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Alex Vause
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Alex Vause
Orange Is the New Black character
Laura Prepon as Alex Vause
First appearance
"I Wasn't Ready" (1.01)
July 11, 2013
Portrayed by
Laura Prepon
Rachel Resheff (at age 10)
Information
Significant other(s)
Piper Chapman (wife)
Sylvia (ex-girlfriend)
Parents
Diane Vause (mother)
Lee Burley (father)
Alex Vause is a fictional character played by Laura Prepon on the Netflix series Orange Is the New Black. The character is loosely based on the real ex-girlfriend of Piper Kerman, author of Orange Is the New Black: My Year in a Women's Prison. Before her arrest, Vause worked for an international drug cartel and was in a relationship with protagonist Piper Chapman, who once transported drug money for her during their travels. Vause is portrayed as the catalyst for Chapman's indictment. She is reunited with her ex-lover in federal prison, nearly a decade after the events that led to their breakup. Her relationship with Chapman is reignited, as they carry out a tumultuous love affair in prison. Vause is noted for her pragmatism, forthrightness, wit and veiled vulnerability. She is a main character in seasons one, three, four, five, and six and a recurring character in season two.
Contents
1 Inspiration
2 Storylines
2.1 Season 1
2.2 Season 2
2.3 Season 3
2.4 Season 4
3 Critical commentary
4 See also
5 References
6 External links
Inspiration[edit]
The character of Alex Vause is loosely based on Catherine Cleary Wolters, ex-girlfriend of Piper Kerman, the author of Orange Is the New Black: My Year in a Women's Prison and an executive consultant on the series.[1][2] In Kerman's memoir, Wolters is given the pseudonym Nora Jansen, who is a marginal character in the book.[3] In actuality, Kerman and Wolters did not serve their prison sentences together as depicted in the series, however they were reunited in a flight to Chicago, where they were detained for several weeks in a detention facility to testify in the drug trafficking case.[1][4] Their stint in Chicago is portrayed in the series' second season, however, the defendant they were to testify against was changed to the cartel's kingpin, as was the fact that Wolters and Kerman were cell-mates in the prison.[5][6]
Wolters met Kerman in 1991 in Northampton, Massachusetts, becoming friends around the time Kerman graduated from Smith College. Kerman wrote in her memoir that Wolters was part of a "clique of impossibly stylish and cool lesbians in their mid-30s".[7] Wolters said both of them ran in "the same little Noho lesbian social circle", and spent time together when she returned from her travels.[1] Wolters had told Kerman she worked for an African drug lord, moving heroin around internationally, while Kerman was fascinated by her globe-trotting, adventurous lifestyle.[8][9] Wolters asked Kerman if she wanted to take part in the operation.[7] According to Wolters, she and Kerman became romantically involved after Kerman had gotten involved in the drug ring. In her interview with Vanity Fair, Wolters said that they were not girlfriends but friends with benefits, a notion with which Kerman disagreed, stating that they may have different perspectives about their time together and their relationship was complicated.[1]
Kerman traveled with Wolters to exotic places, and made several trips carrying drug-funds for the cartel. Kerman realized she needed to walk away when Wolters asked her to transport heroin instead of money, after which she flew home and started a new life.[10][8] Years later, Kerman was indicted and plead guilty to a money laundering charge, serving 13 months in a minimum-security prison in Danbury, Connecticut. Wolters was charged with conspiracy to import heroin, serving nearly six years in a Dublin, California prison, and nearly 14 years on parole.[1][10] In the series, the issue of whether Vause implicated Chapman and the effect on their personal relationship is a major plot line of the first season. When Wolters and others involved in the drug ring were arrested by federal law enforcement, Wolters said that she, like the others, named everyone involved, including Kerman.[1] Wolters also stated that, contrary to Kerman's implication in her memoir, she was not "singularly responsible for [her] downfall", as she was honest about what she did and getting involved was Kerman's decision.[11] Although Kerman aimed to take responsibility for her actions, she said she still carried some resentment toward Wolters [for naming her], later making peace with her when they were held together in a Chicago facility.[1] Unlike in the series, Wolters and Kerman did not get back together when they were reunited in prison.[1][10]
According to Wolters, "the only [physical] similarity between myself and [Vause] is my black glasses."[11] In her memoir, Kerman described Wolters as a "droll" woman, with a "drawling, wisecracking husky voice" and a "playful, watchful way of drawing a person out"; "when she paid you attention, it felt as if she were about to let you in on a private joke."[9] Wolters' interview to Vanity Fair in April 2014 led to a book deal for her memoir.[7][12] In 2015, HarperOne released Out of Orange, Wolters' memoir covering from the circumstances of her involvement in the drug trafficking ring and her relationship with Kerman, to her arrest, prison experience, and the present.[13][14]
Storylines[edit]
This section needs to be updated. Please update this article to reflect recent events or newly available information. (September 2017)
Season 1[edit]
Vause is introduced in the first episode through flashbacks; she and Chapman were both involved in crimes involving drug money. At the end of the first episode, the audience sees that Vause and Chapman are both serving their sentences in the same prison, Litchfield Penitentiary.[15] The two begin a romantic and sexual relationship in episode six; they are also both involved in a dispute with another inmate, Tiffany "Pennsatucky" Doggett (Taryn Manning), who locks Vause in a dryer and then attempts to kill Chapman in the season finale. Vause was raised solely by her mother and, in the ninth episode 'Fucksgiving', Vause's father is seen to be an influence on her being involved in the drug cartel.[16] When Chapman realises that Vause was the one who told authorities about her illegal drug activities, they break off their relationship. Vause then becomes sexually involved with another inmate, Nicky Nichols (Natasha Lyonne).[16][17][18]
Season 2[edit]
In the first episode, Vause promises Chapman that she will lie to protect her in the upcoming trial of her former boss Kubra Balik. She breaks this promise, however, and, after testifying against Balik, Vause manages to secure release from prison while Chapman remains incarcerated.[19] After discovering that Balik was not imprisoned for his crimes, Vause fears for her life; she is also unable to leave her apartment due to the terms of her parole.[20][21] She visits Chapman in prison and confides in her that she is scared; Chapman then gets Bloom to tell Vause's parole officer that Vause is breaking her parole, which lands her back in prison, where she is safe from Balik's retribution.
Season 3[edit]
Vause appears in every episode of the third season. Chapman reports Vause to a parole officer and she is sent back to Litchfield prison; Chapman does eventually admit to doing this and the two begin frequently having hate sex.[22][23] Chapman and Vause reconcile and officially resume their relationship, but become more distant again as the season progresses; Chapman becomes romantically involved with a new inmate, Stella Carlin (Ruby Rose), and this upsets Vause.[24][25] Vause becomes increasingly concerned that Balik has sent someone into the prison to spy on her and bring her harm; she suspects that this person is Lolly Whitehill (Lori Petty) and attacks her in the toilet. It turns out that Whitehill is completely delusional and thinks that Vause is from the National Security Agency.[26][27] In the season finale, Vause is confronted by Balik's henchman Aydin Bayat and her fate is left ambiguous.[28]
Season 4[edit]
In the first episode, Vause is seen being strangled by Aydin Bayat in the greenhouse, struggling for her life. She is saved by Lolly Whitehill who kicks him seemingly to death. However, Vause discovers in the night that he is just barely alive and is forced to suffocate him[29]. Vause and Whitehill, planning on burying Aydin under the floorboards, discover Frieda Berlin, who has found the body in its temporary hiding place. Together Vause, Whitehill, and Berlin dismember and bury the body in the garden[30][31]. As the season progresses, Whitehill becomes increasingly at risk of blowing their cover [32]. Meanwhile Vause is suffering from guilt and lives in constant fear of being caught[33]. When Berlin suggests poisoning Whitehill, Vause confides in Galina "Red" Reznikov, hoping she will convince Berlin otherwise. In episode 8, Vause and Chapman bond again while getting high with Nichols in the garden, and their relationship once again progresses. Aydin's body is found in an unwarranted investigation by Desi Piscatella [34], resulting in Whitehill being sent to psych. Vause is never questioned about his murder. Vause's guilt manifests itself in notes left around the prison, revealing Aydin's name. Chapman convinces Vause to find them all, and prepares to burn them.
