Weed: noun
1. a valueless plant growing wild, esp. one that grows on cultivated ground to the exclusion or injury of the desired crop.
2. any undesirable or troublesome plant, esp. one that grows profusely where it is not wanted: The vacant lot was covered with weeds.
3. Informal. a cigarette or cigar.
4. Slang. a marijuana cigarette.
5. a thin, ungainly person or animal.
6. a wretched or useless animal, esp. a horse unfit for racing or breeding purposes.
7. the weed,
a. Informal. tobacco.
b. Slang. marijuana. (Dictionary.com).
Also known as cannabis, ganja, and hashish. Used for recreational, medicinal, and spiritual purposes. Considered highly controversial and often dangerous. Powerful. Non-addictive. Illegal. Colloquial. Alternative. Pervasive.
08 June 2010
Nancy Botwin: Widow, Mother, Drug Queenpin
Nancy Botwin, on the exterior, is a typical upper-middle class suburban mother. She flaunts a designer handbag knock-off, reads a fashion magazine while sitting under a tent during her son’s soccer game, harbors an addiction to lattes, and… deals weed?
This blog seeks to analyze the Showtime series Weeds, and specifically themes surrounding main character Nancy Botwin. Topics that will be covered include (but are not limited to) the role of gender in drug dealing, Nancy’s addictions, and the various other “weeds” in Nancy’s life, Additionally, the significance of non-diegetic music utilized by the show will be explored. This blog not only serves as a class project, but as an exercise in the dissemination of a popular medium through a sociological lens by a fledgling media critic, student, and fan.
This blog seeks to analyze the Showtime series Weeds, and specifically themes surrounding main character Nancy Botwin. Topics that will be covered include (but are not limited to) the role of gender in drug dealing, Nancy’s addictions, and the various other “weeds” in Nancy’s life, Additionally, the significance of non-diegetic music utilized by the show will be explored. This blog not only serves as a class project, but as an exercise in the dissemination of a popular medium through a sociological lens by a fledgling media critic, student, and fan.
“Hegemonic Masculinity” and the Female Drug Dealer
Weeds first premiered on the Showtime network in 2005. Now entering its sixth season, the dark comedy about a widowed mother who sells marijuana to her upper-middle class suburban neighbors has gained a large following. The audience has witnessed main character Nancy Botwin’s transformation from loving mother to jaded and fearful drug mafiosa by association. How did this happen?
In the beginning, Nancy was a recently widowed mother of two living in an upper-middle class neighborhood in southern California called Agrestic. In order to maintain her family’s level of luxury and security, she decided to sell marijuana to the surprisingly unlawful soccer moms and city councilmen of her picturesque community. While dealing drugs seems a surprising route for a woman of Nancy’s status and gender to take, researcher Fiona Hutton feels that this isn’t necessarily out of the ordinary. “It could be argued that those involved in drug dealing, both male and female, have ‘chosen’ this particular ‘career’ because of the limited options that are available to them in terms of lifestyle choices” (2005). Nancy had been a stay-at-home mother and housewife, with a questionable level of education (something which is never specifically discussed in the series), and therefore felt that she was unqualified to do other jobs and make enough money to support her family.
Throughout the series, Nancy’s drug business and dealings with others escalate into a spectacle that seems highly unrealistic. However, Hutton’s research regarding the effects of gender on the role of the drug dealer explains many of Nancy’s alliances and strategies. Hutton describes the world of drug dealing as revolving around the concept of “hegemonic masculinity”, which is “desired over all [other forms of masculinity]”, and stresses “toughness, machismo, aggression, and smartness”(546). According to this model, women are considered “passive and unsuitable for the world of drug dealing” (546). Women are less of a physical threat, are often vulnerable to being taken advantage of by other dealers, but may still use cunning and street smarts to outwit others and stay afloat in the business. This is evident in Weeds, as Nancy is a slight build physically, and poses little, if any, threat to the male dealers (who are nearly always portrayed as masculine, tough, and “buff”). In turn, she surrounds herself with male protectors, such as Conrad Shepherd, U-Turn, Guillermo, and eventually Tijuana mayor and drug kingpin Esteban Reyes, whom she marries to avoid the repercussions of being a “narc”.
