This Is Virtue

The New Colossus

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.

“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

 

Image result for statue of liberty crying

 

I was going to post an essay about movie landscapes or something, but this has been an emotionally harrowing week for everyone, and I just didn’t fee like it.

Advertisements

Ravelry Bans Trump Support

Remember that conversation we had about racism in the Crafts community? Well, there has been a lot of fall out from that beginning. I feel like at least part of all this began with the pink pussy hats in 2016, and the conversations surrounding the use of the hats to represent ALL women, because not all women have vaginas, and  pink pussy hats don’t actually represent WoC. That opened the door to the discussion of how WoC are sometimes excluded from events on Ravelry that are supposed to be representative of all women, like the knit breasts, for women who have had mastectomies, that are also pink.

Image result for pussy hats

Mostly this began in January, on Instagram, and has finally culminated in Ravelry putting its foot down, and making a definitive statement. Trump is a White Nationalist/Supremacist, and support for him and his policies, is support for those issues, too.

In January, Karen Templar gushed about her upcoming trip to India using some unflattering and insensitive comparisons, that upset PoC in the crafting  community. She has since made the effort to learn from the experience by listening to the people she hurt, and apologizing for any harm she caused.

Image result for apology

*Words matter

I have hurt, angered and disappointed a lot of people this week with my insensitive post about my upcoming trip to India and my handling of the response, and I am deeply sorry about it. I’ve spent the week listening hard, learning (in part about how much more I have to learn), and thinking about all of the things I can do — particularly here on the blog — to be more inclusive and supportive of people of color. I can’t take any of this week back, but I will work hard to do better going forward.

For those who didn’t see anything offensive in my post, I feel it’s important to spell it out for everyone to see and think about, and hopefully learn from:

First, it reads like I’m a tourist looking for an exotic location for my next selfie, which is inherently horrible — India is not a set or a backdrop for white people. It reads that way because I didn’t take the time to talk about why I’m going, which is to meet textile artisans and learn more about their craft. I’m coming to India from a place of respect for the relevance of textiles in the country’s liberation from British rule.

Second, and more egregiously, when I said that to my anxiety-ridden teenage self the offer of travel to India felt like an offer of travel to Mars, I gave the impression that I equate the people of India with aliens — literally alienizing people who aren’t like me. It doesn’t matter that that’s not how I intended it. By being careless with my words, I perpetuated the harmful notion that Indians (and POC in general) are “other,” or even to be feared. People who are the target of racism every day were rightly offended by it, as were others. And I am so sorry.

Third, I compounded the Mars problem by bringing it up again (to say that my grown-up self might even consider space travel if I got the chance) by referencing an interview I had heard about the impending “colonization” of Mars. I brought up colonization in a piece about a country marred by colonialism and didn’t see it. Everyone who was shocked at that was right to be, and I’m shocked at myself.

That’s not comprehensive, but it’s the main thrust of it. It took women of color pointing this out for me to see it — starting with the annotation that @thecolormustard posted in her Story — which is not their responsibility, and I am thankful to them for taking the time. If you’re struggling to understand the response, please just sit with it and give it some serious thought, from their point of view.

I apologize profusely to everyone I hurt, and to everyone who has taken any kind of heat for calling me out on it. I was wrong, and the women who took the risk to speak out were right. I’ll be doing the work, sharing the resources*, and doing my part to raise the visibility and celebrate the actual beautiful diversity of this community.

.

*Currently readingThe Origin of Others by Toni Morrison (recommended by @nappyknitter). If you haven’t read Morrison’s novels, get on that too.

.Image result for knitting

What happened with Karen opened up a number of discussions in the community about how BIPoC are treated, and what White people within the communities can do to make everyone feel more welcoming, with some members of the community showing their true faces about political topics that don’t directly concern them, and they remain willfully ignorant about. 

There are two ways people can walk in this world. Karen is an example of the first way. When told they are harming the people they are bumping into with their jagged edges, they  make at least some effort to smooth those edges, and be less harmful to those who come in contact with them. This takes a certain amount of listening, personal work, and a little discomfort. 
The second way, are those people who make no effort to smooth their rough edges, take offense at being asked not to harm people, and not only don’t care who they hurt, actually seem to be quite gleeful about it.

Ravelry decided, after some extreme events last week, which I will get into in a moment, to ban speaking about trump and his administration, as he and his policies support White Nationalism, and  doing so creates an unsafe space for BIPoC, and others.

 

 

“There are people who have been talking down to other people because they can’t afford anything better than craft yarn from Michael’s,” she said. “Knitting has always been political, whether you believe it or not.”

 

*https://www.theverge.com/interface/2019/6/25/18716342/ravelry-trump-ban-knitting-white-supremacy-facebook

 

*From Ravelry:

 

We are banning support of Donald Trump and his administration on Ravelry.

This includes support in the form of forum posts, projects, patterns, profiles, and all other content. Note that your project data will never be deleted. We will never delete your Ravelry project data for any reason and if a project needs to be removed from the site, we will make sure that you have access to your data. If you are permanently banned from Ravelry, you will still be able to access any patterns that you purchased. Also, we will make sure that you receive a copy of your data.

We cannot provide a space that is inclusive of all and also allow support for open white supremacy. Support of the Trump administration is undeniably support for white supremacy.

Policy notes:

  • You can still participate if you do in fact support the administration, you just can’t talk about it here.
  • We are not endorsing the Democrats nor banning Republicans.
  • We are definitely not banning conservative politics. Hate groups and intolerance are different from other types of political positions.
  • We are not banning people for past support.
  • Do not try to weaponize this policy by entrapping people who do support the Trump administration into voicing their support.
  • Similarly, antagonizing conservative members for their unstated positions is not acceptable.

You can help by flagging any of the following items if they constitute support for Trump or his administration:

  • Projects: Unacceptable projects will be provided to the member or made invisible to others.
  • Patterns: Unacceptable patterns will be returned to drafts.
  • Forum posts: right now, only posts written after Sunday, June 23rd at 8 AM Eastern
  • Profiles: Unacceptable avatars or profile text will be removed.

Much of this policy was first written by a roleplaying game site, not unlike Ravelry but for RPGs, named RPG.net. We thank them for their thoughtful work. For citations/references, see this post on RPG.net: https://forum.rpg.net/index.php?threads/new-ban-do-not-po…

Image result for knitting
*Its very interesting that those who are opposed to the ban on trump and hate speech, are not talking about the event that triggered this reaction from Ravelry. 
See, What Had Happened Was:
Image result for women trump supporter
Now lets be clear, trump supporters are not banned from Ravelry. What they are  is banned from talking about and supporting the policies of him and his administration, thereby creating a  hostile, and  unsafe, emotional environment for those people who are directly affected by his racist policies.
To their credit, most of the members on Ravelry are perfectly fine with this, and support it. There are a handful who hate it, but  they don’t have big enough platforms to affect anything, and they can always leave and form their own crafts platforms, dedicated to victimizing people who don’t look like them. 
The people who are against this ban have never been on the receiving end of trump’s rhetoric, so its easy for them to take offense and claim they are being oppressed, in the absence of any actual experience with oppression. Ravelry has always been a comfortable space for them, where they can say whatever they please, without regard to how what they say, affects other community members.
Many of these people claim they are leaving Ravelry because they feel the ban is wrong, and claim that they are being banned themselves. They are not. Go to Ravelry and get the actual source of what was said.  (And NO! Its not censorship, since Ravelry is a privately owned company.) Such people just cannot discuss they’re repellent political views on the site. This is not any different from bans on other forums moderating hate speech and open White supremacy. The only difference here is that talking about trump and his policies are now  equated with hate speech. 
My question for them is this: Why do you think you cannot participate in this community without emotionally harming the other members? Especially after people have repeatedly told you that what you are doing and saying is harmful to them? What about their comfort? They just want to look for patterns and talk about yarn too, without being inundated with racist imagery, and hate speech. Why can’t this space be safe and apolitical for them?
What people like that are forgetting is that marginalized people do not have the luxury of escaping from politics just because we don’t feel like dealing. Its very easy to claim to be apolitical when the politics being espoused do not personally affect you. This is especially true in cis-, straight, White spaces, where the marginalized can be blindsided, at any moment, by a White person’s thoughtless comments, and  sometimes active malice. Working in a diner is not a political act, nor is grocery shopping, or working in a crafts store, but it quickly becomes political when a marginalized person is subjected to a screaming rant about how some random White person voted for trump, and people need to build the wall! Or when you stumble across Confederate flags, when all you wanted was a  pattern for a baby blanket. 
What’s interesting, and its something that should most definitely set to rest the idea of White women’s innocence regarding racism, is most of the people hating on this ban are women, and it was women who were heavily involved in the doxxing and harassment of the person who reported the hate speech patterns to Ravelry moderators. You can’t blame this on some nameless cabal of Maga hat wearing White male nerds.
Fortunately one of the good things to come out of all this is at least some White women are trying to be better people. They re having the discussions about themselves and thinking about the issue, and considering ways in which they can walk through this world without harming others.

Image result for inclusivity

“We cannot provide a space that is inclusive of all and also allow support for open white supremacy,” the site said in a statement explaining the decision. “Support of the Trump administration is undeniably support for white supremacy.”

Mini Reviews: Swamp Thing; Good Omens; NOS4A2; and “Ma”

Swamp Thing

Image result for swamp thing

I read these comic books like they were religious texts, way back in the eighties, when they were being drawn by Stephen Bissette and John Totleben, when it was called Saga of the Swamp Thing. The books existed before these two artists worked on them (since 1972) but I only read a few of them, sporadically. I had a general idea of the history of the character when I started reading the books, and from the beginning, Swamp Thing has always been heavily based on body horror, with occasional excursions into mystery, dream logic, humor, and  psychedelia, especially during Alan Moore’s run in the mid-80s.

The original story is a scientist, Alec Holland, working on a sort of bio-restorative formula involving plants, for  Arcane Industries. The CEO’s niece is Abigail Arcane, and she develops a relationship with Alec after he becomes the Swamp Thing, which occurs after he falls into the swamp during a murder attempt. Alec spends most of his early years trying to find a cure for what happened to him, and running from the Arcane corporation. Arcane himself is eventually killed, after turning himself into a hybrid insect like creature, in an attempt to reproduce the Swamp Thing effect.

I started reading the books in earnest when Alan Moore started writing the story and his approach changed the entire plot and nature of the story. He crafted a story that was beautiful, majestic, and terrifying in brand new ways. If you’re going to read any of the Swamp Thing books, start a few issues before Moore’s run, (when Len Wein was the writer) so you can get an idea of what the main character was like before that big change. Alan Moore’s run starts with the story The Anatomy Lesson.

That said, the TV show contains little of these qualities. It moves too fast and paradoxically moves too slow, in that we keep waiting for events to happen on screen. Why? Because these are some of the least interesting characters in a TV show. Abby is an earnest, but essentially boring young woman, and a lot of it has to do with the actress who was chosen, I suspect, more for her looks, than any kind of gravity she may have as an actress. The man playing Alec Holland is both unlikable and boring. There a a handful of exciting moments when the plant life in the movie gets a bit rambunctious, and attacks everybody, but those moments are not scary. There is a little bit of the body horror element from the comic books. Why the plant life in the swamp is acting a fool, I don’t know. I must have missed the explanation when I tuned out for a moment.

Image result for swamp thing tv series gifs

I simply could not get into these characters, which is important if I expect to care about a show. I didn’t care about either of these people. I realized this when Abby experiences some pointless drama in the form of a mother figure who hates her for accidentally killing her other daughter, and makes a scene at a party. I tried to care, but this dramatic moment, this pathos, happens too soon, and I don’t know this character enough to give a flying hot damn who does, or doesn’t, like her in the show. Alec likes her, and the two of them flirt a little bit, but since I didn’t like him, and she doesn’t have enough of a personality, I didn’t buy their budding romance. It doesn’t help that the two of them have all the chemistry, and  romantic passion, of a pair of titmice. Nor did I care when Alec gets killed later in the episode and gets turned into the Swamp Thing. I should have cared. I wanted to care. I didn’t.

I feel like the show’s creators put in too many pointless action scenes that don’t actually help the story, or build Abby and Alec’s relationship, or give them much character. We start the episode off with the plants attacking a boat of strangers in the middle of the swamp. The show immediately gets on my bad side, when the only Black man I’ve seen in the entire episode, gets killed in the first ten minutes of the show, and it serves no purpose other than to introduce us to the plants, the only creatures that have a strong personality. I’m hoping that’s the point, and that its a callback to the most famous Swamp Thing story ever written, The Anatomy Lesson. Alec gets turned into the Swamp Thing at the end. I felt that was too soon, and also  that the show had just been vamping to reach that particular moment, because things happened to these characters, and we’re meant to care, but we haven’t spent enough time with either of  them to care about anything that has happened, or will happen to them,  and we wouldn’t want to spend more time with them anyway, because they are  boring. There’s just no spark to these people at all.

I cannot recommend this show. I’m going to persevere  because there’s the possibility of improvement, and the rest of the season may have better tone and pacing than the premiere. The show has since been canceled, so I have all the time in the world to  get around to watching these episodes. I don’t think it was canceled because it was bad. There was some kind of internal fight going on between the creators, the networks, and the producers.

 

+

Good Omens

Image result for good omens gifs

 

This is the total opposite of Swamp Thing. It helps that I’m a fan of David Tennant, who always plays somewhat the same character in everything, but since he’s so charming, and funny, he can get away with it. I even like Michael Sheen, although I’m not as familiar with his career as I am with Tennant’s. The two of them star as an angel and a demon who are trying to prevent the apocalypse because they love living on Earth.

The show is heavily based in Christian mythology, but you don’t need to know all of that to like the show, since a lot of things get explained to you, even as you get thrown in the deep end. There’s a lot of information that gets thrown at you, in voiceovers, and characters speaking their thoughts, but it never feels overwhelming, because the imagery is so much fun. This show doesn’t take any of itself seriously.

Keep in mind that although I’m familiar with the book, I haven’t ever read it. I’m a Neil Gaiman fan, and I’ve read a little bit of Terry Pratchett, and I can’t think  of two more interesting people to write a biblical mythology story together. I like to think of this as a love letter to Christian mythology, sort of like the biblical version of Galaxy Quest. None of this story is done from a place of hate or disrespect. Its an irreverent show, naturally, but its not mean-spirited.

The two celestial entities were both responsible for trying to bring about the End Times, but end up botching the whole thing by losing track of where they put the Anti-Christ. The two celestial entities eventually find the Anti-Christ a week before the apocalypse is set to begin, having been working with the wrong boy who was suspected to be the Anti-Christ, but wasn’t. Just the whole lead up to the two of them losing the Lucifer’s son is hilarious, involving various dim witted and jealous demons, a sect of Satanic nuns, and the pregnant wife of some nobody from a small town in England.

God is portrayed by a woman (Frances McDormand), Adam and Eve is played by a Black couple, and Benedict Cumberbatch is Satan, (but we already knew that). I loved all the colorblind casting going on in the show. The demons are played by every race of humanity, including an Asian woman, and a Black man with a tiny lizard living on top of his head. I’m still unsure if the lizard is the demon controlling the man, or if he is just wearing the lizard for decoration. We get the Four Horseman of the Apocalypse on motorcycles, some of which are women, and the gateways to Heaven and Hell are the escalators in  the local mall. I love the dialogue, and the acting here. The show is just fun to listen to, and watch, and its utterly ridiculous.

But the highlight of the show is the relationship between the demon and the angel. The two of them are meant to work together to bring about the end of the world, and have known each other for centuries, having developed a great deal of affection for one another. Neil Gaiman himself says that its a Romance. Since both of them are asexual beings, they have to express their love and affection for one another in different ways, and they often do. The actors have such great chemistry and its a joy to watch them interact.

I have not finished watching all the episodes, but I don’t think you need me to say that as wild as that first episode was it just gets zanier. Good Omens airs on Amazon Prime.

 

NOS4A2

Image result for nos4a2

Yeah, I was gonna write this long thing about how I loved the book, but was disappointed in this show, but Imma be frank. I fell asleep on it. Zachary Quinto is his usual creepy, yet excellent self, but the lead actress is bOOOOOring! And it is definitely the actress. On the other hand, the show looks great!

NOS4A2 is written, not by Stephen King, although I can see where people might get that idea.  It was  written by his son, Joe Hill, who I’m a big fan of. Charlie is a young lady with the ability to find any object. She discovers this power by riding her bicycle through a magical covered bridge. This draws the attention of a vampire like creature named Charlie Manx, who for decades has been abducting children, and feeding on their innocence, which  turns the child into  a cannibalistic vampire-like creature not unlike himself. All of these feral children live in what Manx calls Christmasland, a perpetually wintry land decorated like Christmas.

Now, I do like to give shows the benefit of the doubt, when the premiere does not inspire enthusiasm, and give the rest of the season a cursory glance at least, but I really don’t want  to sit through that actresses’ lackluster acting for the rest of the season. There’s also the possibility that the show is just too complicated to be written for TV. So, here’s what I’m gonna do. I’m gonna try again, and see if it gets any better, because I want to like the show as much as I liked the book.

*

I have watched a couple more episodes of the series, and I’m starting to actually like it. The acting is better, I like the lead actress more than I did in the pilot, there isn’t any less of the family drama that I cared so little about in the pilot, but I understand a little more of the family dynamics in the show, and the villain is suitably creepy. Zachary Quinto is his usual elegant self. I could really do without the Magical Negro though.

Image result for nos4a2 gifs

https://en.wikipedia.org/wiki/Magical_Negro

The Magical Negro is a trope created by white people: the character is typically, but not always, “in some way outwardly or inwardly disabled, either by discrimination, disability or social constraint”. The Negro is often a janitor or prisoner.[7] The character often has no past but simply appears one day to help the white protagonist.[8][9]He or she usually has some sort of magical power, “rather vaguely defined but not the sort of thing one typically encounters.”[8] The character is patient and wise, often dispensing various words of wisdom, and is “closer to the earth”.[6] The character will also do almost anything, including sacrificing him or herself, to save the white protagonist, 

This character definitely fits that trope. We know nothing about her personally, and she shows up right when the lead character needs her,  so she can talk her into fighting the villain, which she knows all about, but seems unable to fight herself.  This actually is a character from the book, although I don’t remember that she was a Black woman. I wouldn’t be surprised because Stephen King has always had this problem of adding Magical Black people to his stories, and Joe seems set to follow his father in that regard. It ‘s also very distracting that she looks like one of my favorite YouTube,  makeup tutorial, personalities, and that’s all I can think about when I see her.

In one of the season previews there’s a scene of that character, being beaten up, and I’m not here for that, because I’m just fucking tired of watching Black pain on TV right right now, no matter how necessary the writers think it is. On the other hand, I suppose I should be grateful that at least her story doesn’t involve police brutality.

I don’t know that I want to watch the rest of the season. The show has gotten better, since that first episode, but my enthusiasm still isn’t up there yet.

 

 

Ma

Image result for ma gifs

 

I had no plans to go see this movie. It wasn’t even on my radar, but my Mom managed to talk me into watching this with her after I abruptly lost interest in watching Godzilla. I’m a Godzilla fan, but I was just too tired to sit through two hours of Kaiju fighting. I thought Ma would be a bit more relaxing, in the excitement department, and it kind of was, but it was also kind of emotionally wrenching. Ma is a very sad movie. There’s also a few moments of graphic violence, and one full frontal scene of Luke Evans, but I can guarantee you will not enjoy it.