Critical commentary[edit]
Matthew Wolfson of Slant Magazine described Vause as intelligent, "with the instincts of a pragmatist, but without a strategy—a striking and emotionally direct person who may have closed off too many options for a workable future”.[35] Dana Poccoli of AfterEllen said that Vause could be considered a villain in the first season as she is the reason Chapman is in prison, but she is also a "fascinating character that we want to understand and spend time with."[36] Writing in The Daily Beast, Victoria Kezra similarly suggested that before the audience meets her, Vause is already a villain, for she is "responsible for Chapman’s illegal activities" and named her ex-lover to receive less prison time. What is "wonderful" about the character, Kezra added, is that the audience’s "perception of her changes throughout the show", from a villainous figure to a sympathetic individual. She observed that Vause has "a great sense of humor about the whole situation" and is "pretty caring and insightful".[37] TV Guide's Liz Raftery considered Vause a polarizing character, asking "is she a master manipulator or just misunderstood?". She proposed that Vause "seems to think of herself as a bad person but maybe she isn't, whereas [Chapman] is so convinced that she's a good person and is totally taken aback whenever anyone challenges that."[38] Gerri Mahn of Den of Geek wrote that unlike Chapman, Vause "doesn’t harbor any illusions about who she is or what playing by the rules will get her". Vause had named Chapman in her trial both to receive a lighter sentence and out of resentment from Chapman breaking her heart years earlier; she sincerely loves Chapman, Mahn considered, and "continually came to her defense throughout season one", turning her down when she realized Chapman was using her as "someone to fall back on when Larry doesn’t come through".[39]
Tim Surette of TV.com said that Vause's season one flashbacks fit the character well, and "instantly gave us a story to be interested in", as they provided a more rounded view of the character than Chapman's purview allowed.[40] J.M Suarez wrote in PopMatters that the character of Vause is "fearless and intimidating" as well as street-smart, contrary to Chapman who is "sheltered" and "often afraid and deferential", and it is "in highlighting these differences in prison, that their eventual backstories have even more impact."[41] Greco Patti of Vulture complimented Prepon’s "nuanced" portrayal, and noted that, notwithstanding Vause’s illicit occupation and her role in Chapman’s imprisonment, she is a woman who "came from nothing, who loved and lost, and who maybe got used", and she seems more loyal and genuine in her love for Chapman.[42] The A.V. Club's Myles McNutt considered Vause's relationship with her crimes to be "complicated"; he appreciates when the show does not filter character development solely through Chapman, deeming it "productive" when Vause had "a chance to open up to Nicky [Nichols]”.[43] McNutt also said that Vause’s conflict with Doggett, who saw her as "coming from privilege", is meaningful for Vause as it is a trigger for her "past struggles with class hierarchies". According to McNutt, Vause’s despondency regarding her absent father "could either gain [her] new perspective and put her life on the right track or [she could] try to fill the absence as quickly as possible", the latter of which she chose.[44] Mahn deliberated that, growing up poor, a free ride wasn’t a possibility in Vause's world. Vause "left her scruples at the door" when she built her worldly life on an alliance through her father’s drug dealer, Mahn assessed. "She worked hard, gambled big, and lost everything".[39] Autostraddle posited that Vause hates and fears vulnerability, and the scene where she is locked in a dryer and pleads Chapman to stay echoes the past, when Vause pleaded with Chapman before Chapman left following news of Vause's mother's death. Additionally, Vause is a complicated character for the writer, primarily because she found her sexual threat to Doggett "troubling", while seeing Vause as a young girl "who would do anything for the life she was cheated out of" was something with which she empathized.[45]
In Den of Geek, Chris Longo wrote that, as the first season played out, Vause "was vilified, then the tables turned when she won Piper’s friendship, then they turned upside down during their inevitable hookup. Alex, for all the bad she’s done, seems like a woman who stays true to her word. And now after breaking Alex’s (and Larry’s) heart, Piper is the one who’s vilified." Longo praised Prepon’s performance, and hoped the series progressed Vause’s storylines.[46] The Guardian's Tom Meltzer wrote that Prepon plays Chapman's "jilted" former lover "with subtlety and unabashed smoulder".[47] In his review of the first season, Matthew Gilbert of The Boston Globe described pre-prison Vause as "icy cool", and called Prepon a "revelation" in the role.[48] David Hiltbrand wrote in The Philadelphia Inquirer that Prepon plays the character with "real vigor".[49] Maureen Ryan of HuffPost also praised Prepon’s portrayal, commenting that "underneath the cool-girl exterior is a whole lot of pain and loneliness, and Prepon has done a wonderful job of subtly bringing those notes forward."[50] Chris Jancelewicz of The Huffington Post Canada deemed Vause "charismatic", adding that Prepon "excels as the bad girl influence".[51]
Kristi Turnquist of The Oregonian stated that although Vause would only be present in a few episodes of the second season, she "turns up to devastating effect early on".[52] In a review of the first episode of season two, Horatia Harrod of The Daily Telegraph commented that Vause is dedicated to self-preservation and thought that "another betrayal" of Chapman "reached new depths", thus she found it "puzzling" that Vause's bad-girl routine "seems to have won her a fan following, while [Chapman] is reviled."[53] Kevin Fallon of The Daily Beast noted that there is something about Vause that "convinces [Chapman] to throw her lifelong caution to the wind."[54] Kate Zernike of The New York Times said that Vause is "calculating" and that "there’s something black cat-like about [her] – she slips into the frame and you know things are about to go bad, or at least, get interesting."[55] Chris Harvey of The Daily Telegraph described Prepon's turn as "unforgettable" and explained that Vause’s wicked attitude and bespectacled look have made the character a "cult favourite".[56] In her review of the season two premiere, The Wall Street Journal's Candace Jackson wrote that "much like in Piper Kerman’s real-life experience, [the Chicago facility] is where [Chapman] runs into Vause". Prepon is "excellent in this role as ever", Jackson commended, walking a "believable line between flirtation and manipulation".[57] Spencer Kornhaber of The Atlantic observed that Vause was "correct earlier in [the second season's premiere] when she diagnosed how inconsistent Chapman's worldview is: "it is so hard to keep up with what is black and white for you"." According to Kornhaber, Vause’s "return, in letter and in flashback, offers another lesson in moral relativity and personal transformation. We finally see how [Chapman's] cultivated naivety and [Vause's] cultivated knowingness created a passionate, dangerous pairing early on."[58] Danielle Henderson remarked in Vulture that Vause "has balls" for sending Chapman letters after the incident in the season two premiere.[59] In her review of the second season's finale, Zernike wrote that although Vause may not be the "typical re-entering felon", her speech to Chapman about needing to violate her probation, flee, and possibly go back to her former felonious life, "does raise some good points" regarding issues with the prison system.[60]