Additionally, Nancy plays the clueless newbie stereotype to her advantage in many sticky situations, most notably when being held at gunpoint in the season three episode named “Doing the Backstroke”. (Weeds: Season 3). As a fledgling drug pusher she often fails to acknowledge the danger associated with the profession, such as the threats of blackmail, legal repercussions, and endangerment of both her family and herself. Yet, she still manages to avoid the certain death that a seasoned dealer would be met with. She has the keen ability to talk herself out of life-threatening situations by playing the role of the damsel in distress, which highlights her street smarts over her physical abilities.
In the beginning, Nancy was a recently widowed mother of two living in an upper-middle class neighborhood in southern California called Agrestic. In order to maintain her family’s level of luxury and security, she decided to sell marijuana to the surprisingly unlawful soccer moms and city councilmen of her picturesque community. While dealing drugs seems a surprising route for a woman of Nancy’s status and gender to take, researcher Fiona Hutton feels that this isn’t necessarily out of the ordinary. “It could be argued that those involved in drug dealing, both male and female, have ‘chosen’ this particular ‘career’ because of the limited options that are available to them in terms of lifestyle choices” (2005). Nancy had been a stay-at-home mother and housewife, with a questionable level of education (something which is never specifically discussed in the series), and therefore felt that she was unqualified to do other jobs and make enough money to support her family.
Throughout the series, Nancy’s drug business and dealings with others escalate into a spectacle that seems highly unrealistic. However, Hutton’s research regarding the effects of gender on the role of the drug dealer explains many of Nancy’s alliances and strategies. Hutton describes the world of drug dealing as revolving around the concept of “hegemonic masculinity”, which is “desired over all [other forms of masculinity]”, and stresses “toughness, machismo, aggression, and smartness”(546). According to this model, women are considered “passive and unsuitable for the world of drug dealing” (546). Women are less of a physical threat, are often vulnerable to being taken advantage of by other dealers, but may still use cunning and street smarts to outwit others and stay afloat in the business. This is evident in Weeds, as Nancy is a slight build physically, and poses little, if any, threat to the male dealers (who are nearly always portrayed as masculine, tough, and “buff”). In turn, she surrounds herself with male protectors, such as Conrad Shepherd, U-Turn, Guillermo, and eventually Tijuana mayor and drug kingpin Esteban Reyes, whom she marries to avoid the repercussions of being a “narc”.
Additionally, Nancy plays the clueless newbie stereotype to her advantage in many sticky situations, most notably when being held at gunpoint in the season three episode named “Doing the Backstroke”. (Weeds: Season 3). As a fledgling drug pusher she often fails to acknowledge the danger associated with the profession, such as the threats of blackmail, legal repercussions, and endangerment of both her family and herself. Yet, she still manages to avoid the certain death that a seasoned dealer would be met with. She has the keen ability to talk herself out of life-threatening situations by playing the role of the damsel in distress, which highlights her street smarts over her physical abilities.
The “weeds” of Weeds
Beyond the colloquial association of the term “weed” to reference marijuana, the word holds several more meanings that are relevant to Weeds, especially in relation to Nancy’s supporting characters. Andy Botwin, Nancy’s brother-in-law, initially freeloads on Nancy’s affluent lifestyle, thus he can be considered an “undesirable or troublesome plant, esp. one that grows profusely where it is not wanted“, a lesser known definition of the word “weed” (Dictionary.com). We find out that Andy has spent a large portion of his adult life drifting from place to place on a whim, and he ends up at Nancy’s house, much to her chagrin. Nancy spends the better part of the first season letting Andy know that she doesn’t want him around, but he stays in her domain. Her voice changes, however, in later seasons when she realizes that he has been a blessing, rather than a curse.
Both Celia Hodes and Doug Wilson are characters that regularly serve as roadblocks in Nancy’s life, and could also be considered “useless and wretched” (Dictionary.com). Celia is both Nancy’s friend and enemy, and often maliciously escalates the situation Nancy is currently dealing with, such as throwing Nancy’s supply of marijuana in her pool in “Doing the Backstroke” (Weeds: Season 3). At the same time, Doug is Nancy’s inept accountant who unknowingly throws a wrench in her plans by embezzling money, toying with Celia, and being portrayed as perpetually high.
