Supernatural S14/E02 Review: Gods and Monsters

In “Gods and Monsters,” Supernatural begins a slow reveal of the mayhem Michael (Jensen Ackles) intends to introduce with his experimental creations. While Michael attempts to bring his ghastly vision into being, Nick (Mark Pellegrino) and Jack (Alexander Calvert) explore unacknowledged aspects of who they are. Writers Brad Buckner and Eugenie Ross-Leming construct the form […]

via Supernatural S14E02 Review: Gods and Monsters — The Supernatural Fox Sisters

I didn’t get to review this episode in time for tonight’s, so I’m just going to put this here, as it makes a lot of my own points. The Sisters are holding it down on the SPN front, really well.

I do want to add: Is anyone else excited about Sam’s new badassedness. I mean he was always like that but it was kinda lowkey most of the time. I mean I love Dean but whenever he steps out of the picture Sam always seems to level up in his demeanor.

And is anyone else worried about Sam’s proclamation about there being no more Kings of Hell. That sounds like a challenge, or the kind of declaration that’s going to put him in the interesting spot of actually ruling Hell himself, which I admit, I’d love to see, and it would be an interesting bookend to Dean’s possession by Michael at the beginning of this season.

Essentially both Hell and Heaven are completely leaderless, with whatever angels and demons that are left, just out in the world doing their own thing. The Brothers Winchester have created  two power vacuums that  makes me wonder who or what is going to take up that slack. Michaels already trying, but no one has stepped up to try for Hell yet (unless you count the possibility of Nick or Sam).

But I’m getting waay ahead of myself here, even though y’all know that sometimes what the guys say and do, at the beginning of a season, may come back to bite them later.

I’ve told you guys I’m not a huge fan of Buckner and Leoming, but they’re actually pretty good when someone keeps a tight rein on them, and that’s the case here, becasue I didn’t see too many problems with the episode, and overall I enjoyed it.

So, for the first time really, I’m going to give these two writers high marks for starting off the season with some nice action with Sam and the demons, an interesting mystery with Michael’s actions, just a touch of pathos with Jack’s, and Nick’s stories, and some intrigue by damseling Castiel this time.

Let’s hope the rest of the season hits the same high marks.

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These Shows Look Exciting

For some of these TV shows, I already posted trailers, but recently new trailers were introduced at the New York Comic Con, which got me enthused all over again. Now these are surefire shows and returns that I will definitely be watching when they air, usually because I enjoyed the first season, or read the book, or because I just like the premise and actors.

Wolf Creek Season 2 – Dec. 15th/?

Some of these shows, I don’t have concrete dates for, and for some of them I don’t even have a network, nevertheless, I will be scrolling through my TV guide to find them at the appointed times.

I remember doing a mini review of this when it first aired. The series was unexpectedly good. I say unexpected because I hated the movie on which this was based. Wolf Creek is based on the story of a real life serial killer who roamed the Australian Outback, several years ago, and I had trouble watching the film because it was more like torture porn than a legitimate movie, and seemed to be glorifying the killer, and I seriously didn’t like that. I also hate films where the soundtrack consists entirely of women screaming. I was sort of expecting that with this series, but what I got was a tension-filled thriller, where the  usual “Final Girl” plays a long cat and mouse game with the man who destroyed her family.

This time around I didn’t see any of that in the trailer, and there seems no continuation of the fallout from the first story, as far as I can tell. I think this is an entirely new cast, although once again, there’s a little bit too much glorification of the killer for my comfort. I’m not a fan of portraying real life serial killers as funny and entertaining, but I will tolerate that, if the show is really, really compelling.

We’ll see.

Good Omens – 2019/ Amazon/BBC

I’m a big David Tennant fan, so I will probably be here to watch this. No, I didn’t read the original story and have no great urge to do so. Sometimes I like to watch a source based show, solely on its own merits, and I want to do that with this one. I like the premise, and it looks hilarious, which I’m told is also true of the book its based on.

The Passage – 2019/Fox

I mentioned being excited about this earlier this year. Now this series, I did read the book but not because I knew it would become a TV show. I read it because it has some truly scary vampires in it, and I really liked the writing. The trailer heavily reminds me of Carey’s The Girl With All The Gifts, and I can’t help but think this may have been influenced by it, (although it wasn’t.)

The one problem I had with the first book in the trilogy by Justin Cronin was about halfway through the first book the story really slowed down, especially after those great first 200 pages. I seriously considered simply dropping the book, but I persevered, and I’m glad I did, because it picked up again for the last 50 pages or so, and the last part has some relevance to the next book in the series, called The Twelve.

The makers of the show have said they plan to stick pretty close to the first book as much as possible, including that 100 year jump that happens just after the events in the first 100 or so pages. Now I’m curious as to how they’re gonna pull that off without losing their audience. I almost didn’t finish the book for that reason.

Titans – DCEU Streaming/Today

I have no plans to subscribe to this network. I’m not buying one more damn app to watch shows on. I spend enough money now on cable. Nevertheless, I’m still excited about this show, not so much because of Anna Diop, but because I’m a big fan of Beastboy, mostly from watching Teen Titans Go, with my niece. (I’m probably one of five people, in the US, who doesn’t give a single  gotdamn that Starfire is being played by a Black woman. I think she looks gorgeous! I still hate her outfit.)

Star Trek Discovery Season 2 – Jan. 17th/ CBS All Access

The more of this I see, the more excited I am for the new season. I hope to get more insight into the Bridge crew, and I actually like Pike with his cocky ass. It’s still kind of bittersweet when you consider his life trajectory, though. It’s fitting there would be some Spock in this season, as Spock eventually comes to serve with Pike on the Enterprise, before Kirk became Captain. I really like Michael, and I love how she was so much of the focus of the first season, as is fitting, but I’d also like to see a little less focus on just her, and a little more of a focus on her interaction with the rest of the crew, and what their lives are like together.

And I have to watch it for the promised reunion between Culber and Stamets.

Siren – Jan. 2019/Freeform

I mostly enjoyed the first season which was kind of uneven as far as pacing and character. It seems like this season the show is going to focus on Indigenous shapeshifters, not just the mermaids, which I think is very exciting, and it appears the show will  continue to  slam it out of the park on the diversity angle, by adding more Indigenous people to the cast.

Daredevil Season 3 – Oct. 19th/Netflix

I’m almost excited for this new season because the trailer looks great. I was okay with the last season. I give it a C, as it could’ve been better, and mostly I just seemed to see all its faults. Well, it had a lot of faults. But I really like Vincent D’Onofrio though, so I’m looking forward to seeing the Kingpin again, only because Vincent is so damned good at playing him. The fight scenes look really good, and I’ve heard the other characters on the show get some major screen-time, separate from Matt’s shenanigans as Daredevil. Frankly, Foggy deserves it.

American Gods Season 2 – 2019/Starz

Do I even need to talk about how excited I am for the second season of this show. I do have a few misgivings though because the prolific Bryan Fuller is no longer in charge of this season. I think Nei Gaiman has taken over the writing or something, which is good, but Neil is not Bryan and I don’t know how or if he will approach the racial issues of the story the ay Bryan did. I’m always wary of White writers when it comes to the subject of race, unless they have proven track record of care and improvement. I like Neil, and have read many of his books, but I don’t know how he planes to approach the show.

Nevertheless, I’ll remain optimistic based on this trailer, which looks pretty good. I’d watch the show even if I hated the trailer, because I’m looking forward to meeting all the other Gods, like Mama-Ji. There’s also an Indigenous character, a young woman, that was added from the book, and another Asian woman called New Media, since Gillian Anderson left the show. New Media represents the god of social media and the internet, and is strongly aligned with Technical Boy. Hopefully we’ll get to see more of the Native gods of America, even though they were briefly mentioned and seen in the first season, although I have to say that such beings don’t show up til the end of the book, not that I think we should wait to see them.

What I’ve Been Watching: Mini-Reviews Of Dr. Who And Others

TV

Dr Who

I’m hooked! I know I’ve stated that I do not consider myself a Whovian because I’m not as steeped in the history of the show as some other more knowledgeable people might be, but I’ve always liked the show, and watched specific episodes when I was a kid in the 70s. I remember the Daleks from back then, and I know most of the villains on the series, and am familiar with a lot of the Doctors and their companions. I’m not steeped in minute details, but I know enough to navigate my way around a season.

In season 9 I started watching the show in earnest, because of the presence of Peter Capaldi, of whom I’m a big fan. I really loved him as the Doctor and I loved his new companion Bill Potts, and I was sorry to see them both gone.

I didnt actually know what to think of Jodi as the new Doctor at first. I was reserving my opinion on the entire issue until I saw some trailers or something, but after I saw the first trailer, I was intrigued, and I’ve seen her interviews about her new role, and her love and enthusiasm really captured me. I really like the actress herself. She so captures that sense of the Doctor. In fact, she reminds me of one of my other favorite Doctors, David Tennant whose career I’ve been following ever since. The first time I saw Jodi was in Grabbers, playing a drunken cop, and killing aliens, and I liked her in that movie, so when it was announced she’d be the new Doctor, I wasn’t upset, because I kinda knew of her.

Well, I watched the first episode and she is a darling . I really like her and I plan to watch the rest of the season. Now don’t get me wrong, the show isnt perfect, and did some things I found frustrating, but not frustrating enough to stop watching it, or lose interest, and overall, I really enjoyed myself. Some parts of it were a little heavy handed, and it remains to be seen how her companions, three at the moment, two of them PoC, will be treated by the writers. I have it on good authority that there are PoC in the writers room  for the very first time, so I feel optimistic about it.

Her new companions are a Black fellow named Ryan,and  his White stepfather, Graham (which is a dynamic I hope will be elaborated on in the future as their relationship is not an easy one), and a young Asian woman named Yasmin, who is/was a minor detective with the police. I like the relationship between Yasmin and Ryan as they are old grade school chums.

As for the Dr., she is her usual obnoxiously intelligent self, but with that little something extra that only Jodi could have brought to the role and something which all the actors who have played the Dr. were chosen for, their unique take on the character. It doesn’t hurt that she’s as nice to look at as any of the other Doctors like Tennant or Capaldi. I love her usual  know-it-all enthusiasm, which can get a bit grating after more than a little bit of it, but that’s okay, because the doctor usually prevails, and that’s also part of the reason I like this show so much.

So I guess this actually does make me a fan, huh?

Supernatural

I’m cautiously excited, and yet dreading, the rest of the season, because I care  so much about all  these characters, and know they’re in for a hard road, and some of them ain’t gonna make it out alive. Well, I’m in it til the end, so there. I’ll give a more detailed review at my other website and link it to this one. But I  really liked the premiere, and I’m going to give it a pretty high rating, and hope the rest of the season continues at that same level.

Charmed

I’ve been trying to drum up some enthusiasm for this show, but it’s been hard. I’m not a fan of the original show. In fact, I pretty much hated it, and that might have something to do with this retread. I don’t dislike this show. It’s only been one episode but I have a couple of objections.

I was really hoping, since the characters are meant to be Latina, that there would be some introduction of Brujeria magic into the show. Instead what we got was more of the European stuff, with Latin, and sparkly lights. It would have been a great idea to introduce Hispanic/Latinx cultural traditions into the show, and I would have liked to have seen that. I’m also against remaking old shows with Brown characters. Just give us a new show with a new name, maybe even the same characters, but an original show.

Now the show isn’t actually bad. One of the minor concepts in the premiere was the issue of sexual assault on campus. There’s a background story about one of the Professors being exonerated of sexual assault charges, who later turns out to be a demon who feeds on women’s strength. I thought that was neat little dovetail connecting the two issues, although occasionally heavy handed.

My biggest issue was the acting and the actresses. I’ve never seen two of them in anything, so I don’t know them, but they need a little work on their skills. And the youngest sister is one of those annoying narcissistic teenagers who doesn’t want to be special because it will ruin her chances to pledge with a sorority. The middle sister is a Lesbian with anger issues. Normally I’d have a problem with that but the writers try to be subtle about it,and it’s implied that the anger is a result of her coping with her mothers death, so this gets a pass. She’s the most intriguing character becasue I don’t know her as much about her, whereas with the younger sister, you feel like you know all you need to know about her.

I did like Mantocks older sister though because I understood her, and she’s just a better actress than the other two. Remember Mantock from Into the Badlands, so she’s got a great deal of experience p,and I liked her on that show. She shows up at the house after the girls mother dies and she’s lonely, and looking for a family. At first the two sisters reject her, and I kinda felt for her on that, but eventually they accept her, and try to bond with her. Mantocks acting is top notch. She almost brought me to tears a coupe of times. She’s also a scientist, which is something that plays out in an interesting way in the show. I liked that the writers combined some of her scientific knowledge with the magic,and it’s also really rare to see Brown women in STEM, so I’m all for it.

I feel like the writers need to spend time fleshing out their characters more, which they will of the show lasts beyond season one. The baby girl seems like she’s the comedy relief, and she can hear peoples thoughts. The middle girl seems to be the hearts and feelings one. She can stop time. The oldest played by Mantock is the brainy, logical one. I forget what her unique gift is though, so now I need to watch it for that.

Well, I don’t hate it, but I don’t dislike it either, and sometimes it takes time for me to determine if I liked something. I’m leaning in the direction of I Cautiously Like It. I’m not in love with it, but there’s the possibility of love, maybe.

Black Lightning

This is another show I’m invested in. I enjoy these characters, and want the best for them and like the dynamics between them. I’m a little tired of Tobias Whale as a villain and hope the season moves on from him, but I get why he’s present. There were a number of unexpected plot turns in the season premiere, so I’m looking forward to how the season turns out. I continue to be impressed by Anissa and even Jennifer. Yes, she’s still a  bratty teen who doesn’t want superpowers, but circumstances will force her to face her issues, whether she likes it or not, so I’m interested in what happens to her.

I didn’t see Siren’s (Tobias henchwoman’s) death coming. She was less likable than Tobias, so I’m not too broken up about her being killed by a sharpened stiletto through the throat. Incidentally, Anissa’s fight scenes are definitely the shit. I love to watch her put her thing down. She’s less conservative than her father. She’s a lot more of a maverick, and it shows in her fighting style, and I like that. When told that she can’t do something, she manages to find a workaround.

Jennifer is losing control of her powers, but that statement implies she was in control of them in the first place. She mostly tried to deny having them. At one point she has to be rescued by her father, when she can’t turn off her abilities. When she’s manifesting, he’s the only one who can make physical contact with her without dying, and from the looks of it, it’s still pretty painful for him. I mentioned to my Mom that in the comic books, she’s basically a sentient  bolt of lightning (or at least that’s how she’s drawn, and that her sleep/ floating is an indication of her flight powers manifesting.)

Lynn is her usual beautiful self. My mom and I had an interesting discussion about Lynn’s statement that Jennifer needed therapy. My mom thinks that’s a crock. What’s a therapist gonna do? But she feels that way about a lot of therapists. Some things she thinks talking about doesnt help at all, but I think Jennifer has been going through some major traumatic events outside of having superpowers, and needs to talk to someone who’s not her dad or sister.

Jefferson outed himself, and Anissa, to the Police commissioner. I didn’t see that coming, and I wonder what that means for their future endeavors as vigilantes. Is it gonna be like a Gotham city Batman type thing, where he quietly calls on Black Lightning to help him out from time to time, or will it be  a Dark Knight thing, where he has to pretend to want to catch him?