The Advocate's Nico Lang described Vause as a notably popular femme fatale character, whom the show brought back after the second season "despite the fact that the real-life character was barely in [Kerman's memoir] at all".[61] Charlotte Richardson Andrews wrote in Sight & Sound that Vause is one of the show's "believable and investment-worthy" queer characters, adding that the "tangled, romantic dance that [Vause and Chapman] do is compelling, nuanced and sexy where, in other hands, it might have felt exploitative".[62] In Digital Spy, Emma Dibdin described a "power shift" in the third season between Vause and Chapman and how this positively impacts both characters; "the power dynamic of [Chapman] and [Vause's] relationship is so dramatically shifted that everything about them feels fresh. [Vause] is more vulnerable than we've ever seen her, utterly shattered to find herself back in jail."[22] The Observer's Orly Greenberg said Vause returns to Litchfield "completely absent of her flashing eyes and snarky confidence, instead relying on [Chapman] as an almost maternal figure" as Chapman leads Vause to believe her return to prison is a product of "the system", rather than Chapman's own doing.[63] Emily Ambash of CutPrintFilm wrote that Vause is "emotionally broken" when she reenters prison; "embarrassed and ashamed of her own choices" and her failure in handling her brief freedom. Vause and Chapman's dynamic in the third season feels "fresh", different from the first season, as they confront their issues in the present without passive aggressiveness and without a focus on the past, Ambash noted; "the characters [are forced to] question their faith not just in each other but also in themselves when dealing with each other."[64] Michael Hindle of Comingsoon.net observed of Vause and Chapman's relationship, while "one has always had power over the other in some form or another now [Vause and Chapman] are more or less on an even playing field".[65] Joshua Alston of The A.V. Club said that Vause's return to prison "lands with a surprisingly soft impact". The character Stella "appears right on time to drive a wedge between [Chapman] and [Vause] just as a functional relationship becomes possible", and the show "manages to make [the looming love triangle] feel consequential."[66]
In her review of the third season, Jessica Kiang of Indiewire wrote that Vause and Chapman "come spectacularly together but find, again with some insight, that they’re a couple whose fire can burn on hate much easier than on routine."[67] Libby Hill argued in her The New York Times review of the season's second episode, that the Vause and Chapman relationship has become "toxic". The on-off lovers have "little meaningful interaction" with other characters while they are entangled in their tempestuous relationship, making them "emotionally unavailable" to other characters and to the audience. Hill hopes Vause is more integrated into "Litchfield's culture" and has more humanizing interactions with other characters as she did with Nichols in the first season.[68] In reviewing the season's second episode, The A.V. Club's Myles McNutt said that although he understands the attraction of Chapman and Vause and the significance of their intertwined story playing out in prison, their present storyline compels them to exist "independently of anything around them", removing them from ordinary life in the prison community of Litchfield.[69] Perri Nemiroff of Collider felt that it was "an unexpected and unearned twist" that Vause would reconnect with Chapman (through "hate sex") soon after finding out Chapman was responsible for her being back in prison. Their role play in the prison's drama class, however, "balances the palpable hostility with humor and heart, making the scene wildly entertaining, but also ensuring that the moment really means something, too."[70] In Entertainment Weekly, Jonathan Dornbush wrote that Vause and Chapman engaging in angry sex after the latter's hand in taking away her freedom is "another shift in their power dynamic". According to Dornbush, this occurs because Vause is "taking control after Piper took it away from her"; "She’s still in jail, she’s still lost her life on the outside, and she may be in more danger now than ever", Dornbush explained, "but at least she can control something."[71] Ambash said that the drama class improv exercise is necessary as it compels Vause and Chapman "to consider their real-life situation" and "find a sort of reconciliation".[72] Keith Nelson Jr. of Digital Trends found Vause's speech to correctional officer Rogers, on the malleable and interpretive nature of morality, to be frank "societal commentary".[73] Sarah Bredeman of FanSided opined that the commentary Vause made to Rogers is "one of the best 'we are not your salvation, you can’t save us, and this ain’t no Dead Poet’s Society kinda situation' speeches", and "it really hits home a good point."[74]
Kelly Lawler in USA Today suggested that, as opposed to how Chapman painted her, Vause's legitimate concerns over the danger she is in makes her one of the most rational individuals on the show.[75] Perri Nemiroff of Collider said that Vause's season three flashbacks on her witnessing what her drug cartel boss is capable of made her present situation "far more dynamic and tense", giving her anxiety full credibility.[76] Alan Sepinwall of Uproxx felt that Vause's flashback, like Nichols' in an earlier episode, was "covering familiar territory solely to support prominent stories each was getting in the present", but at least both flashbacks were "somber" enough to make them an "interesting contrast" to the concurrent comedic moments at Litchfield.[77] In his review of the eleventh episode of the season, McNutt wrote that Vause's "isolation is turned around, and what once felt like a failure of the show’s writing becomes a logical character choice." Vause wants no part in what Chapman's prison business has turned into, knowing first-hand the dangers and the damage such an operation can cause. "I find myself respecting [Vause's] struggle to embrace her situation—it may not have served the season to this point," McNutt observed, "but it serves here as a productive counterpoint to [Chapman]".[78] According to Ambash, Vause [and Chapman's] notable absence from the third season's final group scenes – as Vause is trapped with the man who has been sent to kill her, and Chapman is off tattooing herself in the chapel – symbolizes their heightened distrust in others and the prison system itself. "For [Vause], unlike [Chapman], this wasn’t her choice. With safety stripped from her, and ties of trust cut by others, it’s no surprise [Vause] is kept away now from the freedom of the lake."[79]
Ambash noted that Vause's season three storyline "highlights real issues regarding prisoners’ safety, especially when no real background checks are performed on new, untrained officers, who end up with easy access to inmates". Moreover, "it serves as a reminder that [Vause and Chapman] have basically switched roles" as Chapman embarked on "the smuggling business [and] showed little regard for [Vause]", finding a new sense of power and thrill in her illicit enterprise, while Vause wisely avoided it.[80] Lauren Chval of Chicago Tribune remarked that what is great about Vause is "she knows who she is and what she wants", trusts her instincts and has "never flipped on her feelings for Chapman".[81] Chval praised Prepon in the role, and remarked that Vause is "always more interesting in her scenes without Chapman".[82] Perri Nemiroff of Collider said Prepon has been successful "taking Alex from a strong inmate you don’t want to mess with to someone super vulnerable who’s fearing for her life."[83] Rick Porter of The Hollywood Reporter praised Prepon's performance as Vause, in the season finale, encounters the hitman sent to kill her, writing, "Prepon sells the heck of out Alex's disbelief and fear in the scene."[28]
The aftermath of Vause's storyline has a sweeping effect throughout the fourth season according to critics.[84][85][86][87] In Harper's Bazaar, Emma Dibdin wrote that Vause having to kill, dismember, and bury her would-be murderer was "the beginning of a season that saw almost every one of our beloved inmates go through her darkest hour yet."[88] According to Kayla Kumari Upadhyaya of Autostraddle, Vause and Lolly's "greenhouse murder" became one of the "most suspenseful through lines" of the season.[89] Isabel Mohan wrote in The Daily Telegraph that Vause's confidence from previous seasons is gone as she has become "a nervous wreck" and "her scenes are among the most macabre" of the season.[90] The Atlantic's Spencer Kornhaber considered Vause's "saga" to be some of series' "darkest scenes yet."[91] Several themes explored in the season are evoked in Vause's storyline. Jen Chaney of Vulture noted that the "murky issues surrounding blame" are prompted from the outset of the season, as both Vause and Lolly become responsible for the homicide of the hit man, "yet neither of them are true 'murderers' in that both were motivated by self-defense. It’s a case of both women doing wrong and neither of them doing wrong."[92] Kornhaber of The Atlantic said that Vause's acknowledgement that her attacker "was a person", echoed "a mantra that’s surfaced in various forms across the season".[93] Myles McNutt of The A.V. Club wrote, "the season has been consumed by the idea of guilt" and it manifests on Vause and Chapman's attitudes and behavior; in a latter episode, they decide "they aren’t willing to do anything that would add to their sense of guilt".[94] Vulture's Kathryn VanArendonk observed the notion that "regret is real, but time only moves in one direction" reflected on Vause and Chapman's conversation about changing the past, and the need to claim selfhood in Vause wanting to acknowledge the humanity of her attacker.[95]
