’s insecurities about controlling access to his daughter’s erogenous zones as a strategy for selling cars. In today’s blog post, we look at the 2016 Chevy Malibu.

In past “Shooting” posts, the ads I’ve highlighted have typically coupled dad’s weird fixation on his daughter with the father’s tendency to threaten the daughter’s peer-age male friends. By the threat-making standard, Chevrolet’s “Car You Never Expected” commercial for the 2016 Malibu is pretty tame. It is actually absent any explicit threats, and any visible teens, as a focus group looks over an un-branded new car and wonders just what company might have made it, and how much it costs.

You can see the whole commercial here.

As the commercial’s host explains, the car comes equipped with “Teen Driver Technology,” which “lets parents view how their teens are driving.” There is no explanation offered as to what ‘viewing how teens are driving’ actually means. Is there a dashboard camera facing inward? A tracking device that spits out real-time location and traveling speed? A ‘black box’ that compiles stats?

The host goes on to promote other features of the teen-control technology, including how the car “even mutes the radio until the seatbelt is fastened,” at which point one of the focus-group women quips, “My husband could use that.” The woman’s joke is followed by an awkward edit of other group participants laughing in reaction to…well…something.

But the annoyed wife inadvertently brings up a good point. Why wouldn’t spouses (or partners, and family members of various stripes) use the Teen Driver Technology to track each other, or build a case to support their suspicions about just what is going on in that car? And what’s happening with all that information that’s being gathered under the stated goal of letting parents view how their teens are driving? But I digress…

Back on the topic of dads obsessed with their teen daughters’ sexual behavior, when the host first explains that the car allows parents to view how their teens are driving, the one identified dad says, as he settles in behind the wheel, “Will it keep track of how many boys get in the car?” We actually see the host and two women burst out laughing at dad’s witty rejoinder.

I cringed.

Teen Driver Dad

Oh, dad, it’s so hilarious that you want to spy on your daughter’s interactions with boys.  *Teen Driver Optional

Presumably the people who put the commercial together have hours of footage from these focus groups, but decided to go with the ‘creeping on my daughter’ comment—not somebody asking how the system actually works, or somebody commenting on how safe that would make them feel—but dad, cracking wise about how he can use spy-car technology to preserve his daughter’s purity.

And the phrasing of the joke—“Will it keep track of how many boys get in the car?” What do you imagine your daughter is doing when you’re not around?!? And just how many boys would it be acceptable to have in the car at one time, or in the course of a single day…or whatever you’re thinking about the numbers involved? What if no boys ever got in the car? What if there are always boys in the car with your daughter, but she’s not interested in boys in that way? What if the boys in the car aren’t interested in her (or any girls) that way? What if she’s just one of the guys? Or is capable of having male friends without there automatically being a sexual component? Or…well, the possibilities move far beyond the stupid limitations of your prurient assumptions, dad.

At base, though, it feels like an obnoxiously routine joke for a dad to make. All the people in the same frame with dad visibly laugh, like he’s said something witty and original.  Oh, how great it would have been if somebody reacted with distaste–ruining the shot.  But no, it was that laugh of familiarity–a safe laugh. It’s an old joke, with a slightly different twist—my car can support me in my societally-sanctioned, but still bizarre obsession with my teen daughter’s sexual behavior? Sign me up!!

But it’s the routine nature of the joke that makes it so disturbing. Making cracks about keeping boys away from our daughters is almost as common as complaining about the weather, or commenting on last night’s game.  It’s a topic that slides right into surface conversations we have with people we barely know.  It’s practically expected, and rarely questioned. We respond with a polite chuckle and move on, not bothering to think what’s beneath those little jokes.

What’s beneath those jokes, though, is an assertion that men need to control women at all stages of their lives, watching their every move, with the accompanying assertion that men must expend a great deal of energy to prevent one another from deflowering and despoiling the girls and women we each rightfully lay claim to.

You can take my daughter when you can pry her from my cold, dead hands.

