Hi, I live in an area that is under a shelter-in-place order due to COVID-19. A few of my friends have been inviting me to activities that violate …#1261: “Scripts for Shelter-In-Place Peer Pressure.”
How is everyone holding up? Well, I hope. And for those who are not, you have my deepest sympathy, and hope that things get better for you.
I’m writing this, because like everyone else, I’ve been watching too much Youtube, and was given the advice to treat this event like a diary moment, because it might actually be helpful, at some future time, when we experience this again.
Like many of us I am sheltering at home. I’m feeling okay, after a mild cold, and my allergies aren’t kicking my ass as hard as they were last week. Trust me, it is a very unique feeling, during a global pandemic, trying to convince people you don’t have the virus, while issuing multiple sneezes!
Don’t worry about me. Unlike many others, I am not having financial difficulties. I have not lost my job, just kind of sidelined for the moment. I’m a civil service worker, so none of us are allowed to go to work, but we are at least being paid. I am sickened by my nation’s political response to this event though, but in truth, I expected no better. They have taken every opportunity, in the past three years, to show their stupidity, greed, and incompetence, so it’s not a surprise they’re not handling this event well. At least we know better not to rely on them for anything, and take care of each other, and ourselves, on our own.
I live in a city that’s a little over 60% black, and for a number of reasons, the pandemic has not hit us as hard. Yet! Reasons like, most of us actually are sheltering in place, and by sheltering, I mean actually staying in the house. When I do go out, I have seen people standing the correct distances in the store, and wearing gloves and masks. I don’t know if this is a surprise to people, (why would it be?), but most black people have a really healthy fear of getting any kind of illness, and we actually do care about each other’s well being, even if we sometimes say we don’t, so most of us are actually are following proper precautions.
I do have to take my mother to dialysis, three times a week, so I get to see how empty the streets are, and after the initial flurry of shopping activity, the stores are mostly empty of people, and have restocked. I’m not allowed to go inside the Dialysis center lobby, the way I used to, though. It’s not safe, since everyone there has compromised immune systems, except for the tech workers. Everyone there, including the patients, wear masks, and gloves.
Yes, I take precautions when shopping, which I do once a week. Mum and I pick one store, (we used to go to multiple stores), we wear gloves and masks, and we have found Lysol and Clorox wipes to be of immeasurable help. I used to let my mum come in the store with me, but we’ve instituted a policy of her not accompanying me at all (to which she strenuously objects), or waiting for me in the car, while I suit up and go inside, after which I follow all the precautions for disinfection, before I get in the car.
I am writing things, but very, very slowly. It’s weird. It’s like I’m recuperating my energy from something. I spend a lot of time asleep. No, it’s not anxiety sleep. I actually feel very sleepy, so I’m taking it. Other than that, and catching up on my Netflix, I’ve been knitting like a fiend. I’ve already finished a hat and scarf for my mum, am working on a couple of sweaters, and planning a scarf and hat set for me and a co worker, should I see her again.
I’m not gonna tell you my plans about posting, because I just know it’s gonna go out the window, on a whim. Whatever posts I finish first will be published. I do have several long form posts, I’m working on. (For some reason, you guys actually seem to like my long winded diatribes about pop culture, more than my reviews!)
I hope all of you are well, and that your loved one are well, that you are sheltering in place, and maintaining your mental health, as well. Remember, when you get discouraged, that we do this not for ourselves, but for our loved ones, and other peoples loved ones. Those of you experiencing difficulties, I cannot, in any concrete way, help you, but I can send virtual hugs, and perhaps my little sillinesses and frivolities, can distract you from your troubles, for a brief moment.
Be well! Stay Safe!
Here are three films I watched in February. For the record, although I had some mild criticisms, I generally liked them, and I especially enjoyed the Terminator film, which I wasn’t entirely certain I would, since no one was talking about it.
Terminator: Dark Fate
I was initially very excited when I saw the trailer for this movie, but ultimately didn’t get a chance to see it in theaters. After that, I didn’t hear much about it. I dont normally get too worked up about films, that I think are going to be popular, bombing at the box office, because there are at least half a dozen reasons I won’t see it, no mater how excited I am about it. I figured that’s probably much the case with a lot of films that bomb. In other words, films bomb for a whole variety of reasons, that don’t necessarily have anything to do with the film’s quality.
And the quality of this latest entry in the Terminator franchise is very excellent. You should really check it out when you get a chance. I liked it every bit as much as I thought I would, ,and you will remember I was very excited about the trailer. It even did a couple of things I wasn’t expecting as far as plot and characters.
The basic plot sort of parallels the Sarah Connor plot from the first movie, but is much more personal. Dani isn’t the savior of the world, she is the savior of one person in particular, and Sarah comes along for the ride. The Terminator is very interesting, combining both elements of the original T-800, and the Liquid version from T2.
What was surprising about the movie is how female-centric it was, while touching on a lot of themes. Nearly all the characters are women, and they control the plot points in this movie. Sarah’s character reminded me of Laurie Strode, from the most recent Halloween movie, in that she is a broken and horribly traumatized woman. I always find it interesting when female characters are deliberately written to be unlikable, and that is the case here. Sarah is kind of an asshole, who butts heads with everyone. She is mean, and bitter, the sneer never leaves her face, and this is acceptable to the viewer, because she is definitely hurting, and broken, because of an event that happened after she and John saved the world’s future. The movie is as much about her trauma as it is about saving Dani. It is a heavy movie, with the only comic relief provided by an old school Terminator, played by Schwarzeneggar, as a drapery salesman named Carl, who is married to a woman he doesn’t have sex with, and doesn’t know what he is! Once you wrap your head around all that, the movie is an action fest every bit as good as Fury Road, only less zany.
The movie takes place largely in Mexico, and at one point, Dani, and the others must sneak into the US, but get locked up in one of the Border camps, so the movie went there, which was interesting, because I didn’t think it would. While no one says anything outright, the framing of those scenes show strong disapproval of what’s happening there, as the Terminator bursts in and slaughters half the border guards, and steals a helicopter.
The Terminator is played by one of my favorite actors, Gabriel Luna, who I got a kick out of watching in the SHIELD series, as the Ghost Rider. His technology isn’t just a blend of the two styles of Terminator we’ve seen, but so is his demeanor, which is especially chilling, because he seems very, innocuous, normal, and friendly, right up until you die.
The stand out character for me though was Grace, who is awesome. I’m saving a special place in my personal pantheon for Grace, (as not too many white women, Ellen Ripley and Furiosa being the only two, manage to get into it), who can definitely carry an action scene. The last time I saw that particular actress, she was playing a replicant, in Bladerunner 2049, and here she is playing another half human character. Grace is much like her name, moving and fighting in exactly the manner you’d expect of a technologically enhanced human being, and some of the most exhilarating scenes, are watching her go toe to toe with the Terminator, and matching him hit for hit. She doesn’t actually defeat him, but she is his equal.
The ending of the movie is bittersweet, but I liked it. I liked the entire film. There are no slow moments. Nothing is wasted, and I liked the love/hate dynamics between the female characters, which felt organic, and not just thrown in for drama’s sake. If you haven’t seen this movie, you should check it out, just to watch Schwarzeneggar’s role as Carl, and here him complain about people’s bad taste in draperies, in his usual monotone.
Spider-Man: Far From Home
Despite a couple of hiccups, I genuinely liked this movie. I don’t think it’s as good as the first film, but that one had some novelty behind it in being Tom Hollands first full length term as Spiderman. This one is okay. Its not great. I wouldn’t put it anywhere near Maguire’s Spiderman 2, but its fun and watchable. The teenagers act like teens ,and the love story between Pete and MJ is really cute. This is funnier than the first film, and a genuine comedy, until it gets near the end, when things get a bit more serious. As with most comedies your mileage may vary. I thought a few of the jokes landed badly, but mostly of them hit their mark, at least for me.
The most annoying part of the movie however, is the continuing attachment of Tony Stark to Peter’s storyline. He’s still cleaning up Stark’s messes, even after he’s dead. I suspect that will be going on in the MCU for some time, since one of Tony’s major superpowers was pissing off powerful creatures and/or people. Probably half the villains in the MCU can be traced back to something Tony said or did to some hapless supplicant, and that is the origin story behind Mysterio.
I also found it annoying that everyone assumes Peter wants to take up Tony Stark’s mantle, and do what he did, only as Spiderman. Just let the child be himself ffs! Why does anyone have to step into Tony’s shoes? On the other hand, the movie does mention (rather roughly) some of the issues that happened in the aftermath of the Snap and the Return, (in this movie its called the Blip), and how much society was upheaved by both those events. I thought it was an intriguing idea that the world was just as upset by everyone’s return, after five years, as it was by the trauma of their disappearance.
Well, anyway the movie is still fun, and full of lots of humorous moments, regardless of Tony’s ghost hanging around this movie, and I have watched it a couple of times, since its release. Like the first movie, it doesn’t have a whole lot of depth, until the end, when Peter directly goes up against Mysterio.
I liked this just fine. Its not great. Its not even as good as Homecoming, but it’s a well spent Saturday afternoon or evening.
John Wick 3: Parabellum
Wow! This movie was a wild ride from start to finish. I don’t even know where to begin, I want to call this a hot ass mess, but that would imply I didn’t like it. In fact, I loved it! But yes, it is a hot ass, but very enjoyable, cray-cray mess. its like a Jason Statham, Fast and Furious movie, only with a real budget, if you catch my meaning.