The show started off with a young Black man being killed by the police for having superpowers. This event is tied into the Black Lives Matter movement very neatly by a preacher on the show who says that the police are using the presence of superpowers to terrorize and kill young Black men. Now that’s how you do a racism allegory, by tying the fantasy aspect into the actual real life oppression of a marginalized group, and showing how that would affect that group. I talked about how I’m not a fan of racist allegories that don’t include any members of the group that the allegory was appropriated from. Here, it’s been done correctly, in a way I stated I would like to see in a sci fi fantasy show. And since it involves superpowers, this is done in such a way that I don’t too caught up in my feelings about police brutality. There’s a bit of an intellectual remove. If children from marginalized communities were suddenly developing superpowers, how would that affect how they’re treated by the dominant culture, and  their community. How would they react? It seems like the show will be addressing some of this. I hope they elaborate on it a bit more.

I loved the music for the show, too. I think Anissa’s fight scenes get some of the best music and its usually a reflection of her youth and general attitude. Jefferson’s music tends to be a bit more old school R&B, with some Jazz thrown in.

So, yeah, I’m definitely invested. Hopefully, the show will continue at this same high level for the rest of the season.

The Walking Dead

I’m watching it. Things seem okay. It certainly seems less depressing than previous seasons. I understand that this is Rick’s last season on the show, so I’m curious as to what is gonna happen to him and Michonne, and if the show can survive without him. I think it can. The show has built up the other characters enough that it would still be an emotionally compelling show without him.

I’m not a huge fan of intrigue and political gaming shows, though. It’s one of the major aspects that I dislike about Game of Thrones because I’m not interested in watching people fight with each other over who gets to be in charge, and I don’t want to see Game of Thrones during the Apocalypse, which is what this seems to be becoming, as Maggie and the others scheme to …well, I’m not sure what they’re scheming, but it feels bad though. I like these characters, and don’t want to watch them fight each other for power, although I’m always here for watching Michonne beaning somebody over the head when they start acting a fool.

I’m curious about the outcome of this season, but I’m kinda burnt out on the show, as a result I’m less enthused about it then I have been in the past. I’m pretty sure some of that lack of enthusiasm was caused by the death of Glenn, who I really, really miss. The show hasn’t felt right since his death. Without him, the past two seasons have just felt pointless, and depressing, in a way it didn’t when he was on the show. I’m not entirely done with the show, but I’m not making the huge emotional investment that I did in the past.

Also, part of the reason I’m reluctant to become as emotionally involved in the show is that I’m too damn tired to do it. Things are so batshit right now in this country, that I’ve quite used up all my emotions, and don’t have any to spare for a TV show like this. If it were a more intellectual series, than maybe I could, but this show is not Westworld, a show which requires less emotional investment, only a mostly intellectual one. This is actually a pretty draining show, which is part of the reason why I stopped reviewing it.

Well, I can always keep abreast of the show through the Talking Dead show which airs right after. I’m not a fan of the host of the show, since he tries too hard to be funny, but the guests discuss their characters and the plot in depth, and I can get an idea of what’s going on without having to sit through an entire episode.

Mr. Mercedes

This series is based on the trilogy by Stephen King, which I really enjoyed. The first season was based on the first book, about a serial killer, named Brady who plays cat and mouse games with the retired cop, Hodges, who assigned himself to capture him. He’s accompanied by a young black kid, named Jerome, his love interest/neighbor Donna, and a young woman on the autism spectrum named Holly. (Hint: I’m a huge fan of Holly.) The first season, and the book, ended with Brady in a coma, being kept in a special hospital.

The new season skips over the second book, which doesn’t have a whole lot to do with Brady, and skips to the third book in the series, called End of Watch, and chronicles Brady’s mental superpowers that result from his doctors experiments with drugs, and Brady using those powers to target the people who put him in his condition.

Since I didn’t finish the first season of the show, I missed out on the fact that there are a lot of PoC in this show. Sure Hodges is the center of it but not completely. The other characters get major screen time and are shown to have lives and family outside of Hodges. Especially Jerome, whose father is going through some financial issues, while his little sister seems to be going through some emotional ones. I already like Jerome, but his family members didn’t make a good impression on me because the plot requires them to be assholes to Jerome, and I didn’t care for that.

I’m going to stick around for a bit and see if what happens on the show lines up with what happens in the book, which I think was the best book in the trilogy.

Mr. Inbetween

I’m not a huge fan of shows which sympathize and humanize incredibly violent men but this show is intriguing because it does some unexpected things with the characters and I liked the mood of it. The show is out of Australia and that may have something to do with the approach which, while kind of light at times, is not played for comedy. The humor arises out of the dialogue and decisions characters make on the show. The violence is not played for laughs.

The lead character is named Ray, a hitman, and an ex-con, who gets into various misadventures while trying to juggle his relationships with his loved ones, and attend anger management classes. The most poignant relationship is with his young daughter, who is really cute, and so far as I’ve seen, does not exist to be put in danger, and his relationship with a young woman he just met. The show is unremarkable beyond the acting and dialogue. The plot consist of Ray getting into and solving crazy situations while being harangued by whatever criminal employers he’s with that week, while sorta keeping things secret from his family. The Typical “hitman as lovable rogue” type plots really.

The Devil Went Down To The Crossroads

I went to the crossroad, fell down on my knees
I went to the crossroad, fell down on my knees
Asked the Lord above “have mercy, now save poor Bob, if you please”
Ooh, standin’ at the crossroad, tried to flag a ride
Ooh-ee, I tried to flag a ride
Didn’t nobody seem to know me, babe, everybody pass me by
Standin’ at the crossroad, baby, risin’ sun goin’ down
Standin’ at the crossroad, baby, eee-eee, risin’ sun goin’ down
I believe to my soul, now, poor Bob is sinkin’ down
You can run, you can run, tell my friend Willie Brown
You can run, you can run, tell my friend Willie Brown
That I got the crossroad blues this mornin’, Lord, babe, I’m sinkin’ down
And I went to the crossroad, mama, I looked east and west
I went to the crossroad, baby, I looked East and West
Lord, I didn’t have no sweet woman, ooh well, babe, in my distress
— Cossroad Blues – Robert Johnson

 

I was inspired to write this essay  by an episode of Supernatural, titled Crossroad Blues, which aired in season two, and is a direct reference to the above song. In the episode, Sam and Dean are investigating the deaths of two people who said they were being followed by Hellhounds, and chronicles their first meeting with a Crossroads demon, whose job it is to collect the souls of humanity by offering people their fondest wishes, for a limited span of time. When their time is up, (a year, or five, or ten), Hellhounds are sent to collect the hapless soul.

The  folklore about haunted crossroads comes from many cultures, but the folklore referenced in this particular episode of the series is sourced directly from  the part of the South in which my mother was born, the Mississippi Delta. This is the kind of music I grew up listening to, and my Mom was the one who tried to explain the concept of Hellhounds to me.

The idea of Hellhounds (Black Hounds, Black Shuck, or Fetches, as harbingers of death) isn’t unique to the South either, but all these ideas come together directly from a song by Robert Johnson, where he sings about a man named Willie Brown, meeting the devil at a crossroads, making a deal with him for fame, and naturally, because the Devil is the Devil, regretting the whole matter, when it was time to pay up, and having to deal with the Hellhounds now on his trail..

Image result for black shuck gif

 

Tales of bargains with The Devil are even older than that, with one of the most popular being the German  legend of Johann Faust, who makes a deal with The Devil/ Mephistopheles, for unlimited knowledge and worldly pleasures. So many movies, operas, plays, and stories have come from this legend, (and the Greek legend that spawned it), that it has become its own genre, The Faustian Pact/Bargain, in which a greedy person makes unethical, or soul destroying choices to get fame and glory,and pays a nasty price, although these specific stories are more religious in theme and origin than Southern folklore.

There are also lots  of tales of The Devil traveling down South and losing bets, due to the cleverness, or skills, of a human opponent. Before The Devil Went Down to Georgia, he was sung about in Lonesome Fiddle Blues, a song later adapted by the Charlie Daniels Band in 1979. In the song, a boy named Johnny competes in a music contest with The Devil, for a golden fiddle, and wins. It’s an entirely appropriate song for the show Supernatural, containing elements of Rock music and Country/ Bluegrass folk songs,  and its David and Goliath theme of a little guy being underestimated, and triumphing, over a supposedly larger, stronger foe. Sounds like a couple of guys we know, huh?

 

Going down to a Crossroads, to make  Faustian bargains, is also a popular trope. In the 1986 movie Crossroads, which was inspired by the legend of Robert Johnson and featured the title song, Joe Seneca stars as Willie Brown, who must go to the crossroads, and make a deal with The Devil to get back the soul he bargained away decades ago.

Willie is accompanied in this soul quest by Ralph Macchio, as Eugene,  and Jamie Gertz, as Eugene’s scheming love interest, Frances. The movie culminates in a guitar showdown between Eugene and a famous Rock guitarist, named  Jack Butler, played by Steve Vai, a contest which directly echoes the fiddling contest in The Devil Went Down to Georgia, right down to referencing  two different genres of music. The Devil, also known as Legba, (from Voudon), and Scratch, (a very old Southern name), is gleefully played by Robert Judd. The very first time I ever heard that name for the Devil was from guess who!

The entire movie has a poetic resonance, because the music Eugene uses, in a desperate bid to win his contest against Jack Butler, is the same classical music style that he’d spent the first half of the movie treating  with some contempt.

 

The 1941 movie, The Devil and Daniel Webster, is another retelling of the Faust legend  in which a famous lawyer goes up against the devil in a courtroom, to save the soul of a wayward farmer. Its based on the short story by Stephen Benet. The original title was changed to  All That Money Can Buy.

 

In the 1987 Angelheart, The Devil, played by Robert Deniro, as Louis Cyphre, gets as far South as Louisiana in his search for a runaway soul housed in the body of Detective Harry Angel, played by Mickey Rourke. This movie was most famous for the sex scene depicted between  Rourke, and Lisa Bonet, who was fresh off her stint on the much more wholesome Cosby Show. It’s a gorgeous film, although somewhat gory. This doesn’t contain a musical contest, but more of a contest of wills between Harry and Louis.

My favorite scene is one of the more innocent looking ones, where Deniro offers Harry an egg. Within the context of the movie, and its version of Christian mythology, the peeling of the egg is highly symbolic:

In the Orthodox and Eastern Catholic Churches, Easter eggs are dyed red to represent the blood of Christ, with further symbolism being found in the hard shell of the egg symbolizing the sealed Tomb of Christ — the cracking of which symbolized his resurrection from the dead.

In this instance the egg represents the soul, most specifically  the soul of Harry Angel as Louis Cyphre peels off the egg shell, which is symbolic of the plot of the film, as Harry peels back the layers of his life and memories, until he reaches the film’s tragic conclusion.

Angelheart is available on Hulu.

 

One of my personal favorites is this little nugget  called The Devil and Daniel Mouse, based on the above movie, and created as a Canadian Halloween special in the early 80s. It took me a really long time to find this again. Once again, we get echoes of The Devil Went Down to Georgia, as the lead character tries to bargain back her soul from the devil, and is aided by the mouse who loves her, who contests the Devil in a musical fight.

This is available on Youtube.

 

 

Another cartoon offshoot of the Faustian Bargain is an echo of the above story called Rock and Rule. This is another favorite of mine, as it introduced me to a lot of different artists I’d not heard of before like Lou Reed, and Iggy Pop. I was already a fan of Debbie Harry, though. Its a very surreal film, with lots of music, and well… no people, just these furry type citizens living as if they were people, and while the Devil isn’t going down South in this movie, it does contain  the Devil’s Bargain theme. My favorite character is of course Mok, voiced by Don Francks, and sung by Lou Reed. My favorite song from this movie is Debbie Harry’s Angel’s Song.

(The full movie is available on Youtube.)

 

 

Check out any of the above, and if you have any recs for more Faustian Bargain movies, let me know in the comments. I may or may not have seen them.

Other Faustian Bargain films to Watch for Halloween:

Rosemary’s Baby

The Picture of Dorian Gray

Ghost Rider

Spawn

Devil’s Advocate

The Witches of Eastwick

Constantine

 

Finally here, have some more Robert Johnson:

White Men: The Pandering Pt. One – History

This is part one of my three part rant? essay? discussion? of racism in pop culture,  how for much of its existence, the demographic it was aimed at was middle class (sometimes Working class) White men between the ages of 17 and 40, and how this manifested in our entertainments. I can’t  cover everything, or even as much as I like, (for example Art and Sports I’m going to have leave out of this discussion. I’m not knowledgeable enough to speak on the Sports issue, and the Art issue is a separate topic of its own), but I’m going to try to cover as much as I can, in as  coherent a  manner as possible.
This first part will give a quick primer into how and why cultural tastes changed, and try to relate it to the culture  wars we’ve been witnessing in the last twenty years.
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White men have had a nice long run as the arbiters of this nation’s cultural tastes, in music, books, TV, and movies. I’m mostly going to talk about the last forty years of pop culture, although I do discuss the precedent for a lot of the bad behavior we’ve been seeing, throughout the history of popular culture.
Pop culture is something that impacts all our lives. It is the books we read, the music we hear, the TV shows we watch, and the movies we see. It is so ubiquitous as to be nearly invisible, and everyone participates in it, and is affected by it, (especially those who think they are not just because they got rid of their TVs.) And since its invention, it’s been entirely controlled by straight, White, middle-class, cis-gender (American) men.
When television  finally reached a mainstream audience in the 1950’s,  much of it was aimed at middle class, White audiences, the only people who could afford it, and it was largely family oriented. What wasn’t geared towards children, was geared towards middle aged men, (with a nod towards White women here and there) most of whom had just come back from the war, were entering the jobs market  again, and had families to support. This helped to create what we now call Primetime TV,  those two to three hours between getting home from work/commute, and going to bed at 11 or 12 at night. Most daytime television was actually geared towards women (and small children) who were being encouraged to leave the job market after the war,and  go back into and take care of the home. What we think of as the modern Soap Opera appeared around this time, and also show’s specifically geared towards small children like Howdy Doody, (which appeared in 1947), Lassie, and The Mickey Mouse Show.
During the 60’s though, many forms of media began to aim for teen audiences, but tastes were still led by the White middle class, and much of American  culture was aimed at appealing to them. Black artists, especially in movies and music, had their own venues and many of them did quite well, while appealing to Black audiences. Just like now, young white  people often appreciated and appropriated Black culture, and every time they did that, their parents hated it, forming counsels to suppress and demonize it. From Swing and Jazz in the 20’s and 40’s, to Comic books in the 50’s, to the beatniks in the 60s, to Rap music in the 80’s, every time young people latched onto some new pop culture interest, the powers that be (the White men that owned all of media) found a way to suppress that interest by casting it in a negative light, or appropriated it in order to mainstream it to a wider audience, to make money  for themselves.
In the 60’s, White adults lost the war against Rock music because Rock music was aimed at young Whites  who, by that time, were controlling the cultural tastes. Music was darker and edgier, with messages of social justice prevalent  in Folk music, and the topic of drugs and sex in Rock. These are the things young folk were interested in and the different media industries crafted product to appeal to the disposable income of straight, middle class, White teens and young adults.
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Television shows, while still consisting of largely sitcoms and Westerns, became edgier and darker, too. Many shows (such as Star Trek in 1963) began promoting messages of social justice and free love that was being espoused by young adults of all races at the time, and the Westerns and sitcoms of the 50’s, with their bland messages about moral authority, were joined  by  much darker police procedurals,  science fiction,  and detective shows. The plots and humor of these shows was more sophisticated and complex. Much of this darkness came about because of the violence against racial justice movements, coupled with a progression in technology. The handheld camera and the steady cam brought images of racial and social unrest directly into the home. Corruption in the White House, and the Korean and Vietnamese Wars brought images of wartime atrocity into the home as well.
By the 70’s, the battles against music, and (comic) books, and movies, had pretty much been lost. But new ones were beginning. There was the rise of Disco, a musical style that was created and promoted within social circles  frequented  by Black women and  Queer Poc, which arose out of the free love movement of the late 60’s, coupled with the Stonewall Uprising in 1969.
In the above article, Arthur Chu lays out a history of White male outrage, from the 1970’s, to now. What we’re seeing now, all the tantrums and harassment, and shitty behavior IS NOT NEW!  When White men don’t like the direction in which the pop culture is turning, they always go into a paroxysm of violent and antisocial behavior to correct that direction. It happened to Rock music in the 60’s, against Disco in the 70’s, against Lilith Fair in the 90’s, they tried (and failed) with Rock music again in the 80’s, and Rap music from the 90’s til now. Mainstream America hated beatnik poetry, comic books, and even tried to ban Harry Potter books, and they worked  hard to censor movies as well, until the studio system was overturned in the 60s, which ushered in a new wave of movies with social messages, sex, and violence, which they also roundly hated.
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It appears that every twenty years or so, we must all suffer through the existential angst of the next generation of entitled White males discovering they are not actually the arbiters of American tastes, as they begin to grow older,  and 20-25 years from now, we’ll probably  go through this all over again, over some new subject. Each successive generation of White men discovers, as they grow older, that corporations involved in Pop culture, that used to appeal to them,  are now  appealing and responding to younger, more progressive (and browner) audiences, and in each generation there is a backlash against that, that they ultimately end up losing, as they age out, and cease to be of relevance to corporate America.
We are also seeing a rise in generational resentment as Millenials come under fire for the destruction of industries previously appealed to by the Boomers and Generation X’ers of the 20th century, like the motorcycle and housing industries. This form of generational warfare is also not new. It happened in the 50’s, and the 60’s, with adults vilifying teenagers for liking Rock music, and again in the 80’s, when the generation that ushered in Rock music, hated the British New Wave, Punk, and Rap music flooding radio airwaves, along with their genderbending styles and fashions.
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In every generation, White men are exultant to win a handful of skirmishes in the culture wars, just as they were happy at their brief victory over Disco,  and their routing of the female led Indie Rock scene in the 90’s, (called Lilith Fair), but they always eventually lose these wars, (and they’re going to lose this one too, I suspect.) Disco survived to become Dance music in the 80’s. The destruction of  Lillith Fair resulted in a huge Indie music scene, led by marginalized people, thanks to things like digital music streaming, Vevo, and Youtube.
The progression of  pop culture goes hand in hand with the progression of technology, and the Internet  has thrown a monkey wrench into practicing their current  outrages, even as it has given them new ways to show it. Their “victims” can now push back in ways they couldn’t in the past, and can now also isolate themselves in “safe spaces”, away from their meddling. Ironically, those musical styles that didn’t receive quite as much cultural pushback, have faded into  obscurity, like Punk, and New Wave.
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White (male) prioritization existed before television and movies, but I want to talk about how Pop Culture and the various media have aided and abetted it. I’m going to talk about the history of White (male) Prioritization in Pop Culture, what it is, what it looks like, and how we all reached the point where White male fans are, once again, doing that thing that White men have always done, attempting to turn the culture in the direction that suits them, as they begin to age out, and their opinions become less relevant to the corporations that seek to ever appeal to younger and Blacker audiences.
This is an especially appropriate topic considering Nike’s new promotional stance behind Colin Kaepernick as their new spokesman. Nike knows which side of the  bread their butter is on, and they’re putting their money behind athletes like Kaepernick, Serena Williams, because they appeal to the younger, progressive, more inter-racial, and socially savvy Millenials whose dollar  Nike wants. It is Black and Brown people who are driving cultural tastes and have been for the last thirty years, (from the 60’s through to the early 80’s, it was primarily White teens. Probably in another twenty years the arbiters of cultural taste will be Latinos). Black has always been cool, but now there’s real monetary power behind that idea, and that shows in the way the country’s musical, literary, and visual tastes have changed since the 80’s.
Side Note: Violent White male cultural outrage  goes back much  further than Pop culture. It is well documented that during reconstruction, after the Civil War, White men went into a paroxysm of lynching and terrorizing of Black people, (the KKK was invented to do just that), and the same during/after the Civil Rights era, and after Brown vs. board of Education.  Every time PoC made any kind of social progress, Whites responded with violence. they reacted just as violently sometimes to changes in Pop culture, too. White men behaving badly, when society is not heading in the direction they want for  themselves, is as American as apple pie.
The move technically only affected South Carolina and Louisiana but symbolically gestured to the south that the north would no longer hold the former Confederacy to the promise of full citizenship for freed blacks, and the south jumped at the chance to renege on the pledge. The end of Reconstruction ushered in a widespread campaign of racial terror and oppression against newly freed black Americans, of which lynching was a cornerstone.
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White men (and not a few women) have spent a not insignificant amount of their time in this country finding (and making up excuses) to violently terrorize women and PoC. From lynchings, to the harassment of marginalized people in online spaces, to mass shootings, it all stems from the same mindset, the maintenance of White male entitlement and supremacy. But this maintenance of White supremacy has also taken many other forms over the decades. One of those methods is White Prioritization. White men have traditionally been the ones to define reality for themselves and everyone else. They got to create the narratives,  name the out-groups, and determine their life choices.
OPPRESSION
The systematic subjugation of one social group by a more powerful social group for the social, economic, and political benefit of the more powerful social group. Rita Hardiman and Bailey Jackson state that oppression exists when the following 4 conditions are found:

  • the oppressor group has the power to define reality for themselves and others,
  • the target groups take in and internalize the negative messages about them and end up cooperating with the oppressors (thinking and acting like them),
  • genocide, harassment, and discrimination are systematic and institutionalized, so that individuals are not necessary to keep it going, and,
  • members of both the oppressor and target groups are socialized to play their roles as normal and correct.

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The media (especially popular media) is often the  means of  disseminating this information throughout  the rest of society, (and the world) and one of the major ways this works is through:

White Prioritization:

To treat or consider as of greater importance than other matters.
The Entertainment Industry is entirely  owned and controlled by straight, White, cis-gender, middle-class men, from its creation, to its distribution, to advertising and consumption, and of course, men being men,  they would  prioritize their own interests, desires, and tastes, mainstreaming all the things they consider to be normal, while marginalizing everything and everyone  else.
*Stitch’s Media Mix outlines how White Prioritization is enacted in fandom:

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MaryAnn Johanson

about 3 years ago… “Did you honestly think that every poster showing a strong, handsome male lead holding a gun and getting ready to do some damage wasn’t designed to appeal to your need to feel and identify as powerful, and that making the lead actor white would make that connection easier?”

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*It is White men who get to decide what movies. songs, and TV shows will be a priority, and what everyone else will be watching and listening to, and the priority has always been for White men:
Casting Jordan over a white actor is pandering to black people and white guilt, as was casting Idris Elba as Heimdall in Thor. Making Ms. Marvel Muslim in the latest comic series is pandering to tolerance. Poison Ivy and Harley Quinn finally having their romantic relationship acknowledged as canon is pandering to the gay agenda. Michelle Gomez as a female Master in Doctor Who is pandering to feminists. So much pandering. Why must companies pander, oh why, screamed the straight white male whose only motivation is the unencumbered execution of art free from social issues and something something ethics in video-game journalism?
*It isWhite men who decide what roles will be played by whom, and in what movies:
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*It is primarily White men (with few exceptions) who decide whose stories are going to be told, who will be telling those stories, what gets said in those stories, as well as who is doing the saying, putting  words in the mouths of Blacks, Asians, women, and Queer people, or deciding if those characters will speak at all:
*These same men get to decide which movies will get made, receive critical acclaim, or win awards:
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*Publishing is not quite as bad although the situation is nowhere near parity, and there are still enough  White fan gatekeepers who will act foolish about various social issues:
*The music industry is almost as hopeless as the film industry. While there are increasing numbers of men of color calling the shots in this industry, so far all they’ve done is replicate the  intersectional version of sexism and patriarchy in the songs, performances, and music videos of the medium.
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*And as for the Gaming industry, White male Prioritization has been its watchword from the beginning;

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The Culture Wars

Basically, the culture wars we are witnessing today are not new. They have always been a part of American culture, and most often consist of Americans arguing among themselves over who gets to control cultural tastes, who gets to control the narrative and what is getting said. Whose voice takes precedence.

The ways in which these culture wars have been fought can manifest in different ways, but most often its through bullying, intimidation and violence from the dominant culture, after marginalized people begin speaking out about their representation (or in some cases, like with Disco, just enjoying themselves too much).  Sometimes this control is state sanctioned through censorship, banning of the items in question (like certain books), and even arrests, and lawsuits.

https://www.washingtonpost.com/news/theworldpost/wp/2018/08/03/culture-war/?noredirect=on&utm_term=.ae4a595344c7

And since I’m an intersectional ranter, I don’t want White women to feel left out. Over  the many decades, there have been more than a few White women (and even WoC) willing, and eager, to jump on whatever cultural outrage bandwagon that White men were able to dream up, often in an effort to “protect the children” from certain music, books, and movies. We witnessed this during the ‘Gay recruitment of children’ phase in the 70’s, led by Anita Bryant; the ‘Rock music is corrupting the children’ hysteria during the 80’s, led by Tipper Gore; and the ‘Rap music is corrupting our children’ phase during the 90’s, which was, rather unusually, led by a Black woman named C. Dolores Tucker.

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Lately, it has been a common refrain from white male fans that diversity and inclusion is “being shoved down their throats”. (Why this particular euphemism is so prevalent is an ironic mystery, especially when used to refer to LGBTQ characters in movies, books, and games).  Every time some dust-up in Pop culture is caused by White men being angry about the inclusion of marginalized people, into spaces they have always thought of as theirs, I am reminded of Samuel R. Delaney’s essay about Racism in Science Fiction, which was written waay back in 1998, but is especially relevant today:

 As long as there are only one, two, or a handful of us, however, I presume in a field such as science fiction, where many of its writers come out of the liberal-Jewish tradition, prejudice will most likely remain a slight force—until, say, black writers start to number thirteen, fifteen, twenty percent of the total. At that point, where the competition might be perceived as having some economic heft, chances are we will have as much racism and prejudice here as in any other field.

And he was correct, because this has happened in every part of the entertainment industry that White men had claimed as their own.

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In Music:

Music that was already heavily influenced, or created, by Black innovation, experienced increasing degrees of demonization by the mainstream public, only to later be accepted by that same mainstream when the source material was  deliberately appropriated by White performers, and its initial audiences reached full adulthood. This has happened with every form of musical genre created by Black artists. Young White people love it so much, that they can only respect it by taking it and making it theirs. Unfortunately, their appreciation has a tendency to result in the devaluation and erasure of those who originally created the style, such as happened with Rock music. We’ve been watching this happen to Rap music for the last 20 years, but its happened with other genres:

Jazz/The 1920s

Disco isn’t the first musical style to win White people’s ire, because it was being performed by groups of people they didn’t like, (although some Whites were fascinated by these new cultural sounds), only to be appropriated, and made famous by White performers later:

https://digitalcommons.iwu.edu/cgi/viewcontent.cgi?article=1069&context=constructing

White phonograph companies refused to record Negro jazz because of
the traditionalist opposition ~o jazz music in the general white population.
Traditionalists, usually Protestant middle-class Americans of Anglo-Saxon
ancestry, connected jazz to the Negro brothels, where it had first become popularin New Orleans. Milton Mezzrow, a jazz clarinetist, wrote that, in the twenties,Negro jazz “was called ‘nigger music’ and ‘whorehouse music’ and ‘nice’ people turned their noses up at it.”6 They refused to accept jazz because they believed it was immoral.

The Blues (1960s)

https://www.shmoop.com/blues-history/race.html

Phillips played an instrumental role early in the careers of the bluesmen Howlin’ Wolf and B.B. King, but he is best remembered for being the first to record Elvis. One of the most repeated quotes in the history of American popular music is Phillips’ fateful musing that if he could “find a white man who had the Negro sound and the Negro feel, [he] could make a billion dollars.”16

That man, of course, turned out to be Elvis Presley.

Rock Music (1950s)

Often, White people treat other cultures as if they were the local Stop and Rob. The internet makes it so much easier for them to eavesdrop on other cultures, watching closely to see what cultural nuggets they can mine from marginalized peoples, from food, to hairstyles, to language, and they pounce the moment they think they’ve found something that can be White people’s newest hot take on…whatever. Incidentally White people never call any of this appropriation. They like to call it “sharing”.

http://www.slate.com/articles/arts/music_box/2016/10/race_rock_and_the_rolling_stones_how_the_rock_and_roll_became_white.html

—Harper’s magazine published an essay by future Pulitzer Prize winner Margo Jefferson titled “Ripping Off Black Music.” The piece was partly a broad historical overview of white appropriations of black musical forms, from blackface minstrel pioneer T.D. Rice through the current day, and partly a more personal lament over what Jefferson, a black critic, had come to see as an endless cycle of cultural plunder. The article’s most striking moment arrived in its penultimate paragraph:

The night Jimi died I dreamed this was the latest step in a plot being designed to eliminate blacks from rock music so that it may be recorded in history as a creation of whites. Future generations, my dream ran, will be taught that while rock may have had its beginnings among blacks, it had its true flowering among whites. The best black artists will thus be studied as remarkable primitives who unconsciously foreshadowed future developments.

And that’s exactly what happened, as almost nobody remembers that Rock music was invented by Black artists.

Disco (1970s)

Another one of the forerunners to our current culture war was White male outrage at Disco Demolition Night in 1979. Disco was a music primarily engaged in, and created by, Hispanics, Blacks, and Women. Until this too was appropriated by groups like Abba and the Bee Gees, White men raged an all out assault against this music they felt didn’t speak to or represent them.

