Carl Jacobs: A Champion for Individualism in Conflict with Society in "Euphoria" Season 2, Episode 4

 

"Euphoria," the critically acclaimed HBO series, is a masterful exploration of the tumultuous lives of modern adolescents, delving into the complexities of addiction, relationships, and identity. In Season 2, Episode 4, the narrative takes a profound turn as it focuses on the character Carl Jacobs, a symbol of individualism in stark contrast to his family, representing societal norms and expectations.

This pivotal scene, in which Carl enters his home intoxicated and urinates on the floor, serves as a powerful allegory for the clash between the pursuit of personal freedom and the conforming pressures of society.

A Defiant Act of Rebellion: Carl's Urination on His Family's Pride

Carl's audacious urinating on the floor of his family's home in "Euphoria" Season 2, Episode 4, carries profound symbolic weight. This house, built with his sweat and toil, represents the epitome of societal achievement and conformity. However, Carl's act is a stark rejection of the societal norm that places unwavering emphasis on hard work and material success. It serves as a poignant commentary on the potentially hollow nature of relentless ambition.

In this moment, as he relieves himself on what should be his pride, Carl appears to grapple with a sense of regret, realizing that there must be more to life than the relentless pursuit of material success. His act becomes a form of self-inflicted punishment, an acknowledgement of the emptiness that can accompany a life dedicated to work and achievement.

The Bold Rebellion: Carl's Unveiling of the Individual's Power

In a stunning and audacious display of rebellion, Carl's decision to walk with his exposed penis in front of his family in "Euphoria" Season 2, Episode 4, unveils a powerful symbolism. In most societies, exposing one's nakedness, particularly in front of one's children, is seen as taboo, often laden with dire consequences. The biblical reference to Noah and his son serves as a poignant reminder of the historical weight attached to such actions. In many African societies, witnessing a parent's nudity can be considered a curse.

Carl, embodying the essence of individualism, takes a bold step that asserts these norms. He symbolizes that the individual should inherently be greater than the society they inhabit because the individual is the one who creates the society. Just as without the parent, children cannot exist; without the individual, society is void.

Carl's nudity becomes a declaration that the restrictions and expectations society imposes on the individual are a curse to society. A child can never instruct a father, but the father shows the child the way. Thus, society has retarded growth and development because it instructs its parent, the individual, instead of following the parent’s way.

In this act, Carl's defiance mirrors the sentiment found in Eminem's song, "I Am Not Afraid," where he speaks of challenging the universe by pulling out his penis in the dark, a symbolic act of reckoning with life's injustices. Similarly, Carl's audacious stride with his penis exposed can be seen as his way of exacting a form of payback upon society for the ways in which it has constrained, controlled, and perhaps even "messed him up."

Carl's bold actions in this scene are a stark reminder that the individual possesses immense power—the power to challenge societal norms, question established conventions, and assert their right to exist as more than mere cogs in the machinery of society. It underscores the idea that true growth and progress can only be achieved when individuals are unafraid to challenge the status quo, even if it means confronting the uncomfortable and unsettling norms of the world around them.

The Power Play: Carl's Positioning and the Society-Individual Dynamic

In a scene rife with symbolism in "Euphoria" Season 2, Episode 4, the spatial positioning of Carl and his family underscores the intricate power dynamics between society and the individual. This visual representation speaks volumes about this complex relationship's inherent imbalances and struggles.

Carl, embodying the essence of individualism, occupies the lower ground, speaking from a position downstairs while looking up at his family. This arrangement serves as a potent symbol, illustrating the societal construct that places the individual beneath the collective power of society. It suggests that the individual often finds themselves in a subordinate position, accountable to the collective's norms, expectations, and judgments.

Conversely, Carl's family, situated upstairs and looking down at him, symbolizes the overarching power of society in this context. Their elevated position signifies the societal hierarchy that tends to exert control, influence and even judgment over the individual. It reflects the societal structure where conformity is often demanded, and deviation from the established norms can lead to ostracization or marginalization.

