Watching an old sitcom for the first time, I noticed how the doorway and living room felt oddly familiar, and I wondered then if it had been intentionally an homage of architecture, the sofa at just such an angle, the entryway on the left, the kitchen beyond, to this set. And then a different set of questions, entirely unrelated to the comedy and more closely tied to the media criticisms and symbolic readings of interior design. Were all doorways on the left? Did that lend itself to better blocking, the stage directions more aligned with our westernized reading of screens?
I flashed black through a series of fictionalized households I grew up in, lends all from the same cardinal perspective, and began to plot them onto a crossectional suburban neighborhood. The Fresh Prince and Cosby on the left, Bel Air connected to Brooklyn, two doors down from the Romano’s, pathways and windows looking across to the Connors and a few hours transplanted from Miami. At the cul de sac, the Taylor’s.