Look, I get it that parents (not just creepy dads) want to keep their kids safe, that they want to help them avoid the pitfalls of heartbreak, and the potential for much greater relationship dangers.  And that people often make jokes to alleviate their fears. But if you just keep making the same tired jokes, and laughing about them—or even including them in commercials—without giving any thought to the jokes, then you’re really just getting bogged down in your fear—reacting to it, stuffing it down, rather than actually dealing with it. You’ll keep looking for answers that don’t actually move you forward, or better prepare your teens for anything.

So, with that in mind, I offer this new, if rather convoluted, slogan:

Chevy Malibu with Teen Driver Technology: because you’re incapable of having an honest and rational discussion with your teen about anything of a sexual nature and are praying that a car’s computer system can make up for that fact.

Or perhaps:

Chevy Malibu with Teen Driver Technology: a chastity belt for the 21st century.

Stay Tuned.

A Reframe for Dick Whitman OR Don Draper Gets Just Enough ‘Therapy’ to Go On Being Don Draper

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JC Schildbach, LMHC

(Spoiler Alert!)

Let’s imagine that Don Draper’s momentary breakdown—a realization of abandonment, followed by a phone call wherein he recounts his sins to Peggy, leading to an anxiety attack or some other form of emotional paralysis, which is essentially broken by a cathartic, sobbing hug with a stranger in a group “seminar”—is an honest therapeutic breakthrough.

don's anxiety

While many people have interpreted the final moments of the series as cynical—the smirk that rises on Don’s face as he sits in a meditation group, followed by the ring of a meditation bell fading into the opening of the Coke “Hilltop” commercial jingle—a better “reframe” for what happens with Don is that he recognizes how his own behavior has been impacting others, that he is able to identify his own feelings of emotional disconnection, and that he is able to gain some real acceptance of his situation and how to thrive in it.

Don's idea

In the terms of a therapeutic cliché, Don realized that when one cannot change one’s circumstances, one can change one’s response/attitude toward those circumstances.

Essentially, such a “reframe” relies on the acceptance of the idea that the “Hilltop” Coke commercial is Don’s concept (all apologies to Bill Backer)—an idea that hardly seems up for debate. Among other elements, in the final scenes of the final episode, Peggy’s plea to Don to “come home” involves the pointed appeal, “Don’t you want to work on Coke?” And the final words spoken, by one of the retreat leaders, before the Coke commercial closes out the series, are an invitation to greet the morning sunshine and bask in the possibilities of a “new day, new ideas, a new you.”

Don’s answer to Peggy’s question about working on the Coke account is, “I can’t. I can’t get out of here.” At that particular moment, it’s a statement of desperation. Don is panicked. He is stuck at a coastal retreat “somewhere in California” with no transportation.

But Don’s sense that he needs to be able to control where he is, and when he can leave, is about to melt away. After his moment of connection with fellow seminar-attendee, Leonard, Don realizes he can “work on Coke,” or any other account, so long as he abandons his need for control of the situation where he is working.

Don’s initial flight from McCann-Erickson is brought on by feeling he has lost control. He is called to a meeting for Miller Lite, only to realize he is one of many creative directors there—and not the creative director there. He quickly decides this is not for him, grabs up his catered box lunch, and hits the road.

Don’s need for control plays into his sobbing hug with Leonard—who details how he feels that his family doesn’t even look at him; that he doesn’t know how to give, receive, or even recognize love; and that “nobody cares I’m gone.”

don's hugg

In a moment of recognition and connection, Don realizes his family does not “care” that he’s gone, and that his idea of love is ill-defined at best. Of those family members he has tried to reach, daughter Sally and ex-wife Betty have told him to stay away, and that the lives of his sons are more stable in his absence. Stephanie, the niece of the (real deceased) Don Draper, both invites (the imposter) Don to the coastal retreat, and then leaves him stranded there, after telling him he is not part of her family (and after having her own desire for a therapeutic experience thwarted by what she feels are the judgmental and stereotypical attitudes about what she should value in life).

