![]() ( Work In Progress utilizes flashbacks to Abby and her ex, contrasting them with her time with Chris.) It’s also at play when it comes to depicting the queer spectrum - and especially when viewed in tandem with The L Word: Generation Q, its Sunday-night counterpart. The specificity is apparent throughout the episodes: when it comes to bridging the gap between different generations of queer people, the complexity of friendships, the intersection of multiple identities, the navigation of mental health, and the ways in which we carry our past relationships into our current ones. ![]() ![]() It even accurately depicts that look, the one that cis women glare because they think you’re in the wrong bathroom, and Abby’s go-to high-pitched voice she uses to ensure those women that she also belongs in there. The episode that quickly won me over, “161, 153, 137, 122, 106, 104, 102 (We’re Still Counting Almonds),” revolves heavily around the problem of feeling unsafe in public bathrooms. In the pilot, she spots Julia Sweeney (gamely playing a fictionalized version of herself) at a restaurant and rails against Sweeney’s offensive, recurring Saturday Night Live character, explaining how the sketch ruined her life and promoted people to refer to Abby as “Pat” for years to come. This is especially true when it comes to someone who looks like Abby - and it’s surely relatable to many gender noncomforming people. What stands out the most while watching Work In Progress is the specificity involved. They’re open about STDs, prompting another Lyft driver to reveal his own in a surprisingly affecting moment. They literally countdown the hours until they have sex for the first time, texting each other in a Lyft about the type of sex they’re into. Chris openly talks about how he can’t afford top surgery he says he’s an open book about his entire past except for his deadname. Abby is open about the aspects of trans culture that she doesn’t yet know, and Chris is happy to help fill in the blanks. ![]() Their relationship is the most compelling aspect of Work In Progress, and one that’s built on the concept of radical honesty. This kickstarts a relationship that I haven’t seen on television before - and not just because it’s a 45-year-old self-identified “fat, queer dyke” dating a 22-year-old trans man. “Well, I haven’t been out with an attractive trans man in ever,” Abby replies without missing a beat. When Chris asks her out, Abby responds with “I haven’t been out for a drink with an attractive woman in a really long time,” prompting Chris to clarify that he’s actually a trans man. The series kicks off with Abby meeting Chris (Theo Germaine, The Politician), who she assumes is a hot, baby dyke. “Anyone touched by cancer can relate to a need to laugh and feel better, if only for a little while.Katy Keene Review: Riverdale Spinoff Offers Lots of Glam Fun, But No Drama But it is OK to find funny moments in bad situations,” she says. “I’m not saying that cancer is OK and funny. Nearly 20 years after her brother’s passing and her own battle with cancer, Sweeney still hears from fans thanking her for helping them to rediscover humor during terrible times. Now how do you not find that hilarious? Where does a retired ovary go? What’s the body’s equivalent of Florida?” As Sweeney recalls, “The doctor said it’s not unusual for an ovary, once cut off from its ‘responsibilities,’ to travel through the body. But you have to acknowledge the absurdity of the things that happen when you’re wearing a hospital gown,” she says.įor instance, after surgeons moved Sweeney’s ovaries higher up in her body to protect them from radiation treatments, one ovary went missing. “Of course, cancer is unfair and terrifying. ![]() For both her show and book, Sweeney admits she had moments when she questioned whether she really should be poking fun at something as dire as cancer. Sweeney’s show, titled God Said, “Ha!,” was a hit, and Sweeney used the material as a basis for her 1997 memoir which shares the same title, as well as for a film produced with Quentin Tarantino. It’s like being transported to Mars with a bunch of Martians poking at you every day.” “The treatments are bizarre, crazy and filled with embarrassments. “When people say ‘You can’t make cancer funny,’ I say, ‘How can you not?’” Sweeney says. After enduring the double whammy of losing her brother and her fertility, Sweeney found herself onstage doing a monologue about her family’s experience with cancer. Sweeney had a radical hysterectomy just three weeks after her brother passed away. ![]()
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