Octavia Spencer plays a woman named Sue Ann, who works at a veterinary clinic, in a Podunk little town, that people desperately want to escape from. She is a lonely, and put upon woman, and one of the few Black people who live in the town. The movie doesn’t have an obvious racial message, but as I’ve said before, there is a racial component, simply because they cast  Octavia, rather than the White actress the role was written for. So, because Tate Taylor cast a Black actress, there’s an element of racism in how she is treated by all these White people in the story, and there is a tiny bit of awareness of this when Sue Anne attacks the only Black man in the movie by slathering his face with white paint. She is condemning his “go along, to get along”, attitude with his White friends, by  whitewashing him. I think that particular moment was added by Spencer, because it is so specifically a Black condemnation. In the Black community, one of the worst insults you can give someone is to say they’re a “Wannabe White”, or that they are “acting White”, and that is her way of showing contempt for him.

Related image

Sixteen year old  Maggie is moving back to the little town with her mother, Erica, played by Juliette Lewis, after her parents divorce. Luke Evans plays the town’s local hottie, Ben Hawkins, who all the girls lusted after back in high school, and who owns a small fleet of vans for his small security company. They all have children, and Sue Ann runs into them while they are trying to buy beer at the market. She get them the beer, but the makes them promise to only drink at her house. After a while, all the local teens are partying at Sue Anne’s house, and Sue Anne is getting to experience what its like to be liked and popular in a way she didn’t get in high school. The original teenagers, sensing her neediness, start trying to avoid her, which pisses her off. driving.

This is one of those little towns where everyone grew up together, and everybody knows everyone, because they all went to the same school.  A lot of what happens in the movie arises out of events that happened when Erica, Ben, and Sue Ann were kids. Sue Ann and Erica were supposedly friends, and both of them had crushes on Ben. Ben thought nothing of Sue Ann, who became emotionally disturbed after he orchestrated her sexual humiliation in front of the whole school. Sue Ann has a host of issues, and yes, she is mean, and she is a killer, and while her  long standing need for revenge against Luke, and the others,  is completely out of proportion,  you get why.

You’ll probably hear a lot about how insane this movie was and there are elements of crazy in the movie, but its really not all that wild. Its been advertised as a Horror/serial killer type of movie, and while  there are some horrible elements, its mostly a Thriller, a campy movie with moments of uncomfortable laughter, because a couple of the characters are a little over the top in their performances, and there’s just a tiny hint of subversive humor. This movie doesn’t take itself completely seriously.

I have to take a moment to  scream about the performances. Octavia Spencer tears it up wonderfully. You can tell she was having sooo much fun making this, but just manages to miss chewing the scenery. Its a fine line, which she just manages to skirt. Her performance is phenomenal, and scary, and surprisingly sympathetic. There’s one scene where she is in a rage, sitting in her car, and some teens drive past and throw a can of beer at her, and she breaks down and cries. She has been mistreated by lots of people up to that moment, but apparently that was just one time too many, and she just loses it. She very cold-bloodedly kills at least three people in this movie.

Image result for ma gifs

It’s rare to see a movie villain in a vulnerable moment, though, and its not until a little later that you understand why she’s like that. Sue Ann is a sad, angry, little woman, desperately seeking the love and attention she was denied as a teenager, and after you see her back story, you have some idea why the town folk treat her the way they do. She just wanted what any ordinary teenager wanted, which was to be the  popular girl, and get the popular guy, and that guy betrayed her trust. By hosting the teen’s parties at her home, she gets to relive her teenage years, the way they should have been, and she gets addicted to that.

Make no mistake, she is a villain and what she is doing is absolutely wrong, but like Eric Killmonger, you feel for her, and her story resonates with you, although you can’t agree with any of her tactics. Now, this is what I mean about what happens when you change a single component of the story. You end up with some deeper moments than you thought you would, because in the hands of a White actress, this would have become your run of the mill, crazy, killer woman story, but changing the race of the lead character only, adds an uncomfortable racial component, that wouldn’t otherwise be there. This same thing happened with the movie Alien, whose principal role was written for a man. At the last moment they cast Sigourney Weaver, and inadvertently made her a Feminist icon in doing so, without being an overtly Feminist film. Ma isn’t in that league, but it is a more interesting movie than it would have been, because of Octavia’s casting.

The second best actress in the movie is Juliette Lewis as Erica. I really feel that Lewis is one of the finest actresses in Hollywood, but because of the kinds of characters she plays, she really doesn’t get enough love and/or recognition. She is one of the few White actresses I stan, but because she always seems to play working class, and poor women, people tend to equate her with her characters, and think of her as not being especially bright. I would love to see a movie with just her and Spencer,, because together, the two of them are awesome.

Here, Lewis plays a newly single Mom, who is feeling some amount of guilt for leaving Maggie’s father, and moving them back to her home town, which  she was so desperate to leave. There’s an element of shame in her return, as well. None of these things are explicitly stated. Its all in her performance, and her interaction with the other characters, and their thinly veiled contempt of her. There’s also a certain amount of guilt in her seeing Sue Ann again. You can see the tension between the two of them, when Sue Ann visits Erica at home, and Erica acts relieved, as if she’s glad Sue Anne doesn’t hold a grudge against her. Erica never came to her aid, or did anything to help, after Sue Anne’s humiliation.

Related image

Later in the movie, Erica drops the civility mask  between her and Maggie, who she has been coddling since the divorce, even though you can sometimes see her disapproval  at Maggie’s decisions. She puts her foot down, and gets her daughter in line, to try to save her life, and my Mom loved the moment she stopped trying to be Maggie’s friend. One of the rawest moments in the movie is when Sue Ann is threatening Maggie, and Erica pleads for Sue Ann’e  forgiveness, in an attempt to save her daughter’s life. Lewis really sells it, and you feel for both these women, who still feel as if they’re paying for mistakes they made decades ago, but nobody will allow them to forget.

I’m still not sure how how I feel about this movie two weeks later. I should say I liked it. I can’t say that. I didn’t hate it though, and its not a bad movie, and the performances make it worth watching.

Trump Needs To Go

 And Congress Must Be Held Accountable

 Concentration Camps in the US


Elizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

The Trump administration will be able to conduct itself in whatever way it wants to without anyone knowing what’s going on inside. Think about what that means. Think about why they would want that. This is happening RIGHT NOW.

15/322.7K5KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

ICE facilities with beds and food are EMPTY, because the Trump administration is moving refugees into military-run concentration camps where they can do ANYTHING THEY CHOOSE without oversight, media scrutiny or advocate access.

16/703.9K5.5KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

This administration is already committing atrocities at CBP facilities. Border Patrol agents at the facility where my friend was working refer to these human beings as “bodies.” Not people. “Bodies.” They are denying medicine, toilets, beds, food, shelter and clothes.

17/412.7K4.7KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

My friend said that “Flores is on very tenuous ground.” We’re days away from being met with “we’re not going to let you in, no matter what.”

18/131.7K3.9KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

What is coming is crimes against humanity. America is already perpetrating mass human rights violations, and this administration is setting it up so they can do far worse, in secret, under military supervision.

19/613K5.6KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

Military forces are already been shifted to CBP. My friend saw *coast guard agents* (read that again) working for CBP at this facility. If we do nothing, there will be blood on our hands.

20/362.1K4.5KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

If Pelosi does nothing, there will be blood on her hands and the hands of every Democrat who refuses to act to end this administration’s reign. Fascism is here.

21/933K7.1KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

If this enrages you, devastates you, frightens you, share this thread. Then call your member of Congress and read it to them. Then call @SpeakerPelosi and ask her why she sits silently by as our government does this.

22/632.9K6KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

We’re on a fast train to hell. There’s only one way to stop it. Trump must be removed from power immediately, by any legal means, using every weapon in our arsenal.

23/812.2K6.2KElizabeth C. McLaughlin@ECMcLaughlin·

Jun 13

This is where we are. This is WHO we are. Look reality in the face. Don’t look away. Fight like human life depends on it. It does. It does. It does. /end471.9K5K

This is from Eilzabeth McLaughlin’s Twitter thread yesterday.

We need to spread this information! The mainstream media is doing and saying nothing.

https://www.texasmonthly.com/news/border-patrol-outdoor-detention-migrants-el-paso/

https://www.inquirer.com/opinion/fort-sill-oklahoma-migrant-kids-concentration-camp-trump-20190613.html

https://aldianews.com/articles/politics/immigration/back-wwii-trump-administration-puts-immigrants-concentration-camps

https://www.commondreams.org/news/2019/06/07/predicting-even-more-horrifying-conditions-historical-journalist-describes-parallels

Curatorial vs. Transformative Fandom

The basic definition of the two is fandom that is practiced in one of two ways by either collecting information about the source material, or transforming/changing the source material to best interact with it. Sometimes there is a degree of overlap, but the motivations for the overlap tend to differ. Male fans generally engage in curatorial fandom, where the degree of fandom is noted by how many details of the source material can be collected and/or memorized, from figurines, to dialogue, to plot details. There is sometimes quantification involved such as rankings and listings. See those YouTube videos and posts that list episodes in a series from best to worst, or movies in a franchise. Curatorial fandom does not require intimate engagement with the material. One example is the movie Endgame, where male fans got caught up on attempting to parse how the Time travel worked in the movie, while female fans on Tumblr wrote meta-analysis about the different character’s psychology and emotions.

Image result for fandom gifs

Transformative fandom, as primarily practiced by women, involves a deep interaction with the source material, along with the collection of details for transforming the source material into something else, usually something that resonates with that particular fan, such as cosplay, fan art, fan fiction, and meta- analysis.

This is not a hard and fast rule, as there can be some degree of overlap. There are plenty of men involved in cosplay, fan art, and meta-analysis, and there are plenty of women who memorize dialogue, and collect information about their favorite shows.

Transformative fandom seeks to change the source material to reflect its needs, or analyse the source material for why those needs aren’t being  met, and how it could. One of the tenets of Curatorial fandom is that it doesn’t question the source material, simply accepting it. Having not been the primary audience for much of the source material of many fandoms, Transformative fandom this is mostly, but not exclusively, engaged in by PoC, LGBTQ, and White women.

 

It has been speculated that one of the reasons white male fans have been reacting in fandom the way they have is that Curatorial fandom is in opposition to Transformative fandom, which seeks to change the canon source material, thereby making the collection of facts and figures obsolete or irrelevant. Such men have defined their fandomhood, sometimes their very identities, by the amount of knowledge they possess about their particular fandom, and in their minds, Transformative fandom seeks to arbitrarily, and unnecessarily, change it. So, beyond the idea that they are no longer the audience for the material (something which is not ever going to change) is the false idea that female fans are taking the material and making random changes to it in the form of fanfiction and fan art. Helping matters along is that Speculative and Fantastic fiction is becoming more diverse, with creators changing the canon sources themselves by changing characters to women (Thor), stating the sexual orientations of older characters (Iceman), or making other characters PoC (Candace Patton as Iris West.)

Image result for fandom gifs

https://fanlore.org/wiki/Curative_Fandom

Curative fandom is all about knowledge. It’s about making sure that everything is lined up and in order, knowing how it works, and finding out which one is the best. What is the Doctor Who canon? Who is the best Doctor? How do Weeping Angels work? Etc etc. Curative fandom is p. much the norm on reddit, especially r/gallifrey. Transformative fandom is about change. Let’s write fic! Let’s make art! Let’s make a fan vid! Let’s cosplay! Let’s somehow change the text.

 

Transformative fandom seeks to interact on an emotional level with the source material. It wants to question it, and work within it, which is why so much of it centers on characters and relationships between the  characters, while taking place in different environments. I know plenty of people consider Coffee Shop AUs to be cliche, but it is a way for female fans to self insert, while analyzing the characters, by changing the environment in which the story takes place. It is not about removing dramatic impetus from the source, but understanding who the characters are, how they interact, and giving themselves the happy endings that so much of the source material in Fantastic fiction disdains. Its also a way for marginalized people to imagine themselves in source material in which they are not represented. The Mary Sue, the Self  Insert, and Shipping, are all attempts by Transformative fandom to interact personally  with the source material.

If Curatorial fans ,who are well represented in the source material, imagine themselves as being one of the characters in it, then Transformative fans like to imagine interacting with the characters in it. Its not so much that they want to be Buffy, or Willow, but self inserting as a friend of Buffy, gives such fans a way to express their love and affection for any of the other characters she may interact with in the show, like Spike, Anya, or Giles. Or putting themselves in the situations the characters encounter. many of the tropes of fan fiction come from female fans imagining what they would do if they found themselves within the source material, like defeating the villain, having love affairs , or offering comfort when their favorite characters are in pain.

Image result for the types of fandom

https://www.vox.com/2016/6/2/11531406/why-were-terrified-fanfiction-teen-girls

My preferred explanation is the idea that the vast majority of what we watch is from the male perspective – authored, directed, and filmed by men, and mostly straight white men at that. Fan fiction gives women and other marginalised groups the chance to subvert that perspective, to fracture a story and recast it in her own way. … It often feels as if there isn’t much space for difference in the dominant cultural narratives; in fandom, by design, there’s space for all.

 

Another issue is the devaluation of women’s interests and hobbies. Because Transformative fandom is mostly engaged in by women, there is a tendency to disregard it, along with its problems. There is also a certain level of mockery and disgust, whereas the same level of disgust is not aimed at, for example, men’s sports fandoms, which can be far more violent. Narratives aimed at a female audience, or interests and hobbies of women and other marginalized people are often disregarded, the way movies aimed at Black audiences were often disregarded or considered of no importance by White audiences. Don’t believe me?  Name the top three favorite films in the Black community. From before 2000!

What is not often discussed, and this is where devaluation comes in, is that Transformative fandom also has its contingent of harassment and bigotry,   but because its women, its less obvious than the harassment engaged in by Curatorial fans,  dismissed as not being important, and mocked as fans just being  crazy. Bigotry in Transformative fandom changes source material that may actually be progressive, to reflect the mainstream status quo, by erasing women of color from canon relationships, or abusing Black male characters, by writing them  into slavefic. When WoC  question and/or  analyse the source for racism and misogynoir, they are often harassed, gaslighted, or shouted down by White female fans. When Gay fans question the fetishizing of mlm characters in fandom, they are often treated the same. There are plenty of white women fans harassing WoC actresses, who happen to be paired with White men in the source material, like the still ongoing harassment campaign against Candace Patton, from The Flash.This is not the type of bad fandom behavior that gets covered in mainstream media, which attributes such harassment only to White men, and as a result, the public tends to think that White women are innocent of it. They are not. They simply have different motivations.

Image result for fandom gifs

https://newrepublic.com/article/137489/women-color-price-fandom-can-high

The attacks on her character range from obvious bigotry referring to her as a monkey to more subtle remarks about how the two love interests don’t “look good together”. Look through Tumblr, Twitter, or even the recaps on popular sites and you’ll find an inordinate amount of hate toward Iris for things other white female characters get a pass for. 

There were plenty of White female fans denigrating Kelly Marie Tran, and her character, before she deleted her Instagram account. The only difference was their behavior wasn’t in the public eye, because they were not attacking the actress directly. They were attacking her fans instead, or engaging in transformative media, in the form of tweets, essays, and fanfiction that erased and/or vilified her character. This is typical in Transformative fandom, where White women deliberately fail to understand, or choose to ignore, intersectional feminism, in favor of uplifting white female characters, while diminishing WoC in both fandom and the narrative.

https://stitchmediamix.com/2018/09/19/what-fandom-racism-looks-like-only-33-words-in-a-trailer/

Hell, did y’all see how the Agent Carter fandom demanded that WOC support a show where we weren’t even vaguely represented – all in the name of feminism – and then blame us for the show doing poorly in its second season? (Or, Tamora Pierce wading in with a totally wrong and racist interjection about 1940s New York must have looked like and what Black people would’ve done in that time period.

Image result for fandom gifs

There has been a lot of discussion lately about Curatorial fandom behaving badly, while ignoring that Transformative fandom often behaves just as badly, but because the perpetrators are White women, who tend to be more subtle in their practice of it, whose interests and hobbies tend to be devalued,  and who have traditionally always been seen as innocent of bigoted and racist behavior, this gets  ignored by the mainstream.

Now, this isn’t to say that one form of fandom is better or worse than the other. They are both simply differing ways of being a fan. But that is not to say that Curatorial fandom doesn’t have issues. We’ve already talked about how bigotry and racism from Curatorial fans is covered in mainstream media, but one other issue is that sometimes curatorial fandom does not go beyond collecting information about the source material, and has a tendency to lack depth. Fans may not ask questions, or seek to think any deeper about it beyond simply knowing it in detail, or ranking it from best to worst. That can lead to a certain amount of shallowness , and we’ve already seen that it can lead to gatekeeping, where members of a particular fandom feel a need to test newer fans on their knowledge about it, before being permitted to enjoy that fandom. Since they practice fandom in a  Curatorial style, , a lack of knowledge, in their minds, means that someone isn’t a real fan.

Another side effect of Transformative fandom is that fans can get so caught up in their imaginary version of the source material (known as head canon) that they  bully and harass others who don’t believe as they do. They will attack other fans, thereby keeping the harassment in-house. This accounts for the many “shipping wars” that are bizarre and puzzling to outsiders, like what happened in the Supernatural fandom, when certain fans became convinced that their imaginary relationship, between Dean Winchester and the Angel Castiel, (called Destiel) was actually a canon relationship being kept from them by the creators. It got to the point where such fans were also  harassing the actors, their wives, and the writers, by making fanciful claims about the real life actors relationships with each other and their wives, and bullying those fans who refuted these beliefs.

Image result for fandom gifs

 

https://scadconnector.com/2018/04/10/fascination-and-frustration-an-analysis-of-fan-fiction/

Fan fiction is written by people who watch a show or a movie, or read a book, and look at what they are given and think, but what if this happened?

Although there are differences in how fandom is practiced, there is a great deal of overlap in type, and no way of performing fandom is better than another. Both styles of fandom have significant drawbacks, especially when practiced carelessly, by forgetting that other types of fans exist,  acting and thinking without regard to other members of the fandom, or even the creators.  These are just different ways of enjoying the narrative, and most people engage in at least a little bit of both kinds of fandom. But when people feel threatened by, for example, changes in the source material, or by other fans (sometimes other marginalized fans) who refute their ideas about the source material, the kind of behavior we see is usually based on this  divide.

https://www.syfy.com/syfywire/ready-player-one-marvel-and-the-cure-for-curative-fandom

All we have to do to open up curative fandom is incorporate a little more of Column B, shifting the curative focus from “catalog everything in the collection” to “what’s the most interesting thing in here?” By leaning harder into the curatorial roots of curative fandom, Marvel’s hit upon the solution to it.

Or, to put it another way—Ready Player One feels like the past. Black Panther feels like the future.

 

**This is just my attempt to understand why some fans behave so badly, and yet still refer  to themselves as fans, because one of the first things I did was question whether or not these people were real fans, and these essays somewhat answer my question. My definition of fandom wasn’t wrong, it just needed to be expanded to include different performances of it, and that a lot of the behavior we see coming out of fandom is due, at its foundation, to this difference in thinking. This is not to give these people an out for their bad behavior, or an excuse, but for me to understand the psychology behind why people do what they do in fandom, and pass along some of that understanding.

 

 

 

 

Let’s Go Waaaay Back

Now and Again (1999-2000)

Related image

I remember this show aired for one magnificent season, waay back in the 90s, before its very abrupt cancellation. I was totally in love with this show and it was my first huge disappointment in standard network TV. This was a little while before Firefly ever happened. At the time we didn’t have the vast internet systems in place to save worthy shows, so while there was a bit of an uproar, the show didn’t have that vast following of teens and twenty year-olds, with social media accounts, because this was before Twitter, Facebook, and Tumblr.