In the lead-up to Don’s hug with Leonard, it is only Peggy who urges Don to come home. And by “home” Peggy means back to work at McCann. It is Peggy alone who knows how to reach Don, and does so, rather than just accepting that Don does what Don does and leaving him to it. She appeals to the only thing that Don clearly loves—the pure joy of coming up with a winning ad campaign.

It’s possible to interpret Don’s brief breakdown as entirely self-serving—that he is distraught only because he has been abandoned instead of being the one to abandon, and because he lost the ability to just pick up and leave. He was even left without his usual means of numbing himself with alcohol and casual sex.

So when Leonard revealed his dream of being left alone in the dark on the refrigerator shelf, of course it struck a chord with Don. After all, Don’s whole career has been spent trying to get people to pick that particular item out of the refrigerator—the one that would make them whole. To do that, he needs to know how to connect with people like Leonard—people who have a sense of emptiness and who don’t know how to correct their emotional deficits. And now Don is trapped here with Leonard, in the dark and cold of that nightmare refrigerator where others are in charge of who gets in and out. That bit of recognition allows Don to plunge into his own feelings of sadness, if only for a moment, before he recognizes the value in what Peggy has told him, and the value of tuning into people like Leonard, at least until the end of the week.

It’s a fairly common misconception about therapy that such moments of insight and catharsis will lead to meaningful change, or that a therapist’s job is to provide a client with just the right piece of advice or insight to “fix” that client, and put the client on the right course for life. Part of that misconception can be attributed to “retreats” like the one where Don is stranded—certainly sold to the participants as a week of healing and life-affirming change. And, certainly, recognizing something lacking in yourself, and having a good cry can be helpful at times, but it doesn’t make you a different person. Real change takes will and work.

But if therapy is about meeting a person where s/he is, and helping that person to be the best version of who s/he can be at that time, and of using a ‘strengths-based’ approach that helps the person tune into their own abilities to address problems, then Don’s time away at the retreat is successful. Don not only has a moment of clarity and honest emotion; he gains acceptance about his own circumstances and how to change his response to them.

It is telling that in the final shot of Don’s family, we see them in a dimly-lit kitchen, Betty resignedly drawing on a cigarette, Sally, having assumed parental duties, washing dishes with her back turned to her mother and the camera. All this just before we see Don on a sunny cliff-top overlooking the Pacific Ocean and hear the opening words of the Coca-Cola jingle: “I’d like to buy the world a home, and furnish it with love.”

sally dishes, betty smokes

Don has spent a good portion of his adult life trying to fix problems with money and buying things, and exists in an industry where money and buying things is put forth as the answer to everything—even a broken home and the absence of love.

And Don has a significant history of childhood trauma and abandonment, and poor modeling from the adults in his life. A week of group seminars and meditation isn’t going to fix that.

But that week on the coast did give Don enough of a reframe to get him back to the work he loves, and to do that work successfully.

coke real thing

And that’s the real thing…or the realest thing we can expect from Don.

Suicide at the Oscars, part two: ‘The Phone Call’

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JC Schildbach, LMHC

It was a great year for crisis lines at the Oscars—or, rather, for films involving crisis lines. Not only did the documentary, Crisis Line: Veterans Press 1 take home a statue, but so did the short, live-action film The Phone Call. And, while Crisis Line: Veterans Press 1 tried (perhaps a little too enthusiastically) to convey a sense of the actual drama that can occur at a crisis line, The Phone Call comes across as a disturbingly simplistic endorsement of suicide-on-demand and irresponsible behavior by crisis line workers, all while portraying a dangerously inaccurate view of the function of crisis lines.

I will begin with the same bit of disclosure I placed at the beginning of my piece on Crisis Line: Veterans Press 1: Having spent more than five years working full-time for a crisis line, and continuing to work in a position sideways from, and occasionally overlapping with, such work, I can’t help but come to these films with something of a bias. And I will also offer up a spoiler alert for The Phone Call: if you haven’t seen it, and you don’t want to know exactly what happens, stop reading now.