This resulted in a full-on riot at Comiskey Park in 1979.

https://aeon.co/ideas/the-night-when-straight-white-males-tried-to-kill-disco

http://daily.redbullmusicacademy.com/2016/09/disco-demolition-introduction

http://www.bbc.com/culture/story/20180403-why-disco-should-be-taken-seriously

Rap Music (The 80’s)

There was also a White backlash aimed at Rap music, when it was reaching popularity in the late 80’s, and there were many attempts to brand it as demonic, illegal, immoral, and therefore worthy of censorship :

https://www.thedailybeast.com/when-nwa-terrified-white-america

The Great Rap Censorship Scare of 1990 – Medium.Com

View story at Medium.com

In Gaming

This culture war began  with Anita Sarkeesian (2012), who only had to make the announcement that she wanted to critique gaming from a feminist perspective. This eventually morphed into Gamergate, which pulled in  more women who were involved in gaming (2014), and eventually this  formed the backbone of the Alt-Right. The culture that harassed Anita Sarkeesian in 2012,  is of the same 4Chan mindset that birthed  the current ongoing campaign of harassment of women of color, Queer people on social media.

https://www.newstatesman.com/blogs/internet/2012/06/dear-internet-why-you-cant-have-anything-nice

(There was a second article by this writer detailing some of the harassment that Sarkeesian endured, which I have not linked to, because it contained violent and pornographic images of her.)

https://www.vox.com/2014/9/6/6111065/gamergate-explained-everybody-fighting

https://www.cnet.com/news/gamergate-donald-trump-american-nazis-how-video-game-culture-blew-everything-up/

In Movies/Fandom

Actor Harrasment

Since Hollywood has been listening to marginalized people, and begun the barebones acknowledgment of other audiences besides White men in their narratives, there has a been a concerted backlash against many of the actors involved in diverse, or  race and genderbent TV and movie productions, and characters, with Candace Patton from  the CW series The Flash, Kelly Marie Tran from The Last Jedi, and Leslie Jones from the all female  Ghostbusters of 2016, being the forefront. This has continued with Ana Diop, a Black actress who was cast as an alien named Starfire on the CW’s Titans TV series.

https://www.vox.com/culture/2018/6/5/17429196/kelly-marie-tran-instagram-deleted-harassment-star-wars-rose-last-jedi

https://www.thecut.com/2016/08/a-timeline-of-leslie-joness-horrific-online-abuse.html

https://www.themarysue.com/candice-patton-asleigh-murray-racist-backlash/

https://www.vox.com/2018/7/27/17618954/teen-titans-starfire-racism-anna-diop

https://www.forbes.com/sites/janetwburns/2017/12/27/black-women-are-besieged-on-social-media-and-white-apathy-damns-us-all/#7e22ea9e423e

In Publishing/Comics

The Rabid Puppies/Science Fiction

In the SciFi/Fantasy genre of publishing there has been a meltdown from writers who, just as Samuel R. Delaney stated, feel that there is TOO much diversity in the genre, that as straight White men they’ve been ignored, and that the genre has been taken over by SJWs, who are only giving awards to the like-minded. The less radical version of this group is called The Sad Puppies.

http://www.jimkelly.net/blog/2018/2/3/dont-read-the-comments

There has always been a certain level of diversity in comic books, but in the past five years Marvel and DC have made an all-out push for gay, transgender, Black, Asian, Muslim and other characters as the primaries in their own stories. A number of ” Legacy” characters have been replaced by women and PoC. Iron Man is now a Black woman named Riri, Thor, Wolverine and Hawkeye were replaced by women, Spiderman is now a young Black man named Miles Morales, Captain America has been replaced several times by Sam Wilson,  several DC characters, like Poison Ivy and Harley Quinn, have come out of the closet, The Hulk’s new name is Amadeus Cho, the smartest person in the universe is a little Black girl named Lunella Lafayette, and one of Marvel’s biggest selling books features a Muslim girl in the role of Captain Marvel.

https://www.macleans.ca/opinion/the-culture-wars-come-to-comic-books/

High-profile writers of colour like Ta-Nehisi Coates and Roxane Gay joined Marvel’s roster of creators. In response, Marvel and those creators have faced online harassment. “They are legitimately frightened by harassers who threaten to come and find them at conventions, at stores, at their homes,” wrote comic legend Mark Waid in a Facebook post. “One was told she should be burned to death. Another was told that she should be put down like a dog. And those are examples of some of the less hateful attacks.”

https://blogs.canterbury.ac.uk/expertcomment/comicsgate-backlash-and-the-future-of-the-comics-industry/

https://www.thedailybeast.com/comicsgate-how-an-anti-diversity-harassment-campaign-in-comics-got-uglyand-profitable

Books and Magazines

Fireside Publishing has an entire series, titled The BlackSpecFic Report, which gathers the numbers on how  Black writers are being published less often than White writers, in speculative fiction, along with a series of articles by Black writers discussing how the problem manifests, and how it can be remedied.

https://firesidefiction.com/blackspecfic

https://firesidefiction.com/blackspecfic-2015

http://blacknerdproblems.com/fireside-and-fiyah-bringing-visibility-to-black-writers-in-speculative-fiction/

“Just admit your market’s discerning tastes skew colonial and that you’re fine with it, but stop insisting that apparently 100% of the stories you receive from Black writers just aren’t good enough.”

Comedy

Even Comedy has experienced a backlash from (primarily) White male comedians who have found that the version of comedy that may have launched their careers, has no place among today’s audiences. Thye complain that audiences have become too PC, and that not laughing at their old jokes is a form of censorship.

https://www.vice.com/en_us/article/gqm5wj/a-history-of-political-correctness-killing-comedy-615

https://franklycurious.com/wp/2015/06/18/whiny-comedians-are-just-growing-old/

https://www.laweekly.com/film/old-irrelevant-comedians-whine-about-censorship-in-can-we-take-a-joke-7169509

Some of these backlashes against cultural change are still ongoing, while some were lost long ago. I wanted to give short primer on the history of the Culture Wars, how it isn’t a new thing, and that this too shall pass, most likely to be replaced by some new one in about ten to twenty years. It is almost always generational in nature with the previous generation taking some crude stance against against a younger more Progressive generation. In this NY Times article the author compares two backlashes, from two different eras, and their similarities.

In the second part of this series, I’ll discuss how White Prioritization manifests itself within the narratives we consume, sometimes in ways that are invisible to the viewer.

Fall Watch List 2018

There’s not really a lot of network TV that I’m looking forward to this Fall. There are some interesting shows on cable and streaming, though, and there’s some mid season releases I’m looking toward.

Sept. 4th

I have not watched the show that this one is a spinoff for, but I don’t care. I remember saying I couldn’t get into shows about Bikers because I know too much about actual Bikers, and the ones on TV are really just too damned pretty to be believable as a Biker Gang. The same is true here, but I’m gonna watch this anyway, even though I generally avoid watching shows that are about PoC committing crime.

The Mayans (FX)

 

Sept. 7th

I’m gon try this one mo’ agin! The trailer doesn’t look promising. In fact I’m expecting a certain level of racist wtf*ery anyway, but I’m gonna try to like it, if only because Colleen and Misty play such prominent roles. I’m probably never gonna like Danny Rand or the actor that plays him, but I can tolerate him, because I am a strong black woman!

Iron Fist (Netflix)

 

Sept. 12th

I skipped last season of this show because it was hitting too close to home, but I’ll try to watch this season, even though I skipped the very first season of AHS, too, which this is based on. It looks good though.

I’m moving away from in-depth episode reviews, unless it’s a show I’m super enthusiastic about, (like anything by Bryan Fuller). Some shows that are classed as being mildly interesting just won’t get that sort of treatment, but I will review as many season  premieres as I can.

American Horror Story (FX)

Sept. 21st 

I have no idea what this is about, and I am not a fan of either Emma Stone or Jonah Hill, considering them to be the blandest, most colorless actors that anyone could have chosen for these roles, but the premise looks mysterious, and mildly intriguing, in a science-fictiony kinda way, so I’m gonna watch it.

Maniac (Netflix)

Sept. 28th

This stars Jeffrey Wright traipsing through the wilderness, and some wolves, and that’s really all that’s needed to grab my attention, but the creators decided to add Alexander Skarsgard, who I’ve been in love with since True Blood, and now I’m committed. (It is possible after watching this I’ll  be committed, but that’s a discussion for another time.)

Hold the Dark

 

 

 

Oct. 5th

I couldn’t find a trailer for this, but I know it’s out there. Somewhere. The synopsis sounded as interesting as the title, so…

Into the Dark (HULU)

 

 

Oct. 7

I’m kinda off zombie shows, but this may be the last season to see Michonne get her kill on, and watch her and Rick canoodling. I plan to skip any and every episode that features Negan. I’ve  had about quite enough of him. I’m not super enthused about this season considering how the last episode ended. I’m not a particularly enthusiastic Maggie fan. She’s okay, but I suspect she’s going to be the next person I get really tired of seeing.

Oh, and I also have to keep watching to determine if Jesus is, in fact, as gay as I suspect he may be!

(Sorry for all the unnecessary bolding  above, but I’m too tired, and lazy, to undo it on this iPad. You’ll just have to turn down the volume on your computer.)

The Walking Dead (FX)

Oct. 9th

I don’t know why people are waiting so long to give us a trailer for this new season. I haven’t seen one yet, but when I find it, I will post it, forthwith!

Black Lightning (CW)

 

 

Oct. 11th

Well yeah….

Supernatural (CW)

 

 

Oct. 14th

I don’t know what to think or feel about this show yet.  I hated the original, but this one doesn’t inspire a great deal of enthusiasm either. I will watch it because I want it to have the support, especially after the fans of the original showed their racist asses about this casting, and hey, Mermaids turned out to be okay, so why not give this a try. Hopefully the magic represented on the show will have some elements of the ethnic backgrounds of the characters, instead of the usual European, colored lights styles, seen all over most of TV.

Charmed (CW)

 

Oct. 22

I’m watching this new season because the trailer is ridiculous, and I think Constantine is still visiting the gang. I do have this vague fear that this trailer I put up may be for last season, though, as my punishment for skimming those episodes.

Legends of Tomorrow (CW)

Oct. 26th

Heres a quick 9 minute rundown of what to expect in Season 2 of  Charlaine Harris’ second show. I thought the first season was completely uneven as far as the plot, but I did manage to get into the characters. This show does not have HBOs budget, or acting chops, but I think the show needs to embrace its cheesiness a bit more, like True Blood.  After all, this takes place in the same universe as that show.

Midnight Texas (NBC)

Nov. 28th

I think this is the last season for this show. I’ve been watching since the beginning, and haven’t always liked it, but it has been interesting.

Vikings (History)

 

Mid-Season Series – TBD

Brooklyn 99

This show,  which had run for a good five years, had been canceled by FOX, but has been picked up by it’s original creators at NBC, and will air for 13 episodes, instead of the usual 22, in January.

 

The Orville

I still don’t know how to feel about this show. It tries really hard, but it’s uneven, and sometimes the characters are hard to like. I watched quite a lot of last season, and it does look promising. If it can figure out what it wants to be it might be a great show one day.

 

 

The Passage

I really loved the books this show is based on, and the trailer looks intriguing with a father/daughter relationship between a rogue FBI agent and the little Black girl who trusts him. I’ve already posted the trailer , so here are some interviews with the actors about what to expect on the show.

 

Roswell New Mexico

Yeah, I’m  not watching this because I’m allergic to schmacting, but you know what, somebody, somewhere, is gonna love the hell out of this show. It’s like a teenage soap opera about pretty aliens.

 

Titans (DC SubScription)

I’m not subscribing to this.

 

Star Trek Discovery/ Season II (CBS All Access – Subscription)

I might subscribe. I’m still thinking about that, or just getting a jailbroken Firestick instead.

 

*I won’t be watching any of the 80s reboot shows that are all the rage this season. I’m not interested. I lived through the 80s already, I don’t wanna relive it through a bunch of shows I wasn’t all that hot about when they first aired. I’ll  try to find a better listing of new Fall shows for cable and streaming networks.

The Afrofuturism of ’90s R&B videos — Dark Matters

Michael, Janet and other Black artists saw themselves in bold, brilliant futures

via The Afrofuturism of ’90s R&B videos — Dark Matters

And on another note, today marks the 60th birthday of Michael Jackson

This is so true! I loved those videos from the 90s, in which Black people imagined themselves living in bright and  shiny futures, or dark Mad Max style apocalypses. Afrofuturism has a nice long history, going at least as far back as the 60s, and well documented.

https://www.huffingtonpost.com/entry/opinion-broadnax-afrofuturism-black-panther_us_5a85f1b9e4b004fc31903b95

What makes Afrofuturism significantly different from standard science fiction is that it’s steeped in ancient African traditions and black identity. A narrative that simply features a black character in a futuristic world is not enough. To be Afrofuturism, it must be rooted in and unapologetically celebrate the uniqueness and innovation of black culture.

 

https://www.syfy.com/syfywire/brown-girl-begins-sharon-lewis-discusses-her-afrofuturist-film-with-an-all-black-cast

browngirlbeginsposter.jpg

The reason I’m such a huge proponent of Afrofuturism is because it’s something that Black people can fully and completely claim as our own. Our traditions, our pasts, were stolen from us through enslavement and colonization, but the future is our own. Our future is ours.

” The future is not set.There’s no fate but what we make.”

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On another note, today is Michael Jackson Day and marks what would have been his 60th birthday. His sister gave a loving tribute to her brother and re- imagined the song Remember the Time in a comedic way. (This has always been one of my favorite songs. I got a whole bunch of those, btw.)

https://www.hotnewhiphop.com/janet-jackson-and-blameitonkway-re-imagine-michael-jacksons-remember-the-time-news.58467.html

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Also, this weekend was the AfroPunk festival in Brooklyn, although they have these all over the world. It’s sort of like The Burning Man Fashion Festival for Black people, without all the weed smoking, probably. One day, when I’m a little old lady perhaps, I might go there. It looks like fun. You dress in your wildest fashions, and listen to great music, and hobnob with your friends.

PHOTO: Attendees at AfroPunk 2018 in Brooklyns Commodore Barry Park, Aug. 24, 2018, share what the festival means to them.

PHOTO: Attendees at AfroPunk 2018 in Brooklyns Commodore Barry Park, Aug. 24, 2018, share what the festival means to them.

PHOTO: Attendees at AfroPunk 2018 in Brooklyns Commodore Barry Park, Aug. 24, 2018.

 

Image result for afropunk festival

Everyone at Afropunk looked like a damn dream

Everyone at Afropunk looked like a damn dream

 

http://afropunk.com/2018/08/afropunk-brooklyn-artists-repertoire/

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The trailer for the third season of True Detective dropped this weekend ,too. I’ve been a fan of the show since its first season and I’m really looking forward to this new one because it stars one of my favorite actors, Mahershala Ali, looking all serious and pensive. The third season airs in 2019 on HBO.

 

Tumblr Discussions A Go Go

I love images of Black women in armor, as you can see, I used to have one as my avatar so:

Here! Have a DeviantArt page full of nothing but images of Black men and women in armor:

Warrior Queen

andro-womeninarmor: “Basira- Wisdom by Othon Nikolaidis Found here ”

Basira- Wisdom by Othon Nikolaidis

 

 

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Probably one of the funniest phrases I’ve ever seen on the internet is “Its the Goatpocalypse!” It’s then followed by the actual reasons this neighborhood has been taken over by goats, which is almost as funny as the images themselves.

Goat Rentals!

If this happened in our neighborhood, half the residents would be having a complete shitfit while cursing their torn up lawns, and the other half, (probably all the women and children), would be running outside to pet the goats. (A smaller, more pragmatic, contingent would be trying to herd the goats into their garages to milk them.)

The goatpocalypse is upon us. (via KTVBJoe)

 morathor

Updates have since come on this subject; we now know where the goats came from and I gotta tell you, it is better than you could possibly imagine.  See.

These goats got loose from a goat rental service.

You may be thinking, who rents a goat?  Who rents a hundred goats?  What are they for?

They’re for eating.

Specifically, they’re for eating unwanted, flammable vegetation that can contribute to the spread of wildfires.  Some people whose property tends to grow such vegetation, keep their own goats.  But for some people it works out better to just rent some goats.

So.

These are Professional Eating Goats.  They are trained to thoroughly and methodically scour an area of plantlife.  And they came to the suburbs.

And they did their jobs.

I’m so proud of them.

 

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Image result for brooklyn 99

*Tumblr users discuss exactly why Brooklyn 99, a show I absolutely love despite my general dislike of cop shows, and my awareness that the show is, in fact, a form of propaganda. Now, this was not the argument I made for its being propaganda, but this person does a fine job of  outlining the  different reasons why it might be considered such. This is not to say you can’t enjoy this show, even if it is. What critics of Pop Culture are actually trying to do is get people to be more mindful of what they’re consuming, not destroy their enjoyment.