Interestingly enough, the show also has a 100% rating on Rotten Tomatoes, so somebody’s heard of it, and been watching it. I do know that several of the episodes are available on Youtube, so check them out.

The first episode stars John Goodman, as Michael Wiseman (get it?) as a tired businessman, who gets killed on the NY subway one night, leaving behind a wife and daughter, played by Margaret Colin, and Heather Matarazzo. He’s given a brand new bionic body (sort of like Steve Rogers) in the person of Eric Close. He is now an asset of the US government, his handler played by Dennis Haysbert.

The show ended on a cliffhanger, as it was abruptly (and by abrupt, I mean absolutely no fucking warning at all) canceled, after Michael Wiseman had, illegally,  teamed back up with his wife and daughter, and would have been on the run from the US government. Its been twenty years, and I still feel some type of way about getting burned like that. I learned a valuable lesson from that, and to this day, I keep my distance from most of network TV.

I was initially interested in the show solely because of the song from the trailer. A couple of years earlier, Janet Jackson had a hit song, using the same melody that was used in the trailer, and since I loved that song (I played the hell out of that song all year), I loved the show, and I made sure to tune in to watch the opening credits, since I didn’t have a DVR back then. The opening credits are gorgeous and I think the lyrics were specially written for the show.

The best parts of the show are the dialogue, and acting, although the plots were ridiculous. It doesn’t hurt that Eric Close is a fine looking White man, and Haysbert is just icing. Somewhere somebody is shipping these two characters. I just know it! The weakest part of the show are the uneven characterizations of some of the characters, and the occasional weird plot points, that raised more questions than were answered.

I loved the show for the interaction between the characters. Haysbert’s Dr. Morris, and Michael, had the most interesting and volatile relationship, as Morris, the head of the program that created Michael, was alternately threatening and very protective of his subject. He tried desperately to keep a tight rein on Michael, but Michael insisted on interacting with his past friends and family. The Wiseman ladies are the real heart of the show, especially Margaret’s Lisa Wiseman. Colin had to carry a lot of the episodes, sometimes entirely on her own.We spent a lot of time with her, and her relationships with all the other characters is key to the mood of the show.

There’s something about all these shows that aired before Buffy that is incredibly shippable, often consisting of two handsome men, of any race, and usually  opposite  personality types, who got on, either very well together, or not so well, but with great chemistry. The two men usually spent a lot of time together, often living with each other, so that a certain level of intimacy was expected. For some reason this happened in a lot of  the less well known SciFi /Horror type shows, and this show was no exception. At any rate, you cannot convince me that at least some of these shows weren’t trying to have LGBTQ representation, in a kind of low key manner, during an era where Gay and Lesbian characters were  forbidden to be out on mainstream TV.

It was the abrupt cancellation of this show that made me start examining the making of TV shows, and start looking closer at which shows got made, which ones, got renewed, and which ones got popular, and why. I also never fully trusted the Fox network ever again, so by the time that shows like  Firefly and Sleepy Hollow were getting  canceled, I was mostly calm about it, while for other people, this was their first time getting burned by that network.

 

The Others (2000-2000)

Image result for the others tv  series

I’ve been looking for this series forever, having only memories of the basic plot. I remember that I liked the show, but I couldn’t remember the names of the characters, or the dates it aired, or even the title. Well, I went on an all out search recently (I really just googled the plot and linked it to IMDB) and finally stumbled across the title.

The Others is about a small group of psychic individuals that get brought together to fight some nebulous evil that eventually takes human form, and approaches them in the form of a red-eyed woman, who confronts them with their worst fears and insecurities.

The group consists of a young girl just coming into her psychic abilities, played by Julianne Nicholson, an older gentlemen, who tries to be her mentor and teacher, as he’s an old hand at interpreting psychic phenomena, played by Bill Cobbs, a handsome standup looking guy, with formidable mental powers of his own, played by Gabriel Macht, Kevin J O’Connor plays the groups resident unstable flake, and a pretty young thing played by Missy Crider, who is the only character whose name I remember, Satori. The group, which most of the time acts as a kind of support group for psychics, is led by John “Neelix” Billingsley, who, I don’t believe, had any mental powers, at all.

I clearly remember liking this show, and I was fortunate enough to find all the episodes on Youtube. The show only aired in the year 2000,  lasted for 13 episodes, and then it was quickly forgotten.

*Sigh* I seem to remember a lot of forgotten shows.

 

Wild Wild West (1965-1969)

Image result for wild wild west series gifs

 

The Wild Wild West is another show that originally aired before I was born, from 1965 to 1969, but that didn’t stop me from watching the re-runs of the show when it aired on weekend afternoons during the 70’s. I told you about how I used to watch Westerns with my Mom, like Bonanza. This wasn’t a show she watched, but I was inspired to watch it, because I liked TV westerns, and by the time I started watching it, I was into my SciFi phase, and this show had gadgets, (and funky theme music), like Lost in Space.

It starred the very handsome, Robert Conrad as Jim West, and his smarter and less handsome partner, Artemis Gordon, played by Ross Martin. It also starred the little person, Michael Dunn, as the villain Dr. Loveless. For me, one of the highlights of the show was the technology and gadgets created by Gordon and Loveless. Jim West had clearly been modeled after James Kirk, because his job was to finesse his way out of the various traps created by the show’s villains, and romance various female characters, who showed up to distract him from his job.

In hindsight, this show is clearly in the  Steampunk genre, and yet another one of those eminently slashable shows where all of the proper elements were there but, for some reason, the show didn’t get the Spock/Kirk treatment. You’ve got two handsome White guys living together, and  a merry go round of female characters, who have no intention of ever becoming permanent, but something about this formula was just a little bit off, possibly the show’s timing in the aftermath of the cancellation of Star Trek, and the show never really took off, even though it lasted four years.

I do remember that though Loveless was the villain, none of the things he did was ever alluded to his size, and for some reason that stuck with me. He wasn’t a villain because he was  a dwarf. He was just a man  who kept coming up with  nefarious plans that Jim West kept getting in the way of.

 

 

Millenium (1996-1999)

Image result for millenium tv

Chris Carter isn’t only known for having created the X-Files. He created a couple more shows that were X-Files related in the sense there was a thematic dialogue between all of them about paranoia, state cover-ups, and government conspiracies. Millennium was more along the detective show spectrum and aired during the end run of the X-Files, when Carter’s star had reached its highest point.

Millennium aired in 1996 and lasted for three years. It featured one of my all-time favorite actors Lance Henriksen of Aliens fame, as a forensic profiler, with an uncanny ability to suss out paranormal conspiracies and serial killers. This uncanny ability is presented as the ability to see though the eyes of serial killers. He was retired from the FBI and worked as a consultant for his friend, played by Terry O’Quinn, who worked in the local police department. He had a beautiful wife, and a maybe psychic daughter, named Morgan.

I remember watching the show ,and I even liked a few episodes. I was mildly upset at its cancellation, but I wasn’t too put out, as the show really had run its course, and there were times when the show was a little too grim, and dark, and gloom-filled. Since it was something of an offshoot of the X-Files, this was to be expected. America was going through a specifically angst filled moment.  Some shows are only meant to run for a specific length of time, and then stop, and it was clear that in the third season the show was trying to figure out what to do with itself.

I think one of the shows biggest drawbacks was the acting of the side characters. Henriksen’s acting  was okay, but his wife and daughter were especially cringeworthy. Everyone on the show was deeply, deeply, serious, and dedicated to never smiling about anything. Also, that whole angst filled era, in the 90s, of dark conspiracies and government cover-up-itis, was starting to wind itself up, and seem less urgent. Millennium is one of those shows that, unless you were a huge fan of the X-Files, you didn’t even know existed, or you forgot about, the moment the show was canceled.

The most memorable moments for me was a brief crossover with the X-Files ,and the show opening credits which were suitably creepy, and the shows theme song. I have a head full of theme songs from long extinct shows, and this one is at the top somewhere in my mind. The creepiness factor is something that permeated the entire show, and every character interaction, no matter how light hearted the actors tried to be.

Frank’s interactions with his wife and daughter rang false, and a lot of the characters seemed weighted down by the show’s heavy gloom. This is not a show that was ever going to last. I think audiences just eventually got tired of that level of grim and gave up on it. I gave up in the second season, only tuning in to catch the occasional episode that hinted at Frank’s daughters psychic abilities.

Frank’s denial of his abilities, by the way, were the only funny highlight in the show, as he kept insisting to people that he was not psychic. In fact, I do wonder if the creators of Hannibal the TV series borrowed heavily from this show. Frank’s abilities were never illustrated,  so I’m not sure how they worked. It was only shown that he had a strange ability to encounter killers, which he did in nearly every episode of the first season. By the second season, the conspiracy stuff starting creeping in, and by then I think the audience had simply had enough of Carter’s doom and gloom. That doesn’t mean it was a bad show. It’s definitely worth watching, but  maybe not a weekend binge-watch. Small doses is  the key here.

 

Brimstone (1998-1999)

Image result for brimstone tv

This show had one season and during that time made quite an impression on its fans despite its low ratings. People loved the show, and wanted more of it, but there just weren’t enough of us watching it. Satan walking around and interacting with people is clearly a very popular concept, or we wouldn’t have shows like Lucifer or Sherlock, and if this show had aired anytime in the past ten years, especially during our current social media boom, it would have taken off like a rocket.

The show’s major claim to fame was its secondary star, John Glover, who was a really hot actor in the 90s, and who played a very laidback and snarky Lucifer. The lead character was played by Peter Horton as Ezekiel Stone, a cop who ended up in Hell for killing the man who murdered his wife. When 100+ evil souls somehow manage to escape from Hell, Zeke gets suckered into hunting all of them down, in exchange for a second chance at life on Earth, and the potential of getting into Heaven. The Devil is powerless on Earth, but seemingly has no problem harassing Zeke at every opportunity, and watching Zeke grow ever more irritable, and flustered, at his interference, especially since he and the viewers are the only ones who can see him. The two of them had great chemistry, and watching their interactions is  really the best part of the show. Plus its always fun to see John Glover just be snarky. It wasn’t always snark though as the two of them would have some fairly deep discussions about Heaven, Hell, Good and Evil.

Every week Zeke would hunt down some new bad buy, the most memorable of which was the soul of the man he killed, just before the series end. There were a handful of complaints  read on a few message boards about how he was only hunting evil men, most of whom had been serial killers in the world, and some viewers wondered if there were not  female serial killers. Well the writers had to have thought of it because later in the season there was an evil female who, according to my memory of these events ,was eiter a Bonnie and Clyde type character, or some form of a Typhoid Mary. Let me look it up…

Okay, there were several women souls that were hunted and returned to Hell. One of them was a partner in a Bonnie and Clyde type situation, and the other was a Typhoid Mary type, who caused diseases and pestilence. There was also a young French girl who killed the men who raped her in 1458.

That’s another thing. The souls spanned all of history. I particularly remember Richard Brooks being in an episode as a Roman soldier, and some of the souls had backgrounds that were not dissimilar to Zeke’s, in that they were sympathetic, and did not believed that they belonged in Hell because they were righting some wrong that had been done to them, like the French girl. And there were some who were just evil.

At any rate someone put a lot of thought, not just into the interaction between Zeke and the Devil, but into the creation of these one time character’s backstories, and I thought that was pretty cool, as I wasn’t expecting that. I expected the characters to just be one thing. I didn’t expect to care about any of them. If any show that’s ever been on TV is rife for a remake, or re imagining, its this one, but as I said, it may already have been done in the show Lucifer, which also mixes crime investigation and detectives, with the Devil.

Daenerys Was Always Bad

In the past few days since the last episode of Game of Thrones there has been much discussion/fighting by fans of the show about Daenerys Targaryen. I’m not going to go over that entire character’s history here because her history is explained in the articles I’m going to link to, but suffice to say, I do agree with them.

game-of-thrones-season-8-episode-5

Daenerys has always been a bad actor, and I have never trusted the things that came out of her mouth about what she was trying to do. Then again, unlike some people who were set on her being the good guy in this show, I’ve been looking at her actions, and not listening to her spoken intentions. Daenerys has always been a tyrant, who rules through fear and punishment. The only difference between her and Cersei was Cersei was upfront abut what she was, and never hid it. Technically, Dany was upfront about herself too, but her fans, who are claiming that her actions this past episode came out of left field, and are a complete turn of personality for her, just didn’t want to see it.

Now, there is an argument to be made for the sloppiness of the writing this season, as the show runners rushed through the making of this season so fast, that they left all manner of incongruities all over the set, like modern day coffee cups,  in one scene with Dany. The writing of Dany this season was definitely  hamfisted, and over the top, but its still consistent with her character.

I speculated on Tumblr about how so many of her fans dismissed Dany’s evil  because they were taken in by her being a conventionally pretty White woman, with long blonde hair. There is precedent for such attitudes about her, since pretty White women have always gotten the benefit of the doubt in American culture. The people who follow her, want, and need, to believe in her goodness and innocence. I used the example of the actress from the movie Get Out. She says she still has people who approach her who want to make excuses for her character being complicit in her family’s evil activities. She has to  tell them that her character was not innocent, and was in fact, evil the entire time, but they don’t want to hear that, wishing instead to believe that character was coerced somehow, thereby maintaining her innocence.

game-of-thrones-season-8-episode-5

https://afropunk.com/2017/04/how-the-narrative-around-white-womens-innocence-taught-me-to-let-them-get-away-with-violence/

Dany was bad the entire time. Her actions are NOT new and were unsurprising to me, and a lot of other people. Her actions were only a surprise to people who had been as delusional as she was, about her innocence.

*

game-of-thrones-season-8-episode-5-tyrion-in-wreckage

https://www.rollingstone.com/tv/tv-reviews/game-of-thrones-review-bells-sepinwall-834528/

Dany’s descent into genocidal madness didn’t exactly come out of nowhere. Throughout her travels across Essos, her preferred solution to problems was to burn them and all the people associated with them. She’s impetuous, narcissistic and one of the last members of a bloodline with a history of doing things exactly like what she did to King’s Landing. 

*

40 Times ‘Game of Thrones’ Foreshadowed Daenerys’ Mad Queen Transformation

https://www.inverse.com/article/55831-why-did-daenerys-burn-kings-landing-game-of-thrones-season-8-dany-mad-queen-foreshadowing-40-examples

38) In Season 2 Episode 4, Dany decrees, “When my dragons are grown… we will lay waste to armies and burn cities to the ground.”

Sounds about right.

*

And from Medium.Com:

Daenerys Targaryen Acts In Character

There are a lot of complaints about last night’s episode of Game of Thrones, titled “The Bells.” The primary complaint seems to be that Daenerys suddenly becomes the “Mad Queen” when she torches everyone — citizen and soldier alike — in King’s Landing. Practically everyone has come to believe that Dany was going to be a benevolent dictator, an enlightened despot — but what I saw last night was completely consistent with what Dany has done for all eight seasons.

*

game-of-thrones-season-8-episode-5-daenerys-damanged

The Breaker of Chains Is a Narcissist, Not a Hero

Mark Ptak

It’s notable that for all her talk about “breaking the wheel”, there was never any subsequent talk about what that would mean. Many believed the show would end with self rule for the people, and that they might play a part in an uprising against Cersei — that, like in our world, feudal monarchy and god-given birthrights would be supplanted with democracy. Never was that even considered for the former slaves she freed. And as far as we can tell, Dany’s idea of breaking the wheel in Westeros simply means the same thing it did in Essos — that she’ll be the one to control which way it turns. A benevolent dictator is, after all, still a dictator.

*

This post is about how viewers have always given Dany a pass on her behavior because the people she was killing were seen as bad people who deserved to be brutally murdered by her. They were able to make excuses for her brutality because her killing them  was framed as ridding the world of evil. And where before have we heard that kind of rhetoric?

A (probably) unpopular Game of Thrones opinion …

When Daenerys Targaryen rose from nothing to be a queen in the East, many people cheered. We saw the character suffer brutally at the hands of men, including her own brother. When we saw her exact revenge, over and over, on people who wronged and betrayed her, it was easy to root for her. She had good intentions, she was a decent young girl who suffered, and the people she fought against were evil. They were rapists, they were slave masters, they were murderers. When her evil brother, who had threatened to stab her in the belly, was brutally murdered in front of her eyes, we understood why she was so cold in that moment. Viserys deserved it. We agreed with her.

*

game-of-thrones-season-8-episode-4-drogondany

This post speaks specifically about how Game of Thrones is not a happy ending type of show and never has been. That is has almost always been about the Stark family family attempting to survive theirs and others worst impulses. It also explains in detail why Daenerys made the decisions she made in the penultimate episode.

The Trauma of Daenerys Targaryen

As the show crashes towards its tragic conclusion, I notice more and more outrage about where the story is going. The notion that characters are making bad decisions, or that their hallowed “character development” has somehow been betrayed. And if this were a Marvel superhero movie following the trope of heroism, I might agree. But it’s not.

*

Here’s the problem in believing that Dany was a good person after freeing the slaves. Dany rules them now. They simply  live under one tyrannical leader, instead of many masters, and are not any  different from the population of King’s Landing in that way. Dany never actually freed them.

Breaker of Chains, Mother of Dragons, Torcher of Innocents

 

*

game-of-thrones-season-8-episode-4-dany-on-dragon

I often wonder if some people are watching the same show as everybody else. A lot of people are “big mad” over Dany’s characterization in the last episode, and I do ask why are they so surprised, and is it really just that they’re just so horrified by what she’s done. This was never the “Dany the Hero” show, with a happy ending, where she gets to sit on the Iron Throne.

The Mad Queen Was Always Inevitable

These fans are, simply put, wrong. Daenerys’s character arc has landed right where you should have expected it to if you spent the last decade watching the show. To quote by far the worst character ever on the show — “If you think this has a happy ending, you haven’t been paying attention”. 

*

But Then There Is This

I actually have seen a bit of this on Tumblr. people who heavily identified with Dany’s  character feeling betrayed because, for their own deeply personal reasons, they needed her to be The One, as trauma victims themselves, they were watching this show through a very different lens than a more casual viewer, like me.

Game of Thrones Daenerys fan fury, explained by a clinical psychologist

https://www.cnet.com/news/game-of-thrones-episode-5-daenerys-fan-fury-explained-by-psychologist-janina-scarlet/

Clinical psychologist Janina Scarlet says Game of Thrones has functioned as a kind of refuge for trauma survivors who were able to feel and establish a sense of connection with characters who endured suffering from physical disfigurement to the loss of multiple loved ones. 

*

And Finally:

game-of-thrones-season-8-episode-5-arya-horse

Whats going to happen in the next episode, and is Arya going be the one to destroy Dany? I don’t know if that will happen, but there is a lot of foreshadowing that points to it.

Has Arya Added a New Name to Her List?

https://www.theringer.com/game-of-thrones/2019/5/13/18617922/game-of-thrones-arya-daenerys-kill-list

Melisandre did portend that Arya would shut brown eyes, blue eyes, and green eyes. Walder Frey and the Night King fill the first two categories of that prophecy. Some fans previously believed the green eyes Melisandre spoke about belonged to Littlefinger, who has green eyes in the books, but it now seems more likely that she was referring to Dany. 