The Phone Call seems to have generated most of its praise based on the acting of Sally Hawkins (as Heather) and Jim Broadbent (as Stanley/John)—which is undoubtedly solid, even given the ludicrous material. But most reactions seem to ignore any other critical angle—like the crass manipulations taking place in order to make The Phone Call happen at all.

To begin with, the call center where the story takes place seems to be lost in time. Despite the opening shot of the movie panning by a sign that reads “City WiFi Zone,” the crisis center apparently has no computers and no Internet hookup.

Now, I don’t know the current state of crisis line call centers in the UK, or really the state of any such call centers aside from the ones I’ve worked in, visited, or seen in documentaries—all in the United States. But I will say that if a call center in this day and age equips workers only with a pad of paper, a pen, a phone, and a lamp—they are verging on worker abuse. Absent the most dire of funding situations, failing to provide crisis line workers with computers and Internet access is simply unacceptable, given the relatively low cost of such amenities—and the necessity of such items in making it possible for workers to track down lifesaving information—or even to assist callers who are simply trying to access other services.

At one point in the movie, we see Sally Hawkins’ character, Heather, get up from her desk—thankfully she sat at the front of the room near the bookshelves—to try and look up the “mystery caller” in the notebooks where past call records are kept—handwritten on paper.

Add to that the script manipulation of having absolutely minimal staffing. Despite there being numerous desks in the call center, when Heather arrives, there is only one other worker there–Daniel.  At the only time Heather even considers enlisting Daniel’s help with Stanley/John, Daniel is talking with another caller, back turned to Heather, and flipping through a phone book, or some other reference material. She immediately (and completely irresponsibly) determines she can’t get Daniel’s attention—as if muting her phone and calling across the room would have been too much trouble to stop somebody from dying.

'Would you look at that? Daniel's busy. Guess you really are going to die today, Stanley.'

‘Would you look at that? Daniel’s busy. Guess you really are going to die today, Stanley.’

Stanley/John is also supposed to be a sympathetic character, the main reason being that his wife, Joan, died two years ago after a long struggle with cancer. As Heather questions Stanley/John about other family members he may have, we also find out that he and Joan tried to start a family, but had only one stillborn child, 25 years ago, and then were unable to have any children after that. Certainly, it’s a sad tale. Certainly, we can understand Stanley/John’s despair.

But just imagine being in the same situation as Heather—or really any crisis line worker—being treated the way Stanley/John is treating her. Stanley/John has decided he is going to die, and has decided that whatever random worker answers the phone is going to have to listen as it happens.

John/Stanley sobs, makes vague statements indicating he has taken actions to kill himself, and refuses to provide information under threat that he will hang up to prevent anyone from tracing the call and sending an ambulance. The audience has to accept that either the call center does not utilize caller id—further putting workers in a terrible situation—or that John/Stanley blocked his information, in order for the whole ‘hanging up’ thing to really work as a threat.

Stanley/John eventually reveals that he’s taken “Antidepressants” that he got “from the doctor.” But killing oneself with pills tends to be a lot trickier than most people realize—at least to do it in the calm, and apparently quick way that Stanley/John manages, all while allowing for a conversation and a quick death before the ambulance crew can arrive and try to revive him—and without his body doing its damnedest to try and expel the deadly pills he’s ingested. Then again, perhaps Heather waited a good long while before calling for the ambulance, as she was looking through notebook after notebook to find the right person named John who lived around the corner from the Boston.

The big moment of connection for Heather, where she (mostly) accepts Stanley/John’s decision to die, is when Stanley/John asks in a pressured tone, “Can you just stay there and talk to me? Are you allowed to do that? Can’t you just stay there and talk to me and hold my hand? Isn’t that alright?”

Heather’s answer: “Of course, I can. I’m not going anywhere.”