Both Celia Hodes and Doug Wilson are characters that regularly serve as roadblocks in Nancy’s life, and could also be considered “useless and wretched” (Dictionary.com). Celia is both Nancy’s friend and enemy, and often maliciously escalates the situation Nancy is currently dealing with, such as throwing Nancy’s supply of marijuana in her pool in “Doing the Backstroke” (Weeds: Season 3). At the same time, Doug is Nancy’s inept accountant who unknowingly throws a wrench in her plans by embezzling money, toying with Celia, and being portrayed as perpetually high.
Nancy’s Addictions
Over the course of Weeds, Nancy Botwin can be witnessed smoking the drug she peddles only one time, in the episode titled, “Must Find Toes” (Weeds: Season 2). Nancy doesn’t seem to be above addiction, though, as she can be seen drinking a latte or Diet Coke in nearly every scene prior and subsequent. According to Running & FitNews, caffeine use among American adults is highly common, because the “abundantly available” legal drug is heralded for its “ability to ward off sleep, decrease pain and fatigue, boost memory, and enhance mood” (5). The drawback to habitual caffeine consumption is dependency, and it is apparent that Nancy has developed a high tolerance for the drug. Additionally, we are introduced to her latte addiction in the very first Weeds episode, when her client, Josh, gets out of her car and knocks several empty cups onto the ground. “You should take [it] easy on the caffeine, Ms B. Don’t kid yourself, caffeine is a serious drug” (Weeds: Season 1).
Since we meet Nancy in a world where she must be the breadwinner for her family after living comfortably for many years, we can’t be sure of what her caffeine consumption patterns might have been prior to her late husband Judah’s death. However, the effects of caffeine consumption, while detrimental to health, might be considered an edge in the high stakes world of drug dealing. “Breathing tubes dilate, heart rate increases, muscles contract, and blood pressure rises,” according to Running & FitNews (5). These effects precede heightened sensory awareness, a trait that Nancy must possess as a female dealer in a violently male world. It is apparent that Nancy is not only highly tolerant of caffeine (as referenced in various episodes), but that she also self-medicates to cope with the risks in her role as a drug dealer.
Additionally, Nancy’s caffeine habit parallels the addictive nature of dealing itself, as well as a point made in Hutton’s research, that “risk is weighed up against the advantages of such a lifestyle” (552). While the risk of caffeine causing detrimental long-term effects is high, Nancy continues to use it for short-term gains; such is also her philosophy on drug dealing. Hutton interviews an Australian drug dealer named “Melanie”, who goes on to say that she is “hooked on the lifestyle side of [dealing]” (553), and the same is certainly true for Nancy. Just as she cannot seem to put down her latte, she never fully acts on the idea of getting out of the business, and keeps getting drawn back in by love, lust, money, and danger.
The fact that the portrayal of Nancy is not free from the perils and effects of addiction, despite the legality and accepted use of the substance, is a commentary about the state of the war on drugs in the United States. In an era of marijuana decriminalization, medical advances pertaining to the drug, and shifting public opinions, the legal implications of use and possession are still being tread upon lightly. According to a study by Ryan S. King and Marc Mauer, their research of marijuana arrest concludes that “the financial and personnel investment in marijuana offenses, at all points in the criminal justice system, diverts funds away from other crime types”, and that “$4 billion per year for marijuana alone, is being dedicated to minor offenses” (1). This supports the widely held belief that the war on drugs is failing, and that the focus of such a “war” should be on more harmful drugs. The juxtaposition of two widely used drugs, one legal and one not, subtly serves to get the viewer thinking about the implications of the current system, and the question why things are the way they are.
Since we meet Nancy in a world where she must be the breadwinner for her family after living comfortably for many years, we can’t be sure of what her caffeine consumption patterns might have been prior to her late husband Judah’s death. However, the effects of caffeine consumption, while detrimental to health, might be considered an edge in the high stakes world of drug dealing. “Breathing tubes dilate, heart rate increases, muscles contract, and blood pressure rises,” according to Running & FitNews (5). These effects precede heightened sensory awareness, a trait that Nancy must possess as a female dealer in a violently male world. It is apparent that Nancy is not only highly tolerant of caffeine (as referenced in various episodes), but that she also self-medicates to cope with the risks in her role as a drug dealer.