*

I’m probably one of the few people who is not angry about what happened in episode five. I’m horrified at what I watched, but not angry, probably because I’m not as emotionally invested in the show, in the same way, as a lot of other people. I like the show, despite its many, many, issues, and I really liked quite a few of the characters, and it had zombies! but I’m not super-invested in who is going to sit on the Iron Throne, and since I didn’t particularly care about that, I was able  to sit back and see Dany’s weaknesses, the same way I saw the weaknesses of all the other characters. I’ve always been horrified by her behavior, she was never my “hero”, and she never endeared herself to me. In my mind, she was always a delusional narcissist, and last weeks episode was just confirmation of that fact.

Oh, and while we’ve all been paying close attention to Dany, it may turn out that the person we were supposed to be watching, the entire time, was Arya, who has experienced just as much trauma as any other woman on the show, and the entire show may turn out to be about Arya’s journey.

Since next week is the series finale, I’m going to talk about it , because everyone else will, and I will probably have some thoughts about it, too.

 

 

 

 

 

 

 

American Gods Season Two: Finale

Image result for american gods season 2

This season simply wasn’t as strong In its narrative as the first season, but the first season had the benefit of a single creator with a vision. This season there are two or more creators, so the fact that we had some kind of narrative cohesion is pretty good. It wasn’t a bad season though. I liked the character development, and the visuals are always strong, although, once again, this wasn’t as strong as the last season, which had the benefit of novelty. It also seemed like the writers didn’t know what to do with some character, like Bilquis and Anansi, but their presence was not undesired either..

I’m not going to talk about the plot as much as I’m going to discuss characters and their development. We lost two of the gods, or four, depending on how one sees it. The first god to die was the eldest Zoraya sister. Her brother explained that there is a resurrection ritual for her, but without any believers, the ritual wouldn’t work, so currently there are only two sisters left. i’m a big fan of Cloris Leachman, and I hope she makes her way back to the show. She as great as the eldest sister.

We also lost Old Media and the old version of Technical Boy (whose origin we also got to see). Media, which was first played by Gillian Anderson, was resurrected and is now played by Kahyun Kim. I have tried really hard to like New Media, but I don’t, and I think that’s a very interesting point. She exists as a form of Media that I’m mostly bored and exasperated by.. Her general  demeanor is annoying, and after I gave it some thought, I figured out why. She is every bit as annoying to me as actual new media. She prances around as a sexy anime chanteuse, squeaking, and breathless, in that way that I hate in actual  anime, so I think she’s meant to be annoying to people like me. I’m usually cringing when I see her on screen for any length of time, it also doesn’t help that she is hypersexualized and kind of useless, exactly like actual new media.

Related image

Mr. World was starting to get a little bit frustrated because his gods (Argus, Technical Boy, and New Media) were not coming through in the pinch, and getting him the results he wants, which is to find, and kill, Shadow Moon, and capture Wednesday. However, in the season finale we see the final iteration of New Media, who has truly just come into her power, and it is scary as Hell.  I certainly fucking respect her now!

The old Technical Boy was destroyed this season, but he was resurrected by his original creator as a kind of God of Surveillance, taking the place of the Argus Array, and working once again, in tandem with New Media. The original  God of Surveillance was killed by Laura, and the new Technical Boy has much to do  with computer hacking, surveillance, and spying and also has a brand new, sleeker, look, and attitude. (Incidentally, the first God of Surveillance was an old god, named Argus, that had made a deal with Mr. World.)

Needless to say, almost none of the things that happened this season, took place in the book. There’s a broad correlation, but otherwise…Shadow gets kidnapped, gets free, meets Sam Black Crow, makes his way to Cairo, works at a funeral home, and then Mad Sweeney dies. Everything else in the season was an add on, but that doesn’t mean I didn’t like the add ons. I especially liked the episode where we got to see Shadow Moon’s and  Mad Sweeney’s real backstories, which I’ll get to soon enough. One of the side effects of this is that the series contrasts badly with the book. Gaiman may just be adding stuff to this show that he’d always wanted to add to the original story. There are a lot of things in the series that should have been in the original story, like Bilquis, and Mad Sweeney, and Laura’s activities.

I do want to talk about more of the mythology presented this season, and a few of my favorite character interactions, something with which this season excelled. From the beginning we met a lot of new /old gods, and caught up with Shadow’s backstory, and a little bit more of Wednesday’s past.

 

We get to see Shadow’s backstory, which answers a few questions about why he is the way he is, but also opens up more questions about exactly who his mother was. Was she the spirit of America, and did she die of cancer because of 9-1-1? We’re getting closer and closer to Shadow finding out he is Shadow Odinson, and we also met Odin’s other son, Thor, and saw their falling out with each other. Thor eventually commits suicide, and it becomes apparent, through his statements to Shadow, that Odin was devastated by that and still misses him. He often refers to Shadow as “Son”, or “My Boy” and at one point said Shadow reminded him of his son. Now in the mythology Odin has a lot of children but another of his most famous children was Baldur,

He’s loved by all the gods, goddesses, and beings of a more physical nature. So handsome, gracious, and cheerful is he that he actually gives off light.[1]

https://norse-mythology.org/gods-and-creatures/the-aesir-gods-and-goddesses/baldur/

…and there are a few things about Shadow that echo Baldur’s story,

https://norse-mythology.org/tales/the-death-of-baldur/

…right down to Baldur’s prophetic dreams about his death, as mentioned in the Prose Edda, and that he is seen as a being of light by everyone who encounters him. It is his death that precedes Ragnarok, the war of the gods. Shadow Moon is also another name for an eclipse, and he radiates light, which is how Laura sees him. In the book, Laura refers to him as a beacon of light in a dark world. In the series, his mother mentions that he is a being of light, too. Its my theory that Shadow is what was once mentioned by Wednesday, although he did it in jest, as The King of America. In the book, two of the powers, that Shadow possessed, was knowledge, and the ability to see truth.

We’ve been watching Wednesday’s machinations all season, but we have  also been witnessing Shadow’s journey to self. We watched his journey to knowledge of the gods in season one, and in this second season, we are witnessing Shadow’s journey to realizing who and what he may be.

If he believes.

In season one, he was constantly chided to Believe, because if he didn’t, he would not survive what was to come, his imminent death at Wednesdays machinations. Next season, his task is to believe in himself. There is a reason that Shadow was allowed to join in the congregation of the gods, at the beginning of the season, because he is a potential god himself, and a relatively new one that has been raised in ignorance of that life.

Image result for american gods season 2 gifs/shadow
Yes, Shadow!

The end of the season also leaves a lot of questions. We got to see the full unleashing of New Media who is kinda terrifying. She starts a fake news siege against Shadow, so that Mr. World not only doesn’t have to look for Shadow, but so that in all likelihood Shadow will be killed when he is found, since New Media tells several lies about him being a heavily armed terrorist, who has killed several cops. Shadow manages to elude capture at the end of the episode,which opens another mystery. Did that event happen, and Shadow removed the police from the premises in the same way he created snow in the first season? Or was it something he saw before it happened and he just moved out of its way?

Shadow gets snagged by the miniature Yggdrasil tree growing in Mr. Ibis greenhouse and pulled into it s branches, where he begins to have visions. During the entire raiding scene he has flashbacks of Shadow as a young boy playing with police action figures, and overhearing snippets of  conversations between him,  Wednesday,  and others. At one point the child sweeps his arm across the action figures, knocking them all down, and removing them as obstacles. At the same time, the police outside the funeral home all vanish, and so does the tree, taking Shadow with it. We then see Wednesday in a diner, smiling about how his boy is going to be okay.

The ending is quite surreal with Shadow having visions of being back in the Bone Orchard at the beginning of the series, because it always comes back to that initial vision. Its hard to say if these were prophetic visions , or actual events, as the rest of the gods on the premises seem unperturbed, and Anansi seems actually happy. Once again, Anansi seems to be the one character who know more than anyone what’s going on, including who Shadow is, Wednesday’s motivations, and even the final outcome.

People don’t understand why Anansi keeps being so mean to Shadow, but part of being a Trickster god is pushing on people, so as to engage them  into committing  some kind of action. His bullying of Shadow is meant to goad Shadow into doing something he is supposed to do, instead of being so passive about his circumstances. Notice how he is constantly attacking shadow’s intelligence. This is meant to anger Shadow, and goad his ego into trying to prove that he is not stupid. It will prompt Shadow to ACT, because Angry get shit done, and it is one of the few vulnerabilities Shadow has, because in  the other areas of his life, he is very competent. I think he is cheering for Shadow to be the Wild Card in Odin’s plans for the war, because Trickster’s love that kind of thing.

My one regret with Anansi is that we still have not gotten the story from him of The Tiger’s Balls, which is one of the best short stories in the main book, but otherwise this character has been good, but not great, this season.

Related image

The reason why Anansi gets all of the best speeches on the show is because its part of his mythology. Almost all of his stories are part of the oral tradition in Africa, and he is the god of storytelling. When we first meet him he is goading a ship’s hold full of captured slaves into angrily rebelling against their captors. Anansi does not like passivity, which is why all his speeches are so incendiary. He is a fire being that prefers action, and that’s what almost all his speechifying is geared toward, because, “Angry gets shit done!”. And in his speeches to Ibis and Bilquis he tries to get them angry enough, about the plight of African Americans, to join in Wednesday’s war, but is unsuccessful. Ibis and Bilquis continue to keep their distance from Wednesday’s plans, and what’s interesting is that Anansi seems okay with that.

… Anansi was often celebrated as a symbol of slave resistance and survival, because Anansi is able to turn the tables on his powerful oppressors by using his cunning and trickery, a model of behaviour utilised by slaves to gain the upper hand within the confines of the plantation power structure. Anansi is also believed to have played a multifunctional role in the slaves’ lives; as well as inspiring strategies of resistance, the tales enabled enslaved Africans to establish a sense of continuity with their African past and offered them the means to transform and assert their identity within the boundaries of captivity.

Image result for american gods season 2 gifs/bilquis

 

Bilquis has been something of a mystery this season She too is in the process of upgrading and adapting to  the modern world, by seeking worship from human beings, in some other manner besides sex, and I think she hopes to rid herself of her reliance on Technical Boy’s aid in the recovery of her godhood. If she becomes her own woman, she no longer needs to abide by any agreement she  with him, and can then do as she pleases. She attends one of the funeral services, where she gets the congregation all hot and bothered,  even though she says nothing that’s overtly sexual. At this point, she is just testing her new role and how to receive worship of some kind.

Bilquis is also playing both ends against the middle, but we don’t know if she’s there for Mr. World, there for herself, there to prevent the war, or there to serve Odin, who she also seems to hate as much as she does Mr. World. She approaches Shadow and gives him an apple, (I think it came from Yggdrasil), which is a callback to the story of Adam and Eve, but really it just represents the idea of  temptation, and knowledge. She is essentially offering him the temptation of knowledge, but of what is unclear. She tells Shadow that their futures and destinies are entwined. We do know that at the end of the episode, Shadow is sitting on  the knowledge that he is Wednesday’ s son. How clear on that he is, is a matter of some debate.

Laura’s actions are also another mystery. Sweeney died in the last episode, in his final fight with Shadow, echoing the very first fight the two of them had in the first season, but that was when  Sweeney had his gold coin, which he lost to Shadow. In their last fight, Shadow loses Gungnir, (Odin’s war spear), which he had been tasked to protect by Wednesday, to Sweeney who, with his dying breath, transfers Gungnir to the golden hoard, where his phantom coins come from. Laura finds Sweeney’s body laid out in the funeral home and steals it. What her plans are, are unclear, but its speculated that she is taking him to Louisiana to be resurrected, so he can help her kill Wednesday. She asked Bilquis for aid, but she turned Laura down, and Laura still has that vial of blood that was given to her by Baron Samedi, who told her that it can be activated to resurrect her full humanity, with an act of love.

Image result for american gods season 2 gifs/laura

This is a callback to a conversation, earlier in the season, that Laura has with Mama Ji, who she tried to strong-arm her into helping her. Mama Ji will have none of her sass, and gently reminds Laura that she is also the Lord of War, as well as the Divine Mother, and she  is unimpressed by Laura’s zombie strength. Laura also receives advice from Bilquis, when she goes to her to request her aid in killing Wednesday. Bilquis denies her, but does admit to hating Wednesday.

The most charming character in the series is Salim, because he represents the every-man in this scenario. I’m glad he’s still around, and that he is still committed to his relationship with the Djinn, and what’s more, the Djinn is just as committed to him, although he has been questioned by the other gods about having a relationship with a mortal. As we get closer to the idea that Shadow is himself a god, we need a regular person, through whose eyes we can see the other characters, the one normal human being who can express the audience’s feelings about what’s happening, and with whom the audience can identify, now that we are moving to a place where we cannot identify with Shadow, the way we did in the first season.

Image result for american gods season 2 gifs/salim

This is groundbreaking because not only is our every-man of Middle Eastern descent, and a devout Muslim, he is also a  gay man. Salim is essentially taking the space that I argued about Shadow, in the first season, before he became totally entrenched in Wednesday’s plans, and his scenes are utterly hilarious. His reaction to what’s happening, especially after he gets named as an enemy of the state by New Media is priceless, actually questioning whether or not he committed the crimes he’s been accused of, and being blandly reassured by Mr. Ibis that he’s been in the house watching television the entire time. I’m happy to see that nothing happens to either of them and the two of them manage to walk away unscathed.

At the end of the episode, we get some idea of the next chapter in Shadow’s life. When his bus is stopped by the police, as they are searching for him, he escapes their notice because the name on his ID card has been changed.  In season three, he will get a chance to ruminate on everything that just happened to him as he spends a quiet  interlude in the small town of Lakeview, where he’ll encounter a creature called a Kobold(?), that is feeding on the town’s young women. In the book, this is part of a long period where Shadow is hiding out at the behest of Wednesday. In the show it has been orchestrated that he is hiding out from the authorities.

It will be some time before we see a third season of the show, possibly as long as a year. In that time, I expect to have re-read the book, and probably will have some new insights into the characters by then. Until next time:

TTFN

 

 

 

 

 

 

More mythology – Thor, Sweeney, Voodoo, Fairy, Kali

Queen of Sheba

Salim and the Jinn

Deepening the connection between Sweeney and Laura

The death of Sweeney/The Hoard

Shadow Moon’s ultimate purpose

Wednesday’s manipulation

 

Avengers Endgame: Thoughts

You know how I roll on this blog.

Damn right there are going to be spoilers.

I cannot talk about how much I loved this movie without spoilers. So, if you have not seen the movie, get thee the fuck outta here, go watch it, and only then, will you be welcome in this space. (If I’m cussing, it’s  a sign that I’m extremely happy!)

Related image

I spoke about my history of comic book reading, in a previous post, about how the first Marvel books I remember reading, were Conan the Barbarian, and Red Sonja, which I probably should not have been reading, since I was about 9 or 10 years old, but I’d found a stash of these books in the basement of a house we’d just moved into, and since no book ever passed by me without going unread, there I was. I got away from Marvel comics when I was about 12, as I was reading Horror comics by that time. I started reading superhero comics, in earnest, when I was about 14, or 15, starting with The New Mutants, moving on to The X-Men, Spiderman, Doctor Strange, and finally, The Avengers.

Of all The Avengers characters, Doctor Strange is one of the few standalone character books I ever read, along with Thor, and Spiderman. They were the only superheroes I truly stanned, having read nearly all of their different iterations. I never read a single Captain America, Incredible Hulk (I knew him only from the TV series), Iron Man, Antman, Hawkeye, or  Black Widow stand alone book. I knew nothing about the Guardians of the Galaxy.

Related image

That said, I’ve seen all the MCU movies, and of all the films, and I’ve  only seen a handful of them in the theater; The Avengers, Guardians of the Galaxy, Spiderman Homecoming, Captain America Civil War, and Black Panther. The rest I watched on TV, sometimes when I didn’t particularly feel like watching them, like Antman and Thor: The Dark World, and I’m going to continue to talk shit about Antman, despite the fact that I really enjoyed both movies. I  reserve the right to talk shit about movies and characters I love.

Of all the movies, the some of the most fun ones were the Iron Man films. Despite me trash talking Tony Stark at every opportunity, I actually like the character, a lot. The Captain America movies were a surprise favorite, as I had not one ounce of interest in that character beyond his being the leader of The Avengers, in the comic books. As the leader of The Avengers, I’d read Cap say those famous words countless times, and I knew Cap’s history because they talked about it in other comic  books, that were not about him. Black Widow made no impression on me in the comic books. I have never found Russian spies to be interesting  in even my best moods.

All this to explain how incredibly geeked out I was while watching this movie. I can’t wait to see this at home, when it comes out on DVD, so I can dance around the house in my bunny slippers. I loved, loved, loved, the end of this movie, and I’ve been trying really hard to avoid the whiners and complainers (and some of the more hysterical people) on Tumblr, while I read  the reviews. I will not allow any fan wankery to harsh my buzz!

Image result for I'm still geeking out about it gif

The Movie:

This is going to be a very long post. First of all, there aren’t any social justice issues to be made of this movie, despite people trying really hard to do so. Most of this movie is just pure fan service, and since I’m a fan of the comic books,, I’m perfectly okay with that. This movie throws the viewer right into the deep end. If you didn’t see any of the other MCU movies, or haven’t read any of the comic books, you probably won’t care about any of the things on the screen, and will probably just be bored, although I have come across people who did none of those things, yet still enjoyed the movie just for itself. If non-fans can still totally get into it, that is the mark of a well written film. For fans of the books and movies though, it hits all the right emotional notes, at all the right times. It has great action scenes, great callbacks to stuff that happened in the other twenty or so films, and the hundreds of comic books, and even a few tears were shed.

 

Now I’ve done some reading, and its my understanding that because of the all the time traveling in the movie, what the characters did was create alternate universes, and the one we end with is a brand new universe, in which a lot of things didn’t happen. Every time they removed one of the stones from some past event, they changed a time line, and created another universe. Steve remaining in the past with Peggy created a new timeline as well. At least that was how it was explained to me, but often  I care little about such plot details. Unlike a lot of people, I didnt get myself too worked up about it.

I did appreciate the way the movie handled the aftermath of Thanos’ Snap. Its been several years, and humanity is still in recovery mode and dealing with its grief. We get a micro look at this trauma through Hawkeye, when his family disappears. Now imagine Hawkeye’s scene happening everywhere, and remember most people wouldn’t know what had happened, or why, or how.  This is  like the TV show The Leftovers, which deal with the aftermath of The Rapture, and how the survivors deal with the disappearance of half of humanity, over its three seasons.

Related image

This movie doesn’t  have time to go into too much detail,  as it’s three hours long already, but it does handle a lot of character, and personality issues effectively. About the first thirty minutes of the movie is just watching these characters deal with their loss. Humanity is pretty resilient, and you can see that most people are holding on by their fingernails. You got Natasha crying in the office, Steve looking more lost than usual, and Imma talk about Thor in a moment.

What was not taken into account by Thanos in his megalomania, is that there would be planets and cultures, (the Snap happened everywhere, but we only see Earth), that because of the way they were set up, they would not only be devastated by such an event, they would never recover from it. (I’m pretty certain that on at least some  planets, everyone is dead.) The Snap most likely killed more than half of humanity anyway, because there would be tens of millions of residual deaths in the aftermath. All of the sick, the very young, and the very old, the suicides, and  basically anybody who couldn’t fend for themselves, would probably die in the weeks after the Snap.