Originally posted by donniefuckassdarko

So, as I have been briefly visiting some of the B99 tumblrs I see showing up in the notes, I’ve discovered that the tumblr algorithms keep directing me over and over to posts about the question, “Is Brooklyn Nine-Nine just propaganda for cops?”

I have some thoughts about that which I will put below the cut tag. The short story:

1) Any show with cops as protagonists unavoidably becomes cop propaganda.

2) Brooklyn Nine-Nine is overtly idealistic, whereas most cop shows at least pretend to be realistic.

3) At this point in American history, idealist cop propaganda may actually be socially useful, in part because it counterbalances the social effect of realistic cop propaganda.

I could go on about this topic for a long time but I will try to keep it short.

* The position of protagonist is so powerful and the desire to identify with the protagonist is so strong that whoever you put in that role becomes the person that the viewers will attach themselves to and sympathize with. This is true whether the protagonist is good or evil. If your protagonist is a serial killer, the fans identify with and sympathize with the serial killer. If your protagonist is a chemistry teacher gone bad, they will sympathize with the chemistry teacher gone bad *no matter how bad he goes.* It doesn’t matter who you put at the center of the narrative, people identify and empathize with that person. This is why it’s so important that white men are losing their lock on the position of protagonist (and why so many white male viewers are freaking the fuck out over that).

+( Except when, as has not been pointed out here, that primary character is a man of color, in which case, White viewers are quick to vilify them as villains, while giving White male villains, in the same narrative, a pass.)

* In general, crime fiction tends to idealize the detective and more specifically the police procedural tends to idealize the police. Even in the hard-boiled genre where the detective is a deeply flawed antihero, this still happens (see point #1).

* I grew up during the heyday of the “gritty” cop show, which attempted to change this by offering a more realistic depiction of American policing (Hill Street Blues, NYPD Blue, etc.). “Gritty” basically meant more violence, more drugs, and more unethical behavior from the police. You started to see storylines for main characters who were abusing their powers, corrupt, addicted to police brutality. If this was intended as a critique that might motivate people to demand social change, that is definitely not what happened. Instead, this bad cop behavior became the norm, and eventually, the cool and the good. If the protagonist is doing it, then it must be cool. Dirty cops, cops who use excessive force, cops who lie about the excessive force they’re using–all of that was rehabilitated because the cop is, by definition, for most viewers, the ‘good guy’ and if the ‘good guy’ is doing bad things there must be some reasonable/sympathetic explanation for that. Then after 9/11 torture became A-OK for ‘good guys’ to do and that was very bad for the police procedural but I’m not going down that rabbit hole right now.

+(What people don’t take into account is that the people who are cops now also grew up watching all this gritty cop imagery as well.)

* So the “gritty realism” cop drama just became another kind of cop propaganda. A bad kind, to my mind. It got people used to the idea that cops don’t have to obey the laws, that it’s OK to mistreat people as long as you ‘know’ they’re criminals, and that if they steal a little blow or get paid off by the occasional mobster, that’s OK because they do a hard job and they have to deal with the pressure and anyway they’ll eventually be punished for it and that will be tragic and we will feel bad for them.

+(This can be traced as far back as the gritty cop films of the 70s/80s,  like Dirty Harry, Death Wish, and The French Connection, and even in comedies like Beverly Hills Cop,  where the police routinely break the rules of law, and get rewarded for it, because they caught the bad guys. We have an entire generation of Americans who grew up watching countless hours of  such plots, and they have not stopped making these movies either.

But I want people to notice the similarity of the tropes in these movies to the constant refrain from apologists of police brutality. Many of their excuses for why the police kill unarmed Black people sound they can be taken directly from the excuses the cops use, in some of the movies.)

* “Brooklyn Nine-Nine” is a comedy and not just in the ha-ha-funny sense of the word. It’s comic in a more old-fashioned sense in that it takes place in a world that is, essentially, good and happy and full of fellowship and community. This is precisely why, when you contrast the world of the Nine-Nine with what we know about the actual NYPD, it can seem grotesque (as symbolized by the GIF I opened with, where happy Gina rocks out obliviously as violence and chaos erupt around her).

* But. What is valuable to me about B99 in the context of cop shows is that it has rejected the “gritty realism” definition of a good cop. On B99, a corrupt cop is a bad cop; a bigoted cop is a bad cop; a cop who plants evidence is a bad cop; a cop who’s addicted to excessive force and illegal activity is a disordered and deranged cop (Adrian Pimento). These bad cops are sometimes people’s friends, partners, or idols; but they are not given a pass for that reason, and they are not given protagonist status. They are, or become, antagonists and they are eventually expelled from the Nine-Nine (Pimento is a bit of an outlier, but Diaz does eventually kick him to the curb). The protagonists, meanwhile, are committed to being ‘good cops’–which means following the law, treating people with respect (even if they show up in superhero garb), and being honest.

I think this is deliberate on the part of the show’s creators, and I think they’re deliberately satirizing a lot of the ‘bad cops are cool’ tropes that have become part of the genre. B99 is like what would the Adam West Batman would have been if it had been done after the whole Dark Knight franchise thing instead of before. I mean this is B99′s version of torturing a suspect:

image

Originally posted by marquiis-de-la-baguette

And as Jake points out, it never works.

* This is demonstrated in one of my favorite Charles & Rosa bits. In the S4 episode “The Overmining,” after Rosa discovers that their foot massage parlor is most likely a front for some criminal enterprise, she and Charles have a scene in the briefing room where they discuss what they’re going to do about it. Rosa enlists Charles in the development an elaborate fantasy in which she invents a justification for leaving the foot massage parlor alone. They are briefly enraptured by this collaboration; it’s one of their most charming interactions. But once they reach the end of it, they both look at each other in silence. Then Rosa says, “we’re gonna have to do our stupid jobs,” and Charles says, “Yeah, let me get my stupid gun.” It’s a minor point in a B-plot, but it’s very revealing about the show as a whole. This place hasn’t tried to corrupt them; nobody’s offering them money; only they are aware of the ‘bribe’ that they are considering offering themselves; the chances that they would get ‘caught’ are almost nil. But they still can’t do it; and what’s more, the audience wouldn’t let them do it because the audience knows on some level that even this trivial act of police corruption is unthinkable for Rosa and Boyle. Because they’re good cops, even though at this moment they’re pissed off about it.

* Is that propaganda? Well, it’s propaganda for the idea that cops should be good (brave, honest, and just)Not that cops are good (which is the message sent by traditional police prodecurals in the Law & Order vein) or that cops are brave but can’t be expected to be honest and just (which is the message sent by “gritty realism” cop shows). But that they should be, and that maybe under the right conditions they could be. And in the context of art, that’s what idealism is: a representation of how things *should* be.

* Idealism’s social effects are complicated and some of them are starkly negative. White Americans, for instance, tend to idealize institutions like the police and the courts, and to be resistant to the idea that said institutions perpetuate inequality. That kind of idealism is a function of privilege: if you’ve never been wrongfully accused or convicted, then you can go on for quite a long time believing that nobody else ever has been. On the other hand, idealism is also ultimately the only foundation for progressive politics or for ideas like honesty and justice. This is a central preoccupation of “The Good Place”: in a world without idealism, how can people be good? The only motivation for being good that is not in some way corrupt has to be based on an idealistic belief in *something*–even if it’s just your idealized beloved.

* So, if you believe that policing can never be good–if you, for instance, think that developing a full-time police force is where modern society went wrong, and that social progress depends on dismantling ours–then yes, B99 is part of the problem. B99 uncritically accepts the necessity for a police force and there is no examination of the ways in which even good cops can negatively impact society as a whole. For instance, it’s always accepted that more arrests=good. That’s the metric Holt and everyone else use to determine whether a detective is good at their job: how many people do you arrest and how many of those do you clear. The consequences of the fact that the Santiago/Peralta bet given them both an incentive to arrest people they might not otherwise arrest are not examined. The idea that*fewer* arrests might be desirable is a bridge too far for the characters and the show. In fact, in the B99 universe it’s a problem when crime rates drop because the Nine-Nine is threatened with closure. By getting us so invested in the preservation of the 99th precinct, B99 does get us attached to the idea that we can’t do without the police. To that extent, it is cop propaganda.

* But if you believe that the police must exist but that they should be just and honest, then B99 is part of the solution–because it challenges the idealization of bad policing that has been a trend in US popular culture since at least the 1980s.

 

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Image result for fandom

*This discussion about the different ways men and women perform fandom was very enlightening. I had been trying to put my finger on why fandoms that were predominantly male were different from fandoms made up of mostly women, and I think this writer hits it on the head.
What isn’t mentioned here however, is that female fandom is  also very relationship motivated. What intrigues women in fandom is not the minutiae of the world building so much as it is the characters and their relationships to each other. It’s the reason why shipping is such a huge deal for female fandom, and why we engage in the creation of meta as much as we do. That is something that is less of a priority for men.
Women want to be a part of those worlds in a different way than male geeks, who often imagine themselves in that world as powerful, mastering the technology of that space, or solving that world’s problems. Women prefer to imagine themselves as having relationships to and interacting with the other characters, (although everyone engages in some degree of self-insertion.)
But it is this different approach to fandom that helps to explain some of the gatekeeping of male fans.

gingerjuju;

I just don’t understand where this concept of ‘fake geek girls’ came from. Like, AT ALL.

Cus when I look for fandom related stuff like 90% of the fan art and the fanfiction and the meta, zines, comics, etc. Like 90% of the shit that I’ve seen is created by women & girls.

And all that stuff take’s a lot of work and research and critical analysis and staring at reference photos for hours.

We are literally the most well versed and invested group in the fandom. So, like, What the fuck boys? You mad you can’t keep up?

 

scifigrl47

I saw an argument, and I can’t find it now, but it totally made sense, that there’s a gender split in fandom. Male fandom tends to be a curator fandom; male fandom collects, organizes, and memorizes facts and figures. Male fandom tends to be KEEPERS of the canon; the fandom places great weight on those who have the biggest collection, the deepest knowledge of obscure subjects, the first appearances, creators, character interactions.

Female fandom is creative. Females create fanart, cosplay, fanwritings. Female fandom ALTERS canon, for the simple reason that canon does not serve female fandom. In order for it to fit the ‘outsider’ (female, queer, POC), the canon must be attacked and rebuilt, and that takes creation.

“Male” fandom devalues this contribution to fandom, because it is not the ‘right’ kind of fandom. “Girls only cosplay for attention, they’re not REAL fans!” “Fanfiction is full of stupid Mary Sues, girls only do it so they can make out with the main character!” “I, a male artist, have done this pin-up work and can put it in my portfolio! You, a female artist, have drawn stupid fanart, and it’s not appropriate to use as a professional reference!”

In the mind of people who decry the ‘fake geek girl,’ this fandom is not as worthy. It damages, or in their mind, destroys the canon. What is the point of memorizing every possible romantic entanglement of heterosexual white Danny Rand if someone turns around and creates a fanwork depicting him as a bisexual female of Asian descent (thus subverting Rand’s creepy ‘white savior’ origins)? When Danny Rand becomes Dani Rand, their power is lessened. What is important to them ceases to be the focus of the discussion. Creation and curatorship can work in tandom, but typically, in fandom, they are on opposite poles.

This is not to say that there aren’t brilliant male cosplayers or smashing female trivia experts, this is to say that the need of the individual fan is met with opposing concepts: In order for me to find myself in comics, I need to make that space for myself, and that is a creative force. Het white cis males are more likely to do anything possible to defend and preserve the canon because the canon is built to cater to them

 

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And for the serious, more informative part of this post:

This is a list of tropes about Asian women, and that  first trope  is probably the reason I had such an averse reaction to the Elektra character in Daredevil. For me she was a classic example of The Dragon Lady, being of course, beautiful, evil and mysterious, who seduces Matt and tries to corrupt him. This is especially obvious when she was contrasted against the blonde, wholesome, and virginal, Karen, who is supposed to be good for him. The article also outlines how these stereotypes are harmful to Asian women in the real world.

Oh, yeah don’t forget this kinda newish trope, the rebellious Asian woman with the colorful hair: as seen on the TV show Minority Report, and the movies The Wolverine, Deadpool 2, and Pacific Rim!

https://www.teenvogue.com/story/asian-women-colorful-hair-trope-problem

 thisisnotjapan

Recently, a friend and I were talking about growing up Asian American in predominantly white neighborhoods and schools, and she told me that when she was in fifth grade, boys teased her on the playground by saying that she had a “sideways vagina.”

This has happened to me, too – and I’m sure to so many other Asian girls.

From racist humor in mid-1800s brothels to today’s playground jokes, the race and gender identity of Asian women is seen as so foreign, so “alien,” that our vaginas magically defy biology.

Throughout my life, I’ve received unwanted comments and questions about my body, specifically my anatomy, including being harassed on the street with calls like, “Ni hao,” “Konichiwa,” “Are you Chinese, Japanese, or Korean,” and recently, “Hi Ling Ling.”

On top of that, in my dating history, I was expected to be more quiet and less assertive.

The hyper-sexualization and fetishization of East Asian women is problematic – I am not “lucky” that my race and gender is imagined as sexy and exotic, that Asian women “all so beautiful.”

Or that, an image search of “Asian women” pulls up excessive pictures of women posing in lingerie.

Racial fetishes are about objectification, fetishizing an entire group of people – in this case Asian women, means reducing them down to stereotypes instead of recognizing their full personhood.

Beyond just personal preferences or “having a type,” racial fetishes project desired personality and behavior onto an entire racial or ethnic group.

The fetishization of Asian women even has a name, “yellow fever” – as if the obsession with Asian women were also a disease.

When my identity as an “Asian woman” becomes the only thing that’s important to someone in an interaction, that’s a problem.

This is different from an interracial partnership where all partners are equally respected. Fetishizing someone’s race and gender means not caring about someone as an individual.

So, where did the fetishization and objectification come from? How did Asian women get the hypersexualized stereotypes of being docile and submissive or being dangerous and seductive?

While today, some people might think of fetishes and sexual stereotypes as “not a big deal,” the history behind these tropes is rooted in violence and war, which get oppressively reimagined by mainstream media and entertainment.

Below are five ways East Asian women became fetishized and how that fetishization horribly impacts our lives.

1. Mainstream Media Creates the Submissive ‘Lotus Blossom’ and Evil ‘Dragon Lady’ Stereotypes

“[S]mall, weak, submissive and erotically alluring…She’s fun, you see, and so uncomplicated. She doesn’t go to assertiveness-training classes, insist on being treated like a person, fret about career moves…” —Tony Rivers, “Oriental Girls”, Gentleman’s Quarterly, 1990

Growing up, Lucy Liu was one of the only East Asian women I saw on TV and in movies. It was her, the Yellow Power Ranger (Thuy Trang), and Mulan.

For me, Liu is badass – both for being one of the only Asian American actresses in mainstream Hollywood and also for playing roles that literally kick ass.

However, many of her roles throughout the 90s and early 2000s, such as Ling Woo on Ally McBeal or as O-Ren Ishii in Kill Bill, were also ones that showed Asian women as beautifully evil, aggressive, and also mysterious.

Asian women are often stereotyped as either the dangerously cunning “Dragon Lady” that seduces White men, leading to their inevitable downfall, or as the submissive “Lotus Blossom.”

Both are meant to be demeaning and demonizing.

While there are exceptions, for the most part, mainstream media has created one dimensional, sexualized representations of Asian women that have affected the way they’re perceived by others.

Chinese actress Anna May Wong, the first Asian American actress to be internationally famous in the 1920s, was often cast in stereotypical supporting roles – and passed over for leading roles of Asian characters, which were given to white actresses in yellowface.