Additionally, Nancy’s caffeine habit parallels the addictive nature of dealing itself, as well as a point made in Hutton’s research, that “risk is weighed up against the advantages of such a lifestyle” (552). While the risk of caffeine causing detrimental long-term effects is high, Nancy continues to use it for short-term gains; such is also her philosophy on drug dealing. Hutton interviews an Australian drug dealer named “Melanie”, who goes on to say that she is “hooked on the lifestyle side of [dealing]” (553), and the same is certainly true for Nancy. Just as she cannot seem to put down her latte, she never fully acts on the idea of getting out of the business, and keeps getting drawn back in by love, lust, money, and danger.
The fact that the portrayal of Nancy is not free from the perils and effects of addiction, despite the legality and accepted use of the substance, is a commentary about the state of the war on drugs in the United States. In an era of marijuana decriminalization, medical advances pertaining to the drug, and shifting public opinions, the legal implications of use and possession are still being tread upon lightly. According to a study by Ryan S. King and Marc Mauer, their research of marijuana arrest concludes that “the financial and personnel investment in marijuana offenses, at all points in the criminal justice system, diverts funds away from other crime types”, and that “$4 billion per year for marijuana alone, is being dedicated to minor offenses” (1). This supports the widely held belief that the war on drugs is failing, and that the focus of such a “war” should be on more harmful drugs. The juxtaposition of two widely used drugs, one legal and one not, subtly serves to get the viewer thinking about the implications of the current system, and the question why things are the way they are.
The Music of Weeds
Through the course of the series, Weeds utilizes limited use of diegetic sound- that is, sound within the story world, such as that being played by a character, on a radio, or other such device. However, the show cleverly utilizes non-diegetic music (not within the story world) at the end of each episode to emphasize or make light of the situation occurring. The Weeds soundtrack champions independent and marginalized artists above popular acts, which is both a song licensing and aesthetic issue. Christopher Noxon, the show’s music supervisor, says that this method is intentional, and that the show “’[sounds] more distinct from other shows that go to the same stable of publishers who push writers or bands that all sound like Coldplay’" (Bessman). Artists such as State Radio, The Dresden Dolls, Of Montreal, Regina Spektor, Man Man, and many others, have been featured on Weeds.
The most important non-diegetic music, however, is the quirky opening theme for seasons 1 through 3, called “Little Boxes”, and performed originally by Malvina Reynolds. Reynolds is perhaps the greatest example of a “distinct” musician, as “Little Boxes” was released in 1964 when she was 64 years of age, and the song found only limited success, even after being covered by Pete Seeger. The lyrics of Reynolds’ song, paired with the melody, are a saddening observation of the post-World War II urban sprawl that occurred in large cities, and notably in California where both Reynolds’ wrote the song, and where Weeds takes place.
Little boxes on the hillside,
Little boxes made of ticky tacky,
Little boxes on the hillside,
Little boxes all the same.
There's a green one and a pink one
And a blue one and a yellow one,
And they're all made out of ticky tacky
And they all look just the same. (Reynolds 1-8).
The song goes on to detail the factory of the suburban neighborhood, a place in which residents go to college, become doctors and lawyers, start families, and send their children to summer camp,
Where they are put in boxes
And they come out all the same. (Reynolds 23-24).
With this in mind, “boxes” plays a double meaning, referring to both the identical nature of suburban homes within pre-packaged neighborhoods, as well as the cultural expectations and constraints of living in such an environment. Men are expected to go to school and get high-paying jobs, women are expected to take care of the children, and children are expected to accept and perpetuate this lifestyle. This theme runs parallel to Nancy’s struggles; she is forced out of this cycle and must embrace her new position, for better or for worse.