This powerful visual representation encapsulates the perpetual struggle between society and the individual. The family's gaze directed downward upon Carl mirrors how society often looks down upon and enforces conformity upon those who dare challenge its norms. The individual, represented by Carl, is left with the choice to conform or face the potential consequences of non-conformity.

In this scene, "Euphoria" masterfully captures our world's intricate power dynamics. It prompts viewers to reflect on the constant negotiation between individuality and societal expectations, where the individual must navigate the ever-present pressure to conform or risk being marginalized by the collective force of society.

Marsha's Outreach and Carl's Defiance: The Symbolism of Society's Response

In the pivotal scene featuring Marsha, Carl's wife, reaching out to him in "Euphoria" Season 2, Episode 4, a complex interplay of symbolism unfolds, shedding light on society's response to the rebellious individual and the individual's defiant stance against societal expectations.

Marsha's reaching out to Carl is a potent symbol of society's attempt to extend a helping hand to a wayward individual, aiming to guide them back towards conformity. Her suggestion that Carl should see a doctor symbolizes how society often judges non-conforming individuals as "sick" or deviant. It reflects society's inclination to pathologize those deviating from established norms.

In response, Carl vehemently protests, asserting that he is "100% fine." This defiant declaration carries profound symbolism, signifying the individual's yearning for autonomy and the belief that self-discovery and self-fulfilment can only be achieved by charting one's path. It underscores the idea that when individuals are allowed to find their way, they have the potential to achieve a sense of self-fulfilment that cannot be attained through conformity alone.

Marsha's response, expressing her fear in response to Carl's defiance, mirrors society's apprehension toward those who challenge the status quo. Society often becomes accustomed to the default norms and is reluctant to accept change, fearing the disruption that may come with it. Just as Marsha is scared by Carl's refusal to conform to societal expectations, society can fear those who seek to redefine or challenge established norms.

In a moment of poignant irony, Carl embraces the derogatory names that society may assign him: "faggot, sexist, pig, creep." While this may initially sound like a form of empowerment, it prophesies society's tactics to eliminate those who refuse to conform. These derogatory labels can become weapons to discredit and marginalize those who question the status quo.

This scene in "Euphoria" masterfully encapsulates the intricate dance between the individual and society. It highlights the struggle of the non-conforming individual, their defiance against societal expectations, and the societal fear of change. It serves as a powerful reminder of the challenges and consequences faced by those who choose to tread their path outside the boundaries set by society.

Carl's Bold Revelation and Society's Unyielding Isolation

In a striking sequence in "Euphoria" Season 2, Episode 4, Carl takes centre stage, fearlessly acknowledging his non-conforming desires and embarking on a journey to reveal the double lives led by his family members. This emotionally charged scene unfolds with powerful symbolism, shedding light on the dynamics between the individual and society.

Carl's unapologetic declaration of his sexual preferences, encompassing men, women, and transsexuals, is a resounding affirmation of his identity. He boldly embraces who he is, refusing to conform to societal norms that attempt to restrict his self-expression. This act symbolizes the individual's relentless quest for authenticity and self-acceptance.

As Carl stands upstairs with his family members, the symbolism of their equal positioning underscores a momentary glimpse of parity between the individual and society. However, his revelations soon take a different turn. Carl begins by confronting his wife, Marsha, about her flirtatious interactions with other men on social media, a breach of the loyalty expected within a marriage. This act of non-conformity by Marsha mirrors Carl's defiance against societal expectations.

In a moment of empathy, Carl tells Marsha that it's acceptable for her to feel loved by someone other than him, extending the same understanding he desires. However, Marsha's response, retreating to her room and locking herself in, symbolizes society's unwillingness to confront its contradictions. It often prefers to hide behind established norms rather than confront the complexities of individuality.

Descending the stairs and sharing his revelations with Erin, Carl's symbolic positioning shifts, signifying the futility of the individual's efforts to find equal footing within an unyielding society. He confesses to Erin watching explicit content on his computer, exposing Erin's double life. However, Carl's demeanour suggests a sense of resignation, as if he knows that his revelations may not alter the course of his familial relationships.