Like the last movie, it picks up where it left off, with Wick being hunted by the Assassin’s guild which he used to be a member of. He’s got to find some old colleagues to help him stay alive, and they of curse come immediately into danger. One of those old friends, Sofia, is played by Halle Berry, who owns a couple of Belgian Mallinois, that she has specifically trained to kick ass, on her command, and that part of the movie is lots of fun to watch. I don’t get to watch Halle kick ass too often, so watching this fifty plus year old Black woman throwing hands was a real treat.
Another treat was watching Mark Dacascos chew the scenery, and get some genuinely funny lines, as a major villain who just wants to take John down, and supplant him as the boogeyman of assassins. I hadn’t seen Mark in a while, so it was fun to watch this professional ass-kicker throw down, even if the bald head was kind of jarring.
In the meantime, while John is trying to get his shit together there’s an actual assassins cabal, that oversees the assassin’s guild. Since John was “excommunicated”, he’s gotten help from a few friends, including Lawrence Fishburne, as the King of New York, and all their lives are put in danger, because one of the rules is that if you are a member of the guild in good standing, you have to turn in those who are excommunicated.
So the plot becomes a lot more complex, along with all the stuntwork. The John Wick movies are not especially deep, but they are great fun, even though they’re incredibly violent. Part of the reason people don’t mind the violence, quite so much, is that it’s de-mystified by the extras and behind the scenes videos, that show how are the stuntwork gets done, and watching the behind the scenes videos are just as much fun as watching
In the 1991 Jonathan Demme film, Silence of the Lambs, Hannibal Lecter, in one of the film’s most cringeworthy scenes, properly deduces that Clarice Starling is “poor white trash”. Working from his own collection of stereotypes, the observation of her good bag, cheap shoes, and Appalachian mountains accent, he correctly guesses that she’s not more than one generation out of the coal mines. Clarice’s accent, as much as her womanhood, marks her as “other”.
Everything about her, from the opening running scene, in which she is ogled by a pair of classmates, to the elevator scene where the height differential between herself and her classmates makes her stand out, to the soft Southern accent, with which she replies to her supervisor, it is shown that Clarice does not belong there. Although later, Clarice uses her accent to gain the trust and compliance of a roomful of rural professionals, who are suspicious of her presence, as a woman in an all male environment, and as a member of the Federal government. She uses her accent to show that she is actually one of them, from the culture in which the idea of the Wise (or Conjure) Woman is important, and respected.
When you watch that scene again, take note of the strength of the accent, and her use of words. She says to the men, “We’ll take care of her. Just go on now. We’ll take care of her.” And they unquestioningly obey her request, much as they would, if their mothers, or grandmothers had said it. She has successfully conveyed to the men, that she is one of them, a member of their social class, who knows how these things are done.
Clarice is a pretender to social class, which is a nice parallel to the film’s antagonist, Jame Gumb, who pretends at being a transgender woman. The only person who is not fooled by Clarice’s pretense at urban sophistication, is Lecter, who has a distinct, upper class, European accent, reminiscent of the Lithuanian nobility, from which he came. To less discerning characters, like Chilton, or the room full of cops that she orders around, Clarice can pass as a member of the middle class. The moment she speaks, people assume she isn’t, but to someone like Lecter, her lack of breeding is clearly evident. Both her, and Gumb’s, (his is Southern Californian), accents mark them as outside the mainstream. Except for the three primary characters, Lecter, Gumb, and Starling, all of the other characters in the film, including Clarice’s Black roommate, played by Kasi Lemmons, all have the Standard American accent.
The American Standard is the king of American accents, it is the default, so common it goes unnoticed, and the most well favored. It’s also called the Central Midwestern accent, used in places like Northeastern Ohio, Pennsylvania, Michigan to the far north, Iowa, New York, Rhode Island, and Connecticut, and is the accent most often heard from news anchors, public announcers, and even AI programs like Siri, and Alexa. There are other accents in those regions, that coexist along side it, but the American Standard is the one which is preferred.
It is also somewhat of a constructed concept. What I mean by that is that nobody grew up in Standard America. The sound we’re talking about is what is called a prestige dialect. Most countries (and most languages) have a prestige dialect which is exactly what it sounds like: the speech sounds most commonly identified with status within a given society. Linguistically it’s not simply status but also clarity, intelligence, socioeconomic influence and general power.
Unlike Clarice, I have this privilege. I call this Accent Privilege, in the sense that my regular speaking voice doesn’t have an accent that is noticeably different from that of the mainstream, Midwestern accent. This happened by sheer luck. I just happened to be born into one of the regions where this is the most prevalent accent. People often judge others on how they speak, and if you have no noticeable accent, that judgment is favorable most of the time. My accent marks me to others as being intelligent, educated, and/or middle class. My words are treated with either trust or suspicion, based on who I’m talking to. White people consider me “safe”, and are reassured by my ability to be clear and articulate, but I was often asked by my Black classmates, why I spoke like a white person, as the Midwestern accent is heavily associated with Whiteness. I did not grow up as a member of the middle class. Like Clarice Starling, I’m pretending to a social class I was not born into, but which people assumed I did, and my accent helped to sell it, because, like her, I’m barely one generation away from the cotton fields.
But I do also engage in what is known as “Code Switching”, where people from other cultures, or just different regions of the country, speak differently, in different spaces, often “switching” back and forth, between their normal speaking voice, and American Standard. Why? Because many people are often uncomfortable with, and disrespectful, and suspicious of other languages, and vernacular English, like AAVE (African American Vernacular English). When I’m in my home, I speak the way my family speaks, and since the majority of them are from rural Mississippi, we speak AAVE, but I don’t speak at work that way. For one thing, my job involves answering phones, and a certain mode of professional speaking is required for that type of job. It would be considered “unprofessional”, and in the minds of some people, low class, for me to answer the business phone, as if I were at home. I don’t talk to my supervisors, the way I talk to my mother, for example, (and neither do most people, regardless of whether or not they have accents.
Now, when I’m talking about accents, for the purposes of this post, I mean the entirety of a person’s manner of speaking, including word usage, because only certain types of accents are associated with the use of certain types of words, for example, the use of the word, “y’all”.
The mainstream Midwestern accent is the default accent used in almost all of American television, and movies. Having a Midwestern accent means a person gets treated as trustworthy, their words are given more weight, given the benefit of the doubt, assumed to be educated, to have a good job, and to be non-violent. In America, sounding like an American, means having “no accent”, but that wasn’t always the case.
In the early part of the 20th century, the Mid-Atlantic accent was what was used, until it fell out of favor, in the fifties, for a more “natural” sounding speech pattern.
Of course this is an accent, too, in the same way that “White” is a race, but this “lack” of accent (just like whiteness) is so ubiquitous, that most people don’t notice it.
The way someone pronounces their words, is used in movies and shows, not just to reinforce stereotypes, but as a form of shorthand, to show a person’s character, and social class. Filmmakers use accents to show audiences that a character is good, evil, smart, gullible, suspicious, or trustworthy. Turn on any American TV show, watch any movie, and chances are, those with Midwestern accents will be the majority of the characters, and probably will be the protagonists, heroes, or in positions of authority. They will also almost always be White.
You will not find a lot of characters in mainstream media with deep Southern accents, Western twangs, Texas Drawls, Valley Girl speech, Arabic, Southeast Indian, or Caribbean accents, unless they are also shown as poor, incompetent, corrupt, or played for comic relief. In other words, characters never just have accents. There is always a reason for the accent, and some point about that person is being made.
For example, the accent, in mainstream media, is used to indicate if someone is considered an American citizen. For the past twenty plus years, the Simpsons, has had the running gag of an immigrant named Apu, a stereotypical character from India, who has a strong accent, is the father of a small multitude of babies, and runs a convenience store. This character is meant to be funny because of how he speaks, not necessarily because of anything he does, as his very existence in Springfield, (the setting of The Simpsons), is meant to be comedic. His accent also paints him as a perpetual foreigner. Asian Americans are especially susceptible to this stereotype, as no matter how many generations they’ve lived in America, they are often still assumed to be from somewhere else. And if they have an accent then doubly so.
The perpetual foreigner stereotype is a racialized form of nativist xenophobia in which naturalized and even native-born citizens (including families which have lived in the country for generations) are perceived as foreign because they belong to minority groups.
I spoke, in an earlier post, about the use of accents in the movies of the Coen Brothers, where everyone’s speech patterns and accents are used as indicators of people’s socio-economic status, the status they aspire to be, or simply framed as comedic. In The Ladykillers, Tom Hanks broad Southern accent is associated with television conmen, corrupt religious authority, and the Antebellum era of Georgia. His accent gives the audience ideas about the type of man he is. The audience doesn’t know he is a grifter and conman by his deeds. We know this by the long association, that has been made in mainstream media, between his accent, and untrustworthiness. All we need is to hear is his caricature of a Southern accent, to understand that he is unreliable, and also that the movie is meant to be a comedy.
In Raising Arizona, Hi, a criminal recidivist, his two best friends, both prison escapees, and a murderous biker, all talk in what I call “downspeak”, where they talk as if they were college educated, but with the Southern twang that is meant to indicate their social class, and criminal status. This is what I meant by the association of word use and accent. The humor comes from the incongruity of Hi, and his companions, using words not normally associated with their accents. Not only that, but Hi’s word use can also be seen as aspirational. He talks the way he wishes to be seen by others, which is smart, educated, middle-class, and therefore a reliable narrator, but we laugh at the way Hi speaks, because his accent marks him as a member of the trailer park class, no matter what words he uses.
Accents are especially interesting when it comes to Black characters. Blackness, throughout most of film history, has been almost always associated with buffoonery, poverty, criminality, and a lack of education. So it is interesting that even though the largest population of Black people in the US, live in the South, Black people in Popular media, rarely have Southern, Californian, or even Texan accents, and those times when they have a Southern accent, it represents childlike helplessness, that they have wisdom above their station, or in the case of Black women, that they are deeply religious.