There are an infinite number of much better answers Heather could have given at that time. For instance: “No, that’s not allowed, Stanley/John. I’m not here to make you feel better about killing yourself. And, to be honest, if I was really doing my job, my co-worker, Daniel, here would know everything that was going on, and probably already have an ambulance heading your way.”

Instead, in the course of the short conversation, Heather passes up numerous chances to make more than just a conversational connection with Stanley/John. For instance, Heather and Stanley/John discuss jazz, including Stanley/John telling Heather he could teach her how to play tenor saxophone properly. Yet, rather than latch onto that, and suggest that Stanley/John maybe teach music, or otherwise get back into music, Heather doesn’t push on that point of Stanley/John’s ambivalence at all.

In fact, beyond asking about immediate family, Heather does nothing to find out if Stanley/John was involved in anything else in his entire life beyond his relationship with Joan. Work? Friends? Family? Hobbies? Pets?

Heather also does nothing to explore what Stanley/John has done to deal with his grief over the loss of his wife. All we know is that he got antidepressant pills from his doctor. Apparently, Heather takes this as evidence that Stanley/John really has made a valiant effort to deal with the kinds of normal struggles anybody feels at the loss of a long-time companion. ‘Oh? You got a prescription? Wow—that was very brave of you. I’m sorry you still ended up feeling something.’

And perhaps the most obvious thing Heather leaves out is asking how Stanley/John’s wife, Joan, might react to Stanley/John’s decision to kill himself. Or maybe we are meant to accept that Joan is the kind of person who would want her husband to die—that she’s something of a monster, and Stanley/John is really stressed out because he’s two years late on following through with their suicide pact.

Throughout the conversation, Heather lets Stanley/John bully her into not talking about the things she should be talking about, all with the threat that he’ll hang up, and the assertion of his ‘needs’—how he just can’t go on without Joan, but really needs someone to ‘hold his hand’ at the end.

We are supposed to find it comforting that once Stanley/John insists that it is, in fact, too late for a rescue, he compliments Heather, saying, “you’ve been wonderful. You’ve been a wonderful friend to me.”

But Heather is not Stanley/John’s friend, and isn’t supposed to be acting in that capacity. And really, if Heather was either doing her job right, or actually acting in a capacity as Stanley/John’s friend, she would have done more to try and help him.

And then we get the most maudlin endorsement of suicide ever committed to film—we see the ambulance arriving outside Stanley/John’s home. The camera switches to an interior shot of the home’s front door. We see someone arrive, and…it’s Joan! We never actually see Stanley/John, only hear him talking to Joan for a while.  She talks about how she’s “been looking for” him, and they both agree that they’ve missed each other. So, we get this reunited-in-death sap that makes this suicide seem cute, since it helped an old couple get back together.

'What, John? You've gone and killed yourself? You go to hell for that, don't you know?'

‘What, John? You’ve gone and killed yourself? You go to hell for that, don’t you know?’

It’s no surprise that director and co-writer Max Kirby comes out of the world of commercials and music videos. The Phone Call is practically a commercial for suicide, with all the depth of the average music video. It’s a concept piece that tries to press emotional buttons, while keeping the audience from engaging in too much thought.

As we watch The Phone Call, we are not meant to think about the value in going on with life, and finding meaning after loss. We don’t even get a serious look at suicide, depression, or mental illness, because we are given only the most surface reasons for Stanley/John to kill himself. We are supposed to take this all as somehow romantic—the sad, old man who just can’t go on without his wife. Isn’t it sweet that he’s killing himself?

And perhaps even more aggravating is the summation of the movie from its official website: “Heather works in a helpline call centre. When she receives a phone call from a mystery man, she has no idea that the encounter will change her life forever.”

