Julianne Moore’s Most Absurd May December Line Actually Has A Much Deeper Meaning

Netflix’s recent hit May December showcases absurd moments that aim to depict deeper aspects of the characters and one in particular takes it to another level. The film has received an overall positive response both from critics and the audience and has obtained one of Netflix’s best Rotten Tomatoes scores of 2023. The film’s success lies in the depth with which it covers a very interesting story. May December follows the relationship between Gracie and Joe, a couple involved in a scandal two decades before the film’s main events, and an actress who is preparing to portray Gracie in a movie based on their story.

May December‘s symbolism is evident. Todd Hayne’s film is packed with subtle decisions that add information and meaning regarding the plot or the characters. Visual decisions such as framing, camera movements, lightning, set decoration, or props are rarely random, but they intend to say something more. The same happens with music and with many dialogues that may appear irrelevant, but hide a deeper meaning or at least open the door to different interpretations. The “hot dogs” line by Gracie already foreshadows deep aspects of her personality and her relationship with Joe early in the film.

May December’s “Hot Dogs” Line Highlights The Lurid Nature Of Gracie & Joe’s Life

The first scene featuring Julianne Moore’s Gracie in May December already sets the tone for the entire film. Gracie talks to her friend Rhonda in the kitchen about receiving movie star Elizabeth Berry at her home in what is seemingly a scene dominated by normalcy. Even though a second watch may be necessary to properly understand the meaning behind this particular moment, the intention by Haynes seems clear. Through aesthetic decisions, the director intends to make evident the great deal of melodrama that is hiding under that normalcy Gracie so desperately tries to display.

The first hint of something beyond usual with Gracie’s character happens when she appears overprotective of her kids. However, there’s a strong break in the scene through Haynes’ staging when Marcelo Zarvos’ dramatic score kicks in and a violent zoom-in precedes the line “I don’t think we have enough hot dogs”. The dialogue and the music and camera work seem to go opposite ways, which is a clear indicator that there is more to it than just a line. To give excessive importance to a simple statement by Gracie highlights the lurid nature of her life with Joe.

Gracie’s “Hot Dogs” Scene Emphasizes May December’s TV Movie-Style Storytelling

The “hot dogs” scene is arguably the most representative of Haynes’ intentions through aesthetic display throughout the entire film. Elizabeth is making a made-for-TV adaptation of the case and many elements in Hayne’s staging resemble that typical melodramatic approach. The zoom-ins and music are clear examples of that. Their presence dramatizes situations at the same time as it comments on the sensationalist media. While for most of the film, this issue tends to be introduced more subtly, in this particular May December scene, it is done roughly.