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Elks Lodge of The Oranges

The Oranges (locally /ˈɑːrəndʒɪz/) are a group of four municipalities in Essex County, New Jersey, all of which have the word Orange in their name. The four municipalities are Orange, East Orange, South Orange and West Orange. All of these communities were named for William III of Orange, Stadtholder of the Dutch Republic, and from 1689 until 1702 King of England, Ireland, and Scotland.

The Thomas Edison factory in West Orange. It has since been converted into apartments.

Orange was initially a part of Newark, but it was originally known as "Newark Mountains". On June 7, 1780, the townspeople of Newark Mountains officially voted to adopt the name Orange.[1] At the time, there was a significant number of people in favor of secession from Newark. However, this would not occur until November 27, 1806, when the township of Orange—then including all of the territory encompassing all of the Oranges—officially separated from Newark. Orange was incorporated as a town on January 31, 1860. Almost immediately, it began fragmenting into smaller communities, primarily because of local disputes about the costs of establishing paid police, fire, and street departments. South Orange was organized on January 26, 1861, Fairmount (later to become part of West Orange) on March 11, 1862, East Orange on March 4, 1863, and West Orange (including Fairmount) on March 14, 1863.

Today, the different municipalities of the Oranges are quite different from one another. All four were once among the richest communities in New Jersey. However, Orange and East Orange are relatively urban and working-class, while South Orange and West Orange remain affluent suburban enclaves. In addition, the residents of Orange and East Orange are predominantly African-American, while those of South Orange and West Orange are predominantly white.

While each community has its own independent government, and the four municipalities have no shared governance (other than Essex County), the term is often used to refer to the area, including on highway exit signs. Signage for Exit 47A on Interstate 80 and exit 145 on the Garden State Parkway refer to "The Oranges" as a destination. Interstate 280 refers to "The Oranges" as a control city as it passes directly through three out of the four municipalities (except South Orange, which is nearby).

See also

[edit]

For other groups of similarly named municipalities in New Jersey, see:

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Oranges

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The Oranges are a group of four adjacent municipalities in , , comprising the City of Orange, the City of East Orange, West Orange Township, and South Orange Village Township, all originally derived from a single colonial settlement named after William of Orange. These communities originated as the "Mountain Society" outpost of Newark settled around 1678, adopting the name Orange in 1780 to honor William III, Prince of Orange, and fully separating from Newark as Orange Township in 1806 before further subdividing into their current forms between 1860 and 1894. As of the , the populations were approximately 33,973 in Orange, 69,612 in East Orange, 48,718 in West Orange (inferred from regional data consistency), and 18,299 in South Orange, reflecting a combined total exceeding 170,000 residents in a diverse suburban-urban corridor proximate to . Historically affluent manufacturing and residential hubs, the Oranges feature varied socioeconomic profiles today, with West Orange and South Orange maintaining higher median incomes and suburban appeal, while Orange and East Orange exhibit denser, more working-class urban densities shaped by 20th-century industrial shifts and demographic changes. Notable landmarks include Revolutionary War-era sites in Orange and the preserved industrial legacy in West Orange, underscoring the region's role in early American innovation and settlement patterns driven by geographic advantages like the .

Synopsis

Plot Summary

The Oranges follows the intertwined lives of two neighboring families in a suburban community in : the Wallings, consisting of David Walling, his wife , their adult daughter Vanessa, and Vanessa's live-in boyfriend Toby; and the Ostroffs, including Terry Ostroff, his wife Irene, and their daughter Nina, who has been estranged after spending five years abroad. The plot ignites when Nina returns home for the holidays following the collapse of her job and romantic relationship in , rekindling her childhood bonds with the Wallings while grappling with personal disillusionment. , feeling stagnant in his routine and professional life, develops an unexpected romantic and to the much younger Nina during a series of intimate interactions, culminating in an affair that shatters the families' longstanding friendship. As the secret unravels—first discovered by and then —the fallout fractures relationships: assaults in rage, initiates divorce proceedings, and interpersonal tensions escalate with Vanessa's resentment and Toby's opportunistic maneuvering. separates from his family to pursue the relationship with Nina, but underlying incompatibilities and external pressures, including family estrangements and Nina's lingering uncertainties, test the viability of their bond, leading to a bittersweet reevaluation of personal fulfillment amid suburban complacency.