As Carl finally descends the stairs, leaving his family members still positioned upstairs, his comment, "You pushed me to a corner," resonates with the defeat of the individual by society. It symbolizes how the relentless pressures of societal conformity have isolated him, pushing him into a metaphorical corner.

When Carl ultimately leaves the house, it signifies the sad culmination of a non-conforming individual's battle against the unyielding forces of society. He is a symbol of someone who, after relentless pushback, has been effectively eliminated by a society that often struggles to accept those who challenge its established norms.

The Complex Dance of Society and the Individual in "Euphoria"

In the tumultuous world of "Euphoria," Season 2, Episode 4, a profound exploration of the intricate relationship between society and the individual unfolds, weaving a tapestry of symbolism and introspection. This episode's various scenes and moments offer a poignant commentary on the struggle for autonomy, self-identity, and the relentless push and pull between societal expectations and individual desires.

Throughout the episode, Carl Jacobs, embodying the spirit of individualism, becomes the focal point of this intricate dance. His bold defiance of societal norms, symbolized by urinating on his home and openly embracing his non-conforming desires, represents the individual's yearning for autonomy and self-discovery. Carl's actions challenge the status quo and beckon society to confront its contradictions.

Marsha, Carl's wife, and other family members represent society's reactions to non-conformity. Marsha's fear and withdrawal when confronted with Carl's revelations mirror society's reluctance to address its double standards and norms. The episode underscores society's propensity to pathologize non-conforming individuals while ignoring its inconsistencies.

The spatial symbolism of Carl being on equal footing with his family members upstairs, only to descend the stairs as he exposes their hidden lives, is a powerful visual metaphor for the futility of the individual's struggle to find equality within the unyielding embrace of societal norms.

Ultimately, Carl's departure from the house represents the tragic outcome of a non-conforming individual pushed to the margins by a society unwilling to confront its realities. It encapsulates the toll of the relentless battle between the individual and society's expectations.

"Euphoria," in this thought-provoking episode, invites viewers to reflect on the delicate balance between individuality and conformity, offering insights into the challenges and consequences faced by those who dare to challenge the established norms. It reminds us that pursuing personal freedom, identity, and self-discovery can be a lonely and difficult journey in a world where society often demands conformity above all else. The episode serves as a testament to the enduring struggle between the individual and society, leaving us much to ponder about the complexities of this timeless dance.

 

 

 

 

Why Language Choice is Crucial in a Film’s Success

 

"Bloody Indians. Can't you read English?" a British soldier scornfully asks Manikarnika.

"I can read English. It's a mere language. Just words. Words without culture have no meaning." Manikarnika responds. 

 It has always been that way. Language is part of a culture. Language goes hand in hand with culture. You cannot separate the two and expect to pass a message. Film producers and directors must be careful when selecting the language in their films and television series. When you choose a language that does not match the culture of your setting, then your work is bound to fail. I have seen how Kenyan producers grapple with the choice of language for use in their films and tv series. 

 Kenya has several local languages. Then there is Kiswahili, the national language, and English, the official language. Most Kenyan producers select English for their production. That is why they fail, and the Kenyan film industry remains stunted. 

Creating a Kenyan movie in English is suicidal. Virtually, Kenyans do not speak English at home or even at work. English is a language of official papers and documents only. Most Kenyans speak Kiswahili or their mother tongue. Thus, when a film is in English, it becomes unrealistic and boring at best.

A Kenyan tv series, Makutano Junction, was produced in English. It failed to attract public attention because it used English. The portrayal of a local chief, politicians, and market women speaking English buried it. Virtually no local leader in Kenya speaks to residents in English. Additionally, no market women speak English among themselves and their customers in this nation. People could not watch it since it did not show the genuine Kenyan society. It needed to speak the language Kenyans understand.