Additionally, the term “ticky tacky” is defined as “shoddy and unimaginatively designed; flimsy and dull”, referring to both the lack of variance from home to home, as well as the lack of construction integrity in each house (Dictionary.com). Even Nancy cannot recognize the home she in which she lives in episode 15 of season 3, titled “Go”. Nancy and drug dealer Guillermo are standing on a hill overlooking the Agrestic neighborhood, and she attempts to point to her house: “It’s that one. No… it’s that one? I don’t know, it’s over there somewhere.” (Weeds: Season 3). After Nancy expresses remorse for her loss of lifestyle and home, Guillermo goes on to assure her that “over the hill, there’s another one just like it”, emphasizing the prevalence of such neighborhoods and homes (Weeds: Season 3). When Nancy burns down her own home at the end of this episode, marking her newfound independence from the suburban lifestyle, Reynolds’ “Little Boxes” is played for the last time.
The most important non-diegetic music, however, is the quirky opening theme for seasons 1 through 3, called “Little Boxes”, and performed originally by Malvina Reynolds. Reynolds is perhaps the greatest example of a “distinct” musician, as “Little Boxes” was released in 1964 when she was 64 years of age, and the song found only limited success, even after being covered by Pete Seeger. The lyrics of Reynolds’ song, paired with the melody, are a saddening observation of the post-World War II urban sprawl that occurred in large cities, and notably in California where both Reynolds’ wrote the song, and where Weeds takes place.
Little boxes on the hillside,
Little boxes made of ticky tacky,
Little boxes on the hillside,
Little boxes all the same.
There's a green one and a pink one
And a blue one and a yellow one,
And they're all made out of ticky tacky
And they all look just the same. (Reynolds 1-8).
The song goes on to detail the factory of the suburban neighborhood, a place in which residents go to college, become doctors and lawyers, start families, and send their children to summer camp,
Where they are put in boxes
And they come out all the same. (Reynolds 23-24).
With this in mind, “boxes” plays a double meaning, referring to both the identical nature of suburban homes within pre-packaged neighborhoods, as well as the cultural expectations and constraints of living in such an environment. Men are expected to go to school and get high-paying jobs, women are expected to take care of the children, and children are expected to accept and perpetuate this lifestyle. This theme runs parallel to Nancy’s struggles; she is forced out of this cycle and must embrace her new position, for better or for worse.
Additionally, the term “ticky tacky” is defined as “shoddy and unimaginatively designed; flimsy and dull”, referring to both the lack of variance from home to home, as well as the lack of construction integrity in each house (Dictionary.com). Even Nancy cannot recognize the home she in which she lives in episode 15 of season 3, titled “Go”. Nancy and drug dealer Guillermo are standing on a hill overlooking the Agrestic neighborhood, and she attempts to point to her house: “It’s that one. No… it’s that one? I don’t know, it’s over there somewhere.” (Weeds: Season 3). After Nancy expresses remorse for her loss of lifestyle and home, Guillermo goes on to assure her that “over the hill, there’s another one just like it”, emphasizing the prevalence of such neighborhoods and homes (Weeds: Season 3). When Nancy burns down her own home at the end of this episode, marking her newfound independence from the suburban lifestyle, Reynolds’ “Little Boxes” is played for the last time.
Conclusion
The show Weeds is a rich sociological narrative, which seems absurd at times, but is not unordinary in its major themes and story. As discussed, it isn’t out of the ordinary for a person to adopt the lifestyle of a drug dealer when faced with extreme or challenging circumstances. Such is Nancy’s case, as a widow who seeks to maintain a lifestyle of upper-middle class affluence. Additionally, Nancy’s gender plays an important role in the plot and outcome of situations she gets into; it could be surmised that if a male played the main character in the show, Weeds might have wrapped after the second season at the gunpoint of two rival drug operations. The alternate definitions of “weed” also are important aspects of the show, in the form of supporting characters that starkly contrast Nancy. Production details, such as the inclusion of specific songs and lyrics to heighten emotion, are also require analysis, such as the theme song “Little Boxes”.
This blog is meant to exercise my skills as an analyst of pop culture through media, and by no means have I covered every aspect of Weeds. Further analysis can and should include Nancy’s evolving role as a mother, the “frenemy” paradox as exercised in the show, icons of suburbia, and technical production practices, such as lighting, scene composition, colors, and setting.