I was reminded of this by the book, The Stand by Stephen King, in which a pandemic wipes out most of humanity. There’s a chapter in the book that chronicles  the deaths of all those who didn’t die from the pandemic itself. The residual deaths, like accidents, other infections, and  illnesses and suicides. I was also reminded of reading stories about the aftermath of the Black Plague and how that so thoroughly changed the social and economic systems in Europe afterward. The Snap was infinitely worse.

Thanos is a megalomaniacal, psychotic, selfish,  dumbass, who really didn’t think any of this shit through, and caused psychological and emotional trauma on an untold massive scale, so huge it  can’t  be imagined. I do not think of Thanos as the greatest villain in the MCU, because I have no respect for a dumb villain. He’s the not even the greatest on the scale of power, and/or amount of damage he caused, because that title belongs to Galactus. This is a fanboys idea of a villain. I am always suspect of people who claim to want to do good for the world, but can only do so by killing as many people as possible. King Leopold, Hitler, Pol Pot, and Josef Stalin all held similar philosophies. Only in Thanos’  case, we’re supposed to be okay with what he did, because it was random, and not personal.

Related image

There’s’ no depth to Thanos’ philosophies. There’s no nuance to his character, either,  despite the Russos trying to shoehorn in some pathos, to make him seem more sympathetic.  He’s just another big, dumb, brute, with the ability to kill more people than the men named above. Like most villains , he simply  wants to kill, and he invented some  reasons for doing just that. reason he invented so that he wouldn’t have to face the idea that he is, in fact,  a monster.

You wanna know how I know this?

Because Thanos didn’t Snap himself. He destroyed the Gauntlet after the Snap, but he didn’t destroy himself, and when The Avengers showed up to beat his ass. he wanted them to affirm his goodness, and be grateful to him.

I knew the movie was going to hit some emotional hot points during the scene where The Avengers track down Thanos, and try to get him to change things back, only to discover that he destroyed the Gauntlet. He starts to go into his usual villain monologuing, but Thor cuts that shit short by suddenly chopping off his head. I wasn’t expecting that, because I’ d, once again,  resigned myself to listening to, yet another, psychopath’s self -serving justification for evil.

Of all the characters, Thor was the most sympathetic, and the most  obviously affected by everything that happened. In the entirety of the MCU, with the exception of Hawkeye,  Thor  lost his entire family, most of the people he was supposed to protect, and his planet. He’s also suffering from a great deal of survivor’s guilt. You can tell he spent a lot of time dreaming of having the opportunity to kill Thanos, because the last time he had it, as he said, he didn’t go for the head. He didn’t prevent the Snap, and his last gesture is utterly futile.

Image result for endgame gifs

I like the way the movie handles Thor’s depression and PTSD. This is what  depressed people do. They stop caring about what they look like (and Thor was always rather vain about his looks, so his getting fat was  significant), or they drink a lot, or just stop moving forward, and become very passive. But once he is given the opportunity to go back into the past and change events, he jumps at it. Thor is depressed, but it is never shown to be a weakness. He is never bothered by his size. He owns it, and is still the Lord of Thunder, and he would thank  you to remember that he can still kick ass. I didn’t like the other characters making fun of him for being fat, though. The humor felt forced and out of place (except for his Mom, because that’s such an incredibly Mom thing to say, and she was very obviously worried about him).

The different pair-ups in the movie are fun and interesting.  The writers pair Thor with Rocket, the only other  Avenger, besides Hawkeye, who has lost his  family. I hated Thor: The Dark World because that’s the movie where Thor’s mother dies, so one of the  tearful moments I was talking about earlier, is  when he goes back to the past and sees her again. He also gets some tough love from Rocket about losing loved ones.

Natasha dies the same way Gamora did, only her death was voluntary. I’m not a huge Black Widow fan. I mean she’s okay, and she gets some good moments in the movie, (throughout the entire MCU actually), but I was largely unaffected by her death, because she was not a character that resonated with me, although I recognize she meant a lot to other people. That said, I still wish it had been Hawkeye who died, because I care less about him than I do Natasha, and she deserved a better send off. I understand why he was allowed to live, but I still wish he’d died in her place. I’m also not a fan of Hawkeye because in the wake of the Snap he decided it would be a good idea to travel the world killing Brown men, as the comic book character Ronin. His answer to his grief at so much death, is to go out and  cause even more death, and I had an issue with that.

Image result for endgame gifs

Tony goes out like a boss, tho’. I’m actually okay with Tony dying, I was long ready for it, and think that’s a fitting end to his character arc. I was one of the few people, who liked Tony, who was unbothered by his death. Yes, contrary to me always talking shit about Tony, I actually loved that character, and I’m gonna miss him. Thanks to Downey, he was a consistent asshole, and I kind of liked that Tony fucked up about as much as he saved, and had to constantly be put back in line by his friends and co-workers. Sometimes heroes have unlikable personalities. He didn’t resonate with me, but I really like Robert Downey, I loved the way he portrayed the character, and Tony’s passing marked the end of an era.

I loved Steve’s character arc too. I did see some grumbling from the more hysterical members of Tumblr, about how Steve choosing to live out his life with Peggy was a selfish gesture, but those people can shut the fuck up, because they very obviously do not care about Steve’s emotional well being. If anyone deserved to live out his selfish fantasy, it was Steve Rogers. I loved the end scene with him getting that dance from Peggy, and I hope they danced a lot, and had lots of fat babies.

Of all the characters, I would say that Nebula is definitely one of my favorites, because she has such a satisfying character arc. I love how her character came full circle from wanting to kill her sister, to protecting Gamora’s life by killing her alternate self.

Image result for endgame gifs/nebula

Also, I just like her personality, and her interactions with Tony. Of All the Guardians, she seems the one I’d most likely end up being friends with because she seems most like me in real life, which is literal minded, and very strong and  serious looking, but with a heart like a marshmallow. I love how Guardians of the Galaxy laid the groundwork for her being able to convince the Gamora of the past to help her defeat Thanos. Without that groundwork, without Gamora’s loss, she would never have been in that position, and I’m glad the Russos chose to honor what James Gunn did with her character.

I was also very touched by Rocket’s growth as a character too, for which Gunn is also responsible for laying the groundwork. Rocket is still an asshole, but he’s like Nebula and Tony, an asshole with a heart. Its interesting to watch him move to a point in his character where he offers solace to others  (Nebula) and, tough love styles of advice, (Thor).

My other favorite was Hulk. He managed somehow to fuse the two halves of his personality into a whole, and I liked that. He did come across as somebody’s corny dad, and I really enjoyed how happy he seemed to be with his life. The complete opposite of Thor, and Hawkeye. People seem to forget that Hulk was the one to bring everyone back with his own Snap, and spent the rest of the movie injured because of that, (because he was the only one left alive who could survive using  the Gauntlet).

Image result for endgame gifs/ hulk

 

Favorite Moments:

I had loads of favorite moments.

  • The opening scene where Hawkeye loses his entire family. Its just very emotionally moving to watch it from the point of view of someone who has no fucking clue what just happened.
  • After five years, most cities are overgrown with vegetation. It reminded me of the documentary Life After People. Check it out if you haven’t seen it.
  • Tony and Nebula playing paper football. Nebula wins, but since she can’t smile, we can’t tell if she’s actually happy.
  • Rocket and Nebula bonding over their shared loss.
  • Steve Rogers kicking his own ass. In the five years since he worked for Shield he developed a lot more skills and we have finally answered the question, at least in the MCU, who would win in a fight between Steve and Mr. I Can Do This All Day.
  • Tony meets and makes peace with his father.
  • Bruce looking embarrassed about his behavior during the first Avengers movie, and trying to fake being angry.
  • The Hulk having to use the stairs because none of the others would let him get on the elevator. There  were a helluva lot of stairs, so I’d be angry about that too.
  • The final boss fight was every comic book splash page ever created. Its why so many of us loved these movies. We’ve been reading about these events and characters our whole lives, and to see this, larger than life, on a movie screen, well…words cannot express.
  • When the wizards showed up at the final battle, I think I openly cheered.
  • The Guardians of the Galaxy and The Ravagers all show up to kick Thanos’ ass. It took me a minute to place where all those spaceships came from. They didn’t all come from Wakanda.
  • The moment in the movie that made the whole audience cheer is when Captain America picked up Thor’s hammer, Mjolnir, and the two of them trade weapons back and forth, throughout the fight, until Thor decides that Steve gets the little weapon.
  • The audience’s second favorite moment is when Steve utters the famous words: Avengers Assemble! which is not something he got to do in any of the other movies.
  • Sam Wilson’s quietly stated, “On your left.” into Steve’s ear! This just made me grin so hard, since I really love Captain America Winter Soldier.
  • The arrival of Black Panther/ the arrival of everybody really.
  • Tony hugging Peter, and Peter being perfectly okay with it and saying,  “This is kinda nice.”
  • Pepper Potts has her own Iron Man suit.
  • Carol Danvers and Scarlet Witch   get to put their shit down, and go toe to toe with Thanos.
  • That look on Tony’s face when Doctor Strange gestures at him. Tony knows what he has to do. He knows the gauntlet will kill him, but picks it up anyway.
  • We get an A Force moment of all the women Avengers, (although I’m gonna be seriously pissed if we never get an A Force movie, since they have been treating a lot of the women of the MCU like afterthoughts, including Black Widow). Let me go on the record as stating I want an A Force movie!
  • Basically, the entire battle scene was awesome!
  • Pepper telling Tony that he could rest, just brought all the feels.
  • The disintegration of Thanos and his army!
  • Sam Wilson gets the Captain America shield. Y’all know I’m a Sam Wilson stan so yeah, I totally geeked out at that moment.
  • Thor and Peter Quill arguing over who gets to be in charge of the Guardians.

So yeah, while I thoroughly enjoyed myself, if you’re not a fan of the MCU, or superhero movies in particular, your mileage may vary.

I know a lot of people wanted to see other things happen in the movie, but at three hours and with so many characters, some of them had little room to do anything more than stand still, for a second, and pose for the camera. The movie simply couldn’t cover everyone, and didn’t. But what it did do, for the characters and the emotions, was exactly what it should have done. The trailers promised a certain type of movie, and that’s exactly what  was given.

Favorite Character:

I have a lot of favorite characters, across the entirety of the MCU, but my top three are Spiderman, Drax (of all beings!), and oddly enough, Captain America.

I’ve always been a Spiderman fan, since I was a kid, watching the TV show during the 70s. I like Drax because he’s simply ridiculous. There’s just something about his character that just speaks to my inner silliness, and I always enjoy seeing him on screen. I was surprised Captain America made any part of the top ten because I had no interest in the comic book character, but Chris Evans just tore it up!, and there’s a part of me that just loves the noble warrior hero.

 

Favorite Movie:

Its really hard to pick a favorite, so I have once again, a top ten of favorites. I have no choice but to rank them, and the ranking could change based entirely on my mood. Of all the MCU films, the movie that remains consistently at  number one would be Spiderman Homecoming. I know everyone thinks I’d choose Black Panther, which is definitely in my top ten, but that’s somewhere around number five, because the number two movie on my list is Captain America Winter Soldier. and another surprise movie is Doctor Strange, coming in at third place. I was not at all prepared to like Doctor Strange. In fact, I was prepared to hate it, but I’ve found that I love the MCU magic users.

I’m very much looking forward to the next ten years. We’ve got more sequels coming up, and some new characters like The Eternals, who I know nothing about, so that will be brand new for me, and Shang Chi, because I love martial arts movies.

So until the next phase,

Make Mine Marvel!

 

 

Thoughts for the Weekend

 

The Media

This article talks about why one of the reasons people think the world is  going to hell. It is the prevalence of negative news. The very nature of the news, the tagline being, “If it bleeds, it leads.” accounts for the greater and greater amounts of negativity we see in the news. Each story has to be sensational, outrageous, and/or gory.

A couple of years ago, my habit, like thousands of other people, was to get up each morning, and turn on the news. I stopped doing that. When I get up in the morning now, I watch something light and fun, that doesn’t require too much thought, like a comedy I recorded the night before, or favorite episodes of old shows. I’ve found that I feel more positive throughout the day, I’m less angry, I’m nicer to my co-workers, and generally more cheerful, at the start of the day, than when I watched the news.

Image result for media violence gifs

The media exaggerates negative news.

https://www.theguardian.com/commentisfree/2018/feb/17/steven-pinker-media-negative-news

Whether or not the world really is getting worse, the nature of news will interact with the nature of cognition to make us think that it is.

News is about things that happen, not things that don’t happen. We never see a journalist saying to the camera, “I’m reporting live from a country where a war has not broken out”— or a city that has not been bombed, or a school that has not been shot up. 

@@

Game of Thrones

If you do nothing else this season of Game of Thrones, you have to read the weekly rundown of the show, by the fans at The Root. Even if you hate the show, don’t watch the show, or know nothing about the show, you should read them anyway because they are, hands down, some of the funniest reviews of anything on the internet. At this point, reading the weekly review becomes part of the show. For those of you with real stamina, you can try reading the show’s live tweet on Black Twitter.

I am always amazed that so many Black people love this show, including many non-geeks. It took me years to really get into it, because I just wasn’t interested. I followed the show off and on for the first three seasons, but didn’t become any kind of fan until season five, after the episode Hardhome, which I understand was the turning point for a lot of people.  Last weekend was the culmination of that particular episode, so there are plenty of spoilers in the post.

I want to point out that Arya Stark is one of my all-time favorite characters on the show, and has been my go-to Baby Badass since season five.

Related image

Arya Stark Forces Night King to Drop Out of Presidential Race

Although he has not issued a formal statement, representatives for Walker—also known as the Night King—confirmed that the blue-eyed devil will not take part in the upcoming primaries, citing the fact that he had lost support among a key group of supporters—namely, the Arya Stark demographic.

 

#NotToday: The Night King nor Kim Kardashian Could Stop Us From Keeping Up With The Battle of Winterfell

With five or six tea lights lighting the battle scene on our screens, The Red Woman came and did what the fuck she had to do and said let there be light and lit the field with fire. Too bad the fire didn’t do shit for our screens our Daenerys’ vision from the sky.

 

@@

 Robot Fear

This is a very interesting article about how Western nations view robots vs. how cultures in the East view them. The Japanese, for example, have a very different attitude towards robots than Americans. The article credits part of that to the Western attitudes towards systems of chattel slavery. The East had slaves, but the systems there were not set up the same here, or perpetuated throughout that country’s other institutions, either.

I also think part of the issue is not just our attitudes about the treatment of slaves, but the Western religious ideas behind them, and the idea of karmic retribution that has attached itself to those ideas. We need to add decades of movie and TV narratives in which robot slaves turned on their owners. I wrote before about how a lot of futuristic fiction involves imagining what White people have done to other cultures, happening to White people, usually by beings once held in bondage, like robots. The term “robot” was invented in the West, and violent retribution by them, is one of its earliest Pop culture themes, as in the 1927 Metropolis.

Image result for terminator gifs

WHY WESTERNERS FEAR ROBOTS AND THE JAPANESE DO NOT

https://www.wired.com/story/ideas-joi-ito-robot-overlords/

It’s not that Westerners haven’t had their fair share of friendly robots like R2-D2 and Rosie, the Jetsons’ robot maid. But compared to the Japanese, the Western world is warier of robots. I think the difference has something to do with our different religious contexts, as well as historical differences with respect to industrial-scale slavery.

 

@@

Yarn Industry Diversity

Here’s a short list of Knitting designers, and Dyers of Color in the industry.

Related image

Black Yarn Dyers and the case for Purposeful Support

https://theyarnmission.com/black-yarn-dyers-and-the-case-for-purposeful-support/

It’s not about tokenism.” Rather, we insist that folks support artists simply because they are Black. Especially for their Blackness we recognize that for so many it would mean “in spite of their Blackness.” This is what pro-Black looks like to us since we are working towards a liberation in the face of rampant, engrained, and internalized anti-Blackness. 

 

@@

Comedy

I’m still not over Nanette, which is still airing on Netflix. It just floored me. I’m guessing it floored a lot of people, since so many wrote think pieces about it. I do believe Hannah Gadsby is the future of comedy, while people like Bill Maher, Jerry Seinfeld, and Louis C K, are comedy’s past. I noticed that when women do comedy, (any marginalized people, really), they are as as liable to cause tears as much as laughter. The only male comedian I’ve ever seen who captures that particular vibe is Patton Oswalt, in his stand-up, Annihilation, )where he talks about the death of his wife).

Image result for nannette gifs

Bill Maher Is Stand-up Comedy’s Past. Hannah Gadsby Represents Its Future.

https://www.vulture.com/2018/07/bill-maher-hannah-gadsby-stand-up-comedy.html

Nanette is also a deconstruction of stand-up specials, as well as several generations’ worth of straight male–crafted opinions on what “good comedy” is and what “great art” is. Gadsby poses a question which, if answered affirmatively, would validate her stated wish to quit doing stand-up: What if “funny” is the enemy of “honest,” or at least at cross-purposes with it?

@@

Reverse Racism Claims

Recently Jordan Peele came into the cross hairs of the White Bigot League, when he stated that he wasn’t looking to hire White men for any of his lead roles, as that had all been done before, and he wants to try something different. I think this article perfectly captures all my thoughts on this issue.

For the record, he never said he wouldn’t  cast any White people in his movies. What he said was he wasn’t going to cast them in the lead roles.

Image result for i said what i said

 

There’s Nothing Wrong With Jordan Peele Not Wanting to Cast White Male Leads

https://www.thewrap.com/jordan-peele-no-white-male-leads-nothing-wrong/

But racism becomes a social disease when it systematically and systemically places one race at the top of a hierarchy at the expense of other races. That is why the N-word stings so much more than any word blacks ever coined to denigrate white people. It’s why blackface hurts in a way that whiteface doesn’t. There are centuries of brutal history to back up the sting.

@@

Black Romance

I thought this article was especially interesting. I do not read Romance novels, as a general rule but I used to have a disdain for them. At some point, I realized my disdain was contributing to an atmosphere in Pop culture that devalues the interests of women, and if the hobbies and interests of women aren’t considered important, then imagine how denigrated Black women’s interests must be.

Image result for black romance gifs

Fifty shades of white: the long fight against racism in romance novels

https://www.theguardian.com/books/2019/apr/04/fifty-shades-of-white-romance-novels-racism-ritas-rwa?src=longreads

Some booksellers continued to shelve black romances separately from white romances, on special African American shelves. Accepted industry wisdom told black authors that putting black couples on their covers could hurt sales, and that they should replace them with images of jewellery, or lawn chairs, or flowers. Other authors of colour had struggled to get representation within the genre at all.

 

 

@@

US

I promise this is the last article I’m going to post about this movie. Its just fascinating how much (and how many) meanings people are finding in this movie.

Related image

https://www.hollywoodreporter.com/heat-vision/us-movies-hidden-meaning-black-identity-explained-1196687

Jordan Peele may have crafted the first horror movie to truly dismantle the MAGA era and how African Americans fit into it.

 

 

@@

Poverty

Hollywood has crafted a lot about how we think of the world, its situations, and the people around us. I think many of us would be surprised at how much of our “knowledge” of the world comes from movies.

Related image

Perpetuating the poverty myth: How Hollywood gives us the wrong ideas about poor people

https://www.yahoo.com/entertainment/perpetuating-poverty-myth-hollywood-gives-us-wrong-ideas-poor-people-210440365.html

Pimpare believes that at this time of deep divisions in America, movies that accurately portray modern-day poverty are more important than ever. “We are geographically so segregated, racially segregated, and we are very much economically segregated — so it may be that for growing numbers of people, the only opportunities they have to gain insight into lives of poor and low-income people are through mass media,” 

 

@@

Representation Matters

Yahp!