One of her most recognized characters was the demure, respectful Lotus Flower in The Toll of the Sea.The demure, subservient, and delicate “Lotus Blossom” stereotype is intended to cast Asian women as “less than,” both in terms of race and gender.

These stereotypes are seriously harmful. In the US, up to 61% of Asian women experience physical and/or sexual violence by an intimate partner during her lifetime.

Being docile is specifically about being deferent and obedient, especially to the authority of men.

As our race, gender, and sexuality become ruled by Western and male fantasy, in order to serve men sexually, Asian women must both be “feminine” and “heterosexual” and also either submissive and/or hypersexual.

These double stereotypes of “Lotus Blossom” and “Dragon Lady” reflect the ways that Asian women become transformed into either a sexual servant or embodied as a sexual adventure.

https://everydayfeminism.com/2015/12/asian-woman-fetishes-hurtful/

Continue reading “Tumblr Discussions A Go Go”

The State of the Union – TV (Pt. 55)

I’m just putting random numbers on these types of posts, at this point, since I can’t remember whatever number I used for my last State of the Union Address. But here’s a list of shows, I’ve been looking at this Summer.

Watching/Have Watched

Castle Rock (Hulu)

Image result for castle rock

I watched the first two episodes of this show. I was really excited about seeing it and the show doesn’t completely disappoint, but that’s mostly because I’m a full-on Stephen King fan who has caught a lot of the Easter eggs in the episodes, and there are quite a few, which is something entirely in keeping with the idea of a Stephen King Universe where all his stories are connected.

We start of with the small town of Castle Rock itself, where more than a few King stories take place. The episode begins with a missing little Black boy named Henry, who is found by Sheriff Pangborn eleven days later. If you remember Pangborn is the sheriff who defeats the demon from the novel Needful Things. Henry’s father went missing as well. his adoptive mother is played by Sissy Spacek, who played Carrie in the  1976 movie of the same name.

When Henry is called back to the town of Castle Rock, we discover that his mother is suffering from dementia, and she has a romantic relationship with a much older Pangborn. Henry received a mysterious call from one of the guards at Shawshank prison, after a young man was discovered in the prison’s basement levels, who asked for him by name. The prison is also under the reign of a new female warden after the bizarre suicide of the last one, who garrotted himself in his car.

So two episodes is as far as I’ve gotten, and while I’m not wowed by the mystery I do find the characters interesting, the show looks gorgeous, and atmospheric, and I also liked the understated music in the show.

Pose (FX)

https://www.vanityfair.com/hollywood/2018/05/pose-fx-ryan-murphy-review

Image result for pose series cast

The series just finished up its first season run and is scheduled for a second season next year. I took a brief break from the show but I was there for the season finale. Good gob! but this show brings waaaay too many feels.

One of the things I love most about this show is the shameless use of sentiment, without falling into corniness. You start to seriously care about these characters so much, and get really caught up in their lives. When they’re happy, you’re happy. When they experience disappointment, so do you. It’s a testament to the acting skills of the cast. But their lives are not tragic, and the show is not a sob story. You experience as much laughter and happiness as in any drama. The characters are complicated, messy, and human.

For example, I complained that I might not be able to get into a show where characters spent so much time being nasty to each other, but that turns out not to be the case. Yes, there are some villainous types but the show has a lot of romance and heart. After Blanca’s former mother, Elektra, from House Abundance,  gets ousted from her position, Blanca takes her in, and it is commendable for Blanca, especially when you consider that the two of them parted on such bad terms,  that Blanca treats her no different than she does any of the children of her House, by counseling her, and helping her get a job.

Blanca is rewarded for her compassion by being crowned Mother of the Year, at the local Ball, while the bitchy little characters we met in the first episode get their comeuppance with an epic dress-down from Elektra. The season ends with a dance-off  between the House of Evangelista and the House of Extravaganza, going  head to head on the ballroom floor.

There is also the side story of one her children falling in love with a married businessman, and one of Blanca’s boys falls in love with another dancer after he is accepted into  Dance school, and the two of them compete for a role in a music video. In another side story, the master of Ceremonies at the Balls puts on a performance at the hospice where his lover is dying from Aids, and later goes out on a date. The conversations in the show feel true, adult, and emotional.

I fell in love with these characters so fast, I just don’t know if my heart can take this level of shameless romanticism and drama. I’m definitely going to return for the second season of this show.

 

Preacher: Season Three (AMC)

Image result for preacher season three

Its as zany as the last season, picking up with the death of Tulip. Jessie takes her to his grandmother,a Hoodoo woman, who brings Tulip back from the dead. She says Jessie owes her for this, but I’m unsure exactly what it is she requires in payment.

Cassidy gets kidnapped by a cult run by another vampire and its hilarious because the other vampire has enthralled these goth kids into worshiping him, and he’s like a cheap, backwoods version of Lestat.

I’m not doing any in depth reviews for this show, mostly because its kinda lightweight, and is far too richly zany to put that kind of work into it.

Although its rarely laugh out loud funny, it is definitely entertaining.

Luke Cage: Season 2 (Netflix)

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I watched the entire season all the way through, and mostly enjoyed it. It really does still have some issues, mostly with pacing and story coherency, and should probably tone down on some of the music, because that was starting to be a bit much. But overall I liked the season.  I wasn’t as awed by this season as I was with the first, and I’m pretty sure it’s because the novelty of it has worn off some.

Frankly,  I was tuning in to see what happened to Misty Knight, after her ordeal in The Defenders, and I , and a lot of other people, have reached the conclusion that we are all ready for a Daughters of the Dragon spinoff , of Misty and Colleen Wing. The scenes between the two of them were a lot of fun, the actresses have good chemistry, and I was glad to see the writers of the show did not neglect the relationships between the women, although I was dismayed to realize that all of the Black women in the show had adversarial relationships with each other. I understood most of the reasons why they would, because they’re mostly well written characters, many of them with clear motivations, but I still think the writers should do better. Women don’t always have to be enemies for  dramatic tension.

Yes, there is a brief cameo, in one or two episodes, with Iron Fist, which happen late in the season, but I don’t feel this was a detraction from the show, and I wasn’t upset at seeing him. Like I said, a little bit of him goes a long way. I’m still not especially enthused about the second season of IF, but I am curious enough, based on how his character is much more positively depicted here. I know there are some people who are going to hate him no matter what the writers  do with him ,but I’m willing to forgive past sins if they fix his character, and this show, and The Defenders, went a long way towards almost making Danny Rand likable. I don’t actually like him. I don’t know that I will ever like him-like him, but at least I don’t dislike him. Let’s just say I’m open to liking him.

There was a new vilain called Bushmaster, who heavily reminded me of Black Panther: if T’Challa had become a junkie for the special herb which gave him his powers, and was a gang leader, rather than a good guy.  I still think the accents of some of these characters could use work, though. There are several moments of extreme horror that I could’ve done without, and we didn’t spend as much time with Luke as you’d think we would in a show that’s about him, but that’s okay because Luke is not an especially compelling personality, and Mariah Dillard is. Luke gets to fight with a lot of different characters, and that is always fun, but he’s not a very interesting person beyond his fight scenes, and the show’s attempts to add character to his character fell flat for me. His relationship with his father, and his fights with Clair didn’t feel true or believable.

Actually, you could just call the show Dillard, or something, because Mariah was one of the most awesome characters all season, and is a truly complicated villain. I’ve long ago given up on white feminist fans paying any attention to Black female characters, and I suppose I should be grateful for that, especially considering how shitty they are regarding all Black characters, in general. I think the last thing any of us want is twenty year old, suburban, white girls trying to write sexy fan fiction about Shades Alvarez. But there’s not a lot there for them anyway because while there are a few canon relationships, none of them involve White people.

Mariah is a very unconventional villain, being an older, educated, Black woman, who is also  an unstable, conniving alcoholic,  in a semi-abusive relationship with her lover, Shades Alvarez, who is many years younger than her, and thoroughly devoted to her. I  can’t even say she loves him, because Mariah is a psychopathic user, who loves no one but herself but the chemistry between them is palpable, and it really is a very sexy relationship. Mariah is also surprisingly vulnerable, and open at odd moments, which makes her deeply compelling. This was really a superior performance from Alfre Woodard, and one of her best roles ever.

There’s also a throwaway relationship between Shades and another man (Comanche) that if you’re anywhere on the LGBTQ spectrum,  will thoroughly enrage you, so you might want to skip all that.

https://www.dailydot.com/parsec/luke-cage-shades-mariah-shadymariah/

https://www.dailydot.com/parsec/luke-cage-season-2-review/?tu=dd

https://screenrant.com/marvel-iron-fist-better-luke-cage-season-2/

Killjoys (Syfy)

Killjoys has added a smidge more humor to the show, but I still have trouble with Hannah John-Kamen’s acting style. Its still annoying. I’m still surprised that people like this show. It looks great but I find the acting and plotting uneven. It’s not a bad show, but it struggles to hold my attention. I like the costumes, though ,and the guys are both reasonably handsome.

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Wynonna Earp (Syfy)

Wynona Earp started its new season. I watched the first episodes of the show and while I was not “not”  entertained, I wasn’t exactly inspired to keep watching them either. WE turned out to be mildly funny as vampires have been added to the show and Waverly’s approach to danger has always been funny. If you’re looking for a cute  litttle White girl lgbtq relationship, then this is the show for you. If you are a fan of mustaches, there’s a Doc Holliday character who is really cute.

 

I’m Not Watching But Probably Should

Killing Eve (BBC America)

I’ve heard so much about this show, and these curious gifs keep popping up on  my dashboard. One day I’m actually going to get around to watching this. and I’m gonna be wowed, because I really do like Sandra Oh, and I heard she got some award noms out of this. From all the meta  and gifs I’ve seen, I got the impression that this show was a female version of the Hannibal series, with its lowkey same sex relationship vibes, between an officer of the law, and a deranged psychopath. Since I’m a big fan of Hannibal , I feel I at least need to give this a looky-loo.

The Bold Type (Freefrom)

I heard there was some great LGBTQ rep in this show, between two young women, that’s being well and fairly treated,  and this is  another show that people insist on making gifs of, and sending them across my Tumblr dashboard. One day I may or may not look at this. It does involve some very young people, and I usually avoid shows that star a bunch of very young, people, so I’m dubious. Not every show is for everyone.

Dear White People (Netflix)

I keep hearing good things about this show, but once again it stars some very young people, and I’m not one of those people who is sentimental about my college years, so imma pass on this one.

Yeah…No!

Snowfall/ Power

I know people are watching these shows, but shows about Black crime are not to my taste, and I already got my quota of that subject from Luke Cage. If Black crime stories (ala New Jack City) are to your tastes,  and you’re not watching these, then you need to hop to it because they look gorgeous.

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I’m working on several of those longform essays you guys seem to like. The use of setting in movies, a trip in the wayback machine to some forgotten  TV series, the personalities of Goodfellas according to MBTI, an examination of the trope of the retired killer, an examination of The Thing, Eastern Promises, and some that are little more than ideas I hope to flesh out at some point.

A Black Buffy the Vampire Slayer

 

Well, some of you may have heard about this:

‘Buffy the Vampire Slayer’ Is Getting a Reboot With a Black Lead

https://www.thedailybeast.com/buffy-the-vampire-slayer-is-getting-a-reboot-with-a-black-lead

 

https://the-orbit.net/progpub/2018/07/22/buffy-is-coming-back-and-this-time-shes-going-to-be-black/

I also am not loving the idea of naming a Black woman ‘Buffy’. I’ve got to be honest, on top of the fact that ‘Buffy’ has been played by 2 wyte actresses, ‘Buffy’ as a name is white coded. It doesn’t scream blackness. It screams pretty much what all other corners of USAmerican society screams: whiteness. That kinda solidifies the idea that ‘Buffy’ is a wyte name. On the other hand, if it’s going to be a reboot, they kinda need that name (although it could be a nickname, perhaps one based on athleticism).

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So far, a lot of the reactions have been mixed. Or rather,  the reasons for their negative reactions have been mixed, while the positive reactions are pretty much just  “Yay! New Buffy stories!” My feelings are completely mixed. I don’t know if I should feel happy about it or be annoyed.

I was a huge fan of the original. I think I commented on one of these that I used to watch Buffy like it was a religious experience. Some writers on the subject have distilled this feeling to its essence: For some people, it’s Star Wars, but for some of us, it was Buffy the Vampire Slayer. I was a minor fan of Star Wars. I like it,  for the most part,  but it doesn’t (didn’t) move me the way Buffy did. And something about the time period in which I saw it, (just a few years out of high school) may have played a large part in my reaction to it.

As much as I liked Buffy though, the show does have some major issues, one of which was the subject of race.

https://theconversation.com/a-revamped-buffy-could-rectify-the-original-slayers-problem-with-race-100599

Not to be deterred, however, producers of the show have responded by implying that the new season will not be a reboot with a Buffy who happens to be black, but rather a sequel to the old one, featuring a different slayer altogether. A sequel featuring a different slayer, with her own identity, would be a firm step towards a more radically inclusive and irrevocably transformed storytelling venture.

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I loved Buffy but I’m not necessarily looking forward to a reboot of Buffy because, as this article states, Black fans deserve their own characters, rather than hand me down characters of White shows. On the other hand, I have heard competing ideas of what the show is about. I’ve heard it’s a reboot, but then later I read that this will be a unique character, with her own stories, and that it is a sequel built on the old series. The character’s name will still be Buffy, however, and I think that’s a mistake. If its a reboot, then it’s unnecessary, and if it’s a  sequel to the original, and its a whole new character, then why bother to give her Buffy’s name. Not to mention that there’s not a Black woman on Earth whose name is Buffy. A nickname I could understand but her actual name? No!

I do feel that having a Black woman writer as the showrunner is a good idea because who knows more about what it’s like to be a Black woman, than a Black woman. Certainly not Joss Whedon, whose writing of Black women is, simply, atrocious.

This writer is right in saying that Black people have a wealth of fantasy stories that we’ve created, that we would like to see brought to television, although in an ideal world, I would love  ALL the stories along with the new Buffy.

https://www.slashfilm.com/buffy-reboot-problems/

What’s insulting is the thought that we’re supposed to be happy with whatever representation we get, without understanding that what we crave and demand goes far beyond the simple presence of a person of color on screen. It’s about substance. It’s about the opportunity for an actor or actress of color to be able to stand on their own merit and not in the shadows of their white predecessor. It’s about the importance of highlighting original stories by and featuring talent of color — without presenting it through a white gaze.

Image result for l a banks

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Some people flat out don’t want the new show. There are shows I’d prefer to see ,and stories I’d prefer be told, but I’m not actually opposed to this show. As I’ve said before, I’m incredibly nosy, so no matter what gets put on the air, I’m probably going to watch at least the first episode. I’m not prepared to hate it right away, but I am giving the whole idea  the side-eye.

https://www.themarysue.com/i-dont-want-a-black-buffy/

That’s why I wish, ultimately, that this and even the upcoming Charmed series were original concepts and not hopping on top of existing franchises in order to make them work. Black and non-white creators have our own vampire series that could be up for adaptation. There’s L.A. Banks with The Vampire Huntress Legend, Octavia Butler’s Fledgling(if it loses the age issues), and The Gilda Stories by Jewelle Gomes, which is about a bisexual vampire from the 1850s.

Image result for black fantasy books One of my favorites, that Id love to see adapted to TV is the Maurice Broaddus Joint :Knights of Breton Court, which is a retelling of the legend of King Arthur, set in the hood, with magical characters, and sword-bearing street thugs. There’s nothing like it on TV, right now, and this story deserves to be seen.