In the 1986 movie, Crossroads, starring Ralph Macchio, and Joe Seneca, we can contrast Willie Brown’s poor, Mississippi Delta accent, with Eugene Martone’s middle-class, New York accent, something which Willie never lets Eugene forget throughout the film. They’re both musicians who specialize in playing the guitar, but one of them was born into poverty and plays the Blues, a style of music that is dismissed as “primitive” by Eugene’s music teachers, and the other was born in one of world’s most cosmopolitan cities, and plays Western European Classical music, which is sneered at by Willie, as not being “real music, that comes from the heart”. In this movie, it is Eugene who is out of place, as his accent is commented on by the other characters in the film, and marks him as being from a different socio-economic class.
The Northern Blaccent, where a person speaks AAVE, but speaks it with a Midwestern accent, is often representative of the “thug”, or gang banger stereotype, and appears to be a universal Black accent, not closely associated with any particular region of the US, which means that no matter where the movie or show is set, the accents of Black characters in Popular media, tend to remain consistently Midwestern. Once again, this is not a hard and fast rule, as exceptions can be found, but it is a pattern, and the idea that Blackness alone, is so associated with criminality, violence, and unreliability, to such a degree, that none of those qualities need be further indicated by a strong accent, is disturbing.
When a Black character speaks SAE (Standard American English) onscreen, without an accent, then it connotes all the same qualities that it does in the real world, respectability, and safety. A decade after the demise of the Mid-Atlantic accent, used by White actors, Black characters were still using it. The use of AAVE in movies and shows, did not reach full use by Black characters until the mid seventies, after which it became associated with Black youth culture, and the Blacksploitation movies of that era. The use of AAVE, in mainstream media, came about as a result of the resurgence in Black Pride, when young Black people dismissed respectability politics, in favor of more natural manners of speaking.
Actors like Sidney Poitier, and other actors during, and after, the Civil rights Era, had a distinct, clipped, educated, Mid-Atlantic accent, which was meant to show that he was a fine, upstanding Black man, to be respected. The purpose of this manner of speaking was meant to counteract the “Coon” manner of speaking that had been heard in most mainstream films, featuring Black characters. His tone, and speech, are meant to convey authority. This was a man who could be liked and trusted, and this was illustrated in the 1967 movie, In the Heat of the Night, in which a Black Philadelphia cop, Virgil Tibbs, is sent to a small town in Mississippi, and works with the town sheriff to solve a murder.
Poitier’s voice is deep, firm, and commanding, because sometimes, the tone and timbre of a person’s voice are important, as well. In this scene, notice the difference in his voice, compared to that of the white sheriff, whose voice is of a higher register, and a more casual tone. The Sheriff’s accent is a soft Southern drawl, his tone holds just a touch of ambiguity, because while he is assured of his own authority, he is uncertain of Tibbs, but like the plot of every cop film of the 80s, the two men begin to respect each other, as they are forced to work together.
In Hollywood films, the accent that receives the most negative depictions, outside of the Northern Blaccent, is the Southern Twang. White people with Southern twangs from places like Mississippi, Alabama, Tennessee, and the Appalachians, are often depicted in films as toothless, criminal, incestuous, “rednecks”, “trailer trash”, and “hillbillies”. They are often shown as uneducated, overly religious, violent, poor, and gullible members of the lower classes, (they often populate Horror movies set in rural America, like The Texas Chainsaw massacre, and Deliverance, which is something I’ll be speaking about in a later post.) We are meant to laugh at them, disdain them, be afraid of them, or disgusted by them. The audience is almost never meant to think of such individuals as their equals. Contrast this attitude with that of earlier in the twentieth century, before television, when such people were often held up as admirable examples of Americans, who were the “salt of the Earth”. They weren’t respected, but at least were not blatantly denigrated in most media depictions of them. They were shown as ignorant, but level headed, uneducated, but sensible. Over time, with the advent of television, which was aimed at a middle class audience, the depiction of white poverty became almost entirely negative.
Also on The Simpsons, there is another recurring character named Cletus, The Slack Jawed Yokel, and his theme song and vignettes are every stereotype of rural poverty, which pretty much sums up how this character is meant to be seen, but because this is a white character, no one thinks of it as being especially mean-spirited, despite the fact that the people writing the show, don’t share the socio-economic background of the character. We are meant to laugh at him, and his antics, not sympathize with him. (TBH, many of The Simpson’s recurring characters are collections of various tropes.)
We can more clearly see this stereotyping at work, in the 1993 movie, Kalifornia, between two couples who share almost nothing in common, beyond having white skin. The don’t share income levels, background, or education. Early and his girlfriend, Adele, both speak with a Twang which, outside of their dress and demeanor, indicates their low social and economic status, compared to Brian and Carrie, who speak with the “accentless” accents of the Midwest. Brian and Carrie are both urbane, educated, middle class, and look down on, and mock Adele and Early as “poor white trash”. When the two couples meet, Carrie expresses reservations about Early and Adele, and finds them funny. Throughout the movie, she regularly expresses disgust, and embarrassment, for the couple’s mannerisms, speech, and lack of boundaries.
Early is a murderer, with a long criminal background, and on parole, while he and Adele inhabit a trailer, they cannot afford. Adele, while sweet, and good-natured, is also dimwitted, gullible, and easily manipulated by Early, who is physically abusive towards her. Adele is more open with her sexuality. She isn’t slut-shamed in the film, but her manner and dress is distinctly different from the cool, modestly dressed, and sexually aloof Carrie, who Early covets as being beyond his ability to acquire. Carrie’s hair, makeup, and clothing, all indicate that she is a member of the middle class, while Adele’s childlike hairstyles, and lack of makeup, indicate her lack of sophistication. This is actually pretty typical of Hollywood versions of White people with strong Southern accents, but there are at least two exceptions to this, as well.
The Texas Drawl, for example, which is commonly given to hyper-masculine, and heroic White men, like John Wayne, and the Southern Belle, a white woman of at least middle class status, who is depicted as either a simpering, or fiery, damsel in distress, like Scarlett O’Hara.
In genre movies that take place in Fantasy and Science Fiction settings, the Midwestern accent is still dominant, even if there is no reason why a story set in Medieval England, or Outer Space is filled with Midwestern American speaking people, outside of being the actors hired for those roles. Most of the lead characters in Game of Thrones have either staunch Midwestern, or upper class British accents, when there is no reason for such a class station to be alluded to at all, in such a setting. If the characters in a world based on Medieval European history, can have modern British and Midwestern accents, and not be argued as historically inaccurate, than why not any of the many twangs, drawls, Indigenous, Asian, or even Eastern European accents? Why are posh British accents always used to denote the upper classes and nobility even in fantasy settings?
In the Lord of the Rings movie franchise, Viggo Mortensen is a multilingual actor, of Danish heritage, who speaks with a pronounced American accent in the movie. Of all the accents he could have chosen to use, why use that one? The Hobbits all use a variety of English, and Midwestern accents, that are meant to sound casual, but are still “low class” English, or Midwestern standard (and sometimes both in the same character). Although the movies are shot in New Zealand, none of the primary actors have Kiwi accents, which for the Hobbits would be just as valid as the English and Midwestern accents they’re using.
All of the members of the nobility, for example, including the fantasy creatures, regardless of the region of Middle-Earth, or the culture they’re from, like the elves, and dwarves, have English accents. Now I do understand that many of these accents are the natural voices of the actors hired for the roles, but what is never taken into account by audiences is that, that too, is a choice the creators made. The creators of the movies took the time to have the actors speak invented languages, and they could have easily taken the time to make up accents, but chose not to, which probably means, just like the audience, they didn’t hear it either. They could have taken the time to use different accents, for different cultures, or regions of Middle Earth, but didn’t.
Contrast that decision with the accents used in the movie Black Panther. Yes, the accents are all over the place, but according to some of the countries referenced by dress and custom in the movie, the actors accents are not the real accents of any particular region, or tribe, and as a result, many Africans found the accents funny. The Wakandans do speak something like the real language called Xhosa. The bottom line is someone thought about how the characters should sound, and made a deliberate choice that all the members of the fictional nation of Wakanda, would have a certain accent, while it seems no particular thought was given to the accents of the characters from Lord of the Rings. The actors just all used their natural voices there.
When The TV series The Witcher was announced, there was a great deal of argument about adding people of color to the cast, saying that they didn’t belong in a story based in Polish folklore, because that would not be “Historically Accurate”. This is an argument I’m getting especially tired of hearing,for stories set in Fantasy settings, that involve elves, dragons, and magic, especially since none of those same people complained about any of the characters lack of Medieval Polish accents, or the lack of any of the languages of Poland. It’s not accurate for any of the characters to have either American or British accents, but no one complained about them. No one complained, because they are not meant to notice that the “accentless” accent, of Midwestern America, is actually a very specific, and just as contrived, accent, aimed at a specific audience the films.
Would we take any of these films as seriously as we do, if all the characters spoke like Cletus, from The Simpsons?
In Star Wars, most of the characters (even robots) have either British or Midwestern accents, as well, and there is no particular reason why no one has a Blaccent, or speaks like they’re from Georgia, Pakistan, or Indonesia, although in Science Fiction, this is changing, as in some of the films, most notably in Rogue One, the actors of color all kept their original accents, from places like Mexico (Diego Luna), and China (Donnie Yen). At least part of the reason we don’t often hear other types of accents in genre films is those types of actors are rarely chosen for those roles, the disrespect and mockery of accents outside of the Midwestern standard, and the fact that British accents are the only accents that generally don’t receive mockery in American culture, (although men with such accents are sometimes coded as villainous gays.)