Related image

https://the-orbit.net/progpub/2018/12/26/representation-matters/

For myself and many African-American moviegoers, one film has stood out from the rest. Not because the others listed (or those absent) are sub-par movies, but rather, because the Black Panther was the kind of movie we have long thirsted for. The first Black superhero of Marvel Comics got to headline the first Black superhero movie from Marvel Studios, with a Black director, a predominately Black cast, diverse presentation of Black bodies, an Afrofuturist aesthetic, complex nuanced characters largely devoid of stereotypes, a rich backstory, and a massive budget. A monumental box office hit, the movie shattered record after record on its way to a final global tally of roughly $1.3 billion. 

 

Movies Normalize the Harming of Black Bodies

Questioning Authorial Intent

I think it’s time we started discussing a writer’s intention in creating marginalized characters. It doesn’t particularly matter to me whether its done consciously or unconsciously, but we need to speak about how writers treat their characters of color, LGBTQ characters, and female characters.

The TV and movie industries have always been controlled primarily by white male writers. They write  women characters  according to what they think women are actually like, or wish they were and we have to be willing to admit that there are more than a few writers out there who fantasize about how they would like to treat women, and realize their fantasies through the characters they create. It’s also an industry made up of a lot of straight men, who have always been prone to homophobia, and who have  written gay characters the way they see them, or wanted them to be seen. And yes, in some cases they fantasize about these characters being  punished for being who they are. (This is something that has been well documented about women, and  Gay characters in movies. See: “The Celluloid Closet”, and documentaries on female characters in slasher films.)

Image result for halloween  movie gifs

We have all become aware  of the unnecessary rape scenes of female characters, and the Kill Your Gays Trope, where the writers punish and kill women  for being  sexually forward, and the gay characters who lead tragic lives, only to die horribly. The same dynamic  seems to be at work for Black characters too, and the reason why may be the unconscious, (or hell, sometimes very conscious), racial resentment of White writers, who feel forced to include these characters in their work.

I’m not advocating that no Black characters ever be punished or killed, but I am questioning the intentions of the writers who do this, and I wonder if, like the OP above, if it’s resentment at having to include characters of color. More and more often, White writers are being called on to be inclusive beyond white, straight, able bodied, men, and some of them might feel some type of way about that.

Hollywood and TV have a long history of depicting White men bullying, torturing, and gunning down “the other”.  Is it any wonder that it is primarily White men who are the main perpetrators of mass acts of violence against women, (The Ecole Polytechnique Massacre) , gay and transgender, (The Pulse Nightclub Shooting), Blacks, (Charleston Church Shooting), Jews (The Synagogue Shooting), Muslims, (Christchurch),  and others too numerous to mention. (This is not including regular acts of police brutality against people of color, and hate crimes against immigrants, and Jewish people.)

Image result for mass shooting gifs

What is new in Pop culture is an influx of Black characters being written by white writers, who think they’re being inclusive, but  who have not done their due diligence on racial issues, or Black culture. Sometimes, I’m seeing characters of color get bullied, tortured, punished, or killed in the narrative by White characters, some of whom are meant to be heroes, and I’m starting to believe that White characters  are stand ins for the writer’s own racial resentment. These characters get to do the kinds of things to Black characters that the writers, whether consciously or not, would like to do themselves, which is sometimes telling off, or hurting, or punishing “The Other”.

I have written before about how Black characters have been traditionally created in the white imagination, often associated with crime, murder, and sexual brutality, (That’s about how racial ideas in the real world get reflected in pop culture). I’m now talking about a different iteration of this theme, and I’m going to use the MCU  as an example, because this is where I first noticed it.

Image result for the defenders gifs

The series The Defenders, is an amalgamation of the other Netflix series in the MCU,  Luke Cage, Daredevil, Iron Fist, and Jessica Jones, (all of which have since been canceled). In the one season of The Defenders, there are approximately two Black men, one of whom is a villain. There’s a scene where he is being tortured by Daredevil and Iron Fist, while the other team members stand around and debate this tactic. What you have is a team of superheroes torturing a Black man for information, and this is being shown as okay, even though real world specialists on this issue, have clearly stated that torture does not work as a tactic for getting information.

https://www.scientificamerican.com/article/we-rsquo-ve-known-for-400-years-that-torture-doesn-rsquo-t-work/

The prevalence of torture, committed by ostensibly good guys, in movies and TV shows, also accounts for the dramatic rise in  the public’s belief in torture as a real world tactic that  Americans should use in the fight against anyone who is considered “a bad guy”. Since Black men are stereotypically  associated with crime…well, you see where this is going.

 

And this isn’t limited to The Defenders, because Jessica Jones contains the scene of the unceremonious killing of the only  Black woman in the show, and Jessica’s disregard for the life of the only other Black character on the show has been duly  noted.  The Punisher, Iron Fist, and Daredevil are all known for showing their White protagonists beating up, torturing,  and killing whole squads of men of color. I mentioned, in a previous post, how Iron Fist had a nasty problem with beating up young Black men, without asking questions first. Even Spiderman tries to get in on the action by trying to intimidate a Black man he needs information from. (That he fails to intimidate him isn’t the point. The point is that he tried it, and that that was his first, go-to, move.) For the record, none of these supposedly heroic characters limit themselves to torturing only Black men. All men of color are fair game, as evidenced by the sheer number of Asian bodies Daredevil mows down, in any season.

Image result for captain America Winter Soldier gifs/sitwell

Many of the MCU movies have such moments. In Captain America: The Winter Soldier, you have another man of color being tortured for information by Captain America,  Black Widow, and Falcon. In Captain America Civil War you have a scene where Rhodey, Tony’s Black sidekick is injured by Vision, but Tony punishes Falcon,  for an incident that he was not responsible for. In Iron Man 3, Tony threatens the man he thinks is the Mandarin, by brandishing a gun at him to get information. To be absolutely honest, heroic characters of any race often get in on the torture of villains in the MCU. In the movie Black Panther, a movie written by a Black man, there are scenes of T’Challa beating up a villain  for information.

Primarily, this is about the use of torture by any “superhero “, towards men of color. These characters are all still  written by white men, and all these supposedly “good people”  end up harming or torturing men of color. (To be absolutely fair “good guys’ torturing “bad guys” is a problem across most, if not all, superhero comic books, but in the movies, these bad guys have a tendency to be men of color.)

https://www.complex.com/pop-culture/2018/04/racist-moments-in-comic-book-history/

We know racism is real. That is not a matter for debate. We also know that people, in the fandoms surrounding these movies, regularly engage in racist thoughts and actions regarding characters of color, and show a great deal of resentment and hatred for them. What I am questioning here is the idea that, somehow, writers of  Fantasy  TV and movies are somehow exempt from racial resentment because …well, they’re creators, I guess.

And just because the hero committing the torture is Black, that does not make the situation exempt from this criticism, as these are Black characters as interpreted through the lens of  White writers. White writers create these characters, making them say and do whatever they want, including voice their own racial resentments, as what happened with Nick Spencer’s  version of Falcon as Captain America. Nick Spencer wrote a parody version of SJWs, and later Sam Wilson, who had been written as a voice of reason, apologized to Steve Rogers for ever having been like them. A Black man apologizes to a White man for ever having been a passionate activist!

https://www.dailydot.com/parsec/captain-america-sam-wilson-nick-spencer-controversy/

Over and over again, White audiences (which this sort entertainment is primarily written for) are subjected to the concept that its okay for good (ie. White) men to beat up on, and/or torture, Black men.  Vigilantism. Is it any wonder that there’s is so little  empathy for Black characters in movies and TV, (The Racial Empathy Gap), or that White people are quick to make excuses for White men’s violent aggression against Black men.

The most recent case of real life vigilantism was when Trayvon Martin was killed by George Zimmerman, and it was Trayvon who was painted as a villain who deserved to be shot by the innocent Zimmerman, who was just trying to protect his neighborhood. This is how such vigilantism plays out in the real world. How is what happened to Trayvon different from a scene in Iron Fist or Daredevil, which are shows about fine upstanding White men, who just want to protect their neighborhoods.

White America has always told such stories, which often resulted in the beatings and lynchings of Black Americans, when White men take it upon themselves to protect against Black criminality. Two of the overwhelming messages in Pop culture, (books, movies, and TV shows), for decades, is that vigilantism is a perfectly acceptable response to criminality, and that Black men are  the criminals, who deserve whatever violence is meted out to them by White men.

There is a connection between the normalization of brutality against marginalized bodies onscreen, and White male brutality agaonst “the other” in the real world. One of these is a reflection of the other, but which of these, remains the question. And what is served by showing audiences image after image of White heroes willing to do their worst to marginalized others?

I Said It On Tumblr

I have got to say some things, so sometimes I respond to posts  by people on Tumblr. Sometimes, I simply make my own posts. As you can see, the things I post on Tumblr are a lot more blunt than the things I put on this blog,, which is mostly meant to be geeky about stuff I watch on TV.

So here’s some shit I said while I was on Tumblr, that I was apparently  too chickenshit to post  on this blog!

White Characters During Slavery

Image result for dave chappelle keeping it real gif

 

I saw an interview with Danae Gurira, who stated something similar to this, where she said, if you make a movie about Black people, and then add one White person, the audience will focus on the White person, and if you make a movie that’s supposedly about women, and add one male character,  the audience will focus on that one man. So obviously, the thing to do would be remove those characters from the story, so that the audience has no choice but to  focus on who you want them to focus on.

One of the side effects of adding sympathetic White characters to narratives about slavery, (or any story involving Black pain), is that it makes White audiences comfortable with viewing Black pain at a remove. As long as there are White characters in the story that White audiences can identify with, then they can remove themselves from the (historical) causation of Black misery, and just view that as part of the landscape of the story. Instead of focusing on the idea that “White people were responsible for causing this pain.” , they will focus instead on, “I would never have been a part of that, just like that guy.” or, “There were good White people back then and I would have been one of those.”

In fact, I highly suspect the reason why so many White creators have written Slave narratives is that its a low key excuse to hurt Black people, show Black pain, and express their latent racial resentment. It makes Black pain and horror part of the “entertainment” of viewing historical narratives, while Black audiences have no such outlet. Outside of being mildly informative, (and occasionally highly misinformative), it’s not cathartic for us to watch these stories. We feel the pain being inflicted on Black characters, who are suffering, with no reprieve for us in the story, because that’s who we are meant to identify with.

White creators can punish Black people within the story, and harm Black audiences who view that pain, as well.

I’m proposing a moratorium on Slave narratives being told through a White lens, because White creators have not only done a piss poor job of the accurate depiction of what slavery was like, but have done an excellent job of inflicting trauma on Black audiences, while making White audiences feel good about themselves.

I’ve made myself this promise, at least. I will not watch anymore movies where the story is nothing more than depictions of Black pain, and misery, with no emotional outlet.

 

Earlier I said this:

I can see the parallels to this in a lot of marginalized groups depictions in popular media. Before this new era,  white, straight audiences wanted to see groups of other non-white people suffering, and they flocked to that kind of drama. We went  too, because, for us, it was representation, and for white people it was the tragic  drama of a life they will never live, and the affirmation that they were living correctly.

But now I see PoC and LGBTQ people wanting to see different depictions of themselves, in media, that go beyond merely suffering. We want images of ourselves being happy, and being in love, and being loved, and accepted. We want power images, and adventure images too.

Those previous depictions of marginalized people as sufferers of indignity had their place, (and sometimes still do), but now, this is a different generation, a different era, with new audiences that are demanding media that is a reflection of how far we’ve come ,rather than a mournful reliving of the past, or the wish fulfillment of straight white men that think they anyone who isnt them, should be suffering.

 

Racism In The Knitting Community

Image result for knitting gifs

This answer was a response to an article about how the knitting community is dealing with racism, and the dismissal by some members of the community of its importance. The attitude was why can’t we just knit, and forget about  this stuff, and my response was, it’s easy to say that, when they don’t have to worry about it.

The reason why we have to deal with this now is because white people don’t stop acting like racists just because they’ve taken up a hobby. A person doesn’t stop treating other human beings like crap because they enjoy an activity, and white people take racism, and discrimination with them everywhere.

BIPOC can’t ever just enjoy an activity, especially if white people are heavily involved in it. Just because you don’t have to deal with it in your personal life doesn’t mean it’s not important to the people to which this keeps happening.

We’re not letting our insecurities stop us from succeeding. What’s stopping us from making progress as designers, yarn dyers, shop owners, etc, is white racist attitudes at the idea that we don’t/ can’t share hobbies with them, and then the dismissal by white people, of our lived experiences, as not being important, because THEY don’t experience it.

Instead of opening your mouth about things you don’t experience, so therefore  think it’s not important, you need to go to Instagram and read the testimonials of BIPOC experiences in the community. All it takes is a handful of white people to make the entire experience a living hell for someone who wants to simply love a hobby as much as you do!

And it’s not just personal experiences either. How many designers of color can you name off the top of your head? Do you ever see any knitters of color anywhere just in passing ? How many knitting books have no PoC in them as models? How many have you bought any products from in the past year?

Honestly it’s very disappointing, and entirely in keeping with the article too, that all these people would go into the comments to dismiss what we go through, and tell us to just get over it!

Why am I not surprised?

 

 

Cyberpunk Revolution in Film

Image result for lone wolf gifs

For some reason, I felt prompted to speak on the concept of the Lone Agitator in Pop Culture/SciFi.  I forget what inspired me to write this, but I think I had in mind the many Futuristic and  Dystopiam movies that revolve around the lone White hero, who starts a rebellion.

Since so much of Hollywood is run by white men, the futures they often imagine, and put on screen, are often reflections of their lived experiences, which they don’t notice, or refuse to acknowledge.

Like the depiction of revolutionary futures in cyberpunk movies. Too often white imaginaries see revolutions as movements led by a strong leader, often a man, but sometimes a white woman. They rarely imagine rebelling against systems of futuristic oppression through unionized or collective grassroots action, through the use of social media, and this is because many of the men writing such stories have had no experiences with that type of action in their own lives. They are mostly likely to think of rebellion in lone rebel/hacker terms. For example, only one person (a young white person) is in charge of whatever decisions needed to fight against a system of capitalist oppression.

Even in cases which depict groups of people coming together, those groups only do so at the urging of one strong leader, who rallies everyone to action. Such future rebellions are almost never depicted the way they often look in the real world, which is decentralized, with no clear leader, and is often just a group of people who all believe something, and all decide to meet up somewhere at sometime, place phone calls, or donate money.

We can see this in the difference between how marginalized people organize to address social and corporate oppression, and how white men address what they believe to be oppression of themselves. With only a handful of exceptions, they rarely come together in unionized collective action to bring about the change they want, preferring instead to go it alone, believing their individual actions to be of primary importance, for example, witness the many “lone wolves” engaging in terrorist actions. Even in cases where white men collectively organize their organizing can still be disrupted by lone actors, as it was in Charlottesville. Most terroristic actions, the bombings, the shootings, are carried out by loners who believe they’re fighting against white male oppression and believe that violence is the only way for such change to occur.

White male rebellion against something they disagree with often looks very different from the revolutionary behavior of marginalized people, which is often non-violent (and when it does become violent, the violence is often against property rather than people). Instead of group actions, they would rather engage in individual activities, like harassment, deception, and misinformation, and when that doesn’t work, violence against people seems to be their next and only option.

This is depicted, at least  in movies, as violence against their oppressors, when in real life, grassroots, feet on the ground, rallying, marching and rebellion is most often completely nonviolent, and a carefully coordinated group action, often reached by consensus. (“Hey, let’s meet here and do______, for _________.”) But lone wolves don’t need to to reach consensus with anyone. They can skip all that and go to direct (and often violent) action, thereby retaining autonomy as individuals, without having to compromise their behavior or beliefs. (This isn’t a hard and fast rule, just a tendency.) Far too much of White men’s ideas about activism consist of causing harm to others, and its also how they classify real life activism against themselves.

The white men who make the rebellion movies we love to watch often do not depict marginalized people (beyond white women) in leadership type roles, for such, and the futuristic stories they tell about it, do not accurately depict how grassroots organizations actually work, because many of them have absolutely no experience with such activities. Most of them have never had to rally for or against something. It is one of many things Hollywood creators depicts inaccurately because the people controlling the industry do not have a window into different kinds of life experiences, and overwhelming come from the same racial, and socio-economic class.

 

 

White Negligence

Image result for white nonsense gif

I know exactly what prompted me to write this one. I was feeling seriously pissed off about the mainstream media’s reaction to the Opioid Crisis vs. their reaction to the Crack Epidemic, (and before that, the Heroin Epidemic), in Black communities. But what made me especially angry, was just the sheer fucking waste of time and energy spent by White people on making themselves feel good by pointing out how it was our fault, (because we’re pathological), instead of putting structures in place to fix the problem. The same structures that would have been in place to help them with their current crisis.

White people have been so damn busy piling all their worst sins onto the backs of black and brown people, and smugly patting themselves on the back for not being like those violent n*gg*rs, and sp*cs, they they have absolutely failed to address any of their own pathologies.

One of the problems with spending all ones time smugly pointing out everyone’s else’s sins, and admonishing them to fix their shit, is one gains the very bad habit of allowing one’s own dysfunctions to grow and fester unimpeded. It’s been several decades of white people acting this way, and now their many, many pathologies are catching up to them, and resulting in their own deaths, while they stand around looking bewildered, and wondering what happened, or why there are no structures in place to help them.

Meanwhile, people of color, who were always being admonished to fix their shit, have been doing the work, and at least acknowledging their issues (as white people are always quick to helpfully point them out to us),  while trying to warn them that things were soon going to catch up to them, sooner or later, because they’ve got some shit they need to take care of, too.

I have observed that PoC are more compassionate and empathetic than any of the White people who have spent the past five decades wagging their fingers at them. PoC have spent a helluva lot of time trying to save them from themselves. Ultimately, it will not be immigrants, Muslims or other PoC who will destroy White people. White people will destroy themselves (as they seem to be bent on  doing so) in a paroxysm of drugs and violence, because they refuse to take care of any of the issues that have plagued their colonization of this country. The problem is that they seem hellbent on taking the rest of us with them.

 

 

Angry White Men

Image result for angry  men gif

I think I wrote this after the Kavanaugh hearings, in which we saw a White man have a complete, and total, breakdown-conniption-fit, in a professional setting, on live television. I remember thinking at the time that that must have been really nice, because there’s no way in Hell on Earth I would be able to get away with acting like that, in any business setting. Ever!

In fact, there’s not a woman, or PoC on this planet, who would ever be able to act that way in a public setting, without having the police called on them, or at least being fired from their job. If you think for one moment that what we saw wasn’t White privilege at work, think about acting that way in a job interview, and still getting the job!

The only group of people who have the luxury of screaming in anger and outrage in a public space are White men. Not even White women get that luxury without, (at least), being dismissed as hysterical, and if you’re a Black woman, you can look forward to being demeaned as a ‘hood wench, demonized as an angry black woman, or mocked as a ratchet hoe.

If you’re a Black man, you can look forward to getting arrested, or killed by the police, if you show any sign that you may be thinking about being angry, on even the most justifiable issue, like your own injustice.

So when you see images of white men in suits screaming at other white men in suits, just know that’s something that will be applauded as manly by other White men.

 

 

 

White Surprise

Related image

I think what prompted this was testimonies from various White people evincing  surprise, at certain other White people, who are always calling the police on Black and Brown people, for living while having color. It really wasn’t that long ago that White people could do whatever they felt like doing to anybody Black, in any public space, without any pushback or repercussions.