Myles McNutt wrote that Vause being compelled to finish killing the man, instead of letting him die by Lolly's deed, "makes it more visceral, and creates an internalized event to frame her understanding of her status as a 'criminal' in the season to follow."[96] Hannah Shaw-Williams of Screen Rant regarded Vause taking the life of her attacker as "one of the premiere’s most emotionally powerful scenes, which reveals that despite her background as a hard-as-nails heroin dealer, Vause has never actually had to kill anyone before."[97] In Paste magazine, Matt Brennan commended "the quiet, tearful moment in which [Vause] ... decides to end his life." "Her remorse", Brennan noted, "for this choice, and for all the choices that led to it, is palpable, even if his death amounts to self-defense."[98] Emma Dibdin wrote in Digital Spy that while Vause's on-off lover Chapman "[insists] she's a force to be reckoned with", Vause "goes through the real moral transformation, pushed to brutal extremes by the hitman sent to kill her."[99] Kayla Kumari Upadhyaya of Autostraddle considered the scenes of Vause helping Lolly reconcile her thoughts and emotions "a cutting and intimate look at self-care and coping mechanisms."[89] The Atlantic's Spencer Kornhaber similarly reviewed Vause's "counseling" of Lolly, finding it a "succinct and touching glimpse at post-traumatic coping".[100] McNutt opined in The A.V. Club that the circumstances of Lolly's paranoia, the lack of evidence that the correctional officer was a hit man, the lack of trust in a broken system, and the difficulty in explaining away Vause and Lolly's actions in the homicide, meant that Lolly being taken away was "tragic" but ultimately "probably the best case scenario" when someone would have to be held responsible.[87]
Autostraddle's Kayla Kumari Upadhyaya considered Vause's decision to not tell Chapman what she has gone through an "emotionally significant" moment for the character. Vause is not on good terms with Chapman, but she also does not want Chapman to be implicated by it, Upadhyaya observed. According to Upadhyaya, apart from it being an overarching plot, the homicide has also had "long-term emotional significance" for Vause.[89] Ed Power of The Telegraph found it "wrenching" to see Vause "haunted by doubt and guilt", praising the show for "peeling back the layers, showing a new side to a person we thought we already knew" and the "disquiet and disbelief that flashed across [Vause's] face" in response to Chapman in the crack scene.[101] Alan Sepinwall of Uproxx wrote that Vause and Chapman needing to be under the influence of drugs "to finally be honest with each other about all their recent tragedies seemed about right for a relationship that's always thrived on a high level of drama."[102] In her review of the season's ninth episode, Pilot Viruet of Decider remarked that it is "good to see [Vause and Chapman] getting along and not plagued by relationship dramatics."[103] In his review of the season's finale, McNutt wrote that he found Vause "reacting to death by thinking about the hitman’s humanity rang true to her arc".[104] Prepon received praise for her performance in the fourth season.[105][106][107][101] Dana Schwartzof of The Observer lauded Prepon in the premiere episode writing that her performance should be up for Emmy consideration.[108] Kayla Kumari Upadhyaya of Autostraddle wrote that Prepon is "giving her best performance to date on the show, effectively capturing the turmoil of Alex’s mind and the psychological toll of this secret."[89]
Prepon won the Satellite Award for Best Supporting Actress – Series, Miniseries or Television Film at the 18th Satellite Awards for her performance as Vause.[109]
See also[edit]
List of Orange Is the New Black characters
References[edit]
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Jump up ^ Fowler, Nancy (September 1, 2014). "'Orange Is the New Black' Author Hints At New Season, Talks Reform, On Way To STL". St. Louis Public Radio. Retrieved June 4, 2017.
Jump up ^ Callahan, Maureen (May 10, 2015). "Real-life Alex on 'OITNB' feared show would ruin her life". New York Post. Retrieved August 23, 2015.
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Jump up ^ Brady, Abigail (July 2, 2015). "Orange Is the New Black: How the Book Adds to the Show". Den of Geek. Retrieved June 5, 2017.
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^ Jump up to: a b c "Behind 'The New Black': The Real Piper's Prison Story". NPR. August 12, 2013. Retrieved June 4, 2017.
^ Jump up to: a b Heinzmann, David (November 14, 2013). "'Orange is New Black' drug case still open in Chicago federal court". Chicago Tribune. Retrieved June 5, 2017.
^ Jump up to: a b Kerman, Piper (2010). Orange Is the New Black: My Year in a Women's Prison. Spiegel & Grau. ISBN 978-0-812-98618-1.
^ Jump up to: a b c Riese (April 15, 2014). "Meet The Real Alex Vause: Catherine Cleary Wolters Has Mixed Feelings About "Orange Is The New Black"". Autostraddle. Retrieved June 5, 2017.
^ Jump up to: a b Truesdell, Jeff (June 5, 2015). "Meet the Real-Life Alex Vause of Orange Is the New Black". People. Retrieved June 5, 2017.
Jump up ^ Whitney, Erin (May 7, 2015). "Cleary Wolters, The Real Alex Vause, Shares Her Story For The First Time". HuffPost. Retrieved June 5, 2017.
Jump up ^ Mejia, Paula (July 5, 2015). "Q&A: The Real-Life Alex Vause Discusses Prison, Memoir 'Out of Orange'". Newsweek. Retrieved May 5, 2015.
Jump up ^ Lewis, Hillary (August 15, 2014). "The Real Alex From 'Orange Is the New Black' Is Getting Her Own Book". The Hollywood Reporter. Retrieved June 5, 2017.
Jump up ^ Schaefer, Megan (June 3, 2014). "'Orange Is The New Black' Season 1 Recap: Everything To Know Before The Season 2 Premiere". International Business Times. Retrieved August 23, 2015.
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Jump up ^ Henderson, Danielle (August 29, 2013). "Orange Is the New Black Season 1 Finale Recap: I Saw the Light". Vulture. Retrieved August 23, 2015.
Jump up ^ Davis, Ali (July 25, 2013). ""Orange is the New Black" recap (1.13): Can't Fix Crazy". After Ellen. Retrieved August 23, 2015.
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Jump up ^ Henderson, Danielle (June 18, 2014). "Orange Is the New Black Season 2, Episode 11 Recap: How About I Kill the Bitch?". Vulture. Retrieved August 23, 2015.
Jump up ^ Zernike, Kate (July 11, 2014). "'Orange Is the New Black' Recap: 'Go Ahead, Girls, Take a Break From Your Values'". The New York Times. Retrieved August 23, 2015.
^ Jump up to: a b Dibdin, Emma (June 12, 2015). "Orange is the New Black season 3 review: Episodes 1-3 blend comedy and tragedy". Digital Spy. Retrieved August 23, 2015.
Jump up ^ Amatangelo, Amy (June 14, 2015). "Orange is the New Black Review: "Mother's Day"/"Bed Bugs and Beyond"". Paste. Retrieved August 23, 2015.
Jump up ^ Dornbush, Jonathon (June 17, 2015). "A Tittin' and a Hairin". Entertainment Weekly. Retrieved August 23, 2015.
Jump up ^ Steiner, Chelsea (July 8, 2015). ""Orange is the New Black" recap (3.10): A Tittin' and a Hairin'". After Ellen. Retrieved August 23, 2015.
Jump up ^ Dornbush, Jonathon (June 15, 2015). "'Fear, and Other Smells'". Entertainment Weekly. Retrieved August 23, 2015.
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^ Jump up to: a b Porter, Rick (July 3, 2015). "8 Questions 'Orange Is the New Black' Left Unanswered at the End of Season 3". The Hollywood Reporter. Retrieved June 5, 2017.
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Jump up ^ Turnquist, Kristi (May 31, 2014). "'Orange is the New Black' Season 2: A wised-up Piper, more strong women (review)". The Oregonian. Retrieved June 3, 2017.
Jump up ^ Harrod, Horatia (June 6, 2014). "Orange is the New Black, episode one, review: 'a sparkling return to form'". The Daily Telegraph. Retrieved April 30, 2017.
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Jump up ^ Harvey, Chris (June 5, 2014). "Orange is the New Black author Piper Kerman: 'People are sexual beings, even if you lock them in a cage'". The Daily Telegraph. Retrieved April 30, 2017.
Jump up ^ Jackson, Candace (June 10, 2014). "'Orange Is the New Black,' Season 2, Episode 1, 'Thirsty Bird': TV Recap". The Wall Street Journal. Retrieved June 3, 2017. (Subscription required (help)).
Jump up ^ Kornhaber, Spencer (June 6, 2014). "The Orange Is the New Black Binge Review (Episodes 1 Through 13)". The Atlantic. Retrieved June 3, 2017.