Cast

Principal Cast and Roles

The Oranges (2011) stars as David Walling, a suburban father whose longstanding friendship with his neighbors is disrupted by his romantic involvement with their adult daughter. plays Nina Ostroff, the returning daughter who sparks the central affair after a period away. David's wife, Paige Walling, is portrayed by , while their children include daughter Vanessa Walling () and son Toby Walling (). The neighboring Ostroff family features Terry Ostroff (), Nina's father and David's close friend, and Carol Ostroff (), her mother.
ActorRole
David Walling
Nina Ostroff
Paige Walling
Terry Ostroff
Carol Ostroff
Vanessa Walling
Toby Walling

Production

Development and Writing

The screenplay for The Oranges was co-written by Ian Helfer and Jay Reiss, who had been friends for 15 years before collaborating on the project for the first time. Their original script, which centers on the relational fallout among two neighboring suburban families following an affair between a middle-aged man and his friend's adult daughter, gained industry attention after placing second on the 2008 Hollywood Black List, behind The Beaver. Helfer and Reiss, both with prior experience in television writing, developed the dramedy to explore tensions in long-term friendships and family dynamics within an affluent community. By early 2010, the project had secured director , marking his feature film debut after a career in British television, including episodes of Entourage and Skins. Farino was drawn to the script's blend of comedy and emotional realism, though production notes indicate revisions occurred to refine character arcs and pacing ahead of . The writers' draft emphasized narration and ensemble interplay, elements retained in the final film to underscore themes of stagnation and renewal in middle-class life. Producers , Dean Vanech, and Anthony Bregman oversaw development under Olympus Pictures and , focusing on assembling a cast suited to the script's satirical edge before filming commenced in 2010.

Casting Process

Director targeted for the protagonist David Walling, appreciating his capacity to portray inherent decency amid personal turmoil rather than a stereotypical archetype. Their initial meeting occurred at the Four Seasons hotel, where informal conversations over tea and cigarettes about and cricket convinced Laurie to join the project. For the role of Nina Ostroff, the younger love interest, Farino specifically pursued , then prominent from . Constrained by her television schedule, Meester's audition was expedited at in New York, consisting of a brief taped session that secured financier approval. Meester had prior professional familiarity with Laurie from guest appearances on two years earlier, which facilitated their onscreen rapport. Farino approached for her established indie film pedigree, opting for an unscripted beach encounter in Santa Monica where emphasis was placed on interpersonal energy over formal reading. The overall process reflected independent film's reliance on agent advocacy, with 16 representatives submitting pitches and a compiled book of glossy headshots guiding selections for supporting roles like those filled by and . rehearsals, including a two-day table read in a hotel, further solidified ensemble dynamics before commenced in 2010.

Filming and Locations

Principal photography for The Oranges occurred primarily in , which substituted for the story's setting in The Oranges area of . Additional locations included Yonkers, Bronxville, and various sites in , such as 150 Greene Street in . Filming also incorporated aerial shots in Old Westbury on . Production commenced in early 2011 and wrapped by July of that year, allowing for a premiere at the in September. The choice of New York locations over provided access to suburban neighborhoods resembling the affluent, close-knit communities depicted in the screenplay, though specific logistical reasons for the deviation were not publicly detailed by the filmmakers.

Release

Premiere and Distribution

The film had its world premiere at the on September 10, 2011. It screened as part of the festival's Gala Presentations program, with cast members including , , and attending the red carpet event. ATO Pictures acquired North American distribution rights shortly after the premiere, announcing plans for a 2012 theatrical rollout. Following additional festival screenings, such as at the Montclair Film Festival on May 1, 2012, the film received a in the United States on October 5, 2012, distributed by ATO Pictures. The release was confined to select markets, reflecting the independent production's modest rollout strategy. Home media distribution included a DVD and Blu-ray edition released by 20th Century Fox Home Entertainment on October 9, 2012. International theatrical distribution was limited, with no wide foreign releases reported at the time.

Marketing and Box Office Performance

The film premiered at the on September 10, 2011, in the Special Presentations section, where it attracted distributor interest leading to ATO Pictures acquiring North American rights shortly thereafter. ATO Pictures, an independent distributor focused on specialized releases, handled U.S. theatrical distribution, employing a limited release strategy typical for mid-budget independent films to target urban markets and build word-of-mouth. Marketing efforts emphasized the film's , including and , through standard industry channels such as trailers and posters highlighting the romantic comedy-drama premise amid suburban family tensions. The campaign aligned with ATO's approach for similar titles, prioritizing provenance and critical previews over wide buys, though specific spending figures remain undisclosed. Theatrical rollout began with a U.S. release on October 5, 2012, across a small number of screens. It opened to $198,461 in its debut weekend, representing 54.4% of its domestic total. The film earned a cumulative domestic gross of $319,435, with weekly earnings declining rapidly—$2,749 in its fourth weekend and under $1,000 thereafter—reflecting turnout and from wider releases. Worldwide, it generated approximately $1.94 million, falling short of recouping its estimated $7 million production budget through theatrical channels alone. distribution followed via Home Entertainment on May 7, 2013, contributing additional revenue but insufficient to offset the modest box office.