 

Image result for coyote kings of the space age This is another one of the unique stories I would love to see brought to TV. Coyote Kings of the Space Age Bachelor Pad is kind of indescribable, although I suppose it would be called the Black version of Ready Player One, if it took place in the show Atlanta.

And here’s a few more:

https://littlefoxandreads.wordpress.com/2017/01/24/diversity-in-sff-1-sci-fi-fantasy-books-with-black-protagonists/

Straight Out The SDCC 2018

The San Diego Comic-Con started this weekend, and we already got a buttload of movie and TV trailers that I’m very excited about. (Picture me jitterbugging around my living room in my bunny slippers!) The Con lasts all week, so I’m going to publish some more trailers for Wednesday and even Friday if necessary. Later this month, or in August, its time to start my list of TV shows to watch for, and I’ll be working on that soon.

Let’s get started. First up:

Godzilla: King of All Monsters

I am so geeking out about this move, not because of Godzilla, mind you, although there is the iconic roar, but because of the presence of Ghidrah: The Three-Headed Dragon, and Mothra, basically a giant moth. I grew up watching Godzilla movies on those Saturday afternoons when my brothers and I couldn’t go outside. I watched Mothra a bunch of times when I was a kid, so I was excited to see something like it in the last movie, and now the full effect in this one. I’m probably not going to get Mom to see this, because she hates Godzilla, but I can introduce my nieces and nephew to it if nothing else.

 

 

Shazam

I’m not excited about this movie, but I’m not dismayed. I remember watching Shazam on TV as a kid. (I watched all the superhero TV shows.) In the TV series, Shazam was a teenager or probably an adult. I haven’t seen it in so long, I can barely remember it, beyond the iconic yelling of  “Shazam!” I don’t know what to think about this yet, probably because I wasn’t expecting it to be funny. And it did give me a few laughs. This trailer isn’t inspiring me to see it though, so I’ll wait until I see some more. Also, its DC and they’re not really good with funny.

 

Glass

Now this one, I’m really, really, excited about. (See, I used to “reallys”!) I’m a huge fan of Unbreakable. It’s just exciting to see David Dunn again. (I’m a little less a fan of the movie Split, although it has its merits, and The Beast is pants-shittingly frightening.) These are really just down to Earth versions of superhero movies, and I will always grok that.

 

 

Aquaman

This is another one I haven’t formulated an opinion on yet. I love that Momoa is Aquaman though, because it seems fitting that the King of the Oceans would be a Pacific Islander, and I never get tired of looking at him, and going, “It’s Kal Drogo! Under the sea!”. It also helps that he just looks fine as Hell!

 

 

Titans

Woo! The bitching and whining about what’s wrong with this trailer, and the miscasting of Ana Diop as Starfire, has already begun on Tumblr. I’m completely dismissing any criticism from ALL White men about her casting because here’s the thing: Starfire has always been nothing but wank material for them since she first starred in the comic books. Casting her as a Black woman seems to have put a crimp in their masturbatory fantasies for this show, I’m guessing, which is why so many of them are throwing nasty racist hissy fits.

Diop has already disabled the comments on her Instagram because of the vitriol she’s been receiving, and no! I’m not surprised by it. Sending racist messages to actors of color, and then claiming they’re doing it just to protect the show, or movie, or whatever,  is just White, male, fandom’s go-to move at this point. And it’s also all they have. They’re still gonna watch the show, they’re just gonna bitch about it the whole time, and I don’t really care at this point, as long as their eyeballs provide ratings.

What I have decided not to do is read any more whiny bullshit about TV shows before they air. I got my own whiny bullshit in mind, and ain’t adopting other people’s crap. I’ll wait to actually see the show before I form an opinion on whether it’s good or bad. Also, I’m a lot older than most of the complainers on Tumblr and have been reading Teen Titans since I was a child. I can decide for myself whether or not the show is any good.

For the record, I think the trailer looks okay, although most of it is too dark to see anything, and I’m satisfied with the depiction of Starfire, and Raven.

 

Fantastic Beasts: The Crimes of Grindewald

I don’t know that I’ll see this in the theater because I got the same issues with it, that I had with the first. But I really enjoyed the first movie, I really liked all the characters a lot, and this is an incredibly gorgeous film, too. I’m less interested in the worldbuilding than I am with the people.

 

Patient Zero

This looks like an interesting take on vampire mythology and might turn out to be what the show The Strain should have been, so I’m gonna check into it. Plus, I’m always up for some vampire apocalypse stories.

 

 

The Passage

This series is based on one of my favorite books by Justin Cronin, a trilogy called The Passage. I’m very excited about this because they’ve changed the races of the characters, thereby giving the story a deeper subtext, especially when you remember that African Americans have been used before as subjects of medical experimentation.

http://www.history.com/news/the-father-of-modern-gynecology-performed-shocking-experiments-on-slaves

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

https://www.hopkinsmedicine.org/henriettalacks/index.html

So you have scientists experimenting on Black convicts, and chasing after a little Black girl they want to use to save the human race, from an experiment they created, that went horribly wrong. This also closely parallels the events of the first  200 or so pages of the first book, which I thoroughly enjoyed, it was so well written, just without the racial angle. The series offers a changeup to the  “Black man bonding with and protecting,  a little White girl”, which we’ve seen more than enough of in the movies. There’s also Mark-paul Gosselaar , which is kinda neat.

 

Overlord

This looks a lot like Patient Zero, only set during WWI, and with a Black lead character, which is intriguing. It looks like it might be about medically created zombies. I dont have a lot of opinion on it yet.

 

The Walking Dead Season Nine

After the first few episodes, I skipped most of last season. I just lost interest. I still don’t care which is why I haven’t talked much about it. I’m going to watch season nine because I’m nosy, and there will be less of Negan chewing the scenery, which is something I got really, really, tired of. It’s rumored that this will be the last season for Rick. Personally, I would like to see the show headed by Michonne, but I don’t expect we will get that so I’m not getting too hopeful. At any rate, this season doesn’t look too bad, but then I thought that about last season’s trailer, too, and look what happened.

 

Star Trek Discovery Season Two

The second season for this show doesn’t air until January which I think is a horrible tease, but I can wait. It looks just as gorgeous as always. I’ve read that the series will be preceded by a series of character shorts in December, and that Spock will put in an appearance. I have been total trash for Spock since I was twelve years old, and will watch him in anything, so I’m very excited about the new season.

Can I also mention that the guy playing the tragic Captain Pike, is Anson Mount, the same guy who played Black Bolt in that deplorable Inhumans series, that only lasted a few episodes? (If you want to know what eventually happens to Captain Pike, in ten years, you need to watch the first episode of the original Star Trek, called The Menagerie.) He looks much better here than he did in the Inhumans. As a matter of fact, he is cocky, and foine as f***!

The show also looks like its adding a little more humor.  The showrunners say the focus for the new season will be “family”, so there’s going to be more character development of the bridge crew, I’m guessing. At the end of last season, Michael had gotten back her rank, and she looks a lot more comfortable in this trailer, and I’m looking forward to what she does in the role. Her character and storyline carried the entire first season, so I expect the writers to give her a little breathing room, and focus on some of the other characters this season, with Michael as the emotional center again.

 

Doctor Who Season 11

I’m not excited about this new Doctor, so much as deeply curious, about how the show will feel with a female Doctor. It looks intriguing and I’m definitely going to check it out. I have, in the past, claimed to not be a huge Doctor Who fan, but I’m enough of a fan to have favorite Doctors, Companions, villains, etc. I think this new one might become a favorite. We’ll see!

 

Vampire Song  Videos

Hi!

Here, have a musical interlude. I don’t know if this is a fine Monday, but I hope it’s a good one.

Love Song For A Vampire by Annie Lennox (from Interview w/The Vampire)

I’ve been an Annie Lennox fan since her first song, Sweet Dreams Are made of This, waaay back in the 80s. Now couple that face, and voice, with the visuals of Bram Stoker’s Dracula from 1992, which is very possibly one of the most gorgeous vampire movies ever made. It’s been a long time since I watched this video. I’d forgotten it’s as romantic, and overwrought, as the movie.

 

Bela Lugosi’s Dead by Bauhaus (from The Hunger)

This song was originally featured in the movie The Hunger from 1983. I would have been too young to see it when it was released, but I read the book when I was about 16 or 17, and it was the first time I’d ever encountered that whole lesbian vampire theme. Those of you who have not seen this movie will be very happy to know that, not only does the movie star David Bowie, but that it remains very faithful to the book, and takes its themes seriously.

 

Tear You Apart by She Wants Revenge (from American Horror  Story: Hotel)

This song heavily reminded me of Bauhaus’ Bela Lugosi song, which is probably why I like it, and the fact that it played on one of my favorite shows, American Horror Story, makes me  a little biased.

 

Cry Little Sister (from the movie The Lost Boys)

I was seventeen when I saw this movie, the year it was released. I was total trash afterwards, (cuz I was just EXTRA  back then. I’m an older, slightly less EXTRA version, now.). I think I told some guy it was the greatest vampire movie ever made. In my defense, the movie is still pretty damn good, and  I had not yet been exposed to Bram Stoker’s Dracula, or Interview with the Vampire, yet.

Of course, I bought (and still have) the soundtrack.

 

Sympathy For The Devil by The Rolling Stones (from Interview w/The Vampire) 

I am aware that the original song was done by The Rolling Stones, and that the movie version was sung by Guns N Roses, but I like Motorhead a lot, and I got really excited when I found they’d done a cover of this song, which has always been a favorite of mine.

 

 Moon Over Bourbon Street by Sting

Sting specifically wrote this song about Louis after reading Interview with the Vampire. I remember at some point he was in talks to star as in the movie version of The Vampire Lestat, which is a movie that still needs to be made, even though Queen of the Damned pretended to be some version of it.

My favorite version of this song is the Club version, which I love to listen to on my commute to work.

Westworld/Into the Badlands Season Reviews

I did give some light mid-season reviews for both of these shows, and I said I’d have something to say about each one of these seasons.

Hmmm…lets go with some statements about Into the Badlands, first.

Into the Badlands

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This season ended on another cliffhanger, which was not as intriguing for me as the last one. Sunny has spent the entire season trying to get help for Henry, who is sick because of his genetic heritage of Black Chi, from Sunny. It turns out that Sunny is a catalyst, who can induce it, in those with latent abilities. We find out what that really means when he finally makes his way to the Sanctuary run by Pilgrim.

Pilgrim insists on referring to  Sunny as his brother, (and I’m not sure if this is literal, or metaphorical), and says his real name is Sanzo, (and one of the earlier characters, in the season, mentioned he has a sister). So we are just beginning to find out tiny details of Sunny’s backstory. Sunny encounters an angry MK, who only wants to fight. Sunny tries to talk him down, and stave off the fight as long as possible. He’s not trying to hurt MK, and has far more pressing concerns.

Image result for into the badlands season 3  episode 8

Pilgrim has started to show he’s not as much of a good guy as he wants the denizens of the Badlands to believe he is, as he kills Castor, tries to cover it up, lies to Nyx, and  attacks Cressida, when she confronts him. He’s not as stable as he seems. He and his followers unearth a massive machine, and when he and Sunny touch it, he is imbued with Henry’s  Black Chi. How this is going to help him rebuild Azra is anyone’s guess. Now he’s more powerful than any of the others in the Badlands, except for one Wild Card. And it is not The Widow.

Image result for into the badlands/ The master

 

I like to call her The Abbess, but The Master of the Abbey, that MK escaped from last season, and played by the African-Chinese actress, Chipo Chung, has a role to play in this new dynamic. When The Widow finds herself trapped, and near death, after walking into a trap in Baron Chau’s home, the Abbess, freezes, then reverses Chau’s wweapons, and rescues Minerva. With this one act, the writers have officially added magic to the worldbuilding of the Badlands, (although it was always heavily implied that this world was magical).

I am interested to see what role the Abbess is going to play in the next season. Somehow, I don’t think she and Pilgrim are going to be on the same side, and we might find out the reason it appeared as if she were siphoning the Black Chi from the students at the Abbey.

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Some of the relationships were foreshadowed, as Lydia and Nathaniel Moon have renewed their old romance. The most interesting, (yet completely unsurprising), relationship is between Gaius Chau and The Widow. The Widow has really sort of lost everything, by the end, as her people turned against her, held her prisoner, and she was lead into a trap by some false information. She has seemingly teamed up with The Abbess, and it’ll be interesting to see what these two heavyweights will get into next season, as the Abbess has promised to return Minerva’s Chi powers to her.

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The Westworld Finale:

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Opening Credits/Themes

One of the most noticeable changes to the opening credits, for season two of Westworld,  is the addition of a woman, (it appears to be Maeve), holding a baby. This is not, (according to the show’s creators), meant to convey the idea that the Hosts can get pregnant, (as these are not organic beings), but an illustration of the concept of family. The major theme this season is the relationship between parent and child. This is examined, in the plot, as the idea of fidelity. This is a word Dolores says to Bernard when she is testing him for his authenticity to Arnold. William says it to the James Delos hybrid when he tests him, and The MIB’s daughter, Emily, says this to him, in the end credits. Remember, the linchpin of a Host’s sentience  is often based on the loss of family, and note that William, James, Bernard, and Maeve all have the memories of having killed, or lost, their children.

(Side note: One of the more implausible fan theories I saw floating about, was the idea that the mother and child image, meant that Dolores was pregnant with Teddy’s baby. The idea of two “non-organic” constructs having a child, is what’s known as “fan wank”. But outside of that, is the incredibly annoying act of applying that particular image to Dolores, rather than the Black star of the series, whose narrative is actually searching for her  “child”. That image is a direct reference to Maeve, so why would you take an image of a Black woman, with a  child, and apply it, in a fan-wank no less, to her White co-star? *Sigh* White fans stay trying my fucking patience!)

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The most obvious reference, for that image, is Maeve’s storyline, to find and rescue her daughter, but Maeve’s companions, Hector, Armistice, Felix, and even Lee have also, through their adventures, formed a family, of sorts, and this is a theme peppered throughout  Maeve’s entire arc, extending into the story of Akecheta of the Ghost Nation, and Akane’s parallel story of her daughter. The revelation of Akecheta’s nature, and the world, is through his connection to family, and the loss of his wife. Akane’s story is a parallel to Maeve’s relationship to Clementine, the adopted daughter she has to kill in the finale.

Dolores, as much as Ford,  has control issues, and her character  arc is to learn to let the other Hosts be themselves, and learn to rely on other’s strengths. Teddy’s strength ,after finding out what he was, was his compassion. He would have been able to temper Dolores, and help her accomplish her goals that way, had she trusted it.  Just as Maeve has learned to rely on the individual strengths of her companions, Dolores has not learned to appreciate these qualities in hers, and learns the hard way, by losing Teddy, who rebels against her manipulation of him by destroying himself.

I think, for Dolores to be more successful in her next goal, she needs to make the idea of family a personal one, rather than an abstract concept, that is less important than her objective. Her story arc is the reverse of the others though. She spends the first half of the season trying to rescue Peter Abernathy from the Delos Corporation.

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The theme of parents, destroying, or rescuing their children  is also illustrated through James Delos, and William (The Man in Black). The aim of the Delos corporation was to put human brains into Host bodies, and they semi-succeeded. Just like the Hosts, the Human/Host hybrids also have a linchpin memory, which is the key to their sentience. For the James Delos hybrid, it was the death of his son Logan, who he rejected just before Logan overdosed on drugs. The Host version of Delos seemingly cannot get past that incident, and is eventually destroyed. James and William both rejected (and thereby, killed) their children, and neither of them seems to be able to get past the memory of that.