Asian accents on television and in movies are often subject to ridicule and satire. Starting with Mr. Yunioshi, in Breakfast at Tiffany’s, to Long Duk Dong, in Sixteen Candles, Hollywood has a long, and sordid, history of mocking Asian accents, often using White actors. Asian characters may be stereotyped as smart, or “model minorities” in comparison to Black characters, but they are still shown as being less American, through depictions of broken English, ignorance of American culture, and mock languages, like the sing-song noises directed at Asian Americans, even if they were born in America.
Any non-American accents will receive mockery though, no matter what the the race or culture. I’ve caught myself mocking the Australian accent of Steve Irwin, Michael Caine’s Cockney accent, or laughing at fake Irish and Scottish accents. All accents that are considered by mainstream media to be comedic, or just of the “lower classes”.
All this means is that all accents are unworthy, and that the only one that should be respected (or just never noticed at all) is the accentless accent of the Midwest. And let’s be absolutely honest, not even all Midwestern accents are considered equal. The Northern Midwest has its own distinct sound, and is often used in movies as a form of comedy relief.
Here, Amy Walker talks about some of the more common American regional accents.
Essentially, the Midwestern accent is as ubiquitous, and invisible as whiteness. It is an accent without an accent, it is everywhere, and because its so pervasive, no one can hear it.
I am currently, like a lot of people, in a lockdown city, here in the US, due to the C- 19 pandemic, and I’m not working. Unfortunately, now is also the wrong fucking time to have either the flu, or allergies, both of which are currently kicking my ass, but I am otherwise okay. I live in a predominantly Black neighborhood and although we rarely panic about anything, yes, people are buying lots of toilet paper.
My Mom and I went shopping this weekend, and while there was a very mild air of excitement, kinda like what’s felt before a National holiday, most people were quite calm, and polite. I saw only one woman wearing a face mask, and one guy with rubber gloves. The handful of white People I saw had amassed lots of toilet paper, while the Black customers seemed like they were just buying food for their unexpectedly early, out of school children. Schools will be closed here to the end of the school year, but the kids are still going to be fed, because otherwise the school lunches, that were bought in advance would go to waste, so that’s good. Voting has been postponed til Summer, movie theaters are closed, and I have no idea when I’ll be back to work, although thankfully, I’m one of those people with fully paid leave.
I’m thinking of donating to people without paid leave, so if anyone knows any organizations that will do that, then please hit me up on Tumblr with the details.
I have no intention of talking about the pandemic on this blog, mostly because reliable information can be found everywhere else, and I really don’t have strong feelings about what’s happening. It is what it is, I’m gonna roll with whatever happens, and my white noise about it isn’t going to be helpful. I’m going to continue to post what’s in my queue, talk about movies and shows, and try to be entertaining, with an occasional deep thought.
Even if you’re disappointed to have yet another old white guy as president, even if you’re angry that Bernie (or Warren, or Kamala, or anyone else) isn’t getting the nomination, even if Biden was never your choice, he is still light years ahead of the malignant orange tumor sitting on the WH steps for the past four years.
Please read this:
Are they absolutely everything we want immediately? Maybe not. Are they a solid Democratic agenda anyway? Yes they are. Are they better than Trump?
His Violence Against Women plan is lengthy, detailed, and pays specific attention to violence against Native, lesbian and bisexual, low-income, disabled, rural, transgender (especially trans women of color) immigrant, domestic abuse victims, and other vulnerable women. He calls for replacing and expanding Obama-era policies and funding for campus sexual assault programs that DeVos trashed, and for providing money for culturally specific services that are sensitive to the diverse backgrounds of survivors. He also notes that sexual assault, while it predominantly affects women and girls, needs to be taken seriously and addressed for people of all gender identities.
His gun safety plan is forceful and lays out several steps for banning assault weapons, taking existing weapons from offenders, closing gun purchase background check and other legal loopholes, addressing the intersection between domestic violence and weapons ownership, and reducing or eliminating weapons and ammunition stockpiling.
His plan for tackling climate change and creating green jobs is also lengthy. He makes the connection between economic, environmental, and racial justice. He pledges to immediately rejoin the Paris Agreement and restore American leadership on the issue in pushing for even stronger climate standards, make climate change a central part of our trade, international, and justice goals, demand a worldwide ban on fossil fuel subsidies and tax breaks (!!!) and if the Green New Deal is passed, to sign it, as well as for the U.S. to achieve 100% clean energy and zero percent net emissions by 2050.
His healthcare plan is decent. It offers an immediate public option for all Americans regardless of private, employer, or no coverage, and generous new tax credits to put toward the cost of coverage. It strongly protects abortion rights and federal funding for Planned Parenthood, as well as rescinding the “gag rule” that prevents U.S. federal aid money from being used to provide or even talk about abortions in NGOs abroad. It attacks generic and drug price gouging. It calls for doubling the capital gains tax on the super-wealthy (from 20% to 39.5% paid on capital gains by anyone making over $1 million) to help fund healthcare reform. He also has a separate plan on the opioid crisis in America, and on older Americans and retirement, including the protection and re-funding of Medicare and Social Security.
His immigration plan is lengthy and detailed. He apologizes for and acknowledges the excessive deportation that occured during the Obama-Biden administrations, pledges to do better, and attacks Trump’s current inhumane acitivities on every front. The policy of children in cages, indefinite detention, the metered asylum system, and the Muslim Ban are gone on day one. In this and his LGBTQ plan, he notes the vulnerability of LGBTQ refugees, incuding LGBTQ refugees of color. He proposes streamlining of visa applications and prioritizing the immediate reunification of families. It also specifically states that ICE and CBP agents will be held directly accountable for inhumane treatment.
Speaking of which, his LGBTQ plan is comprehensive. It pays attention to multiple intersectional issues, down to the high rates of incarceration among trans people of color. (He also notes the rates of violence against trans women of color particularly.) He calls for a complete ban on conversion therapy and the discrimination against HIV-status individuals, as well as removing the ban on blood donation from gay and bisexual men. He will remove the transgender military ban immediately. He calls for funding for mental health and suicide prevention among LGBTQ populations.
His plan to empower workers calls for raising the federal minimum wage to $15, as well as indexing this to median hourly wages to ensure that working-class and middle-class wages grow closer to parity, and implementing strong legal protections for unions. He expresses support for striking workers and to empower the National Labor Relations Board in workplace advocacy. Farmworkers, domestic workers, gig economy workers, and other non-traditional labor groups are included in this. He will restore all Obama-Biden policies related to workplace safety and regulation.
His plan to restore American dignity and leadership in the world calls for immediately investing in election security and reform, restoration of the Voting Rights Act, immediately restoring White House press briefings and other Trump refusals of information, tackling criminal justice reform and systematic racial discrimination, calling for campaign finance reform, and basically blowing up all the stupid things the Trump administration does on a daily basis. It also calls for an end to all ongoing wars in the Middle East, restoring the Iran nuclear deal, and new arms control treaties with Russia, among general repairing of international alliances.
His plans for K-12 education and post-high school education call for greatly expanded funding across all levels of 2-year, 4-year, and other educational options. There will be no student loan payments for anyone making under $25,000 a year; everyone else will pay a capped amount and be completely forgiven after a certain period. Public servants qualify for up to $50,000 in loan forgiveness. This is not total loan forgiveness for everyone, which is obviously important for me and many of us, but it’s acceptable to start with. Additionally, his wife is a teacher and has a proven track record of calling for education investment and supporting public school funding.
His plan for housing addresses the needs of formerly incarcerated, LGBTQ, veteran, low-income, sexual assault survivor, black and Hispanic, and other vulnerable populations at risk of losing housing. It calls for a tax on companies and corporations with in excess of $50 billion in assets to fund comprehensive new housing initiatives, including $100 billion in accessible and low-income housing development. It includes extensive investment in public transportation and a high-speed rail system. This ties into his plan to repair infrastructure and invest in new technologies across the country.
His plan for criminal justice reform calls for the end of mass incarceration, the decriminalization of marijuana, the automatic expunging of all cannabis convictions, and an end on jail sentences for drug use. It highlights systematic institutional racism and the impact on black and brown people particularly. It calls for an end on all profiteering and private prisons. It focuses on reintegrating offenders into society and funding the needs of people released from prison. It proposes to “expand and use the power of the U.S. Justice Department to address systemic misconduct in police departments and prosecutors’ offices.” It broadens funding for social services and other programs for people who are otherwise placed into the prison pipeline.
There are more plans, which you can find here. These are the ones I read top to bottom. I am not by any means a Joe Biden fangirl; he was not my first choice, my second choice, or really anywhere on my list. However, having carefully read through his policy documents, I can say that:
- He has at the least a good team of advisors who are keenly aware of the political climate, and is willing to both restore Obama-era standards and to improve on them where necessary. Obviously, all politicians’ promises are politicians’ promises, but this is a solid Democratic platform with obvious awareness of the progressive wing of the party.
- If progressive legislation is passed in the House and Senate, he will sign it, including the Green New Deal.
- He represents a clear and definite improvement over Donald Trump.
- Is he everything we want? No. Are his policies better than I was expecting? Yes. I advise you to read through them for yourself. It has made me at least feel better about the likelihood of voting for him.
- I realize it’s an unsexy position, especially on tumblr, to advocate for an old centrist white man. I’m not thrilled about having to do it. However, speaking as someone who was very resistant to Biden and still doesn’t agree with all of his previous legislative track record, that’s my consensus. He is a candidate who broadly aligns with values that I care about. His policies represents a concrete end to the damage of the Trump administration and gets us on the right track again.
Joe Biden, if he is the Democratic nominee, will receive my vote on November 3, 2020. I urge you to consider what I’ve laid out above and join me.