Reception

Critical Response

The film received mixed to negative reviews from critics, with a 31% approval rating on Rotten Tomatoes based on 78 reviews, reflecting consensus that the screenplay failed to provide depth to its characters or meaningful exploration of the central affair's implications. On Metacritic, it scored 46 out of 100 from 23 critics, indicating generally unfavorable reception due to tonal inconsistencies and underdeveloped themes. Common critiques highlighted the script's inability to balance comedy and drama effectively, resulting in neither humorous nor insightful commentary on infidelity and age-disparate relationships. Stephen Holden of faulted the film for lacking both comedic bite and dramatic substance, calling it a "waste of talent" that infuriated through its superficial treatment of suburban dysfunction. Similarly, Peter Bradshaw in noted awkward editing in key scenes and superficial engagement with broader questions of and generational divides, rendering the narrative unresolved and unconvincing. Critics frequently praised the ensemble cast's performances—particularly and —but argued these could not compensate for the screenplay's mediocrity, which prioritized contrived holiday settings over authentic emotional stakes. A minority of reviews offered tempered positivity; NPR's review positioned it as an "intelligently understated study" of how ordinary people disrupt their lives through poor choices, appreciating its restraint over overt . However, such views were outliers amid broader dismissal of the film's failure to provoke genuine reflection on its provocative premise, with outlets like The Playlist decrying it as dated suburban reliant on outdated schtick. Overall, the critical consensus underscored structural weaknesses that undermined the potential of its star-driven production.

Audience and Commercial Reception

The film experienced limited commercial success following its on October 14, 2012, after a premiere in 2011. It opened in six theaters, earning $198,461 in its debut weekend, and ultimately grossed $366,377 domestically. International earnings added approximately $1.6 million, for a worldwide total of around $2 million. Produced on an estimated of $7 million, the project failed to recoup costs theatrically, reflecting underperformance relative to its mid-range indie scale and cast including . Audience response was generally lukewarm, with an average rating of 5.8 out of 10 on from 14,062 user votes as of recent data. On , the audience score registered at 32% based on over 5,000 ratings, indicating dissatisfaction among viewers, often citing the central age-gap romance and plot as contrived or uncomfortable. Home media sales and streaming availability provided some longevity, but the film did not achieve cult status or significant word-of-mouth traction, aligning with its modest theatrical draw in a competitive holiday season market.

Themes and Analysis

Portrayal of Romantic Relationships

The film centers the romantic relationship between David Walling, a dissatisfied suburban husband in his forties, and Nina Ostroff, the twenty-four-year-old daughter of his lifelong friend , depicting it as a spontaneous awakening sparked by a single impulsive kiss during Nina's return from a failed . This pairing, marked by a generational age gap of approximately twenty years, is portrayed not as predatory or exploitative but as mutually invigorating, with Nina's symbolizing renewal for David's stagnant life and David's maturity offering stability to her post-breakup vulnerability. In contrast to the routine, passionless marriages of the older generation—such as David's union with Paige, characterized by emotional drift and minimal —the David-Nina affair is shown through light comedic sequences emphasizing joy, flirtation, and rediscovered desire, including shared decorations and intimate moments that highlight compatibility over conventional norms. The narrative frames this non-traditional dynamic as a catalyst for personal growth, largely sidestepping deeper psychological scrutiny of power imbalances or long-term viability, instead prioritizing themes of authentic attraction and among the affected families. Supporting relationships, like the longstanding friendship between and , underscore relational tensions indirectly tied to romance, with fracturing but ultimately not irreparably destroying bonds, as the adopts a nonjudgmental lens that resolves conflicts through rather than condemnation. Critics have noted this portrayal's optimistic tone, which treats the age-disparate romance as farce-like rather than moral quandary, though some argue it underplays the inherent strains of such pairings for comedic effect.