I’m getting really tired of White people being surprised at the depths to which other White Americans will sink, in their hatred of people  they think are  different from them.

Such people have always existed in this country, and there were times when such people were in total power over Black and Brown people. Middle class, straight, White people have had the luxury of ignoring what doesn’t directly affect them as they were almost never the targets of such people. Apparently it’s really easy to declare something to not be a problem at all when the problem isn’t yours.

Black and Brown and Indigenous people have been the victims of such bullies since the beginning of this country, and have been warning everyone that those people will be coming for them at some point, because such people are not respecters of any humanity but their own. Now that it’s coming home to rest in their backyards, because they’ve ignored it when it was happening to everyone but them, they want to act surprised and outraged.

It’s just another form of White narcissism, that the only time anything becomes a problem to be solved , like drug addiction, authoritarianism, and poverty, is when it hits White people. As long as only “those other” people are on the receiving end of it, most White people will sit by and simply watch it happen, (if they notice it at all), while convincing themselves what good people they are. Usually by the time the problems reach White people it’s too late to do anything to stop them.

 

Black Torture

enter image description here

 

I’m pretty sure that what prompted this post was watching Iron Fist, The Defenders, and Captain America, back to back some weekend, and noticing t scenes that all connect to each other. See, this is what my brain likes to do for fun, when I’m doing something else, which is collecting trivia, and then bring it to my attention at three o’clock in the morning, when it knows damn well I need to go to sleep. 

I can see the parallels to this in a lot of marginalized groups depictions in popular media. Before this new era,  white, straight audiences wanted to see groups of other non-white people suffering, and they flocked to that kind of drama. We went  too, because, for us, it was representation, and for white people it was the tragic  drama of a life they will never live, and the affirmation that they were living correctly.

But now I see PoC and LGBTQ people wanting to see different depictions of themselves, in media, that go beyond merely suffering. We want images of ourselves being happy, and being in love, and being loved, and accepted. We want power images, and adventure images too.

Those previous depictions of marginalized people as sufferers of indignity had their place, (and sometimes still do), but now, this is a different generation, a different era, with new audiences that are demanding media that is a reflection of how far we’ve come ,rather than a mournful reliving of the past, or the wish fulfillment of straight white men that think they anyone who isnt them, should be suffering.

Is it just me or has anyone else noticed this trend in superhero movies of Black men (and sometimes other men of color) being tortured by characters who are supposed to be heroes?

I first noticed this in Captain America Winter Soldier, when Steve, Falcon, and Natasha were torturing Jasper Sitwell, who was then brutally killed by The Winter Soldier.

I noticed it again in The Defenders, when the lone Black member of The Hand gets  tortured by the group of supposed heroes.

Daredevil’s plot (at least for the first season) seemed to consist entirely of him beating the crap out of poor men of color, which is ironic, because earlier in the season of The Defenders, Luke Cage chastised Danny Rand for beating up poor Black men, and then stands idly by, saying nothing, while Daredevil tortures yet another man of color.

I haven’t watched every single movie and show in the MCU, but wanted to know if anyone  else noticed this in other superhero shows, or franchises. Did this happen in Jessica Jones? (I understand that that show has other racial issues, too.)

Outside of the idea that people referring to themselves as god guys probably should not be using torture to get information, I’m concerned about the use of torture against Black men by White characters who claim to be doing good.And my second concern is the massive amounts of bodily trauma (beatings and deaths) being visited on men of color throughout the franchise.

What To Do At The Zombie Apocalypse

Related image

I think what prompted this  post, was an article I read, about why we never see people riding bicycles after the apocalypse. I started thinking about a lot of the tropes, and imagery, we get fed, in Popular media, about what to do when the world is ending. When the apocalypse comes it is almost overwhelmingly White, for one thing. it almost never seems to impact communities of color, nor do we often get to see how poc react to the world ending. I think its because the vast majority of these stories are told by middle class White men, and this is their idea of what it would like like.

I’ve been saying this about the Zombie apocalypse for years. What city dwellers do you know who are  gonna immediately run out to the woods and live at a subsistence level just because dead people are walking around? People with disabilities, allergies, or just elderly parents to care for, ain’t going to be doing any such thing. Why is the advice given to people, that they need a “bug out” plan just because the dead are walking? I’m not buying it.

I live in the hood. Do you know how many handy men we have in the hood? How many military personnel. Or even homebody engineers. Do you have any fucking clue how resourceful and cooperative poor people are, and have to be to survive even with electricity? And how many of us have been trained to expect the best, but plan for the worst case scenario. No, you don’t, because that idea of poverty is never represented in popular culture. Shit! A zombie apocalypse won’t even ruffle our fucking hair. We’ll come up with ways to kill the zombies while keeping it moving. Hell, my brother all by himself, could have the electricity up and running, a defensive tower, a moat, schooling, and gardening, all in the space of two weeks.

It’s also interesting to me that all zombie apocalypse movies only seem to consist of middle-class white suburbanites trying to survive, with a handful of PoC thrown in like confetti. The most that White writers can imagine, for PoC, even during the apocalypse, is that we all die? Really! That seems to be their only scenario. They don’t take into account that poor people have been taking care of each other since the invention of poor people. The poor have never believed in an isolationist, go it alone, ruggedly individual attitude, when it comes to surviving, because we couldn’t afford that! Poor people are not lazy, and of everyone, they would be the most likely to survive any apocalypse because we have experienced surviving hardships and insecurity!

On the other hand, the middle class white guys who invented these types of stories are obsessed with that attitude. They really think that soon as the electricity stops, people are gonna lose their gotdamn minds, and start trying to kill their neighbors for fun and food, or planning a long journey to go find their wife, son, daughter, lost somewhere in the pre-tech Badlands! Not even taking into account that we have real life scenarios right here, right now, that we can look at and figure out that most people aren’t gonna act like that. (*cough, ahem! Puerto Rico! Cough*).

I have long come to understand that apocalypse scenarios are just wish fulfillment fantasies for middle class white guys who think that the end of the world will make them the heroes they always wanted to be. As a result I’m no longer interested in end of the world scenarios with white men in the center of them as the heroes, and yes, I’m also talking about a certain TV show, too.

 

 

Brooklyn 99 is Propaganda

Image result for brooklyn 99 gifs/rosa puppy

This was prompted by a long discussion on Tumblr about what constitutes propaganda. Mine was not the definitive answer on the subject  (at this time, the argument is still ongoing), but whether or not you think of some show as propaganda, sometimes depends on your  definition of the word. I used a very broad definition, some people wanted to be more specific.

Uhmm, actually it is. Don’t get me wrong, I absolutely love this show and all it’s characters, but that’s what makes it propaganda. Any cop show that is set up for you to think of the characters as likable, dutifull, and most importantly “good cops” is propaganda. I don’t think that’s the creators intentions, (I think their intent is to be funny with great characters, and tackle social issues) but it is propaganda because the “effect” is that you end up liking the cops on the show, and in real life they’re generally pretty conservative, whereas the cops on this show are very woke. If it were a hospital ,or a college campus it wouldn’t be considered propaganda, as a hospital or college campus are not political entities in the same way as the police. The police are tools of the state, so ANY show that makes us feel some type of way about them (good or bad) automatically makes the show political, making it propaganda.

So yes, as wonderful and lovable as the show is, as nice as the characters are, that is the very reason that it qualifies as propaganda. Technically, even if all the cops on the show were evil and corrupt, it would still be propaganda because the side effect is that you watch the show and feel some type of way about a state-run, political entity.

In a broad definition of the term, the creators have an agenda, and while that agenda is not making the police look good, the side effect is that the show makes the police look good, and makes you feel good about them. Just because it’s a comedy doesn’t mean it doesn’t have an effect on the landscape of peoples thinking. Because, in the end ,it’s not about the “intention” of the creators. It’s about the “effect” the show has in the landscape of television, along with 15-20 other cop shows.

So yeah, Brooklyn 99 qualifies. And it’s a testament to just how damn good this show is that I will watch the hell out of it, even though I avoid almost all cop shows as a believer in BLM, and recognizing they’re all propaganda.

 

Source:

In Defense of After Earth (2013)

Only straight, White men have the luxury of being lazy about watching a movie. The rest of us always seem to have to be on guard, just in case whatever White guy who wrote the movie, fucks up and traumatizes us with surprise images he didn’t give any thought to showing. Sometimes, when watching films, we have to constantly be wary of either being freshly traumatized by something on the screen,  or desperately clinging to whatever tiny nuggets are in the film, that we can apply to our lived experiences, in order for us to like it.

Not that White male reviewers are all particularly lazy, but there’s a very shallow sort of film critique that a lot of them engage in, that’s only about whether the movie is objectively good or bad, or the technical details. (And ranking movies seems to be really popular with such people, too.) There’s nothing inherently wrong with those kinds of reviews, but often people from marginalized groups require reviews that are a little more in-depth.

Image result for white men watching movies gifs

White men don’t get a lot of  practice of thinking about movies through different lenses, the way marginalized people often have to do. Many of them only have one lens, because most movies are made with them in mind as the audience, so they don’t NEED to look further into a movie, in order to like or dislike it. I’m not particularly interested in  a shallow review, or in ranking things from best to worst. If the word “suck” is mentioned anywhere in their critique, I  automatically dismiss anything else they might have to say about the movie. I want more from a critique than “It sucked!”

Yes. This is yet another essay on how White male film geeks review movies which star people of color!

After Earth (2013)

Image result for after earth gifs

I have a real issue with how badly this movie was treated by everyone. The critics made it very clear that this was an awful film. It was not. And when this movie was released, Black people were not in the social position we’re in right now, where we could see how groundbreaking this was, (it was released just before BLM), and we were not in a position to provide pushback to the narrative that this was the worst film ever made.

No!

What it was, was a  film that was attacked with the agenda of demonizing  M. Night Shyamalan and Scientology. Will  and Jaden Smith were simply caught in the crossfire. This movie, while not a masterpiece, was vilified entirely out of proportion to its effect on the landscape. At any other time, especially any time after 2014, it would have been recognized as a middle-of-the-road, Summer blockbuster.

Related image

 

After Earth can be seen through both a thematic and racial lens, as  an example of Afrofuturism. Seeing this movie through a racial lens means that I need to put on my Black filmgoers glasses, and view the movie through the historical depictions of Black people in film, and whether or not the film has any messages in it that are about racial stereotyping, or agency, for example. This movie contains these things, not because it contains overt messages about race, but because it stars Black characters, and  our mere presence in the source material is enough to make whatever we say and do a political issue.

 

In After Earth, which stars Will Smith and his son Jaden, a father and son reconcile their feelings about each other, as the son comes of age, while set against the backdrop of planetary survival. A thousand years after Earth has been abandoned, their ship crashes, and  an alien predator the ship was carrying, called the Ursa, is set loose. Will and Jaden Smith are both Black men. The movie has no White characters in it. There are spaceships, alien/human cityscapes, and futuristic weaponry. This is as much Afrofuturism as Black Panther, and there is definitely some sort of dialogue occuring between the two films, though they were released several years apart, because they both involve sons dealing with the emotional legacies of  powerful fathers.

https://drmillerjr.wordpress.com/2014/03/11/after-earth-is-afrofuturism/

Traditionally, Black people have been erased from futuristic narratives, and Afrofuturism is an attempt to center us, and our cultures, and priorities, in those narratives. Will Smith, in particular, has a long history of starring in Science fiction films like Men in Black, Enemy of the State, and I Am Legend, movies that tackle the subjects of alien immigration, dystopian state surveillance, and the apocalypse, all features of what is, traditionally, White futurism.

Image result for after earth gifs

After Earth has much to say about the relationships between fathers and sons, how sons want to live up (or down) their father’s legacies, and how father’s must reach out and connect with their children. Cypher Raige is a man who is cut off from his emotions because that is what has helped him to survive. In our world, it would be said that he suffers from a toxic form of masculinity, but Cypher’s ability to cut himself off from his feelings has made him one of Earth’s greatest soldiers against an alien race  that uses human fear to hunt and kill human beings. Cypher has gotten rid of fear, but in the process he’s also gotten rid of some of the  more positive emotions. He is a controlling, authoritative, and grim father figure, without much humor or warmth.

This lack of fear has made him a great Ranger, but it has made him an indifferent father to his son, Kitai, (a name which means “Hope” or “Prince of the Air”). Kitai wants not just to be like his father, follow in his footsteps, and become a great soldier, but to emotionally connect with his father. He wants desperately to know his father loves and supports him, especially after he fails his last exam to become a Ranger. He believes his father thinks he’s a failure because its what he himself believes. He is also suffering from the trauma of the death of his sister, who sacrificed her life to protect him from one of the Ursas, his guilt at being unable to save her, and his father for not being there when it happened. These are the motivations behind many of the decisions Kitai makes after he and his father crash on a long abandoned Earth, and Cypher is too injured to walk.

This set up puts the two of them in a position where they are required to rely on each other, not just physically, but emotionally. Kitai’s character arc involves learning that he is as capable a soldier as his father, and does not need to carry all these emotional burdens,  and Cypher’s character arc means having to open up to his son emotionally, and expressing how he really feels, and that that will be the only way his son can save both their lives. And all of this is an allegory about the emotional connections between Black men,  living in a White supremacist society, that is intrinsically dangerous to them, and requires that they be  hypermasculine, and emotionally cut off in order to survive it.

Image result for after earth gifs

Cypher Raige Everything on this planet has evolved to kill humans. Do you know where we are?

Kitai Raige No, sir.

Cypher Raige This is Earth.

Viewing a movie through a racial lens requires that I provide some historical context to my opinions. I could discuss how the American version of the performance of toxic masculinity is based on a White supremacist dominance hierarchy, that requires violent domination and oppression of non-Whites, and that to survive this oppression, Black men have have felt the need to “out man” their oppressors. To essentially be more dominant, and more manly, than the White men who established this hierarchy to keep them in their place, and that their emotional disconnect with each other is not only what is ultimately desired by this dynamic, but leads to worse oppression, because attempting to compete with White men, to be more manly, dehumanizes them, and doesn’t allow them to unite against a system created just for that purpose.

Image result for after earth quotes

https://oliviaacole.wordpress.com/2013/06/03/black-children-and-after-earth/

This movie had messages, moments, and dialogue,  that greatly resonated with me. The scene in which Cypher believes he has lost his son, in the same manner in which he lost his daughter, (both of them trying to win their emotionally distant, father’s approval),  was deep for me, as I suspect it was for many of  the Black men who watched it, and  who considered  their relationships with their own fathers, or their sons.

I watched After Earth several times, and it’s one of my favorite movies, which is why I was interested in why so many critics hated this movie,

 

(https://news.usc.edu/144379/usc-study-finds-film-critics-like-filmmakers-are-largely-white-and-male/)

and while there are a few legitimate criticisms that can be made about this movie, most of the criticism I saw wasn’t any different than the criticism I could lob at films with White stars. There is nothing wrong with the acting in this movie that is wrong in any of the other movies Will Smith has made, nor is there anything wrong with Will Smith making a movie with his son as the star, as he did in The Pursuit of Happyness, nor is this movie Scientology propaganda, any more than the other movies in which Smith was the star. (Will and Jada Smith have clearly, and emphatically, stated that they are not Scientologists, only sympathizers.)

I believe a lot of non-professional critics didn’t approach criticism of this movie in good faith, and I believe more than a few of them used the flaws in this movie as an excuse to express their racial resentment about the fact that there were no White men centered in this movie. There are also plenty of White people who felt some type of discomfort at not being centered, or even depicted, in the movie at all, and unwilling to attribute their discomfort to their narcissism, attributed their discomfort to the film being bad. The message of the movie, the relationship between young men and their fathers, is a universal one, (and I’m certain that many White men understood and enjoyed it, but then they’re not film critics), and it is well documented that  White audiences have always had trouble identifying with Black characters on screen.

https://www.salon.com/2016/10/05/luke-cage-and-the-racial-empathy-gap-why-do-they-talk-about-being-black-all-the-time/

https://www.indiewire.com/2014/01/why-white-people-dont-like-black-movies-162548/

https://mic.com/articles/74291/why-white-people-won-t-see-black-movies#.J55x1mpgF

 

Will Smith is an especially beloved actor, so many critics would not attack him directly, but they can get away with tossing insults at Shyamalan, and questioning his motivations for making the movie. One of the major criticisms I encountered were White critics who said the movie was a thinly veiled attempt to recruit viewers to Scientology. Why? Because Will Smith and Shyamalan are Scientologists. This is suspicious to me since none of these critics have ever given one thought to Smith being a follower of Scientology in any of his other Scifi movies.

And sometimes people will express racial resentment towards individual people that they don’t feel they can express against an entire group of people. So rather than saying “All ____ are ______.” , what they will do is vehemently call out the mistakes of individuals from those groups, in order to disguise their loathing for the entire group. The individual becomes a stand-in for racial sentiments they are reluctant, for whatever reasons, to express out loud. (And since they only ever attack individuals of that group, they never have to admit whatever phobia or -ism there is, to themselves.)

Related image

For example, witness some of the more  interesting criticism that White male film critics have said about Captain Marvel being military propaganda, when the same could be said of nearly every other movie in the MCU, at which none of them lobbed this complaint. And one can witnesses the same dynamic play out in the Jussie Smollett case, where people tried to hide their homophobia by expressing deeply vehement criticism of him, and his circumstances.

This type of criticism is dishonest, and disingenuous, and serves to protect the critic from backlash if they state their actual reasons for not liking some film, which is really ,  “I didn’t like this movie because there were no White men in it for me to identify with.” (This is not a hard and fast rule, all the time,  because plenty of White people liked Get Out, Black Panther, and other Afro-centered movies, but it is far too common, and there are too many, who  think they’re not being racist because they liked two or three highly popular movies that starred Black actors. It’s  basically, the critical equivalent of, “I have Black friends!”

I’m not the only person to notice this type of bullshittery either:

https://heraldiccriticism.wordpress.com/2013/06/14/when-criticism-becomes-agenda-setting-in-defense-of-after-earth/

 …but when you’re trashing a film based on its star’s belief system, you’ve ceased to criticize. You’re now spearheading an agenda.

Fred Harris touched on some of my suspicions, here:

Did a perception that this is somehow a “Black film” have anything to do with its poor opening? I know that this is a question that Hollywood producers (black and white) must be asking as they prepare for a summer of Black films.

https://newsone.com/2530136/after-earth-movie-review-racism/

And if you are wondering why I haven’t brought up “The Pursuit of Happyness” just yet, which was given 4 out of 5 stars by IMDB, it’s because Jaden was cute and fuzzy back then — and it was his debut. But the moment it seems that the Smiths are actually on to something, meaning leaving a life-long legacy for their children, now all bets are off.

Now we will call Jaden’s acting with his blockbuster dad an exercise in “vanity,” now we are disgusted with the apparent nepotism that this type of pairing suggests.

Related image

This movie was nominated for a Razzie, and was panned by almost every White male critic with a pen and an ax to grind. All of them questioned whether or not Will Smith had lost his Star power, and what that would mean for his future films. Even Bright, a film I intensely hated, wasn’t panned as badly as this movie.

Outside of my usual critical ranting, I also want to shine a light on why my opinions on a lot of movies can sometimes diverge from that of critics, what criteria I  use, what lenses  through which I can,and will, see a movie,  and how I approach watching and critiquing movies and TV shows, vs how White film critics might view movies I happen to love, and how these two ways of seeing a movie are sometimes not compatible.