From Tumblr ; 3/12/2020
Here’s a short list of things I watched on Netflix and other streaming services, mostly at random. I just clicked on or rented stuff that had pretty promo pictures, happened to be a subject I’m interested in, or was recommended to me by some algorithm. Not all of these are TV series, however. A few are movies, but I decided to include them, because watching them on a streaming service was really the only way I was ever going to watch them.
These movies are based on the Samurai X manga. I don’t know if this is like the anime, because I have never watched that, and have only a passing familiarity with the Manga, which I read many years ago, but remember liking. These movies (there are three of them so far, with more to come later this year), heavily remind me of Blade of the Immortal, which was brutal, bloody, fun, only these have a slightly, “relatively”, more positive message, and a sense of humor. Well, I laughed at it, but y’all know I’m weird.
In the first movie, the lead character, named Kenshin, is a former assassin, who decided to give up killing, and wander the countryside helping people. This appears to be a very popular theme, because its basically the same plot of Blade of the Immortal, and a bunch of other samurai movies. A young woman who runs a martial arts school of some kind, stumbles across the protagonist, and he decides to help her with a problem she’s having with a rival school, that wants to take over hers.
A plot by some minor government official to take over the government in some drug related scheme, and a couple of Kenshin’s old enemies coming back to get revenge, give plenty of opportunities for fight scenes ,which are also interesting, because although Kenshin has decided to give up killing, he still carries a sword, but its a a reverse katana, with the killing edge on the wrong side. He can swing it expertly, but it takes a conscious effort to use it to kill, which he has promised his love interest he would never do again, and opens up some interesting dialogues about pacifism, and to what purpose violence is used.
But mostly, its just a lot of really exhilarating sword fights. I loved watching the fight scenes, especially Kenshin’s fighting style, which is fast, and inventive. Because he’s not actually trying to kill many of his opponents, but they have no problem taking his life, the fights never get boring, and if that’s what you’re looking for in a martial arts film, then check out the entire trilogy.
At least two of these movies are available on YouTube, and there wasn’t any English translation for the one I watched. So not having it be dubbed or subbed, made me deeply curious about the conversations the characters are having with each other, during the fight scenes, where they often pause in their sword swinging, to exchange words. When I finally got to see the translated versions, it turned out that those conversations were completely unimportant, and that most of the deeper philosophical discussions, take place during character monologues.
Attack on Titan
Wow! These movies were awesome, emotionally draining, and very energetic. There are few slow moments in them, and not much of either movie’s time is wasted.
Once again, I’ve only read a couple of the books, one of which was an anthology. I’ve never watched any of the anime, and I have only a passing idea what all this is about, from watching some of the most terrifying trailers I’ve ever seen, and people talking about it on Tumblr. I don’t know how close the plot of this movie, and its direct sequel, is to the original manga. The basic plotline is the same though.
Humanity lives in walled cities, to protect themselves from massive, (once human), beings, that have a nasty habit of eating the smaller versions. The movie is pretty graphic about this. There’s a lot of body horror, as people are grabbed, eaten, squeezed, pulled apart, stepped on, and otherwise massacred, by these giant gluttonous monsters. There’s also a certain amount of body horror with the monsters too. They are humanoid creatures with disfigured faces, and bodies, who are always eagerly smiling.
It’s interesting that one of the tropes of Japanese Horror films is the grinning monster, with probably the only American equivalent to this being evil clowns, and Japan does not have that trope. I personally find grinning, (non-human), monsters pretty horrible too, but I don’t see as much of that in American horror, but then Americans tend to be much more emotionally open in public, too. I suppose, in a society where privacy, reserve, (and melancholy), is encouraged, someone walking around with a massive cheerful grin would immediately mark themselves as other than normal, possibly even monstrous, and certainly untrustworthy. Its not that Japanese people can’t be zany, or don’t have emotions, its just that in the interest of personal privacy, they try to keep it themselves, a close circle of friends, or on TV shows.
There’s also a group of soldiers, and volunteers who create a new method for killing the Titans, that requires them to engage in a little too up close and personal manner, as the Titans are nearly impossible to kill, in any normal fashion. There is a lot of dismemberment, and eating, of the brave soldiers. We follow their adventures, and interactions, although I did find myself not caring too deeply about them, because I don’t feel that the focus here was on character development. It’s not that I didn’t feel anything for the characters, so much as their relationships with each other were sort of underwhelmng, next to the horror of what was happening to them. I was also irritated with them, as there are a lot of images of them just standing about and staring, as the Titans do stuff. I kept yelling at my TV because the humans simply were not taking adequate precautions to save their own lives, like dodging, or running away. On the other hand, I do live in Tornado Alley, so I’m guessing that watching giant things move slowly across a landscape, is something that is universally hypnotic.
In the first movie, the humans are living peacefully, the idea of the Titans is long ago and far away, until a brand new Titan shows up, that is significantly larger and stronger than any Titan seen before it. It turns out that the Titans do have some residual intelligence, as they have deployed this new guy to break down the walls, so they can just walk in and feast, and the humans are just not ready for any of it. In the second film, the people rally, and with the help of a half human/half Titan, and even a little bit of martial arts, (because that is a requirement for all Asian action movies), they manage to defeat them, or at least make them go back wherever they came from.
There’s a lot of nudity, because naturally the Titans don’t wear clothes, and lots of bloody and disgusting things happen to the human body, so be warned. You kind of have to be in a certain mood to watch it.
What I was expecting when I saw the trailer for this was a wacky, Japanese romp with superpowers,. To be fair, the trailer I saw didn’t have captions, and I might not have been paying as close attention as I should have been, but the trailer does mostly focus on all the action scenes. This movie is not a comedy. While its message was a bit heavy handed, and there were definitely some tears, I actually did enjoy this. It wasn’t what I expected, but I’ve learned, over the years, not to be angry at getting the unexpected in a story. I only get angry when I get LESS than what I expect, and I got a lovely and moving story of family dynamics, reparation of father /daughter relationships, and loneliness. Keep in mind that I hadn’t even read any of the Manga, if such exists, let alone seen any anime. I walked into this movie completely blind, except for having watched the trailer.
Inuyashiki is the story of an old man, (the title character), who is having a very bad day. He is a deeply lonely, and isolated man, who, one day, finds out that he is in the end stages of cancer, gets bullied at work, and then loses his job. He is emotionally distant from his wife, son, and daughter, and finds it impossible to tell them not just about his impending death, but his real feelings for them. His daughter is especially angry, because he has never shown her how much he cares about them, although this is stated as a lack of protection, since he kept telling them that the reason he worked so hard, and was never home, was to protect their future. I was starting to get really annoyed with how much of an asshole she was, until I realized there was a point to it.
Inuyashiki goes to the park one night, gets kidnapped by aliens, and in their efforts to cure him, (at least that’s what I think they may have been doing, because its never stated in the movie why the aliens did this), they turn him into a machine/cyborg, who is able to manifest machine parts, weapons, and even fly, possibly done through nanites. The very first thing he does with his powers, is heal a little boy, who is dying of cancer, at his hospital. This outlines the type of man he is, that the first thing he does after getting superpowers, is to save another life. These superpowers are yet another thing he cannot tell his family, but he does confide in one of his daughter’s classmates, who coaches him in how to use his new superpowers.
At the same time, another student, the close friend of Inuyashiki’s coach, whose name is Shishigami, is also kidnapped at the park, and turned into a robot of some kind. Both he and Inuyashiki were both in the same place emotionally. They were alone and depressed, and dealing with highly volatile issues. In Shishigami’s case, it is school bullying, and the death of his mother, from cancer. Shishigami does share knowledge of his new abilities with his best friend, but it says a lot about his character that he demonstrates his abilities by killing an innocent creature. Shishigami of course meant to go on as he started. he becomes first a murderer, and then a mass killer, with his superpowers allowing him to kill people through their phones and other video screens.
We have these two men, both of them undergoing uniquely personal tragedies, but their reactions are completely different. Inuyahsiki dedicates himself to saving lives, and Shishigami decides to do the opposite. Inuyahshiki is an old man, at the end of his life, so finds life more precious than Shishigami, who is young and angry at having been mistreated by his classmates, and can only think of revenge. Shishigami is unable to think of life as precious, viewing people as disposable, and this is how he treats most of his victims. The first time he kills people, its just a random family whose home he invaded. He is brutal, without mercy, and unnecessarily cruel. When he finds out his mother has cancer, he saves her life, but in his rage at the unfairness of it, he decides to kill more people. For Inuyashiki, all life is beautiful however, and he works hard not to kill Shishigami, understanding his pain, and viewing even his cruel existence as precious, and salvageable.
Needless to say, the two of them are on a collision course ,as Inuyashiki sets out to stop Shishigami from killing people, and the last third of the movie is taken up with their furious, and energetic, battling through the skies of the city of Tokyo, which is what you see in the trailer. Ultimately. during all this fighting, Inuyahsiki’s daughter’s life ends up in danger, and he gets plenty of opportunities to protect her from his nemesis. This results in her discovering her father’s superpowers, of course, and a reconciliation between them, as they both share this new thing that mom doesn’t know about.
I found the whole thing very touching, even if it was, as I said, a little heavy handed in its messaging. One of the interesting things about a lot of Japanese genre movies is that characters rarely exchange important information with each other. The dialogue between characters is often kept very simple and unremarkable, while most of the important things get said in monologues, with characters appearing to just talk to themselves in the middle of some important event. That’s something that, once you notice it, takes a little getting used to, but over all, I liked the movie, its message, and it was worth the time I spent watching it.