I’m not sure exactly what we are supposed to take away from this tagline—that the big change in her life is that she is now carrying the burden of having sat through this man’s death, while being derelict about trying to help him? The big scene we are supposed to take as evidence of change is one in which we see Heather following through on part of the conversation she had with Stanley/John—to go back and visit a jazz club she used to frequent. We see her getting cozy with call center co-worker, Daniel, a potential relationship that was hinted at early in the movie. ‘Gee whiz, isn’t it nice that all it took was the suicide of an old man to make me get out and live a little? Isn’t this rosé delightful?’

To clarify, my reaction to the movie is not meant as some discussion about the right to die, but about the way crisis lines operate, and the absolutely awful way this is portrayed in the movie. It is simply not the job of crisis line workers—paid or volunteer—to just “hold a caller’s hand” while that caller dies by his/her own hand.

It is a hazard of working at a crisis line that one may end up on the phone with somebody as that person dies. But this is much different than such an occasion being the purpose of that work. A police officer has the potential hazard of being shot on the job—but it is not the police officer’s work to be shot on the job. A teacher may be subject to the hazard of being verbally abused or even hit by an angry child—but it is not the teacher’s job to be verbally abused or hit.

And what kind of horrible people would you be attracting to work at the crisis line if you told them that part of their job was just to listen as people die? What would be considered an appropriate level of intervention if just letting people die was considered an acceptable or even desired outcome?

Heather, like any crisis line worker, when confronted by questions of listening versus intervening, should make it clear that, as much as crisis line workers are there to offer support, they are required to intervene in order to prevent callers from completing suicide. And with experience and training, one will gain a better idea of just when that intervention needs to take place.

In the case of The Phone Call, there was an admission that a suicide attempt was already underway; and for all intents and purposes, Heather did nothing. We are supposed to see that as somehow touching, and even life-affirming.

Don’t just feel about that. Think about that.

 

And now for the obligatory ending: If you or someone you know is having thoughts of suicide, call the national (U.S.) suicide prevention hotline 1-800-273-TALK.

 

Supercharged Sex Pets: The Kia Soul EV Commercial, and Weird Sexist Hamster Science

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by J.C. Schildbach, MA, LMHC, ASOTP

In the commercial for the Kia Soul EV (Electric Vehicle), these hamsters…

Hamster scientist

…have just created some kind of electric-beam-shooting machine that transforms cars with combustion engines into electric cars, but which also inadvertently transforms this hamster…

Hamster ball

…into this hamster…

hamster hottie

…which leads the scientists to run out and get these hamsters…

Hamster cage

…in order to turn them into these hamsters:

Hamster sorority

You can watch the whole commercial here:

Now, I don’t know much about the normal behavior of the average anthropomorphic male hamster scientist, but the ones in this commercial are impulsive and reckless, and just plain engaging in bad scientific practices. It’s bad enough that they leave the newly-created anthropomorphic female porn-hamster alone in the lab, apparently irritating her, and leaving her to do God-knows-what with billions of dollars worth of barely-tested, super-high-tech equipment.

But they also, with complete disregard for their own safety, jump into an untested vehicle and race out of the lab with the intention of creating more female porn-hamsters. They don’t do any kind of systems check on the car, or even wait 30 seconds to, for instance, see if the porn-hamster they just created might have significant problems. Perhaps it suffers from severe physical or mental abnormalities. It could be hyper-aggressive or violent. One of its first actions, after all, was to blow a kiss across the room at one of the scientists, which actually had the electrified power to knock him to the floor. Guys, I don’t think you should be taking this so lightly.

Thankfully, the male hamster scientists make it to the pet store and back, nobody gets hurt, and the porn-hamsters only want to have a dance party.

Still, one has to wonder why these male hamster scientists are so enthralled by what they’ve created. I’ve not paid enough attention to the whole series of hamster commercials to know if the other female hamsters (are there other female hamsters?) in this Kia-commercial world have similar physical attributes to the male hamsters, as in looking like ‘real’ hamsters wearing clothing, or if all the female hamsters have the bodies of (human) Playboy playmates.