This is a mindset I have had no choice but to develop though, because, as a Black woman,  I am generally not the audience  that a lot of these movies of are made for. I have had to look beyond surface issues, like whether or not it was better than some other film in a franchise, to find reasons to like movies that White people love, and sometimes I’m successful, but sometimes, I also get tired of making the effort to care, and skip the movie altogether, as I did with Ready Player One, and Back to the Future.

White men have never had to look deeper than the technical aspects of cinematography, plot, pacing, or whether or not the hero of the movie looked like them, and what that might mean if he did. For them, the movies they love don’t even need to have any meaning. When you hear them complaining about entertainment being political this is what mean. For such men, movies and TV really are not political, because they don’t need to have any deeper meaning to enjoy a movie. They can just be flatly judgmental about whether or not a movie is just “good” or “bad”, because traditionally, the movies, which are aimed at them as the audience, are supposedly universal, and  appealing  to everyone. Too many critics never go beyond the mindset of ,”I liked this movie, so naturally, everyone else must like it, and here’s why it’s so great.” I can  critique a movie from that angle but its shallow, and  “unsatisfying” for me.

It has always been my rule since I was a teenager, really, to only rely on myself to determine whether or not a movie is any good, but after examining this for some time,  I have come to the conclusion that I most definitely cannot rely on  the opinions of White men to determine if a movie is bad or good for me, or indeed, anyone, other than themselves.

I have always tried to be honest about why I did or didn’t like something. Even if I don’t know why  I feel the way I do, I’m willing to say that too, and state that, where I found nothing in the movie to intrigue me, the movie may be of interest to someone else. I will flat out state, I’m not interested in a movie because it lacks racial nuance, or because its not feminist enough, the way I did for Wonder Woman.

This is not a mindset I’ve seen, from some critics, that a movie simply might not be made for them. One of the key warning signs that you are with a bad critic, is their insistence that a movie is objectively bad or good, and that if you disagree with them, then something is wrong with you. I’ve seen far too many critics assert that, because they liked a movie, it was good, and that a movie was bad, because they didn’t like it, and then, on top of that, say that that they gave an objective review. I have hated plenty of movies that are, in fact, very good and cohesive films. But I’ve also loved plenty of movies that just aren’t great movies. Just like After Earth.

No! There’s nothing wrong with you. You are simply looking at the film through a different lens, and using different criteria than them. and you must be confident that YOU know what you like in a film.

Related image

Side note: I do not believe in “guilty pleasures”. I am never ashamed of loving or liking  a movie, or television show. I have my reasons for why I like something, I have actually thought it through, and I’m secure enough in my tastes that I know what my reasons are, even if the only reason is that it makes me feel happy, or that it looks pretty! I may occasionally be ashamed that I didn’t catch something seriously wrong with a movie, in my zeal to praise it, but I  am generally not ashamed when I like something, or to admit that I do, nor will I feel guilty about it.

And you shouldn’t either.

As a corollary to that general rule, I refuse to shame people for their own tastes, even if I find those tastes “puzzling”… If you can explain to me in a coherent manner why you love something (even if your only explanation is it makes you happy, or its just pretty), I can get with that. Your feelings about a movie are entirely valid, and you will never hear me describe anything on this blog as a “guilty” pleasure, and I would prefer that you don’t either.

Own your feelings!

Image result for guilty pleasures gifs

 

https://www.rogerebert.com/reviews/after-earth-2013

https://www.syfy.com/syfywire/in-defense-of-after-earth-the-m-night-shyamalan-movie-we-misunderstood

*Coming Soon: Why We Loved Suicide Squad and Venom, and Why They Didnt’

In Defense of The Village

 

 

For the me, there’s more than a movie just being good or bad, whatever that means, because,  as a Black woman, I am not the audience for a lot of movies that get made, so I have to find different ways of connecting to a movie. In doing so, I  sometimes  find gems where others don’t, or end up liking  movies others are set on hating (and yeah, sometimes a movie just stinks.) On this blog, I’m not necessarily here to tell you what to like. That’s a reviewers job, and I’m not actually a reviewer, although I do reviews. I consider my job to provide a fresh perspective on a movie, a way you may not have thought of before, so that the next time you come across it on TV or Netflix, you’ll remember ,and give the movie a try, maybe see it with fresh eyes.

Image result for shocked  black women gifs

I’m going to talk about two films that were hated by its critics, M. Night Shyamalan’s The Village, and (in the next post) Shyamalan’s After Earth. I see value in these films that other critics don’t because they are not looking at these films through the same lens that I’m using. (Caveat: Some of them don’t have the luxury. They are film reviewers and must go see movies I can happily reject. I can pick what I want to see, so I can remain positive about a lot of movies, in a way they may not be able to.

These movies resonated with me on an emotional level, and because of that, I am reluctant to say that they are “objectively” bad or good, which is a favorite word for armchair movie reviewers on Youtube. I’m not saying movies can’t be considered bad or good, but often that those words are sometimes wrongly used to describe movies that just did or didn’t emotionally resonate with the viewer, or did or didn’t do whatever the viewer wanted the movies to do. This doesn’t always mean the movie was bad. Sometimes it just means the viewer wasn’t the audience for that movie, or just didn’t get what they wanted out of it because of the critical lens through which they watched it. I have sometimes found that a movie isn’t actually  bad, but that the reviewer had very different criteria for liking it, or viewed it through a very different lens than I did.

Related image

For that reason, I generally avoid hate- watching movies and shows. I want to like what I see, and if I dislike something, I try to have a concrete reason behind why I didn’t. But sometimes I don’t have a reason. Sometimes, I simply wasn’t in the mood to watch it at that time, and when I come back wearing a different emotional, or critical lenses, I may enjoy it, as was the case with  the movies Ravenous,  The Descent, and My Cousin Vinny.

Sometimes, I will develop an undying hatred of a movie, such that no amount of lens polishing will allow me to enjoy it, like the movie Prometheus. This doesn’t mean that Prometheus was a bad film. It just means it was exasperating for me to watch it, and someone else might get enjoyment out of it. If you like it that’s great. If you can clearly explain to me why you do, I’ll watch it again, with your lenses on, and try to see what you saw in it. On the other hand, and as I’ve said before, just because critics hate something doesn’t mean I’m not going to like it, such was the case with Suicide Squad, and just about any movie by Zack Snyder.

I have also seen  situations where public opinion on a movie changes over a length of time. Movies that were panned when released were, in time, lauded as being the best whatever of their genre, and I have found that I’m usually correct in having loved the film at that time. As a result, I’ve gotten pretty confident about my taste in movies, (and dismissive of critics ideas about movies I happened to enjoy), because I usually get proven right, at some later date. This happened with a number of eighties films, (The Thing, and  Bladerunner, for example), that were disliked at the time, only to be considered Classics of the genre, twenty and thirty years later. (No, I didn’t hate E. T. I was indifferent to it, at the time, and still mostly am.)

 

The Village

Image result for the village movie gifs

I love stories and characters, and movies are just another way to tell stories. I  get into a movie through its characters. I have to like them. I’m also attracted to certain types of stories, but it’s not the minutiae of the story, like pacing and technical aspects, so much as what type of story, and if it’s an appealing story to me. I tend to love GRAND ROMANTIC stories. Not stories with romance in them , but stories with huge, grand, idealized philosophies, and if I see that in the story, chances are I will probably love the movie.

And this was the case with The Village. Yes, it does have a romance in it, but it also contained wider, broader themes about the human condition, that just appealed to me personally, (because ultimately, any movie experience is deeply personal). When this movie was released, it was panned by everyone, with some people jumping on that bandwagon because they hated the director, who started his career as a media darling, but public opinion  turned on him, after a series of failed films.

Image result for the village gifs

When I’m watching a movie, I’m mostly concentrating on how the movie made me FEEL. When I’m reviewing a movie, I ask myself different questions that help me evaluate what the movie means to me, what did I like in the movie, what was it about the movie that resonated with me, and why did I feel that way. From the micro, to the macro.

What is the point of the story? What is the theme of the movie?

Things can get complicated, just at this one point. According to the trailers for The Village, most of the people walking into the film expected it to be a horror movie, and they focused on the idea of monsters because that’s what the trailer told them to focus on. But the movie was not about scary monsters, and a lot of the audience walked away disappointed. Rather than accepting what was given to them, they focused on what they were not given: monsters. I wanted monsters too, because that’s what I was told would be in the movie, but finding out there was no monster was a pleasant surprise for me.

The Village is not a horror movie, in the strictest sense of the word, and apparently,  I was one of the few people who were okay with that at the time. I didn’t leave the theater upset because  I didn’t get to see monsters. Would I have liked the monsters in the movie to be real? Sure. But The Village turned out to be deeper than I expected. It had a grand, overarching, theme that resonated with me. It’s a meditation on unrequited love, grief, and loss, and I was pleased that I got that instead. If one disregards the trailer, than the movie accomplishes exactly what it set out to accomplish.

Image result for the point gifs

I  try to walk into a movie viewing experience with only loose expectations, like, “What type of story is it?” and “Will this be entertaining?” Based on what I think the movie may be about, I try to go in open to anything that may happen in it, without trying to place my agenda (what I want the story to do for me) onto the movie. But I do want to feel something, while I try to keep in the forefront of my mind, what is the creator trying to tell me, what do they want me to know, and what purpose might that serve.

What I  expect, on the most basic level, is to be emotionally moved by the characters, and entertained by the plot. I’m going to go wherever the movie wants to take me, and accept whatever scenery I’m given. I don’t worry about plot holes, or pacing, or musical cues, and stuff, (although, if I notice them and like them, that’s a huge plus, like with the movie Spiderman: Into the Spiderverse). Was the movie entertaining? Did I stay engaged the entire time? Was there a point to the story? Later, I can ask myself deeper questions like why was it entertaining for me, or what was it about the movie that made it fun for me, or scary, or funny.

What you should always ask yourself is: What did the story do for you?

Image result for driving gifs

The story in a movie is like being on a driving tour. That tour has a theme,  sometimes several. The driver is the storyteller, and he/she directs the action, decides where we’re going to go, and what we’ll be seeing on the tour. The characters onscreen are the other passengers on the tour, or just some people on the scene.  I like the other passengers, and  I enjoy watching them do things I didn’t expect, and see things I wouldn’t have found on my own. Sometimes the other passengers are terrifying, but it’s okay because they can’t actually hurt me.

If I think it’s a Horror movie, (if the driver has told me I’m going to be scared on my trip), I expect the journey to scare me. If I wasn’t scared, then the driver lied to me, but if I was given more than  just a scare, I consider that a bonus. That was the case with The Village. I was told (although I was not told that by M. Night Shyamalan/The Driver, himself, but a third uninvolved party, the people who made the trailer and marketed the movie), that I would be scared, and I was a little bit, but at the same time, the journey was worthwhile because of the movie’s other elements. I got something deeper, and much more unexpected, than just a scare. As I said before, I like Horror movies to have something extra, whether its romance, or comedy, or intellectual depth.

If I have been lead to believe it’s an Action movie, then I expect to see thrills, and spills. If a movie delivers on its basic foundation, but adds something extra, I can and will overlook all manner of faults, like plot points, pacing,  bad characters,  timing, or even whether or not it delivered on what I expected.This was the case with Suicide Squad, a movie critics absolutely hated, but I (and a bunch of other people) really enjoyed. Why? Because I genuinely liked the characters, who did exciting and interesting things on screen. I enjoyed their interactions with each other, and I liked a lot of the action scenes, which were just plain fun. There are a lot of perfectly legitimate criticisms of this movie, but the reason I love it is because it was a really fun trip, and other people’s problems with the movie were not enough to keep me from enjoying it.

Image result for eyeglasses gifs

What is the theme of the film? What is its message?

Understanding the message of a film often requires multiple viewings. There’s the initial impression, and based on whether or not I liked my initial impression, there will be multiple viewings, which will allow for greater insight. My mind is just really, really, good at recognizing patterns. That’s all it is, and anybody can develop that skill. I do it through lots of repetition.You cannot gain greater insight into a movie with only one viewing, because the insights  are often in the details you didn’t notice that first time. If there is something  I didn’t care for in my initial impression (like all the characters being unlikable), there are unlikely to be repeat viewings.

This also ties into how my mind works as a visual artist/illustrator.  When I first watch a movie, its from a kind of  overhead viewpoint. I get into the emotions of the movie, the characters, and the overall plot. Subsequent viewings allow me to focus on the finer details. Later, I will fit those tiny details into larger and larger patterns. It’s really like putting together a puzzle. You see the finished picture on the box,  and you like it. You sort the pieces and then  put them together to create that final picture, (sometimes that final picture may be part of an even larger picture, as well.)

The messages I got from The Village were about love, sacrifice, and grief. It’s  a story about LOVE, with parallel tracks chronicling different types of love, such as romantic,unrequited, sacrificial, and possessive.. There’s the romantic type of love between Lucius and Ivy, the tragic love between their parents, Walker and Alice, and the possessive love that Noah feels for Ivy.  Ivy and Walker are examples of sacrificial love, as they are both willing to sacrifice their peace to save Lucius’ life. Ivy endangers her life for Lucius, and Walker is willing to allow Ivy to leave (and possibly lose her) because he loves Alice, Lucius’ mother.

At the beginning of the movie, Ivy’s sister declares her love for Lucius, but is rebuffed because Lucius prefers Ivy. There is a contrast in how Ivy’s sister reacts to unrequited love, which is sacrifice and moving on vs. Noah’s reaction, which is possessive violence. And then there is the unspoken love between Ivy’s father, and Alice. This is unrealized love. The two are in love, and according to the rules of the society they created, can never  be together.

Related image

 

There is familial love between Ivy and Walker, and  Lucius and Alice. This type of love is emphasized through the character’s reactions to loss and grief. There are also  all the missing family members that the other characters mention, the loss of family that spurred them to run away from the world, to form a “utopian” society where they believed grief could not touch them. The movie opens with a funeral, and the death of a child. Grief can still access their lives. The pain is still going to happen, for example, witness how many times we see  shots of empty chairs throughout the movie.

Image result for the village movie / empty chairs

An empty chair in a movie scene is often meant to represent a space where someone should be. In this movie, the empty chairs, usually situated on porches, (or at dinner tables), which are, traditionally the site of familial gatherings, are meant to represent  the absence of loved ones. The entire movie carries a mood of unspoken grief and melancholy, which is only alleviated by its hopeful ending. The Elders of the community fled to The Village because each one of them has experienced the tragic loss of a family member, and  the point of the movie is that they cannot run away from loss or pain. The scattered, empty chairs are a constant reminder of their loss.

Critics and audiences completely turned against Shyamalan and started denigrating all of his films for not being as good as his first film, The Sixth Sense. They went into his next movies expecting all of them to have  surprise twists, and they do have surprise twists, just not the kinds of twists that were expected. (To be absolutely fair, Shyamalan definitely made some questionable film choices, though.) In the case of The Village, audiences were expecting a Horror movie, but since the monsters turned out to be false, some people decided that the movie was no good, because the trailer fooled them into thinking the monsters should’ve been real.

Many of these people failed to realize that the surface levels of Shyamalan’s movies are often not the point of the film, anyway. What appears to be the primary plot is often simply a backdrop for the telling of a different story altogether. The point of this movie isn’t the monsters. The  basic plot is just a backdrop for the examination of love and grief, just as the point of the movie Signs, isn’t the alien invasion. The alien invasion is simply a backdrop against which is being told the story of Reverend Graham regaining his faith in God. The story of Unbreakable isn’t about superheroes, but  about the disbelief in the modern mythology of superheroes, and one man overcoming that disbelief to take a leap of faith, and believe in himself.

Image result for racism   gifs

Now, I also must discuss here, the disturbing racial angle of some people’s criticism. Shyamalan is one of the few men of color directing big budget Hollywood movies. True, they are not always successful movies,  but audiences and critics did not seem willing to give his movies any chances after The Sixth Sense. They kept wanting him to repeat that first film, and some of them seemed to look no deeper into the motivations behind his stories beyond “the twist”. The Twist seemed to be all they wanted from him, and when he stepped away from that, to make other types of films, they vilified him for it.

I bring this up because I see the same thing happening in real time to Jordan Peele, especially after his comments in which he voiced the idea, that being a filmmaker gave him a platform, by which he could showcase actors of color, as leads. Its as if having been successful twice, there are people waiting in the wings for him to make a mistake, any mistake, which they can use to vilify his character, and bring him down. When men and women of color are highly successful, there is a contingent of White people who wait for them to make even the most minor of miscues, so that they can attempt to humble them. I witnessed this with Barack Obama, Beyonce, and I’m seeing it now with Ocasio – Cortez, and Jordan Peele. And I believe this is what happened with Shyamalan.

White film directors are given numerous opportunities to make bad films, some of them, have entire careers that consist of little more than mediocre flops, and yet the filmmakers have never received the sheer levels of vitriol that was leveled at Shyamalan by film critics. Some of them still manage to have great careers, or be considered critical darlings. Yes, he still manages to have a career, (so somebody is going to see Shyamalan’s movies), but critics insist on tearing apart all of his films, on the most minor details, no matter their quality, while sometimes excusing  just as shoddy work from some White filmmakers. And as I said before, some people use the failures and mistakes of PoC as an excuse to openly express the racism they’ve been taught not to express against an entire group of people.

 

‘Love, Death & Robots’ suffers from blatant sexism

https://www.dailydot.com/parsec/netflix-love-death-robots-review/

Short films can find it hard to attract a wider audience, so it’s cool to see Netflix promote a big, splashy showcase of animated sci-fi shorts. Sadly, Love, Death & Robots feels much less cool and boundary-pushing when you take a closer look. Curated by Tim Miller (Deadpool) and David Fincher (Fight Club), this anthology is full of gratuitous onscreen sexism—and blatant gender discrimination behind the camera.

Image result for love death and robots

I did watch this on Netflix,  and I actually enjoyed a few of the shorts featured as they were written by one of my favorite authors, John Scalzi. John Scalzi is not known as an especially “edgy” type of writer. In fact, he’s very progressive, so those shorts seem incongruous next to some of the other, more violent, shorts in the anthology. But this article is correct in stating that in every short that featured violence, female sexuality and nudity was associated with it, and in every instance of female nudity or sexuality, there was an extreme amount of violence involved in that story. In some of the stories the two occur simultaneously.

In all fairness though, not all of the short films feature either topic, and some of them are actually worth watching. Most notable were:

The Day the Yogurt Took Over was written by Scalzi from his anthology titled Miniatures. It’s hilarious.

Ice Age was very interesting. I enjoyed it a lot.

Fish Night is a story I remember reading, in another anthology, a couple of decades ago, and the story just stuck with me.

Lucky 13 was one of the better Scifi stories, and has a Black woman as the lead character.

Three Robots was really cute and it has cats, so some of you will definitely like it, and Suits was frantic and suspenseful.

But the story that affected me the most was Zima Blue, which I consider one of the best stories in the entire anthology. It was emotional and though provoking.

 

The Wired is a lot more damning of the show than I am though:

Netflix’s Love, Death & Robots is sexist sci-fi at its most tedious

https://www.wired.co.uk/article/love-death-and-robots-review-netflix

It’s not just a male gaze that ruins Love, Death & Robots, it’s an adolescent male gaze. The sex scenes are so bad they’re funny. At times, the dialogue is borderline farcical. All too often the series leans precariously on visual tricks – and while the worlds created here are vast and vivid, the plots are often non-existent.