Tag Archives: Old Navy Spring 2014
We’ve all had that heart-stopping moment going through airport security, when our bag (or the bag of someone near us) is swept off the belt and meticulously torn apart by grim TSA personnel. Everyone lucky enough to have already passed through watches out of the corner of their eye as they hurry to get their stuff and get away — just in case. We all know that those orderly lines are just a stampede waiting to happen.
And we’ve also all felt the intrusiveness of a TSA agent who got a little personal and over-aggressive with the wand or with a manual search because the scanner picked up the quarter we forgot was in our breast or pants pocket. We know that vulnerable moment of personal terror when we realize that our line leads to the scanner that requires us to raise our hands over our head rather than just walking through — in spite of the fact that our belt, now riding in the gray tub, was the only thing keeping our pants up. We know that we’re just regular folks, but it feels like a violation when we’re singled out for further screening. Terrifying, too, as we know that with the threat level at Orange or above, they aren’t messing around; protestations of innocence will be utterly ignored. And forget it if you even look like you fit into one of the “terror profiles.” You’re positive, right then, that you’re about to find out just how tenuous our freedom actually is. Gitmo, here we come.
This spring, director Roman Coppola (son of Francis Ford Coppola) teamed up with comedian and actress Debra Wilson to play on these collective fears and feelings of vulnerability in — of all things — an Old Navy commercial. The ad has roused much comment, running the gamut from its dismissal as racist trash and egregious minstrelsy to its celebrations as hilarious, as brilliant parody or satire.
Wilson, an eight-year veteran of MADtv, plays a TSA agent who tries to spice up a job that is both high-stress and boring, injecting a little humor to keep herself awake and alert as she’s encouraging passengers to follow the rules and keep the lines moving along:
“Sir, keep your pants on. Ma’am, water is a liquid all over the world, so that’s H – 2 – no!”
The characterization is pitch perfect, balancing just the right amount of bored stoicism and aggression with humor. Then the comedian takes it over the top:
So, is it a brilliant spot or is it a particularly egregious bit of corporate racist fantasy, blackface minstrelsy haunting us still?
The answer, perhaps, is both.
In creating characters, Debra Wilson draws a firm distinction between doing “impersonations” and “impressions.” In impersonation, her goal is to “be” the person she’s impersonating, to make someone feel that they’re seeing that person, actually meeting that person. Impressions, on the other hand, are presentations of “social perception” — take-offs of what people see or want to see, of public persona and behaviors.
Impressions are parody, and Wilson says, “I am there to represent what most people are saying, most people are thinking, most people are reading about.” Her intent is not to represent the real person, but rather to parody what is acted out in the social arena, to parody and caricature the public actions of a person, or the public’s perception of that person, rather than the person herself. The object of the impression, then, is to hold the public image, actions, and social perceptions up to a mirror of parody.
Wilson further argues that there’s “no point in doing it if it’s not a playground.” She loves complex situations, with multiple levels of actions, opinions, perceptions clashing, which offer her “the opportunity to have a larger playground.” (See interview below, of Wilson’s 2010 appearance on the Gregory Mantell Show.)
So what is the “playground” of parody offered in this commercial featuring Connie, the TSA agent? Continue reading →