This blog is meant to exercise my skills as an analyst of pop culture through media, and by no means have I covered every aspect of Weeds. Further analysis can and should include Nancy’s evolving role as a mother, the “frenemy” paradox as exercised in the show, icons of suburbia, and technical production practices, such as lighting, scene composition, colors, and setting.
Works Cited
Bessman, Jim. “Folkie Rolls TV Hit.” Billboard 29 Oct 2005: 68. Print.
This article details the use of the folk song “Little Boxes” by Malvina Reynolds in the show Weeds. Music supervisor Christopher Noxon discusses growing up hearing the song, and how the nature of the song’s lyrics were a perfect fit with the themes of the show. He also discusses the other music utilized in the show, and licensing issues therein. Bessman also relates facts about little known artist Reynolds, her age at the song’s date of release, as well as her inspiration for writing the song. I found this article quite helpful in supporting my theory as to the use of the song in the series, as well as my inference that the use of lesser-known acts would pose fewer licensing and monetary issues for the show’s producers.
Hutton, Fiona. “Risky Business: Gender, drug dealing and risk.” Addiction Research & Theory 13.6 (2005): 545-54. Print.
Hutton examines the effects on gender in the role of a drug dealer by interviewing two male drug dealers and one female drug dealer. She covers topics such as the differences in visibility and risk associated with drug dealing between genders, as well as discussing the pervasive theme of the drug underworld, which is the idea of “hegemonic masculinity”. Hutton has authored several articles pertaining to drug use and club culture in New Zealand and Australia, and fully discloses her methodology and means of finding information. This article is extremely helpful in disseminating Weeds, as it is one of few articles of its kind- the world of drug dealing itself is very private, and female drug dealers are highly elusive creatures, as Hutton points out. Many of Hutton’s findings help to illuminate the major themes of the show, especially the idea of the “passive and unsuitable” female, and the subsequent power struggles.
“Kicking the Caffeine Habit.” Running & FitNews July/August 2008: 5-6. Print.
This article highlights the effects of caffeine use and the main reasons Americans use caffeine. The American acceptance of such a drug often goes without recognizing the symptoms and consequences of addiction. While the article itself is short, the topics covered are concise and help to bolster the claim that Nancy’s addiction to caffeine is as unhealthy as the mainstream stigmas regarding consumption of marijuana as highly unhealthy. I chose this article because I wanted to highlight the fact that while caffeine is legal, it still has profound effects on the body and mind (which for Nancy is both a blessing and a curse), much in the same way that marijuana has, despite it being illegal and somewhat widely used.
King, Ryan S., Mauer, Marc. “The war on marijuana: The transformation of the war on drugs in the 1990s.” Harm Reduction Journal 3.1 (2006): 6-17. Print.
The aim of King and Mauer’s article was to display the research regarding marijuana rates of offense and arrest, use of the drug, and the budget implications on local and national governments between 1990 and 2002. They surmise that while marijuana offenses have increased, this is mostly a result of the push by the Reagan administration in the 1980s to crack down on all drug offenses, and that despite the increase in marijuana-related charges, use has also increased. This research vilifies the “war on drugs” through actual results, which contrasts the information the government continually releases about the severity of drug use, despite lacking concrete statistics. I found this information to be extremely helpful in conveying the idea that the show’s creators also want viewers to question the motives of the drug war.
Reynolds, Malvina. “Little Boxes.” Sings the Truth. Columbia, 1967. Digital File.
This song, released in 1964, discusses the outgrowth of cities into suburban communities in the post-World War II era, and the implications therein. Reynolds tells of the “little boxes” that each member of suburbia is put into, and the expectations for each person, which is essentially to replicate the lifestyle through the generations. “Little Boxes” serves as the theme song to Weeds, and of course has large significance to the themes of the show itself. Breaking down the meaning of the song is highly important to an analysis of the series.
“ticky tacky.” Dictionary.com Unabridged. Random House, Inc. 6 June 2010.
The term “ticky tacky” was used and popularized by Reynolds’ song, “Little Boxes”. One meaning is “shoddy and unimaginatively designed”, which references the pre-packaged houses found in suburbia. I wanted to include this term in my analysis, as the constraints of living in a box of similarity are a theme of the show, and a struggle that Nancy must deal with.