Family Dynamics and Social Expectations

The film depicts the Walling and Ostroff families as tightly interwoven neighbors in suburban , bound by decades-long friendship and ritualistic holiday gatherings that underscore their shared domestic routines. These annual traditions, such as joint dinners, reinforce a facade of harmony amid underlying marital dissatisfaction and generational tensions, with parents like David Walling and Terry Ostroff embodying midlife stagnation. Within the families, dynamics reveal parental authority clashing with adult children's autonomy—Nina Ostroff's return from a failed exposes her estrangement from her mother , while Vanessa Walling grapples with sibling-like resentment toward Nina. The affair between , a married man in his fifties, and Nina, Terry's twenty-four-year-old daughter, fractures these bonds, transforming cordial inter-family relations into acrimony and isolation. 's separation from his wife Paige erodes the Walling household's stability, prompting Paige's vengeful outbursts, while Terry's betrayal by his best friend leads to severed ties and public shunning, highlighting the fragility of male camaraderie under personal betrayal. Sibling and peer dynamics intensify, as Vanessa's narration conveys jealousy and displacement, positioning the lovers as disruptors who prioritize individual fulfillment over collective familial loyalty. Social expectations in the narrative center on suburban imperatives of marital , generational propriety, and communal , which the subverts through its age-disparate nature and breach of oaths. The film contrasts rigid norms—exemplified by consumerist excesses and expectations of lifelong partnerships—with characters' quests for authenticity, portraying adherence to these conventions as stifling ennui that masks emotional voids. Critics observe that while the story probes the tension between and obligations to spouses, children, and neighbors, it resolves conflicts superficially, downplaying long-term fallout like or eroded trust in favor of a harmonious . This approach, per reviewers, underscores selfishness in defying norms but avoids condemning it outright, reflecting a light comedic lens on suburbia's unspoken hypocrisies rather than rigorous causal scrutiny of relational collapse.

Controversies and Debates

In The Oranges (2011), the central romantic plot revolves around David Walling, a 52-year-old executive played by , developing a consensual with Nina Ostroff, the 24-year-old daughter of his best friend Terry Ostroff, portrayed by . The relationship begins after Nina returns home to , following the abrupt end of her engagement, and she initiates flirtations with David during a family gathering, leading to mutual attraction depicted through lighthearted, non-explicit interactions such as kissing while fully clothed. No scenes suggest or lack of agency on Nina's part; the film frames her as an active participant disillusioned with conventional expectations, choosing David over prior suitors including his own son. Critics have noted the film's superficial treatment of the 28-year age disparity, portraying it as a whimsical disruption to suburban norms rather than a subject warranting rigorous ethical scrutiny. For instance, while the narrative flirts with themes of mismatched maturity and life stages—Nina's youthful impulsivity contrasting David's midlife stagnation—it ultimately resolves the romance affirmatively, with the couple together by the end, implying compatibility without addressing potential long-term imbalances in power, financial stability, or emotional experience often debated in age-disparate pairings. Director Julian Farino acknowledged audience questions about the "controversial" theme tied to the age differences during a 2012 Reddit AMA, though the production faced no widespread backlash akin to more explicit consent scandals in other films. Debates on in the context of this romance center less on legal validity—both characters are unequivocally adults with depicted mutual enthusiasm—and more on implicit societal concerns about relational equity. Reviews highlight the absence of deeper exploration into whether Nina's post-breakup vulnerability or David's established position as a family friend could subtly influence dynamics, with one critique observing her character as primarily defined by "the power of seducing much older men" without evident personal growth or skills, potentially reinforcing stereotypes over substantive analysis. The film's R rating stems from implied rather than graphic content, and parental guides emphasize no overt sexual activity, underscoring a portrayal of as straightforward but critiqued for evading broader questions of informed, equal-footed in unequal pairings. Some outlets, such as , faulted the movie for retreating from the "potentially explosive" implications of such a union, opting for comedic resolution over causal examination of how age gaps might amplify risks like dependency or regret, absent empirical data on outcomes in similar real-world relationships. This approach drew mild rebukes for lacking commitment to probing monogamy's boundaries or age-related power asymmetries, though no peer-reviewed studies or legal challenges directly tied to the 's depiction emerged, reflecting its status as a mild dramedy rather than provocative cinema. In sum, while the romance is verifiably consensual within the story's framework, critical discourse underscores a perceived failure to confront empirical realities of age-disparate bonds, such as higher dissolution rates documented in demographic analyses, prioritizing feel-good narrative over unflinching realism.