Jump up ^ Henderson, Danielle (June 11, 2014). "Orange Is the New Black Season 2, Episode 6 Recap: Are You the Sun?". Vulture. Retrieved June 3, 2017.
Jump up ^ Zernike, Kate (July 18, 2014). "'Orange Is the New Black' Finale: It's Almost Like 'Thelma and Louise'". New York Times. Retrieved June 3, 2017.
Jump up ^ Lang, Nico (June 30, 2014). "Op-ed: Orange Is the New Black Proves to Be the Model of Queer TV". The Advocate. Retrieved June 3, 2017.
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Jump up ^ Ambash, Emily (June 1, 2015). "Flies in the Web: A Look at 'Orange Is the New Black' Season 3". CutPrintFilm. Retrieved June 5, 2017.
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Jump up ^ Nemiroff, Perri (June 18, 2015). "Orange Is The New Black Recap: "Bed Bugs And Beyond" & "Empathy Is A Boner Killer"". Collider. Retrieved June 5, 2017.
Jump up ^ Dornbush, Jonathan (June 12, 2015). "Orange of the New Black recap: Bed Bugs and Beyond". Entertainment Weekly. Retrieved June 5, 2017.
Jump up ^ Ambash, Emily (June 19, 2015). "'Orange Is the New Black' Review: 3.03 "Empathy Is a Boner Killer" / 3.04 "Finger in the Dyke"". CutPrintFilm. Retrieved June 5, 2017.
Jump up ^ Nelson Jr., Keith (June 24, 2015). "More Laughs, Less Villainy: Orange Is The New Black Season 3 Review". Digital Trends. Retrieved June 5, 2017.
Jump up ^ Bredeman, Sarah (June 25, 2015). "'OITNB' Recap: Ep 3 'Empathy Is A Boner Killer'". Hidden Remote. FanSided. Retrieved June 5, 2017.
Jump up ^ Lawler, Kelly (June 13, 2015). "'Orange is the New Black' binge recap: 'Fear, and Other Smells'". USA Today. Retrieved June 5, 2017.
Jump up ^ Nemiroff, Perri (June 29, 2015). "ORANGE IS THE NEW BLACK Recap: "Fear, and Other Smells" & "Where My Dreidel At"". Collider. Retrieved June 5, 2017.
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Jump up ^ Ambash, Emily (July 21, 2015). "'Orange Is the New Black' Review: 3.11 "We Can Be Heroes" / 3.12 "Don't Make Me Come Back There" / 3.13 "Trust No Bitch"". CutPrintFilm. Retrieved June 5, 2017.
Jump up ^ Ambash, Emily (July 3, 2015). "'Orange Is the New Black' Review: 3.07 "Tongue Tied" / 3.08 "Fear and Other Smells"". CutPrintFilm. Retrieved June 5, 2017.
Jump up ^ Chval, Lauren (June 11, 2015). "'OITNB' episode 9 recap: The hot Aussie just made everything a lot more confusing". Chicago Tribune. Retrieved June 5, 2017.
Jump up ^ Chval, Lauren (June 11, 2015). "'OITNB' episode 13 recap: Let's just be free for a second". Chicago Tribune. Retrieved June 5, 2017.
Jump up ^ Nemiroff, Perri (July 6, 2015). "ORANGE IS THE NEW BLACK Recap: "Don't Make Me Come Back There" & "Trust No Bitch"". Collider. Retrieved June 5, 2017.
Jump up ^ Alston, Joshua (June 16, 2016). "Netflix's Orange Is The New Black peaks in its brilliant, brutal fourth season". The A.V. Club. Retrieved July 11, 2017.
Jump up ^ Toomer, Jessica (June 16, 2016). "The Stories Are Darker And The Stakes Are Higher In 'Orange Is The New Black' Season Four". Uproxx. Retrieved July 11, 2017.
Jump up ^ Fowler, Matt (June 18, 2016). "Orange Is The New Black: Season 4 Review". IGN. Retrieved July 11, 2017.
^ Jump up to: a b McNutt, Myles (June 27, 2016). "OITNB's search for answers goes too far for the exact wrong person". The A.V. Club. Retrieved July 11, 2017.
Jump up ^ Dibdin, Emma (December 14, 2016). "The 18 Best Tv Shows Of 2016". Harper's Bazaar. Retrieved July 11, 2017.
^ Jump up to: a b c d Kumari Upadhyaya, Kayla (June 19, 2016). ""Orange Is The New Black" 403 Review: "(Don't) Say Anything"". Autostraddle. Retrieved July 11, 2017.
Jump up ^ Mohan, Isabel (June 16, 2016). "Orange is the New Black, season 4, spoiler-free review: is this the darkest season yet?". The Daily Telegraph. Retrieved June 7, 2017.
Jump up ^ Kornhaber, Spencer (June 17, 2016). "Orange Is the New Black: 'Work That Body for Me'". The Atlantic. Retrieved July 11, 2017.
Jump up ^ Chaney, Jen (June 20, 2016). "Orange Is the New Black Challenges Us to Sympathize With Aggressors in Season 4". Vulture. Retrieved July 11, 2017.
Jump up ^ Kornhaber, Spencer (June 21, 2016). "Orange Is the New Black: 'Toast Can't Never Be Bread'". The Atlantic. Retrieved July 11, 2017.
Jump up ^ McNutt, Myles (June 25, 2016). "When guards "freestyle," OITNB's inmates become less free". The A.V. Club. Retrieved July 11, 2017.
Jump up ^ VanArendonk, Kathryn (June 22, 2016). "Orange Is the New Black Season Finale Recap: She Was a Person". Vulture. Retrieved July 11, 2017.
Jump up ^ McNutt, Myles (June 17, 2016). "A new season of OITNB begins with "delusions of gangsta"". The A.V. Club. Retrieved July 11, 2017.
Jump up ^ Shaw-Williams, Hannah (June 18, 2016). "Orange is the New Black Season 4 Premiere Review". Screen Rant. Retrieved July 11, 2017.
Jump up ^ Brennan, Matt (June 17, 2016). "In the Orange Is the New Black Opener, Piper is Still Dull and the System is Still Broken". Paste magazine. Retrieved July 11, 2017.
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Jump up ^ Kornhaber, Spencer (June 17, 2016). "Orange Is the New Black: '(Don't) Say Anything'". The Atlantic. Retrieved July 11, 2017.
^ Jump up to: a b Power, Ed (June 18, 2016). "Orange is the New Black, season 4 episode 8 recap: 'Hard to watch'". The Telegraph. Retrieved July 11, 2017.
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Jump up ^ Viruet, Pilot (July 1, 2016). "'Orange is the New Black' Recap, Season 4 Episode 9: Civil Disobedience". Decider. Retrieved July 11, 2017.
Jump up ^ McNutt, Myles (June 29, 2016). "In OITNB's finale, the system wants to ignore what the inmates can never forget". The A.V. Club. Retrieved July 11, 2017.
Jump up ^ Patten, Dominic (June 18, 2016). "'Orange Is The New Black' Season 4 Review: "S*it" Gets Real & Raw In Strong-As-Ever Netflix Prison Series". Deadline Hollywood. Retrieved July 11, 2017.
Jump up ^ Dawidziak, Mark (June 11, 2016). "'Orange Is the New Black' shows power of the fourth -- season, that is (review)". The Plain Dealer. Advance Digital. Retrieved July 12, 2017.
Jump up ^ Lawson, Richard (June 15, 2016). "Simmering Tensions Boil Over in Orange Is the New Black's Outstanding Fourth Season". Vanity Fair. Retrieved July 12, 2017.
Jump up ^ Schwartz, Dana (June 19, 2016). "'Orange is the New Black' Recap: Episode 1". The Observer. Retrieved July 11, 2017.
Jump up ^ Kilday, Gregg (February 23, 2014). "Satellite Awards: '12 Years a Slave' Wins Best Motion Picture". The Hollywood Reporter. Retrieved August 23, 2015.