A film needs to be accurate to succeed. A film achieves reality only when it upholds the culture of its setting. That is why India's, Nigeria's, and Tanzania's film industries are experiencing immense growth today. They are true to their cultural settings. Indians produce their movies in Hindi, Bengali, Marathi, Telugu, and other local languages. Those are the languages most Indians speak. These are the suitable languages to use to depict a particular issue in Indian society successfully. Using a foreign language in an Indian film is like producing a Nazi film in Kiswahili.

 Most Nigerian films use Nigerian pidgin English, the most common language in Nigeria. Most people love these movies since pidgin English helps them portray authentic Nigerian society. 

The Tanzanian film industry has also emerged strongly due to its use of Kiswahili, Tanzania's national language. Its films and tv series, such as Huba and Kapuni, are popular across East Africa due to their use of Kiswahili. Thus, one learns that realism is the key to the success of a film, and language plays a crucial role in making a film genuine. 

Besides foreign languages making films unreal, they also make actors struggle to perform. In Makutano Junction, several actors struggle to express themselves and their emotions in English. The actors in Indian films produced in English also struggle a lot with using English. These struggles result in low-quality films since actors need to express themselves better, damaging their producers' reputations. 

 

Unfortunately, most producers argue that they must use English in their creations because it makes them reach a wider audience. They should know that using English does them more harm than good. It makes them produce substandard films that cannot relate to and communicate to any audience. Additionally, they should learn from Indian, Nigerian, and Tanzanian film industries that one can only reach, penetrate and establish themselves in the international arena by being authentic in his production. Indian films are typical in Kenya, yet very few Kenyans speak Hindi. Hollywood films dominate the world because they are true to the American culture rather than because many people understand English. 

Culturally-relevant language makes a film real. Thus films must be culturally competent by using the appropriate language to achieve success. This simple trick shows why a series like Selina have gained national fame. Producers, choose your productions' languages wisely.

Bajirao Mastani: Against All Odds

 

The greatest commandment of all is love. Nothing reminds us better of this saying than Bajirao Mastani, a tragic film that shows how only a few people genuinely love. 

Our dreams make us develop pride and ego. Then pride and ego make us hateful. Thus, to love others, we must sacrifice our dreams. Bajirao Mastani demonstrates this point well.

Plot

Bajirao inherits the title of the Prime Minister of the Maratha Kingdom after his father's death. He brings success to the Kingdom in the next few years by conquering nearly half of India. He embarks on military duty to the South, where he meets Mastani, a beautiful princess of the Kingdom of Bundelkhand. Mastani wants him to help her father fight invaders that have come to conquer Bundelkhand. Bajirao is impressed by Mastani’s fighting prowess when she enters his tent, downing several soldiers. He agrees to help her save her home. After the victory against Bundelkhand invaders, Bajirao stays for a few days in the Kingdom, where he and Mastani fall in love. Before departing to continue his campaign South, Bajirao gifts Mastani his dagger. Unfortunately, he is unaware that when a man gives a lady his dagger in Bundelkhand, she becomes his wife. Thus, he married Mastani. 

Bajirao abandons his campaign South and heads back to Pune (his hometown). A few days later, Mastani (now his wife) follows him there. Bajirao’s mother ensures that Mastani does not meet him, especially after learning that Mastani is a Muslim. Mastani, determined to meet her husband, acts as a dancer and attends the party to celebrate Bajirao's victory and beneficial alliance with Bundelkhand. Bajirao learns of her presence and plans several meetings with her later. He agrees to take Mastani as a second wife after she accepts that she will tolerate all the ridicule she will suffer by marrying him. 

Kashi, Bajirao’s first wife, learns later about Mastani’s existence. Bajirao's second marriage angers her, so she moves to her maternal home to have their baby there. Mastani is also pregnant. She is isolated and ridiculed such that Bajirao attends to her himself when she gives birth. Later, Bajirao brings Mastani home. Nobody is there to welcome them except for Kashi. While she lives in Bajirao’s mansion, Mastani is scorned and called derogatory names like “mistress” and “court dancer.” She is not affected by that. She is only focused on Bajirao’s love for her.