“weed.” Dictionary.com Unabridged. Random House, Inc. 27 May 2010.
The definition of “weed” details seven different meanings of the word in the English language. My reference to the dictionary definition of “weed” serves to highlight the alternate definitions of the word; American society most widely uses the term to reference marijuana, or “undesirable or troublesome plants”. I wanted to understand and relate all of the definitions to Weeds, because whether it was intentional or not, the alternate definitions do indeed apply to other aspects of the show, beyond the title being the colloquialism for marijuana.
“Doing The Backstroke.” Weeds: Season 3. Writ: Jenji Kohan. Dir: L. Rose, B. Steers. Lionsgate Home Entertainment, 2007. DVD.
“Go.” Weeds: Season 3. Writ: Jenji Kohan. Dir: L. Rose, B. Steers. Lionsgate Home Entertainment, 2007. DVD.
“Must Find Toes.” Weeds: Season 2. Writ: Jenji Kohan. Dir. C. Zisk, B. Gordon. Lionsgate Home Entertainment, 2006. DVD.
“You Can’t Miss The Bear.” Weeds: Season 1. Writ: Jenji Kohan. Dir: Brian Dannelly. Lionsgate Home Entertainment, 2005. DVD.
Weeds is the inspiration and basis for this blog. It is unlike many other broadcast programs, insofar that it features a heavily flawed female lead, Nancy Botwin (Mary-Louise Parker), who is involved in dealing marijuana in order to maintain the affluent lifestyle she and her family had enjoyed prior to her husband’s sudden death. The show challenges the idea of the illegality of marijuana by depicting its general acceptance by the suburban populus, and avoiding portraying the legal repercussions of drug trafficking at all costs. The lifestyle isn’t necessarily all fun and games, but generally speaking Nancy finds herself in a plethora of alarming situations and manages to always come out on top. At the same time, Weeds is a portrait of a dysfunctional family, a departure from the nuclear families of other broadcast programs, one that is likely closer to the American standard. Nancy’s successes but mostly failures as a mother are also highlighted, as she navigates the drug underworld and focuses too often on her own well-being. This source is utilized heavily, considering it is the focus of my writing, and I use references to episodes to provide a snapshot of issues as they occur in the series.
This article details the use of the folk song “Little Boxes” by Malvina Reynolds in the show Weeds. Music supervisor Christopher Noxon discusses growing up hearing the song, and how the nature of the song’s lyrics were a perfect fit with the themes of the show. He also discusses the other music utilized in the show, and licensing issues therein. Bessman also relates facts about little known artist Reynolds, her age at the song’s date of release, as well as her inspiration for writing the song. I found this article quite helpful in supporting my theory as to the use of the song in the series, as well as my inference that the use of lesser-known acts would pose fewer licensing and monetary issues for the show’s producers.
Hutton, Fiona. “Risky Business: Gender, drug dealing and risk.” Addiction Research & Theory 13.6 (2005): 545-54. Print.
Hutton examines the effects on gender in the role of a drug dealer by interviewing two male drug dealers and one female drug dealer. She covers topics such as the differences in visibility and risk associated with drug dealing between genders, as well as discussing the pervasive theme of the drug underworld, which is the idea of “hegemonic masculinity”. Hutton has authored several articles pertaining to drug use and club culture in New Zealand and Australia, and fully discloses her methodology and means of finding information. This article is extremely helpful in disseminating Weeds, as it is one of few articles of its kind- the world of drug dealing itself is very private, and female drug dealers are highly elusive creatures, as Hutton points out. Many of Hutton’s findings help to illuminate the major themes of the show, especially the idea of the “passive and unsuitable” female, and the subsequent power struggles.
“Kicking the Caffeine Habit.” Running & FitNews July/August 2008: 5-6. Print.
This article highlights the effects of caffeine use and the main reasons Americans use caffeine. The American acceptance of such a drug often goes without recognizing the symptoms and consequences of addiction. While the article itself is short, the topics covered are concise and help to bolster the claim that Nancy’s addiction to caffeine is as unhealthy as the mainstream stigmas regarding consumption of marijuana as highly unhealthy. I chose this article because I wanted to highlight the fact that while caffeine is legal, it still has profound effects on the body and mind (which for Nancy is both a blessing and a curse), much in the same way that marijuana has, despite it being illegal and somewhat widely used.