External links[edit]
Alex Vause on IMDb
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text:
I'm Dying Up Here
From Wikipedia, the free encyclopedia
Jump to: navigation, search
I'm Dying Up Here
Genre
Comedy-drama
Based on
I'm Dying Up Here by William Knoedelseder
Developed by
David Flebotte
Starring
Melissa Leo
RJ Cyler
Ari Graynor
Clark Duke
Michael Angarano
Stephen Guarino
Erik Griffin
Andrew Santino
Composer(s)
Dex Ebert
Country of origin
United States
Original language(s)
English
No. of seasons
1
No. of episodes
10
Production
Executive producer(s)
Michael Aguilar
Jim Carrey
David Flebotte
Christina Wayne
Production company(s)
Some Kind of Garden
Assembly Entertainment
Endemol Shine North America
Plymouth Street Productions
Showtime Networks
Release
Original network
Showtime
Original release
June 4, 2017 (2017-06-04) – present
External links
www.sho.com/im-dying-up-here
I'm Dying Up Here is an American comedy-drama television series created by David Flebotte. The pilot was written by Flebotte and directed by Jonathan Levine. It premiered on Showtime on June 4, 2017.[1] The series is executive produced by Flebotte, Jim Carrey, Michael Aguilar, and Christina Wayne.[2] It was announced on January 12, 2016, that Showtime had ordered the pilot to series based on the bestselling book by William Knoedelseder.[3] On September 8, 2017, Showtime renewed the series for a 10-episode second season to premiere in 2018.[4]
Contents
[hide]
1 Plot
2 Cast
2.1 Main
2.2 Guests
3 Episodes
4 References
5 External links
Plot[edit]
The series explores the Los Angeles stand-up scene of the early 1970s as a group of young comedians attempt to become successful at Goldie's comedy club and potentially gain a shot on Johnny Carson's 'Tonight Show'. Club owner Goldie mentors the young comics with a combination of toughness and encouragement in order to further their chances at success. The show focuses on the daily struggles and successes of both Goldie and the comics.
Cast[edit]
Main[edit]
Melissa Leo as Goldie Herschlag, a brassy comedy club owner (loosely based on Mitzi Shore)
Ari Graynor as Cassie Feder, an ambitious comedian from Wink, Texas and Clay's ex
Clark Duke as Ron Shack, a Boston comic who travels with Eddie to LA
Michael Angarano as Eddie Zeidel, a Boston comic and Clay's friend who travels with Ron to LA
Andrew Santino as Bill Hobbs, a comedy club favorite
Stephen Guarino as Sully Patterson, a zany stand-up comedian
Erik Griffin as Ralph Carnegie, a Vietnam vet, comic, and writer for Sonny and Cher
RJ Cyler as Adam Proteau, a struggling stand-up comedian
Al Madrigal as Edgar Martinez, a loose cannon comedian
Jake Lacy as Nick Beverly, a stand up comedian who returns to Los Angeles after being on the road
Guests[edit]
Sebastian Stan as Clay Appuzzo, Cassie's ex, who hits stardom with his first Tonight Show appearance
Alfred Molina as Carl, a mediocre talent manager
Rick Overton as Mitch Bombadier, executive for The Tonight Show
Dylan Baker as Johnny Carson
Robert Forster as Clay's father, Guy
Cathy Moriarty as Clay's mother, Angie
Brianne Howey as Kay, a waitress at the club
Jon Daly as Arnie, a struggling comic
Ginger Gonzaga as Maggie, Arnie's/Ron's girlfriend, a waitress at the club
Ryan Alosio as Miles Farber, an ambitious talent agent
Scott Cohen as Roy Brenner
David Paymer
Richard Kind as Marty Dansak
Jeffrey Nordling as Eli Goldman
Obba Babatundé as Barton Royce
Dom Irrera as Fitzy
Sarah Hay as Tawny
W. Earl Brown as Teddy (loosely based on Budd Friedman)
Sarah Stiles as Toni 'the TIger' Luddy, a comedy club groupie
Jere Burns as Sid Robbins
Jocko Sims as Melvin
Tommy Snider as Wolfman Jack
Episodes[edit]
No.
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)
1
"Pilot" Jonathan Levine Dave Flebotte May 22, 2017 (2017-05-22) (online)
June 4, 2017 (2017-06-04) (Showtime) 0.167[5]
2
"Midnight Special" Jon S. Baird Cindy Chupack June 5, 2017 (2017-06-05) (online)
June 11, 2017 (2017-06-11) (Showtime) 0.120[6]
3
"The Cost of a Free Buffet" Iain B. MacDonald Dave Holstein June 18, 2017 (2017-06-18) 0.124[7]
4
"Sugar and Spice" David Evans Dave Flebotte June 25, 2017 (2017-06-25) 0.113[8]
5
"The Return" Jake Schreier Jeff Shakoor June 30, 2017 (2017-06-30) (online)
July 9, 2017 (2017-07-09) (Showtime) 0.114[9]
6
"Girls Are Funny, Too" Iain B. MacDonald Cindy Caponera July 16, 2017 (2017-07-16) 0.148[10]
7
"My Rifle, My Pony and Me" Adam Davidson Martin Weiss July 23, 2017 (2017-07-23) 0.126[11]
8
"The Unbelievable Power of Believing" Kate Dennis Cindy Chupack & Justin Hillian July 30, 2017 (2017-07-30) 0.135[12]
9
"Lingchi" Julie Anne Robinson Alex Herschlag August 6, 2017 (2017-08-06) 0.163[13]
10
"Creative Indifferences" Adam Davidson Dave Flebotte August 13, 2017 (2017-08-13) 0.215[14]
References[edit]
Jump up ^ Petski, Denise (January 9, 2017). "John Ridley’s ‘Guerrilla’ & Jim Carrey-Produced ‘I’m Dying Up Here’ Get Premiere Dates On Showtime – TCA". Deadline Hollywood. Retrieved January 9, 2017.
Jump up ^ Wagmeister, Elizabeth (August 11, 2015). "Jim Carrey Lands Showtime Pilot Order for Series Set in 1970s L.A. Comedy Scene". variety.com. Retrieved October 30, 2015.
Jump up ^ Andreeva, Nellie (January 12, 2016). "Jim Carrey-Produced Comedy ‘I’m Dying Up Here’ Ordered To Series By Showtime". Deadline Hollywood. Retrieved January 13, 2016.
Jump up ^ Holub, Christian (September 8, 2017). "Showtime's I'm Dying Up Here renewed for season 2". Entertainment Weekly. Retrieved September 8, 2017.
Jump up ^ Metcalf, Mitch (June 6, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 6.4.2017". ShowBuzzDaily. Retrieved June 6, 2017.
Jump up ^ Metcalf, Mitch (June 13, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 6.11.2017". ShowBuzzDaily. Retrieved June 19, 2017.
Jump up ^ Metcalf, Mitch (June 20, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 6.18.2017". ShowBuzzDaily. Retrieved June 26, 2017.
Jump up ^ Metcalf, Mitch (June 27, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 6.25.2017". ShowBuzzDaily. Retrieved July 18, 2017.
Jump up ^ Metcalf, Mitch (July 11, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 7.9.2017". ShowBuzzDaily. Retrieved July 18, 2017.
Jump up ^ Metcalf, Mitch (July 18, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 7.16.2017". ShowBuzzDaily. Retrieved July 18, 2017.
Jump up ^ Metcalf, Mitch (July 25, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 7.23.2017". ShowBuzzDaily. Retrieved July 27, 2017.
Jump up ^ Metcalf, Mitch (August 1, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 7.30.2017". ShowBuzzDaily. Retrieved August 2, 2017.
Jump up ^ Metcalf, Mitch (August 8, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 8.6.2017". ShowBuzzDaily. Retrieved August 9, 2017.
Jump up ^ Metcalf, Mitch (August 15, 2017). "Updated: ShowBuzzDaily's Top 150 Sunday Cable Originals & Network Finals: 8.13.2017". ShowBuzzDaily. Retrieved August 15, 2017.