Later, Bajirao's eldest son, Nana Saheb, first attempts to kill Mastani while Bajirao is attending a feast. Bajirao arrives in time to save her. The second time, Nana Saheb and his grandmother arrest Mastani when Bajirao leaves for war. They aim to kill Mastani. When Bajirao learns about this, he is enraged that he goes to battle alone, suffering severe injuries. A few days later, Bajirao and Mastani die together simultaneously in different places. 

Conflicts in Bajirao Mastani 

Love vs. The Pride of a Woman

The movie presents two wives of Barijao, Kashi and Mastani, with similar challenges but different reactions. Kashi symbolizes the pride of a woman, while Mastani symbolizes love. 

Kashi

Kashi is angered that Bajirao has brought home a second wife. She feels her pride is hurt because Bajirao’s eyes and heart caught another woman's. This occurrence exposes Kashi’s side that Bajirao and, probably, the audience did not imagine she had. 

 Before Kashi knows Mastani’s existence, she appears as a loving and supportive wife. However, when Kashi learns about Mastani, she becomes a hateful and jealous woman. First, she leaves Bajirao to have their child at her maternal home. When Kashi returns, Kashi supports all the ridicule and suffering other people make Mastani endure. She enjoys all the vile things Bajirao’s family and court throw at Mastani. She even calls Mastani "mistress." When she learns that Mastani is about to be killed, she delays informing Bajirao. Were it not for Mastani’s superior fighting skills, the assassins would have killed her. Kashi does not oppose Mastani’s arrest. She only asks for Mastani's release upon realizing that Bajirao will die without Mastani. She even tells Bajirao that he hurt her pride when she forbids him from visiting her chambers. 

Here, we see Kashi’s pride, in the pretense of love for Bajirao, make her clear and pure mind turn into a dark and hateful heart. Kashi thinks she loves Bajirao, but the movie reveals that she loves her dreams more. She supports the scorning of Mastani, whom she ought to help uphold her dignity because she wants Mastani out of her life with Bajirao. She joins the company of people who call Mastani a mistress and dancer, hoping they will break Mastani down and make her leave Bajirao. 

 Kashi loves her pride (dreams) more than Bajirao. That is why it is hard for her to understand that Bajirao and Mastani are in love. Her pride makes her not see that the heart chooses who to love, and Bajirao and Mastani are blameless here. Her dream of being the only wife of Bajirao unfolds as pride and ego, preventing her from understanding the love Bajirao and Mastani share. 

Like Kashi, most people today claim their partners betray them. They do not realize their immense pride and ego clout their love and make them hate their partners. True love does not have room for hate.

Mastani

Mastani is a valid symbol of love. The film uses her to show what love is, which is different from people's collective knowledge of love. She accepts to be Bajirao's second wife in a society where people ridicule second wives. Additionally, she is a Muslim, so Bajirao's Hindu society twice discriminates against her. Mastani’s love makes her strong, weathering all these challenges. Mastani, a princess of Bundelkhand, abandons her home and moves to Pune, where she lives a low life among courtesans. People call her mistress, concubine, and dancer. That does not matter to her. While Bajirao’s family disrespects her, there is no time that she responds with anger or insult. She is humble and sober throughout the movie until she dies in prison. Mastani shows that love is humble and strong. It makes her ignore her title as the Princess of Bundelkhand and lives that low life in Pune because she loves her husband. Bajirao’s love is enough for her. She needs nothing more; neither pride and titles nor riches and servants. It is very moving to see how Bajirao, the Prime Minister of the Maratha Kingdom, attends to her when she is left alone in labor. That is the movie's sweetest part and most magnificent expression of love. Had Kashi put her passion for Bajirao above everything else, like Mastani, neither Bajirao nor Mastani would have died. Her pride destroys her love for Bajirao and not Bajirao’s second marriage. 