King, Ryan S., Mauer, Marc. “The war on marijuana: The transformation of the war on drugs in the 1990s.” Harm Reduction Journal 3.1 (2006): 6-17. Print.
The aim of King and Mauer’s article was to display the research regarding marijuana rates of offense and arrest, use of the drug, and the budget implications on local and national governments between 1990 and 2002. They surmise that while marijuana offenses have increased, this is mostly a result of the push by the Reagan administration in the 1980s to crack down on all drug offenses, and that despite the increase in marijuana-related charges, use has also increased. This research vilifies the “war on drugs” through actual results, which contrasts the information the government continually releases about the severity of drug use, despite lacking concrete statistics. I found this information to be extremely helpful in conveying the idea that the show’s creators also want viewers to question the motives of the drug war.
Reynolds, Malvina. “Little Boxes.” Sings the Truth. Columbia, 1967. Digital File.
This song, released in 1964, discusses the outgrowth of cities into suburban communities in the post-World War II era, and the implications therein. Reynolds tells of the “little boxes” that each member of suburbia is put into, and the expectations for each person, which is essentially to replicate the lifestyle through the generations. “Little Boxes” serves as the theme song to Weeds, and of course has large significance to the themes of the show itself. Breaking down the meaning of the song is highly important to an analysis of the series.
“ticky tacky.” Dictionary.com Unabridged. Random House, Inc. 6 June 2010.
The term “ticky tacky” was used and popularized by Reynolds’ song, “Little Boxes”. One meaning is “shoddy and unimaginatively designed”, which references the pre-packaged houses found in suburbia. I wanted to include this term in my analysis, as the constraints of living in a box of similarity are a theme of the show, and a struggle that Nancy must deal with.
“weed.” Dictionary.com Unabridged. Random House, Inc. 27 May 2010.
The definition of “weed” details seven different meanings of the word in the English language. My reference to the dictionary definition of “weed” serves to highlight the alternate definitions of the word; American society most widely uses the term to reference marijuana, or “undesirable or troublesome plants”. I wanted to understand and relate all of the definitions to Weeds, because whether it was intentional or not, the alternate definitions do indeed apply to other aspects of the show, beyond the title being the colloquialism for marijuana.
“Doing The Backstroke.” Weeds: Season 3. Writ: Jenji Kohan. Dir: L. Rose, B. Steers. Lionsgate Home Entertainment, 2007. DVD.
“Go.” Weeds: Season 3. Writ: Jenji Kohan. Dir: L. Rose, B. Steers. Lionsgate Home Entertainment, 2007. DVD.
“Must Find Toes.” Weeds: Season 2. Writ: Jenji Kohan. Dir. C. Zisk, B. Gordon. Lionsgate Home Entertainment, 2006. DVD.
“You Can’t Miss The Bear.” Weeds: Season 1. Writ: Jenji Kohan. Dir: Brian Dannelly. Lionsgate Home Entertainment, 2005. DVD.
Weeds is the inspiration and basis for this blog. It is unlike many other broadcast programs, insofar that it features a heavily flawed female lead, Nancy Botwin (Mary-Louise Parker), who is involved in dealing marijuana in order to maintain the affluent lifestyle she and her family had enjoyed prior to her husband’s sudden death. The show challenges the idea of the illegality of marijuana by depicting its general acceptance by the suburban populus, and avoiding portraying the legal repercussions of drug trafficking at all costs. The lifestyle isn’t necessarily all fun and games, but generally speaking Nancy finds herself in a plethora of alarming situations and manages to always come out on top. At the same time, Weeds is a portrait of a dysfunctional family, a departure from the nuclear families of other broadcast programs, one that is likely closer to the American standard. Nancy’s successes but mostly failures as a mother are also highlighted, as she navigates the drug underworld and focuses too often on her own well-being. This source is utilized heavily, considering it is the focus of my writing, and I use references to episodes to provide a snapshot of issues as they occur in the series.
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