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Chicago school (sociology)
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In sociology and later criminology, the Chicago school (sometimes described as the ecological school) was the first major body of works emerging during the 1920s and 1930s specializing in urban sociology, and the research into the urban environment by combining theory and ethnographic fieldwork in Chicago, now applied elsewhere. While involving scholars at several Chicago area universities, the term is often used interchangeably to refer to the University of Chicago's sociology department. Following the Second World War, a "second Chicago school" arose whose members used symbolic interactionism combined with methods of field research (today often referred to as ethnography), to create a new body of work.[1]
The major researchers in the first Chicago school included Nels Anderson, Ernest Burgess, Ruth Shonle Cavan, Edward Franklin Frazier, Everett Hughes, Roderick D. McKenzie, George Herbert Mead, Robert E. Park, Walter C. Reckless, Edwin Sutherland, W. I. Thomas [1], Frederic Thrasher, Louis Wirth, and Florian Znaniecki. The activist, social scientist, and Nobel Peace Prize winner Jane Addams also forged and maintained close ties with some of the members of the Chicago school of sociology.
Contents
[hide]
1 Discussion
2 Ecology and social theories
3 Conclusions
4 References
5 References
5.1 Other references
Discussion[edit]
The Chicago school is best known for its urban sociology and for the development of the symbolic interactionist approach, notably through the work of Herbert Blumer. It has focused on human behavior as shaped by social structures and physical environmental factors, rather than genetic and personal characteristics. Biologists and anthropologists had accepted the theory of evolution as demonstrating that animals adapt to their environments. As applied to humans who are considered responsible for their own destinies, members of the school believed that the natural environment, which the community inhabits, is a major factor in shaping human behavior, and that the city functions as a microcosm: "In these great cities, where all the passions, all the energies of mankind are released, we are in a position to investigate the process of civilization, as it were, under a microscope."[2]
The work of Frederic E. Clements (1916) was particularly influential. He proposed that a community of vegetation is a superorganism and that communities develop in a fixed pattern of successional stages from inception through to some single climax state or to a self-regulating state of equilibrium. By analogy, an individual is born, grows, matures, and dies, but the community which the individual inhabited continues to grow and exhibit properties which are greater than the sum of the properties of the parts.
Members of the school have concentrated on the city of Chicago as the object of their study, seeking evidence whether urbanization (Wirth: 1938) and increasing social mobility have been the causes of the contemporary social problems. Originally, Chicago was a clean slate, an empty physical environment. By 1860, Chicago was a small town with a population of 10,000. There was great growth after the fire of 1871. By 1910, the population exceeded two million. The rapidity of the increase was due to an influx of immigrants and it produced homelessness (Anderson: 1923), poor housing conditions, and bad working conditions based on low wages and long hours. But equally, Thomas and Znaniecki (1918) stress that the sudden freedom of immigrants released from the controls of Europe to the unrestrained competition of the new city was a dynamic for growth. See also the broken windows thesis.
Ecological studies consisted of making spot maps of Chicago for the place of occurrence of specific behaviors, including alcoholism, homicides, suicides, psychoses, and poverty, and then computing rates based on census data. A visual comparison of the maps could identify the concentration of certain types of behavior in some areas. Correlations of rates by areas were not made until later.[3]
For Thomas, the groups themselves had to reinscribe and reconstruct themselves to prosper. Burgess studied the history of development and concluded that the city had not grown at the edges. Although the presence of Lake Michigan prevented the complete encirclement, he postulated that all major cities would be formed by radial expansion from the center in concentric rings which he described as zones, i.e. the business area in the center, the slum area (called the zone in transition and studied by Wirth: 1928, Zorbaugh: 1929, and Suttles: 1968) around the central area, the zone of workingmen's homes farther out, the residential area beyond this zone, and then the bungalow section and the commuter's zone on the periphery. Under the influence of Albion Small, the research at the school mined the mass of official data including census reports, housing/welfare records and crime figures, and related the data spatially to different geographical areas of the city. Shaw and McKay created maps:
spot maps to demonstrate the location of a range of social problems with a primary focus on juvenile delinquency;
rate maps which divided the city into block of one square mile and showed the population by age, gender, ethnicity, etc.;
zone maps which demonstrated that the major problems were clustered in the city center.
Thomas also developed techniques of self-reporting life histories to provide subjective balance to the analysis. Park, Burgess, and McKenzie are credited with institutionalizing, if not establishing, sociology as a science. They are also criticized for their overly empiricist and idealized approach to the study of society but, in the inter-war years, their attitudes and prejudices were normative. Three broad themes characterized this dynamic period of Chicago studies:
culture contact and conflict. This arises from Thomas and Znaniecki (1918) and studies how ethnic groups interact and compete in a process of community succession and institutional transformation (Hughes and Hughes: 1952). An important part of this work concerned African Americans; the work of E. Franklin Frazier (1932) and Drake and Cayton (1945) shaped white America's perception of black communities for decades.
succession in community institutions as stakeholders and actors in the ebb and flow of ethnic groups. Cressey (1932) studied the dance hall and commercialized entertainment services, Kincheloe (1938) studied church succession, Janowitz (1952) studied the community press, and Hughes (1979) studied the real-estate board.
city politics. Merriam's commitment to practical reform politics was matched by Gosnell who researched voting and other forms of participation. Gosnell (1935), Wilson (1960), Grimshaw (1992) considered African American politics, and Banfield and Wilson (1963) placed Chicago city politics in a broader context.
The school is perhaps best known for the subcultural theories of Thrasher, Frazier, and Sutherland, and for applying the principles of ecology to develop the social disorganization theory which refers to consequences of the failure of:
social institutions or social organizations including the family, schools, church, political institutions, policing, business, etc. in identified communities and/or neighborhoods, or in society at large; and
social relationships that traditionally encourage co-operation between people.
Thomas defined social disorganization as "the inability of a neighborhood to solve its problems together" which suggested a level of social pathology and personal disorganization, so the term, "differential social organization" was preferred by many, and may have been the source of Sutherland's (1947) differential association theory. The researchers have provided a clear analysis that the city is a place where life is superficial, where people are anonymous, where relationships are transitory and friendship and family bonds are weak. They have observed the weakening of primary social relationships and relate this to a process of social disorganization (comparison with the concept of anomie and the strain theories is instructive).
Ecology and social theories[edit]
Vasishth and Sloane argue that while it is tempting to draw analogies between organisms in nature and the human condition, the problem lies in reductionism, i.e. that the science of biology is oversimplified into rules that are then applied mechanically to explain the growth and dynamics of human communities. The most fundamental difficulties are definitional. If a community is a group of individuals who inhabit the same place, is the community merely the sum of individuals and their activities, or is it something more than an aggregation of individuals? This is critical in planning research into group interactions. Will research be effective if it focuses on the individuals composing a group, or is the community itself a proper subject of research independently of the individuals who compose it? If the former, then data on individuals will explain the community, but if the community either directly or indirectly affects the behavior of its members, then research must consider the patterns and processes of community as distinct from patterns and processes in populations of individuals. But this requires a definition and distinction between "pattern" and "process". The structures, forms, and patterns are relatively easy to observe and measure, but they are nothing more than evidence of underlying processes and functions which are the real constitutive forces in nature and society. The Chicago school wanted to develop tools by which to research and then change society by directing urban planning and social intervention agencies. It recognized that urban expansion was not haphazard but quite strongly controlled by community-level forces such as land values, zoning ordinances, landscape features, circulation corridors, and historical contingency. This was characterized as ecological because the external factors were neither chance nor intended, but rather arose from the natural forces in the environment which limit the adaptive spatial and temporal relationships between individuals. The school sought to derive patterns from a study of processes, rather than to ascribe processes to observed patterns and the patterns they saw emerge, are strongly reminiscent of Clements' ideas of community development.
Conclusions[edit]
The Chicago Area Project was a practical attempt by sociologists to apply their theories in a city laboratory. Subsequent research showed that the youth athletic leagues, recreation programs, and summer camp worked best along with urban planning and alternatives to incarceration as crime control policy. Such programs are non-entrepreneurial and non-self-sustaining, and they fail when local or central government does not make a sustained financial commitment to them. Although with hindsight, the school's attempts to map crime may have produced some distortions, the work was valuable in that it moved away from a study of pattern and place toward a study of function and scale. To that extent, this was work of high quality that represented the best science available to the researchers at the time.