Mother vs. Son

The arrival of Mastani rocks a steady family as it puts mother and son at loggerheads. Radhabai, Bajrao’s mother, opposes Bajirao’s marriage to Mastani. She tries as much as possible to prevent Mastani from seeing Bajirao when Mastani arrives in Pune. She leads her court in insulting and degrading Mastani. Radhabai is a conservative Hindu eager to preserve her family's status. She believes that welcoming a Muslim as a second daughter-in-law destroys her family's high position among the Hindu priests and people. Thus, she does everything to have Mastani out of her house. 

Bajirao’s love for Mastani is so strong. The actions of his mother, brother, and Kashi against Mastani stress him a lot. It is hard for him to fathom that his family cannot see and accept the pure love that he shares with Mastani. Bajirao reveals how his mother, Kashi, and brother are mainly concerned about the status of the family than their love for him when he chooses to leave his position as Prime Minister. He tells them that if that position matters to them, he will abandon it so that the appropriate person takes it and uphold the family's status. Later, he takes back the role because he admits that his love for the Marathi Kingdom is more significant than his love for Mastani. Here, Bajirao exposes Radhabai, Kashi, and his brother, that their love of status is far greater than their love for him. Their opposition to his marriage to Mastani (a Muslim) is not because Mastani has a bad character but because her marriage to Bajirao lowers the family's status in Hindu society. This occurrence reminds me of Alexander the Great, who lost popularity among his commanders and Greek people due to his tendency to marry foreign women.

Religion vs. Love

Religion or love, which one is mightier? This question lingers even today in a world plagued by terrorism and Jewish aggression in the Middle East. Bajirao Mastani shows how man has struggled with this question for centuries. The notable thing about this question is that love is one of the core teachings of virtually all religions in the world, yet there comes a time when love and faith collide. So, is the love taught by religion true love, or does religion have pride and ego that make it unloving?

In Bajirao Mastani, Mastani gives birth to a boy and gives him a Hindu name, Krishna Rao. Bajirao asks the Brahmin priest to conduct a Hindu naming ceremony for the innocent Krishna Rao, but the priest refuses. He argues that Krishna Rao is an illegitimate child. It is hard to understand why a priest should refuse to perform a ceremony for a child whose "fault" is only being born. Whatever the wrong things Bajirao or Mastani did, their child should be free from condemnation. Here the actions of this priest or religion do not amount to love. The priest and his faith have started isolating and killing the dreams of a young soul even before it knows what is right or wrong.

Additionally, Bajirao's family is devoted to Hinduism, respecting every practice and norm of the religion. One of the critical teachings of Hinduism is love and selflessness. However, their actions towards Mastani, a Muslim, go against the basic principles of their religion. Bajirao's family ridicules Mastani and does not show her an ounce of love. No one can get attracted or converted to that religion with the immense hate they show Mastani, a fellow human being. Thus, the film shows that love is more significant than religion as it shows the maltreatment of Mastani and her child under the Hindu religion. 

Conclusion

Bajirao Mastani is a classic epic movie with deep themes that challenge women, families, and religions to self-examine themselves. It reveals how people's selfishness (immense love for their dreams, pride, and ego) makes them develop hate disguised as love and feel betrayed. It shows that true love is humble and selfless. Watch it and get challenged.

Hope Springs: So Watchable

 

Recently, I was having a conversation with a friend about her marriage. She told me she had been married for 20 years but wanted out. I tried to talk her back into her marriage, but she seemed adamant. It was hard to fathom that a marriage that had lasted for 20 years could experience great turmoil and get to the brink of collapse. 

Then I came across this 2012 movie titled "Hope Springs." The film is about a couple, Arnold and Kay Soames. They have been married for 37 years and are now on the brink of collapse. 

 The thing that glues me to the movie is that this couple has been married for 37 years, yet their marriage still faces turmoil, just like newlyweds in their second year. If my friend's 20 years of marriage felt like forever, what about 37 years?

 Plot 

Kay and Arnold are two nesters. Since their youngest child went to college, they have slept in separate rooms. It is over five years since they last made love. Kay is unhappy primarily with this setup, while Arnold feels it is okay. Kay takes her savings and pays for a trip to Maine, where she and Arnold are to attend an intense marriage counseling therapy for a week.