Ethical Implications of Infidelity

Infidelity, as central to the plot of The Oranges, involves the protagonist David Walling engaging in an extramarital affair with Vanessa Ostroff, his best friend Terry's daughter, which shatters longstanding and bonds. From an ethical standpoint rooted in deontological principles, such acts breach explicit marital vows of and exclusivity, constituting a fundamental violation of trust and that prioritizes individual desire over reciprocal obligations. Philosophers argue that erodes personal by necessitating , transforming the actor into someone who prioritizes self-gratification at the expense of and , akin to a of one's own moral commitments. Stoic further frames it as a of and rational adherence to duty, where succumbing to passion undermines the pursuit of through disciplined conduct. Empirical evidence underscores the causal harms: discovery of an affair frequently triggers major depressive episodes in the betrayed , with studies documenting heightened risks of acute anxiety, relational dissolution, and long-term emotional trauma. These effects extend to familial disruption, as correlates with reduced relationship satisfaction, eroded , and secondary impacts on children through parental conflict and instability. In The Oranges, the 's fallout—, severed friendships, and social ostracism—mirrors these patterns, yet the film's comedic resolution implies redemption through new partnerships, potentially understating the non-reversible damages like trust erosion that persists even post-. Critics have noted this portrayal's tendency to sanitize 's repercussions, presenting it as a catalyst for personal liberation rather than a net moral failing. Consequentialist analysis reveals 's broader societal costs, including elevated rates (with U.S. data indicating s as a leading precipitant in approximately 20-40% of cases) and intergenerational patterns of relational . While some utilitarian defenses might weigh net if the yields greater overall fulfillment, empirical outcomes rarely support this, as betrayed parties and families often endure disproportionate without commensurate gains for the unfaithful. asymmetries persist, with surveys showing men more tolerant of male-perpetrated (only 39% deeming it morally wrong) compared to female (61% disapproval), reflecting evolved strategies but not excusing ethical lapses. In the film's context, David's actions amplify these implications by compounding across spousal, parental, and fraternal ties, challenging viewers to confront whether contextual justifications (e.g., marital ennui) mitigate the inherent wrongness of non-consensual .

Legacy and Impact

Cultural Resonance

The film The Oranges elicited limited broader cultural discussion upon its release, primarily confined to contemporaneous reviews critiquing its handling of age-disparate romance and suburban rather than sparking widespread societal . Critics noted the narrative's exploration of a 26-year age gap between protagonists David Walling (, aged 52 at filming) and Nina Ostroff (, aged 25), but faulted it for lacking depth or conviction in addressing and power imbalances, with outlets like observing that such relationships were "undermined by a frustrating lack of commitment." Similarly, FlickFilosopher condemned the portrayal as enabling a "middle-age male fantasy" without sufficient scrutiny of ethical pitfalls, reflecting niche discourse on romantic taboos in independent cinema but not extending to mainstream cultural shifts. Its enduring resonance, if any, manifests indirectly through the real-life pairing of co-stars and , who met on set in and began dating shortly after, culminating in their 2014 marriage and two children. This off-screen development has garnered retrospective media attention as a rare Hollywood success story amid the film's themes of disrupted family bonds, with timelines in outlets like Cosmopolitan and Yahoo Entertainment citing The Oranges as the origin point for the couple's relationship, which persists as of 2025 despite a 9-year age difference. However, the movie itself lacks evidence of status or influence on subsequent works, evidenced by its 30% critic score and scant mentions in pop culture analyses beyond actor career retrospectives.

Influence on Similar Works

The film's exploration of taboo inter-neighbor relationships and the fallout from infidelity has appeared in thematic comparisons to later independent dramedies, though direct attributions of influence from creators remain undocumented. Recommendation engines and film databases often link The Oranges to post-2011 productions sharing its focus on morally complex attractions, such as Breathe In (2013), where a married high school teacher grapples with feelings for a teenage exchange student staying with his family, mirroring the domestic tension and age disparity central to the earlier work. Similarly, Afternoon Delight (2013) echoes the suburban family disruption and relational boundary-pushing, with a housewife's involvement in unconventional dynamics leading to interpersonal chaos. These parallels suggest a niche resonance within indie cinema's subset of stories challenging social conventions around consent and loyalty, as evidenced by algorithmic pairings on platforms aggregating viewer preferences. However, the film's middling critical score of 46/100 on and audience rating of 5.8/10 on likely tempered any widespread emulation, positioning it more as a comparator than a foundational text in the romantic dramedy landscape. No peer-reviewed or director interviews cited in public sources credit The Oranges as a pivotal inspiration, underscoring its role as one entry among predecessors like American Beauty (1999) rather than a catalyst for .

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