Ever since Barney Miller, I’ve had this thing about cop comedies, and I don’t know what that’s about. I won’t watch dramatic cop shows, and generally spurn mystery thriller cop shows, unless Black actors are the stars. From shows like Barney Miller, Reno 911, Brooklyn 99, and Monk, to movies like Beverly Hills Cop, Hot Fuzz, and Mall Cop, to The Rivers of London series by Ben Aaronovitch, I’m noticing a trend. I’m attracted to laughing at, and with, cops. So Wellington Paranormal is right up my alley ,as it contains three of my favorite topics, the paranormal, and cops who are deeply funny.
Wellington Paranormal is a loose spinoff of the movie What We Do In The Shadows, about the adventures of four vampires living as flatmates in New Zealand. Its also the second spinoff from the movie, as the first one, a series with the same name, and basic setup, is set in America. In the movie, there’s a scene where the police get called to the vampire’s house, because the neighbors were concerned, when the vampires were engaging in some general domestic violence.
Wackily, this show is about the two cops who get called to the house, Officers Minoghe, and O’Leary (their actual real life names). If you have seen the movie, (and if you haven’t, you need to, even if you never watch either of the spinoffs), then the blithe obviousness of the two cops is the basic attitude of the show, as the two of them get conscripted by their boss, (Sgt. Maaka Pohatu), to deal with paranormal events and situations in the city of Wellington.
In the first season, they deal with such silliness as a body swapping demon (shoutout to The Exorcist), zombies, and werewolves, while giving each one of these issues about the same amount of portentous gravity, which means none at all. O’Leary and Minogue are the anti-Scully and Mulder of the detection world, and that is never not funny to me. The two of them find a way to make even the wildest, most batshit of circumstances, appear utterly mundane, which is where most of the humor comes from, but at least 20% of the humor comes from their interactions with each other, and their boss, who takes things way too seriously.
In the second season, they tackle a town full of alien clones of themselves, in a direct callback to The X-Files, a possessed car, a group of high school witches, in a shoutout to the Midwich Cuckoos, and some possessed cell phones. So yeah, the creator’s reference game is on point, and another nice gesture is that their boss gets a lot more airtime in the series. The closest comparison for some people will probably be Brooklyn 99, but its really not much like that. Its more of an X-Files parody, so if you liked that show, and would like to see it treated it with the level of silliness it deserved, then you will probably have to pirate it, as its not available in the US.
Sad bit of news to report today at the House. Hollywood legend and Swedish actor Max Von Sydow has passed away, just a few weeks shy of his 91st birthday. Born Carl Adolf von Sydow on April 10, 1929 in Lund, Sweden, Sydow was the son of an ethnologist professor and a school teacher. While […]
My latest post on Medium.com is up and running. Its a little different from what I usually post here, as its something a bit more personal. The post was prompted by a writer on Medium by the name of Elle Beau, and her question was what did the world teach you about how to be a woman. Her question was prompted by an article titled How to Be a Lady, calling out conflicting narratives of how the world wants women to behave.
Head on over to :
What the World Taught Me About Womanhood
I Ain’t Never Gonna Be A Lady
I have a Tumblr blog where I follow certain people and conversations. I’m not on Twitter or Facebook ,as Twitter eats up far too much time, and Facebook is largley useless to me, for talking about issues. I talk about different things on Tumblr than I do here, and I noticed my manner there is more blunt and direct than here. I feel like when I’m on there I need to say what I need to say as fast and with as much clarity as possible, not like here on my own blog, where I can take my time to make my point.
On Tumblr, I can send some quick missives off into the ether, and maybe I’ll get some feedback, maybe not but its a good way to dash off some thoughts about something before forget what was being talked about. Here’s a few (largely unedited) hot takes I made in response to whatever issues were being talked about on my dashboard.
Tired Of Superheroes
These are just the thoughts that occurred to me after I had a conversation with a friend of mine (who is white, btw), and she and I got into a discussion about why she feels anytihng at all about movies she has no plans to ever see, and doesn’t care about. I’m genuinely baffled at the idea of people being angry about certain types of movies getting released. My friend knows nothing about comic books, or superheroes, so I get her disinterest. If she said she didn’t care for the quality of such films, I would understand, but that’s not what she said.
I was having a conversation with a friend of mine yesterday,and she proclaimed that she was getting really tired of superhero movies, and that they should start making other films. I had to get on her case about that, because I’m pretty sure she doesn’t know how she sounds. Hollywood does make other kinds of movies, but people don’t go see those. She certainly doesn’t go see them. Maybe if she went to see the other kinds of movies Hollywood makes, they would make more of those types of movies.
First of all how are you going to be mad about Hollywood making movies that you don’t ever go see, and are not particularly interested in? I mean how does it work that you’re upset that other people are making certain types of films popular. I also told her that these kinds of movies are still a relatively new thing, especially since the technology has caught up with out ability to imagine absolutely anything. Its really only been about ten years that this has really been kicking off, and that’s mostly due to the MCU.
Hollywood is going to keep making superhero movies as long as we keep giving them money and making them blockbusters. Now I happen to like superhero movies. I like their action, colors, and inventiveness. I prefer the comedies, and the straight up actioners, and I just enjoy watching the onscreen version of characters I’ve always only ever read about in books, and you know what? I simply don’t pay any attention to movies I’m not interested in. I hate watching Rom Coms, and Hollywood keeps making those, but I’m not angry they are making movies I don’t like. I just don’t go see those films. How you gonna be mad that other people are excited about movies you’re not interested in seeing? I’ve never understand that kind of thinking.
I also think it’s mighty funny that I’ve been hearing this refrain a lot more often, now that women, and poc are starting to get superhero movies made about their favorite characters. I’m not saying people who make such statements are racist, but it doesn’t look good, that the only time I hear so many people talking about how they need to quit making so many superhero movies, is when poc and women start to get theirs. When it was just white men, I heard this complaint a little bit, but not as much as I did after Black Panther was released. Now suddenly after Captain Marvel, and BP, Hollywood needs to stop making these types of movies.. That’s just an interesting observation.
White Feminism in Fandom
This is part of the continuing conversation to be had on Tumblr where we discuss intersectional feminism in movies and shows.This time it was about the treatment of Uhura, specifically her relationship with Spock, in fandom. Black women on Tumblr are forever trying to get white female fans to understand that the way Women of color are traditionally treated onscreen, is not the same as white women’s treatment, and how the treatment of black female characters in fandom is often full of racist tropes. As white women you cannot demand the same things of Black female characters that you can of white ones.
What white feminists want is for black Woman to be”strong and not need no man”. Uhura is just supposed to be unloved and single, like she was in the original series, like every black woman in genre narratives. I’ve been watching the original series since I was a little girl.
Don’t get me wrong. I grew up on Spirk, I read a lot of Spirk, and that was my thing for two decades because I knew no one was ever gonna let Uhura be loved, but when I saw that JJ had went there in the new movie, I stood and I applauded.
As a little girl I used to dream about being as beautiful and elegant as Uhura, and I was sure I was gonna marry Spock when I grew up, and I finally got that representation at my old age, but I guess the dreams of little black girls don’t mean shit to white women who just want, yet another, after another, after another, mlm ship, in yet another show!
Teen Wolf, The Flash, Walking Dead, in every single show where there is a black female love interest with the white male lead, white women fans always show their whole duplicitous asses, about the black woman not being worthy of their white male love, and how she should be replaced with any compatible white woman, any same age white male he’s ever locked eyes with more than once, and even the villains who have tried to kill him, and his love interest, multiple times. We’re not talking about your individual ship, or attacking you personally. We’re telling you you need to examine why you need yet another mlm ship in yet another show or movie when fandom has dozens of such examples, all of that while ignoring canon male interracial ships, at that!
Why do all the ships need to be white!
This is a pattern across multiple genres, for more than two decades! This is racism!
Fandom is not the same for black women as it is for white women. The stereotypes for black women are the opposite compared to white women, though the objective of those stereotypes may be the same. Where white women get damseled, we don’t. We get to be strong onscreen, white women don’t. White women in movies get to be brides, while WoC only get to be side pieces, and murder victims.
Ship what you want, but be mindful of what you’re doing. Be mindful of how it looks to black women. Be mindful of what you say in defense of your ship when someone says something to you about. Our biggest issue isn’t always with the shipping you do, it’s the deceitful and racist manner in which y’all defend said ships that piss us the f*ck off!
(Spirk= Spock +Kirk; mlm = men loving men)
This was said during a discussion about how the failure of BoP at the box office,(which is not a compete failure, but that’s another discussion), is being spun by the “manosphere” to say that movies that include feminist thoughts and ideas, are all going to be failures. I think this is once again just part of white men’s agenda to only have films made that center them and their needs.
One of the biggest complaints about BoP before its release was that none of the female characters were sexy. That said, the movie is unapologetically femme! So, the answer to that was “not sexy according to white men, no.” Now that the movie has under performed at the box office, these same men are using that to say that if the movie had given in to their demands to make the female characters sexier for men to look at, it would have done better.
Birds of Prey and Quality Films
This was a response to some white guy on Tumblr who was upset about Black people not wanting to interact with white people, calling it racist to not trust them. This sounds exactly like men who are upset that women have difficulty trusting that men won’t hurt them and refusing to interact with them, because as men, they are individual,, special beings, that women should be able to tell, just by looking, that they would never hurt anyone.
Habitual Foot Steppers
Every day, PoC in this country have negative, sometimes even violent, interactions with white people. Hell, they probably often have such interactions with members of their own culture, but it’s only white people, especially those who control mainstream public messaging through media, who are constantly advocating that white people are individuals who don’t represent their group, and need to be forgiven for those negative interactions, without a single one of them making any effort to bring those types of interactions to a halt.
