It’s a show about a very specific moment in history

 “Separate your price from your worth,” Hugh Hefner paternally warns Pamela Anderson (Lily James) nearly two-thirds of the way through Hulu’s new limited series “Pam & Tommy,” about the theft and distribution of Pamela’s honeymoon sex tape with her husband, Mötley Crüe drummer Tommy Lee (Sebastian Stan), whom she married after a whirlwind four-day romance. It’s the first real piece of advice anyone’s given her about the explosive career she’s about to have—first as Playboy Playmate in the late ‘80s, then a TV bombshell on “Baywatch”—and, ignoring the dubiousness of the source, speaks to the thematic territory showrunner Robert Siegel and EP Craig Gillespie want to cover.

It’s a show about a very specific moment in history, where the ‘90s was set to change the world forever with the rise of celebrity gossip mags and the mass reach of the Internet. But it’s also more broadly about the public’s relationship with celebrity, and the entitlement the average person feels to accessing the innermost lives of the people they see on TV. (Doubly so when the person in question is a cultural sex symbol whose very existence makes men feel a sense of ownership of her body.) The show casts a wide net over all these concerns, bouncing between searing biopic drama and Coen brothers-esque dark comedy, and it doesn’t all work.

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Based on the 2014 Rolling Stone article on the subject, “Pam & Tommy” curiously starts not with its titular characters, but in the mind of the schlub who stole the sex tape in the first place: embittered contractor Rand Gauthier (Seth Rogen), a working stiff and “amateur theologian” who justifies stealing the tape as vengeance for being bilked out of thousands by the volatile Tommy. Soon enough, he’s folded in an old porn-industry buddy, “Uncle” Miltie Ingley (Nick Offerman), and together they start copying and selling the tapes on the Internet. Naturally, it snowballs out of everyone’s control from there, the show flitting from subplot to subplot with nary a chance to develop most of them.

A lot of the show’s barely-controlled chaos can be laid at the feet of “I, Tonya” and “Cruella” director Gillespie, who directs the first three episodes of the eight-episode series (and who never met a tracking shot or needle drop he didn’t like). He turns on that same approach here, cameras constantly weaving and coasting through the immaculately-rendered ‘90s world the costume and production designers have set for themselves. It’s all very slick and diverting, but starts off the series with a breeziness that makes it harder for follow-up directors Lake Bell, Gwyneth Horder-Payton, and Hannah Fidell to bring down the hammer on the script’s justifiable cultural targets: sleazy TV producers, ogling fans and paparazzi, every craven opportunist who wants a piece of the pie.

https://onlinestreming4k.blogspot.com/2022/02/hugh-hefner-paternally-warns-pamela.html

https://openbono1.blogspot.com/2022/02/separate-your-price-from-your-worth.html

https://michatno1.blogspot.com/2022/02/a-lot-of-shows-barely-controlled-chaos.html

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