It bears asking, would the male hamsters really be attracted to some hideous abomination with the head of a hamster and the body of a human? After all, the female porn-hamsters seem to be attracted to the hamster-bodied males—or else they’re just tolerating them until they can escape. They would have to escape, right? The hamster scientists wouldn’t be so irresponsible as to just unleash these monstrosities on the world without knowing what they might do, right?

In any sci-fi/horror scenario, everything always seems great up front, and then rapidly goes to hell. First it’s a dance party, and then the killin’ starts. Just what can we expect from the porn-hamsters’ Frankenstein/Brundlefly/Jurassic Park moment? Or perhaps the better parallel is with Vincenzo Natali’s “Splice”—wherein genetic experiments lead to the creation of a hybrid human/insect thing that has sex with Adrien Brody and then kills him, and several others.

But, hey, for the Kia Soul EV, it’s still a dance party. We don’t have to worry about sex and murder. They even carefully edited the Maroon Five song that plays throughout the commercial to eliminate the lines “we get along when I’m inside you…I get so high when I’m inside you,” despite leaving in the lines about ‘hunting you down’ and ‘eating you alive.’ So, really, what happens if the porn-hamsters have some sort of melt-down, or revert back to their pre-porn-hamster selves?

Maybe I’m just taking this in the wrong direction. I mean, really, the ad is just a wacky homage to “Weird Science”—right? It’s light and fluffy, and titillating in a bestiality-inspiring way. And having a commercial that’s based on a film where two teens create a woman to satisfy their creepy urges, then turn Bill Paxton into a talking pile of turd, and accidentally end up with a nuclear weapon in their living room in the middle of a house party with uninvited bikers is all just in good fun. No harm done.

Yet, underlying the whole Kia Soul EV commercial is a bunch of disturbing assumptions about gender stereotypes, the ideal woman, and sex in general.

If you break it down we have 1) scientists who are all male;  2) a female who is, at first, kept as a pet locked up in a plastic ball, and then turned into a an anthropomorphic human-Playboy-playmate-bodied porn-hamster; 3) the all-male scientist group racing out to buy more pets that they can turn into a whole roomful of porn-hamsters; and 4) the female porn-hamsters instantly falling in love with the anthropomorphic, male, hamster-bodied hamster scientists.

So, the “men” in this commercial have jobs and are intelligent and seeking to advance science (I mean, holy shit!!–they invented a big ray-gun that can transform the power system of a car, when they could have just worked on engineering a better battery). The “women” in this commercial are initially tiny pets who are kept locked up, and can be sold at any time. Eventually, the pet-women are transformed into sex objects who instantly fall in love with the men, despite nothing happening to inspire love aside from being shot with some mysterious ray-gun that also turns gas-powered cars into electric cars.

And, again, maybe I’m just looking at this the wrong way. Personally, though, I was really creeped out the first time I saw it, and that had nothing to do with the use of a Maroon Five song. I just couldn’t help but think that the underlying story of buying pets to turn them into potential sex partners was just wrong and disturbing.

If you don’t see that, then let me ask you what would be the equivalent if this commercial involved humans instead of hamsters? Would the “pets” be chimps? Monkeys of some sort? Human babies? Tiny little humans that are sold in pet stores? If they weren’t human to begin with, would they retain their monkey/ape faces? If they were human… Well, whatever the angle, it’s pretty damn creepy.

And maybe you don’t see the supercharged sexism because they’re just hamsters, after all, and it’s basically just a cartoon. But cartoons still carry messages, and plenty of them carry messages involving and reinforcing gender stereotypes—most commonly that boys/men are action-oriented and assertive, while girls/women are passive and interested in socializing and being cute.

At base, this Kia Soul EV ‘cartoon’ relays the message that men act on the world, even as they are controlled by their sexual urges, while women (and pets?) exist to be the focus of men’s sexual urges.

Take it into your lab, dissect it, throw it under a microscope, zap it with whatever you want—if you take the time to study it, even a little, it’s far from a cute little ad with fun intentions.  Rather, it’s an ugly, dangerous Frankenstein’s monster of a message to send.