In fact, many of them will simultaneously argue that not only should such actions be constantly forgiven, overlooked, or gotten over, they will also insist those interactions don’t happen at all. It’s the equivalent of people stepping on your foot every time they see you, and when you complain, or tell them to stop it, them telling you they didn’t do it, to prove they didn’t step on your foot, and it didn’t happen because they didn’t notice it, or intend to do it. You would naturally be well within your right to not only avoid that people in the future, and probably be more than a little pissed that they didn’t listen to you when you told them they hurt you.
All these different people, from the same cultural group, insist on stepping on your feet, while proclaiming loudly to their audience that not only didn’t they intend to do it, that it’s not hurting you, they didn’t actually do it, and you’re too sensitive and should get over it. And when you get angry about it and avoid them and express resent,ent over their behavior, they call you a racist, for not trusting them, and deciding to protect your feet by avoiding them.
These are some of the hot takes I left on Medium.com. This one was about men who think, if they pursue a woman hard enough, long enough, she will eventually give in to his desires, and this is an idea that is prevalent in Pop culture media.
Stalking for Love
One of the reasons some men are like this is because they are socialized to do so, from the moment they start consuming the culture. Songs after song, books upon books, movie after movie, and TV shows after show, are really good at imparting one major message. That women are prizes given to them for persistence, correct behavior, owning the right car, shoes, house, and sometimes just for having a penis!
They have been shown again and again, that if they pursue a woman hard enough, stalk her long enough, just keep asking, and asking, and asking, they will eventually wear her down, she will reach enlightenment, and of course, dispense her charms. “No”, in Pop culture, really just means, “Not right now.” or “Keep trying!” This is what they’ve been sold, and you can tell which ones have fully bought it, because they are the ones who get enraged when women go off-script.
They are behaving exactly the way they’ve been taught to behave, having fully, and uncritically, drank the Kool-aid, that persistence wins the girl. Almost nothing in our culture tells men they need to have the correct character, or hold certain virtues. Too much of Pop culture teaches men that they don’t have to be genuinely good, or kind, or gentle men, to attract women. They are taught that women are fickle creatures that need to be tricked, or hounded into wanting them.
This is not a hard and fast rule because there are plenty of men who have, somehow, managed to avoid this kind of thinking, but it is definitely an element in the thinking of these kind of men. I don’t think there is a causality, so much as a life long influence.
These responses I wrote as comments on Medium.com.
Both of these responses ended up being tangentially related to each other. The first was a response to an article about White people’s hypocrisy in calling PoC racist, whenever we express any form of unhappiness (or sarcasm) at the existence of White people in a public sphere. I remember that Asian woman who lost her journalism job over tweets she made years ago, where she joked about white people. It is important to keep in mind that these people are reacting to things that progressives have been doing, and its been the tactic recently of marginalized people not just to talk back to the kinds of people who victimize us on social media, and in public, but to see that such people be ostracized by society, by contacting their families and employers.
This particular article was about a young African American woman, who made a public statement about there being too many white people in her college’s Multicultural Center, and white (mostly men) opinionators in the news media, having a full on meltdown, and calling her a racist. For the record, I think what she said was kind of stupid, but it doesn’t make her a racist. It just makes her very young and silly.
Since reactionaries have a tendency to lack imagination, they have this nasty thing where they appropriate the tactics that have traditionally been used by marginalized people to fight their oppression. Its especially galling when such people use those same tactics against, not just the people who invented the tactics, but whom they have traditionally bullied. Marginalized people invented the tactics out of desperation, to teach a lesson, or to make the harm they cause have consequences, but what reactionaries are doing (as so much of their behavior is often motivated) out of pure spite.
I definitely think this is a backlash against white people being called out for everything they’ve gotten wrong for centuries. They’ve been calling everyone who isn’t white, straight, or a man, nasty slurs, since the invention of American English. They still do that on the regular today, and these same people are the ones who like to argue about saying the N*word, but let some anonymous black girl make a dubious statement, and they lose the entirety of their shit! I’d be angrier, except it’s amazing to behold.
But then: Never, in the history of this country, have white people been spoken back to, and challenged, by marginalized people, in such great numbers, as much as they have, since the invention of the internet.
(Every time they say anything, they are reminded that white people have caused an incredible amount of damage to other people, and are still doing it. No one likes to be called out for behavior they have always known is wrong, but are reluctant to change, because they derive emotional benefits that they are unwilling to acknowledge, what Du Bois called “the psychological wages of whiteness.”)
And this isn’t like before, where your garden variety white person was largely unaware of all this “talking back”, and could simply quash any talking back, they encountered by screaming, and extreme violence. Now its impossible to not know how marginalized people feel, and our pushback against oppression, and injustice, is often immediate, and intense. They are working desperately to reestablish their equilibrium, by upholding the status quo. But someone once said to me, that’s what Conservative means: to conserve. To keep things as they were.
They’re so used to simply ignoring any form of oppression, but now it’s constantly being thrown in their face. They can’t ignore it anymore. (This is mass white fragility (rather than individual).
I commented on this very thing in another post. I think it’s time for us to stop focusing so much on just black pain and racism. Although we can still make such stories, I think it’s time to start imagining ourselves in new environments, new types of stories, and in the future, which is why I’m a huge supporter of Afro-Futurism.
Part of the reason white fandom acts the way it does is that so often, those have been the only type of stories they’ve been exposed to, in mainstream media. Black people know there are other types of fun, lighthearted Black oriented, movies out there, that are not associating our race, yet again, with crime and slavery (even positive depictions still associate our race with these two topics). These are often the only ways that white audiences know us, even though we can list a dozen or more films about Blackness that don’t center either of those.
I think part of this is also a “white lash” against the pop culture demands of black people in the past ten years, demands which are finally, slowly, being answered. I know it’s not because we’re taking over white characters roles, because even with original roles, in original stories, black actors get harassed and vilified by white fandom. So it’s not about any of the reasons they state, and in quite a few cases, it’s simply an excuse for some of them to engage in the anti-Black bigotry they’ve always wanted to express, in the real world, but can’t do so without being called a racist bigot. I think that’s something that’s never going to change.
It’s because Black People are being highly visible, everywhere, and demanding, not asking, not begging, to be included in any industry that takes our money. We are demanding they include us, or we will give our money to someone, or anything else, or make our own, and rake in that dough (look at Fenty Beauty!)
There’s also an increasing sense of white male irrelevance, which is the kind of backlash that happens, every time there’s a pop cultural shift of any kind. This sort of behavior happens every time white people start feeling like they are no longer in control of the culture. It’s happened in music for nearly a century (Jazz, Rock, Rap). This is also currently happening in even the most innocuous subjects, like the knitting community, and Romance fiction.
I’ve been thinking about this, studying this, and trying to put it into some kind of historical context, for a while. This kind of behavior from (primarily) white people is far from new. It’s been going on for decades.
I hope you’re all having a good Thursday, if not a happy one. I’m still around, and watching thangs. Today, I expect to bingewatch the second season of Altered Carbon, starring Anthony Mackie. I’ll give my views on that sometime in March perhaps along with the other shows and movies which caught my fancy. But for now:
Here’s the new Candyman trailer. it looks interesting, and I like the lead actor, (I just saw him playing a full frontal god in the Watchmen TV series.)
Aww, crap. I first learned about her in the movie Hidden Figures, which you should see if you haven’t already, where we learn that a black woman was a crucial element in doing the math that got men into space and to the moon. Now she has died after a long and distinguished career, at…
This isn’t a personal attack. Bloomberg’s public record shows that he is the candidate that is most like Donald Trump, and I will not vote for him.
I had so much love for this show! Too bad its not going to get a second season, at least not according to the showrunner, which makes me only mildly upset, because really, its better to go out on top, then to dribble off in shame. Lindhelof says that what we saw is all of the story, and he doesn’t have any ideas for a second season, although he has given HBO his blessing to continue the show without him. I would prefer that the show simply end now, to introducing a new and mediocre showrunner, for the second season anyway, which is the problem that American Gods has run into.
American Gods should have just stopped at season one, with Bryan Fuller who, no matter which shows he works on, is just really hard to top. The same thing happened with ST:Discovery. On the other hand, if HBO wanted to bring in Fuller, for a second season of Watchmen, I would be totally on board with that. The show is so rich, I just know he’d do some awesome work with it, but as it stands HBO isn’t looking at a second season right now, and the show has not been renewed.
On Black Film
The first link is a list of 84 films that starred or were directed by women of color.
The second link is an article about why Black art and film criticism requires diversity. Because really the only people who can cogently discuss aspects of the culture that are represented in art, are Black people. Its not that white people don’t have opinions, its just their opinions carry less weight because most of them just don’t know enough about Black culture, to be able to speak on it, with any clarity.
And finally, a video on why we need to make more movies about Black people just being happy, and living our lives, without some criminal or racial crisis involved.
Here are a number of opinion posts from The Artifice, on the subject of Horror and its themes. I’m going to urge everyone to visit the site, as it contains some of the best film writing and criticism on the internet. There’s not a lot of diversity, the people there pretty much stay in their lane, and are not professional writers for the most part, but its far better than a lot of the Bro’tube videos about pop culture.
And from Medium.com
I can’t link to Medium articles here ,but here are some titles and authors to look for, should you give the place a visit. And be sure to check out my last post about Horror movies set in the suburbs.
Recently, Stephen King weighed in on the issue of diversity at the Oscars. (There isn’t any.) Considering that this is the same man who insisted on putting at least one magical negro in every single one of his earlier novels, (and a couple of his more recent ones, too), he really should have just kept his opinion to himself. In all fairness though, after he had the situation explained to him, he did backtrack a little bit on his statement.