The Social Disorganization Theory itself was a landmark and, since it focuses on the absence or breakdown of social control mechanisms, there are obvious links with social control theory. In Causes of Delinquency (1969) Travis Hirschi argued that variations in delinquent behavior among youth could be explained by variations in the dimensions of the social bond, namely attachment to others, commitments to conventional goals, acceptance of conventional moral standards or beliefs, and involvement in conventional activities. The greater the social bonds between a youth and society, the lower the odds of involvement in delinquency. When social bonds to conventional role models, values and institutions are aggregated for youth in a particular setting, they measure much the same phenomena as captured by concepts such as network ties or social integration. But the fact that these theories focus on the absence of control or the barriers to progress, means that they are ignoring the societal pressures and cultural values that drive the system Merton identified in the Strain Theory or the motivational forces Cohen proposed were generating crime and delinquency. More modern theorists like Empey (1967) argue that the system of values, norms and beliefs can be disorganized in the sense that there are conflicts among values, norms and beliefs within a widely shared, dominant culture. While condemning crime in general, law-abiding citizens may nevertheless respect and admire the criminal who takes risks and successfully engages in exciting, dangerous activities. The depiction of a society as a collection of socially differentiated groups with distinct subcultural perspectives that lead some of these groups into conflict with the law is another form of cultural disorganization, is typically called cultural conflict.
Modern versions of the theory sometimes use different terminology to refer to the same ecological causal processes. For example, Crutchfield, Geerken and Gove (1982: 467-482) hypothesize that the social integration of communities is inhibited by population turnover and report supporting evidence in the explanation of variation in crime rates among cities. The greater the mobility of the population in a city, the higher the crime rates. These arguments are identical to those proposed by social disorganization theorists and the evidence in support of it is as indirect as the evidence cited by social disorganization theorists. But, by referring to social integration rather than disintegration, this research has not generated the same degree of criticism as social disorganization theory.
References[edit]
Jump up ^ Gary Alan Fine. A Second Chicago School? The Development of a Postwar American Sociology (Chicago: University of Chicago Press, 1995)
Jump up ^ Park, Robert E. (May 1928). "Human Migration and the Marginal Man". AJS. 33 (6): 890.
Jump up ^ Cavan, Ruth Shonle (January 1983). "The Chicago School of Sociology, 1918-1933". Urban Life. 11 (4): 415.
References[edit]
For a comprehensive history of the Chicago school, see Martin Bulmer (1984) and Lester Kurtz (1984).
Other references[edit]
Anderson, Nels, and Council of Social Agencies of Chicago. (1923). The Hobo: The Sociology of the Homeless Man.
Banfield, Edward C. & Wilson, James Q. (1963). City Politics.
Bulmer, Martin. (1984). The Chicago School of Sociology: Institutionalization, Diversity, and the Rise of Sociological Research. Chicago: University of Chicago Press.
Burgess, Ernest & Bogue, Donald J. (eds.).(1964). Contributions to Urban Sociology. Chicago: University of Chicago Press. ISBN 0-226-08055-2
Burgess, Ernest & Bogue, Donald J. (eds.) (1967). Urban Sociology. Chicago: University of Chicago Press. ISBN 0-226-08056-0
Bursik, Robert J. (1984). "Urban Dynamics and Ecological Studies of Delinquency". Social Forces 63: 393-413.
Clements, Frederic E. (1916). Plant Succession: An Analysis of the Development of Vegetation. Carnegie Institute of Washington Publication, No. 242. Washington, DC: Carnegie Institution.
Crutchfield, R.D., M. Geerken and W.R. Gove, (1982). "Crime Rates and Social Integration: The Impact of Metropolitan Mobility" Criminology, Vol. 20, Nos. 3 and 4, November, 1982, 467-478
Cressey, Paul Goalby. (1932). The Taxi-Dance Hall: A Sociological Study in Commercialized Recreation and City Life.
Drake, St. Clair & Cayton, Horace. (1945). Black Metropolis: A Study of Negro Life in a Northern City.
Empey L. T. (1967) "Delinquency Theory and Recent Research". Journal of Research in Crime and Delinquency 4.
Frazier, Edward Franklin. (1932). The Free Negro Family: A Study of Family Origins before the Civil War.
Frazier, Edward Franklin. (1932). The Negro Family in Chicago.
Gosnell, Harold Foote. (1927). Getting Out the Vote: An Experiment in the Stimulation of Voting.
Gosnell, Harold Foote. (1935). Negro Politicians: The Rise of Negro Politics in Chicago.
Gosnell, Harold Foote. (1937). Machine Politics: Chicago Model.
Grimshaw, William J. (1992). Bitter Fruit: Black Politics and the Chicago Machine, 1931–1991.
Hammersley, Martyn (1989) The Dilemma of Qualitative Method: Herbert Blumer and the Chicago Tradition, London, Routledge.
Hawley, Amos H. (1943). "Ecology and Human Ecology". Social Forces 22: 398-405.
Hawley, Amos H. (1950). Human Ecology: A Theory of Community Structure. New York: Ronald Press.
Hirschi, Travis. (1969). Causes of Delinquency. Berkeley: University of California Press. (2001) Transaction Publishers. ISBN 0-7658-0900-1
Hughes, Everett Cherrington. (1979). The Chicago Real Estate Board: The Growth of an Institution.
Hughes, Everett Cherrington & Hughes, Helen MacGill. (1952). Where Peoples Meet: Racial and Ethnic Frontiers.
Janowitz, Morris. (1952). The Community Press in an Urban Setting.
Kincheloe, Samuel C. (1938). The American City and Its Church.
Konecki, Krzysztof T. (2017) Qualitative Sociology, chapter 13, in: Kathleen Odell Korgen, ed., The Cambridge Handbook of Sociology. Core Areas in Sociology and the Development of the Discipline. Vol. 1. Cambridge: Cambridge University Press. Pp. 143-152. ISBN 978-1-107-12589-6
Kurtz, Lester R. (1984). Evaluating Chicago Sociology: A Guide to the Literature, with an Annotated Bibliography. Chicago: University of Chicago Press. ISBN 0-226-46477-6
McKenzie, R. D. "The Ecological Approach to the Study of the Human Community". American Journal of Sociology 30 (1924): 287-301.
Merriam, Charles Edward. (1903). A History of American Political Theories.
Merriam, Charles Edward. (1908). Primary Elections: A Study of the History and Tendencies of Primary Election Legislation.
Merriam, Charles Edward. (1929). Chicago: A More Intimate View of Urban Politics.
Park, Robert E. (1915). "The City: Suggestions for the Investigation of Behavior in the City Environment", American Journal of Sociology 20:579-83.
Park, Robert E., Ernest Burgess, Roderick McKenzie (1925). The City, University of Chicago Press.
Stark et al., "Beyond Durkheim" Journal for the Scientific Study of Religion 22(1983):120-131
Sutherland, Edwin. (1924, 34. 39). "Principles of Criminology.
Suttles, Gerald D. (1968) The Social Order of the Slum: Ethnicity and Territory in the Inner City.
Thomas, William Isaac & Znaniecki, Florian. (1918). The Polish Peasant in Europe and America: Monograph of an Immigrant Group.
Thrasher, Frederick (1927) The Gang. University of Chicago Press.
Vasishth, Ashwani & Sloane, David. (2000) Returning to Ecology: An Ecosystem Approach. [2][permanent dead link]
Wilson, James Q. (1960). Negro Politics: The Search for Leadership.
Wirth, Louis (1928) The Ghetto. University of Chicago Press.
Wirth, Louis. (1938). “Urbanism as a Way of Life: The City and Contemporary Civilization”. American Journal of Sociology 44:1–24.
Zorbaugh, Harvey Warren. (1929). Gold Coast and Slum: A Sociological Study of Chicago's Near North Side.
Authority control
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