 At the start of the therapy, Arnold does not want to attend the sessions. However, as time passes, he gets stuck in it. The therapy makes significant improvements in their intimate lives. They end up saving their marriage and remarrying. There are vital lessons to learn from this movie. 

Importance of Intimacy in Marriage

During my years of study in a health-related course at the university, I learned that sex was one of the basic needs of humans as adults. A few years into marriage, my father advised me of the importance of sex in keeping a marriage. Now, Hope Springs adds significant weight to this observation. Observing this couple, Arnold and Kay, older adults, probably in their fifties or sixties, and seeing how Kay talks about her desire to have Arnold touch her in one of their early therapy sessions is very moving. One wonders how at such advanced ages, people still desire sex. They do, and the lack of it threatens marriages.

This film reveals that sex is essential not just because it fulfills a person's sexual desire but also shows that one admires and is still attracted to their partner. That feeling of attraction and admiration is what brings couples together and keeps them together. This feeling is mainly expressed through sex. For example, when the therapist, Dr. Feld, asks Arnold if he is still attracted to Kay, Arnold says he is. However, later, when the couple tries to make love in front of the fireplace in a luxury inn, Arnold is not aroused enough to go through with it. Kate realizes that Arnold lied to the therapist. She is no longer attractive to him. She decides to leave to pet-sit for a fellow employee. 

Fortunately, the night before she leaves, Arnold makes passionate love to her. That act saves their marriage. They resume a happy and fulfilling intimate relationship that leads them to remarry. 

Men and Women in Relationships

People may say that the movie advances stereotypes about men and women in relationships, but that is the reality of how most men and women are in relationships. Like most men, Arnold is a closed person in this relationship, while Kay is open, like most women. Arnold is okay with the present setup of the marriage. He does not understand why Kay feels a problem with their marriage. He thinks Kay is exaggerating their situation. It is like Kay is petty to him. This attitude later makes Kay tell him that he is a bully.

Arnold goes on a trip to Maine to please his wife and not to solve anything. During therapy sessions, he is unwilling to open up. One notices that Arnold only responds to questions after Kay does. There is a time when he even tells Dr. Feld that he cannot discuss his sex life with a stranger. His unwillingness and inability to talk about issues Kay deems crucial make him appear uncaring and disrespectful towards his wife. There are times when Kay cries because of this. 

On the other hand, Kay is open and willing to talk about anything concerning their relationship. She answers Dr. Feld's questions with ease. After storming out of a session when she feels suffocated by Arnold's bullish attitude, Kay goes to a bar where she informs the bar attendant that she has not had sex for long. One notices how Kay is open to discussing her relationship issues with anyone. She is seeking help anywhere she can get. 

Importance of Third Parties in Marriages 

Most importantly, HopeSprings elaborates on the importance of visiting counselors to help solve relationship problems. This movie shows how couples find it hard to discuss vital issues in marriages that can only be eased with third parties. For example, rarely do people talk about sex and sexual fantasies. In the film, we see Dr. Feld filling this gap in communication by taking this couple through a discussion of sex life and sexual fantasies. We learn that Arnold has had some essential fantasies that he wished Kay would help him achieve. If he were to tell Kay about these fantasies earlier, probably their relationship would have been different and better. Dr. Feld is crucial in helping this older couple solve their marriage problems. He gets them talking about what they love and hate about each other. Dr. Feld helps them pull closer to each other. He helps them save their marriage.

Conclusion

This movie is a perfect illustration of the problems couples face. It shows how men, at times, are usually distant and okay with unfulfilling relationships. It encourages women to pull men closer and not give up on seeking solutions to their unpleasant relationships, as Kay did. It also informs men not to trivialize their partners' issues, as Arnold did to Kay. It encourages them to spare time and discuss every item their partners present. It encourages men to be open and not have a fixed mindset about issues. Couples should save time and watch Hope Springs. I am recommending this movie to my friend I mentioned earlier.