Stephen King Needs More Black Friends
John Boyega and the Racism of Fandom
A look into the harassment John Boyega has faced at the hands of rabid Star Wars fans
Cleopatra 2525 (2000-2001)
Even though I watched this show for its entire two season run, I don’t actually remember a whole lot about this show, except that it was cheesy, cheap, and starred the modern Goddess, Gina Torres, She of the Divine Facial Features. Perhaps that’s all one actually needs to know about this show to be intrigued.
This was girl-power before such a phrase existed, or rather, somewhere around the same time that it came into being. The term girl-power has been around for a very, very, long time. I remember it being mentioned on The Powerpuff Girls, when I watched that show with my baby sisters, when they were, in fact, actual babies!
Anyway, the basic plot is that the young blonde girl, whose name is actually Cleo, although she’s not important while standing next to Gina, was an exotic dancer, who got put in a Futurama type situation, where she wakes up so far into the future, that the world has become completely unrecognizable to her. She joins these two young women who are fighting against some type of totalitarian authority that likes to use drones, cameras, and an evil clown type guy to oppress them. Its really is kind of like Tank Girl meets Futurama meets Charlie’s Angels, as there were at least some good action scenes.
Once again YouTube has full episodes of this show, so check them out and let me know what you think, unless of course, you are going to argue against the beauteous divinity of Gina Torres, in which case you can keep that shit to yourself!
Special Unit 2 (2001-2002)
Not to be confused with Special Unit, which was your standard police procedural, this is Special Unit 2, a standard police procedural starring paranormal creatures. I remember eagerly looking forward to this becasue Buffy the Vampire Slayer was airing around the same time ,and this was a cheap, funny knockoff blend of that and a cop show.
The show really didn’t take itself at all seriously, it was zany and cheesy, and actually pretty funny. Or rather, it fit my idea of deeply funny, at the time I watched it, since I was just a kitten then. I don’t know that my humor has changed all that much, but I’m about to find out, as I plan to watch it again, since a lot of the episodes are available for free, on YouTube.
The show is about Nick and Kate, two seemingly regular cops who are part of a special unit of the Chicago PD, who deal with things like dragons, unicorns, elves, and gnomes, while trying to keep these creatures a secret from the rest of society. Needless to say, a lot of lying is involved. The show really did try to mine the Buffy and X-Files shows for some of its plots, and occasionally got a little serious too, although there was a lot of it that was played for laughs, including a gnome type character who worked in the office, and specialized in being a thief. I remember really enjoying the acting on this show, which was played very tongue in cheek by both Nick and Kate, with surprisingly little of the “will they-won’t they” dynamic that seemed required of such shows.
In fact, of all the characters Kate was probably my favorite, next to the, highly irreverent Carl, the Office Gnome. The show was interesting because Kate was the show’s regular everyperson, who stumbles onto some grand secret of the world, and is the audience’s stand-in, as we learn about this world at the same time, and this was probably why I liked her, since female, audience stand-ins, are kind of rare in this genre.
I remember really liking this show, at the time, because there really wasn’t anything else like on the air at the time, except maybe Millennium, and the X-Files, and Angel, and even those shows attempted some occasional lightheartedness. This show did none of that. It remained horribly gloomy right up until the end of its seven episode run, and the dark gloominess of it was probably why. There was almost no color in this show, except for the presence of that one Black guy these shows had to hire, to reach compliance for diversity back then. The show starred Matthew Fox, before he became famous for starring in the show Lost. I did not understand his appeal in that show but I did get the whole brooding loner thing in Haunted.
Matt Fox is a private detective, named Frank, who once got killed by a serial killer of young boys, who now hunts for missing people. Oh, and because he died that one time, he can now see ghosts. Specifically he is haunted by the spirit of his own missing son, whose disappearance caused the collapse of his marriage, and he can also see the spirit of the serial killer, Simon, whose accidental death he caused, which also cost him his job. I loved the show, and it was largely because of the presence of Matthew Fox’s acting skills, and the cinematography, because the show was gorgeous, with lots of black, grey, and rain.
I managed to find a couple of episodes on Youtube, which is where dead shows go, apparently, and I’ve actually re-enjoyed the couple I watched.
This was another show that I remember was a lot of fun. Not so much for its first season, but in the second season the show made a u-turn, and kicked the plot into high gear. The writing got better, and the characters were energetic and fun, unlike the first season where the actors tried to take things a little too seriously for the silliness of the plot.
It starred that guy from Tucker and Dale Vs Evil, Tyler Labine ,who was the sidekick of the lead character, Sam, a slacker who had somehow been coerced into collecting souls for Satan. I don’t remember liking Sam very much in the first season, but in the second season things got better when he found out the reason why he’d been chosen to be a Reaper was because he was Satan’s son, with Satan being played by the most excellent Ray Wise, who for some reason, was named Jerry. I remember thinking Wise was waaay out of league for this show, becasue he made what was otherwise simply a “meh” show, a very good one.
Despite Sam being the son of Satan, he continued to be whiny and incompetent at his job, and was most often saved by his accomplices, an ex-girlfriend from school, and Tyler’s character. Strangely, it’s often Satan who comes off looking sympathetic in this show, even while committing what are clearly evil acts, or acts that are at least deeply annoying ones for Sam. He and Sam used to have interesting discussions about the nature of Heaven and Hell, and why Satan can’t eat ice cream.
This was a very short lived series based on the comic books. I had actually been reading the comics right before the series was announced so I was very excited to see what they were going to do with the show. The trailers were intriguing and I liked the actress Yancey Butler, who I had last seen in the movie, Hard Target, years before. The show proved to be not as exciting as the trailers lead me to believe. The actng was fine, but the plot didn’t actually seem to go anywhere, and some of had nothing to do with what I read in the comics. On the other hand, there were some hot guys in it, so there…
I feel like I need to explain what the Witchblade is to people who have never even heard of it, since this show has been off the air for almost twenty years, and has largely been forgotten except by its die-hard fans. Its a mystical gauntlet, suit of armor, that’s intelligent, chooses its wearer, and forms a partnership with them. They can hear it speaking, although I saw no evidence of this ability in the show. It was an extremely powerful McGuffin, that all of the other characters seemed to want, even though those who werent worthy of wearing it could potentially lose their arm.
Now we need to talk about the actress Yancey Butler. This is complicated because for the past twenty years, she’s had some substance abuse issues. At one point, getting arrested for passing out, and crashing her car, after which she was ordered to enter a rehabilitation program. I had to read about that on her IMDB page. She has started acting again (and is as beautiful as she ever was despite all her troubles), and is active on Twitter now, which is how I heard about her newest movie. At any rate, her problems didn’t start with the show, and I distinctly remember reading about some of the problems she had on set because of them.
Yancey, like countless women before her is a beautiful woman who developed substance abuse issues while working in Hollywood. I don’t know for sure if this was a problem before she started work as an actress, but I do know that Hollywood is a toxic place, that regularly chews up young actors, and then spits them out, severely damaged. And after #MeToo brought this knowledge into the mainstream, in a different way than before, its very difficult for me to believe that sexual assault and sexual exploitation doesn’t have at least some role to play in the massive amounts of substance abuse that we see in its participants. I sincerely hope that was not the case with Yancey, that she has gotten the help she needed, and worked past her demons.
Kindred: The Embraced
This show was loosely based on the role playing game, Vampire The Masquerade, which I never actually played, although I did read a few of the guide books, so I knew a lil’ sumthin-sumthin’ about that universe. So when I say it was loosely based on it, I mean exactly that. The show was pretty damn loose. So loose, that all it seemed to have in common with the game, was its vocabulary. It was like someone read the books, but then decided to base the show on a school book report about those, instead.
That said, I actually, sorta, liked the show. It was bad, yes, but it also had some really intriguing shit in it that kept me watching. Since the show only lasted 8 episodes, I guess other people felt the same way. Its not that the show was awful. It had some great characters in it, but it did have some terrible acting, and the plot became more convoluted with each episode. I guess the closest I can get to describing it is a Vampire Godfather, as it involved clashes between the various vampire clans in a city, along with their rulers, followers, and hangers-on. All of which has something to do with a renegade cop, named Frank, who stumbles across their existence when he falls in love with a female vamp.
The lead character was Julian Luna, played by Mark Frankel, who I thought was Latino, then later believed to be Italian, but turned out to actually be English. I found him interesting mostly because I thought he was pretty, and had a very nice voice. The best character was a member of Clan Nosferatu ,who are very old, deformed, and look somewhat batlike, with talons, long teeth, and pointed ears. Daedalus, as he was called, was played by one of my favorite actors, whose name I forget now, but that actor performed like he was in a Shakespearean play, while Luna acted like he was in the movie The Godfather III, and Frank the cop’s girlfriend, busily being extra, acted like she was in a Gothic soap opera. So the acting and dialogue was all over the place, but it best written for Luna and Daedalus. I do remember the two had frequent conversations with one another, and that I looked forward to the times when they were onscreen together.
Whenever anyone else was onscreen, the dialogue and acting were cringeworthy at best. There were a couple of star struck young lovers from different clans, who were abysmal in their acting, especially, and I had to look this name up, Brigid Walsh, who played the human descendant of Julian, named Sasha Luna. Dear Jeebus! she was awful, which was not helped by her horrid dialogue. She played that role, as someone who had perhaps heard of “acting”, by rough description, like she was playing the role of a “professional angry-face” Model!
I would also like to offer my apologies in advance for subjecting y’all to these images. Trigger Warning for: music video bad attitude, smirking, sniping, sarcasm, general batshittery, and horrible acting.
But the cancellation of this show seemed inevitable, as soon after, or just before, that happened, Mark Frankel died in a traffic accident, while riding his motorcycle. I distinctly remember the reporting of this on the news,and feeling some type of way about it.