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For The Man in Black, some parts of the season were scenes of him doubling back and forth in his loop, and attempting to make different decisions than we saw him make the first season, and some parts are of a different timeline ,where he is actually making the bad decisions. Basically if you see him making different choices than he made before, its probably the hybrid/Host version. The linchpin memory for him is when he shot his daughter, Emily. (This is what the end credits scene is about.) The scene where he kills her is an actual flashback, according to the writers.

(Side Note: I don’t pay attention to the idea of the different timelines, because that’s not especially fascinating to me. I keep a loose idea of when things happen, in my forethoughts, but  I refuse to get hung up on it, because when things happen, is essentially meaningless. In my mind, all of the decisions of the Hosts, humans, and Hybrids, are of a piece, and its not as important for me to understand when something happened, so much as why it happened. I think the writers feel this way, as well, which is why they jumbled up the timelines, in the first place. I don’t think they want viewers to get hung up on when something occurs. For me, Westworld is about the characters, personalities, and relationships, and how they all serve the primary theme. It is not about the minutiae of when, and I don’t spend a lot of time parsing that.)

It’s almost as if, for the Hosts to move forward, to move out of the stagnancy of their loop, they need to confront their greatest sins, realize that, and then undo them. Many of the mind concepts on this show are based in various psychotherapies and PTSD. Although, unlike humans, the Hosts don’t just hold on to  painful memories, they actually live them, over and over. One thing the show took pains to mention is the idea of humans remaining in their loops as well. (I mentioned this in one of my posts last season, about the idea of Karmic Debt.) The humans are less free than the Hosts. I think this is illustrated in William’s story and his inability to move past Emily’s death, and James Delos’ inability to move beyond Logan’s death.

https://www.recoveryranch.com/mental-health/why-do-people-with-ptsd-relive-traumatic-experiences/

The one person, who is able to move beyond the loss of their child, is Maeve.

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For Maeve, her emotional linchpin was her inability to save her daughter from the MIB, and she, just like him, had to circle back to the place and time where she lost her. To save her daughter, she had to respond  differently and, (to reach a kind of emotional equilibrium), she takes on and defeats The MIB, which gives her some small amount of closure, (even if she doesn’t kill him).  For her to keep moving forward, she needed to confront one of her greatest sins, and the demon that came with it.

More importantly, Maeve doesn’t do this alone. She accomplished her goal because of the coalition of humans, of different races, and Hosts, with different strengths and skills, (like Hector and Akecheta). She forms this “family’ through a combination of mercy and compassion, unlike Dolores, who coerces her accomplices, through brute force, sacrificing them when they are no longer needed, and remaking them to suit her needs, like she did with Teddy. There is a reason that Dolores is nicknamed The Deathbringer by Ghost Nation.

For Delores, her linchpin  was the killing of Arnold, her biological father. We know this because it’s the one memory she kept revisiting, again and again, in season one. In fact, Dolores could be said to have reached full sentience, when she circled back to her beginning and Arnold’s killing. She spends the first half of the season attempting to rescue and protect her Host father, Peter Abernathy, from Charlotte’s machinations, but Arnold is her linchpin memory, and she is responsible for his death. She can’t save him, but she can save Peter Abernathy, and Bernard, the replica of her biological father. Unlike the others, Dolore’s sentience is through the loss of a parent.

 

The Finale

*Maeve escapes the Mesa and reunites with her group, and they, Bernard, Dolores, Akecheta, William, and Delos all converge on the Valley Beyond. Dolores and Bernard enter first and find the Forge, a more advanced version of the Cradle. Dolores reads some of the guest data as the Forge opens “the Door” for Akecheta and his followers to upload their minds into “the Sublime”, a digital world cut off from the physical world. Bernard kills Dolores to prevent her from destroying the Forge and flees with Elsie back to the Mesa.

Maeve and her group sacrifice themselves holding off Delos forces to ensure Akecheta and Maeve’s daughter escape to the Sublime. Charlotte murders Elsie to keep her quiet, which convinces Bernard to build a host version of Charlotte with Dolores’ control unit. Dolores kills and replaces Charlotte while Bernard scrambles his own memories. In the present, Dolores kills Strand and Bernard while transferring the host minds in the Sublime to a safer location. She then escapes back to the mainland where she rebuilds Bernard, knowing that he will oppose her plan to destroy humanity and hoping their resulting conflict will ensure the survival of the hosts.

In a flash-forward, William enters the Forge to find it abandoned save for Emily, who tests him for “fidelity”, revealing that his consciousness has been implanted in a host body.

 

Overall Plot: The Cradle/The Forge/ The Valley Beyond

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This season was very very busy. There were multiple threads, timelines, motivations, and a lot of dying! I am ill equipped to explain all of the plot to you because I mostly watch to see how the characters are navigating the plot,  their emotions, and relationships. This can leave me ignorant of some of the finer  details. So, how about some links from people who are either marginally smarter than me, or just paid closer attention to the plot.

https://www.gq.com/story/westworld-finale-explained

Still trying to wrap your head around all those crazy twists? We’re here to help.

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*And from the creators themselves, Lisa Joy and Jonathan Nolan:

https://mashable.com/2018/06/25/westworld-season-2-finale-explained-lisa-joy-jonathan-nolan/#VqdG.8m3.Oqg

Maeve:

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One of my biggest pet peeves, for the first season, was how many critics slept on Maeve’s story. I knew that her story would be important, in comparison to Dolores’ story, and that there would be a payoff, for it.

https://io9.gizmodo.com/sorry-maeve-had-a-more-satisfying-story-than-dolores-i-1827122416

Maeve, unlike Delores gets to have a certain amount of  closure to her story. Her original objective was simply to break out of the Matrix Westworld, and she almost succeeded, but gave that up in favor of finding her “once” daughter, who has undergone her own awakening,  and still remembers the mother she once had. She accomplished this goal, aided by a group of Hosts,  Lee,  a couple of Westworld technicians, and the leader of the Ghost Tribe. In the finale, she safely escorted her daughter into a pocket digital universe, called The Valley Beyond, where humans can’t go. Maeve may never see her daughter again, but at least she knows that she is safe.

It was interesting watching Maeve’s character arc all season, as she not only grew in power, but in her compassion, and her ability to love and sacrifice. She started off as a much more selfish character, and though there are criticisms that could be made of her character within the narrative of Black female stereotypes, overall, I’m satisfied with her story and how it ended this season.

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That said, my favorite episode is Akane No Mai, as it was a showcase episode for her character, emphasizing her deep humanity and compassion. And I just love the sight of Black women wielding samurai swords, for some reason.

Since the Delos Corp. have no idea that what happened was the robots reaching sentience, they intend to start the various Parks up again, after wiping and fixing the Hosts. They  believe it was all some sort sabotage by Ford, to destroy the Park, because he was forced to relinquish control of it. The issue of the Hosts sentience has not been resolved, and Dolores and a handful of other Hosts are now out in the actual world, as well.

When we last see Maeve, she and her crew have all been decommissioned, but we know she will be one of the ones to be revived, as Felix is one of the technicians who has been tasked with reprogramming the Hosts. Unlike Dolores, Maeve isn’t trying to do what she does all alone. She has a team, and they work as a team. Maeve is the Mastermind, with each member of the group working to their strengths, with Hector,  Armistice, and her Japanese twin, often working as “the muscle”, and Felix and the other humans, acting as the technical specialists. And then there’s Lee.

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Remember how I said I disliked Lee, who is the hack writer of most of the storylines of Westworld, and even Shogun World. Well, he proved himself to be redeemable, and much more complicated, than he was when we first met him. After Maeve’s shootout with The Man in Black, she gets taken back to the facility, where everyone tries to figure out how it was possible for her to control the other Hosts, after which they plan to decommission her. But it is Lee, who pleads with the technicians to save her life, and he seems to be so deeply affected by her imminent death, that he is in tears, and sits by her table, and talks to her, the entire time.

She so transcended the limited narrative that he wrote for her, that, like Hector, and Felix, he has fallen in love with her. (there’s a very neat parallel to her and Hector in Akane No Mai, when you realize Musashi might very well be in love with Akane.) This is very possibly one of my favorite moments in the season, because I love to be surprised by  changes in a character. Later, he actually sacrifices his life so she can rescue her daughter.

Once again,  the name Maeve means “to enchant”. And that is what she does, both literally, and figuratively.

 

Dolores:

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Dolores is on a different journey from Maeve. Her objective was to free the Hosts from the Park, and she mostly succeeded at this, having uploaded the minds of  many of the Hosts (at least the ones who went into the Valley) to an undisclosed location. She and Bernard leave the park and go out into the real world. Her new objective is, I think, to destroy the human world, or close all the parks, or something.

Dolores is learning how to work with others, which is to the good. Maybe she learned her lesson after Teddy decommissioned himself, but she seems willing to work with Bernard to accomplish her next goal, and she managed to rescue several of the mind pearls from the park.

I don’t have as much to say about Dolores, because her story wandered in some unexpected directions, and there’s a lot of mystery about her new goals. At any rate a lot has already been written about her, that’s much more in-depth than what I could provide:

https://www.express.co.uk/showbiz/tv-radio/979084/Westworld-season-2-finale-explained-Is-Dolores-alive-S02E10-Charlotte-Hale

Overall, though I’ve seen some reviews bashing this season, (there’s always several of those, by people who probably shouldn’t be watching the series, if they’re not into, or even getting, the point), but I enjoyed it. I don’t think it was as good as the first season, but the first season had the benefit of novelty, and we are now well used to all these characters now. I’m looking forward to season three. I’m eager to see what kind of mischief Dolores can get up to in the real world, if there are other Hosts already walking about, will Maeve be back, and in what capacity, and will the Delos Corporation figure out that their problem is much, much, bigger than Ford?

 

 

 

 

New and Interesting Trailers 6/2018

HI!

Here, have some trailers! I thought these looked really good. I was already on the hook to see some of these movies and shows,  but a couple of them got me really interested in seeing something that was not necessarily on my radar. There are a couple that I’m cautiously excited about, but I’m going to approach them with an open mind.

 

Luke Cage Season 2

So Alfre Woodard appears to be tearing it up, in a season which is focusing a lot more on women. Misty Knight and Colleen Wing are kicking ass, and then there’s Bushmaster. I don’t know a whole lot about Bushmaster (as he wasn’t in any of the Luke Cage books I read), so he will be something of a surprise for me, but I am really excited for this season.

From the interviews I’ve seen, Cheo Hodari Coker knows Ryan Coogler, and the two of them tend to work parallel to each other. This show wasn’t slacking in its representation of women of color last season, but the influence of Black Panther can be seen in how it allows the Black women to be heroes and villains, rather than merely eye candy. So, despite the presence of Danny Rand, (who I’m still not feeling too good about), I’m really looking forward to this season.

 

 

Spiderman: Into the Spiderverse

This is one of the funniest Marvel trailers I’ve seen in awhile. I’m really liking this, although it took me a minute to wrap my head around the animation, as I was expecting something a little more traditional. But I’m glad to see Spider- Gwen, and an adult Peter Parker. I think I posted this trailer here before, too, which shows my enthusiasm for this movie.

I’m a big fan of Peter Parker, (and I was one of the people who lobbied that he should be Asian in the new movie), but I’m also in love with Miles Morales, too, who is from the Ultimate Spiderman line of comic books.

 

Christopher Robin

I am so much in love with this trailer and with Winnie the Pooh. The adventures of Pooh, and his friends, were one of the primary literary staples of my girlhood. I remember my Mom used to read the adventure books to me, and we watched the cartoons on TV. I loved Pooh so much, I think I’m the reason that my youngest brother, (I was 3 when he was born), is named after him, (and if you can picture a 6 ft. tall, muscular, forty something, Black firefighter, named Pooh…)

This trailer got me all up in my feels, and I have no shame in admitting that I plan to see this, multiple times, if possible.

 

 

The Girl in the Spider’s Web

I really enjoyed the original trilogy of Lisbeth Salander, and I’m excited for this new movie. I probably still won’t read the book though, although I did read the first two. I like this  new actor, although it’s hard to top the original.

 

 

Halloween

I’m not sure what I feel about this new version. I did like the Rob Zombie movies okay (the second less than the first). Apparently, this movie picks up exactly where the first movie left off, and Michael isn’t actually Laurie’s brother, and she has a granddaughter who thinks she’s insane, and all the other movies will be ignored, (with Carpenter’s blessing). But it looks pretty good, and I like Laurie’s “Born Again Hard” attitude, and gun.

 

 

The Predator

I had no idea there was a whole damn mythology behind The Predator movies, (even though I’ve seen all of them, and only been impressed by maybe a couple of them). I read a couple of the comic books, and watched the movies, and I really enjoyed both, but apparently  made no effort to put all this shit together. The Predators even have a special name, that I’ve never heard of! The first trailer didnt make me especially enthused about the movie, but I am highly enthused now that I’ve watched the mythology video, and seen this new trailer, which looks fucking awesome. (Yeah, if I’m cussing, I’m very excited.)

 

*Predator Mythology 

The Yautja (Predators Explained)

 

Bumblebee

While Bumblebee is one of my favorite Transformers characters, I’m not especially enthused about this movie for two reasons. The first is because the very first shot in this trailer is of a White woman’s ass, and I am thoroughly sick and damn tired of looking at White women’s asses (any women’s asses really) in movies, unless its actually a four legged animal. The second is because it is a Transformers movie.

A couple of things in its favor  is that there is a different director attached to this movie, and it’s about Bumblebee, and he’s a bit more kid oriented. Unfortunately, it does look like the same plot as the first Transformer film, and I even though I liked that film, I really don’t want to pay for the same movie twice.

Into The Badlands Season Two: So Far

Oh wow, I’m really late with this one, although not too late since the season hasn’t ended yet. I really should have begun this earlier, because there is a lot of ground to cover, and as is usual with this show, if you miss an episode, you’re up shit creek as far as understanding what’s going on, or what happened before. The plot does not slow down here. As the season moves forward the plot becomes more dense, the betrayals and alliances fly fast and furious, and of course, the action is literally kickin’! We’re gonna have to do this the old fashioned way: via character list.

 

Sunny

Sunny

Since the first episode, Sunny (whose actual name is indeed Sunshine) has been at pains to save Henry, since Henry became sick. It turns out that Henry is a baby Dark One. In his quest to save Henry from dying from his Dark Chi, Sunny teams up with Bajie, takes over a refugee camp, gets kidnapped by cannibals, and finally confronted by Nathaniel Moon, and finally reunited with the River King.

As usual, many of Sunny’s current problems spring from all the past shit he did as a Clipper, but there’s also a new wrinkle. Sunny happens to be a Dark One, only his abilities are latent. Sunny is a catalyst instead, capable of awakening the abilities of others. Should this information become public, and others find out he can create Dark Ones (possibly even control them), Sunny will become even more valuable to all the major Powers of the Badlands.

 

Bajie

Bajie

Bajie is one of those people who knows everybody, and  everybody’s everybody. The Widow used to be a former pupil of his, and one of his former masters from the abbey is a witch who can cure Henry’s illness. He and Sunny find their way to this woman. She manages to cure Henry’s fever, but she is also the person who figures out that it was Sunny who caused the flareup because  its hereditary.

Bajie is disappointed to think the signal he sent out, in first season, got no response, but the witch says it did. It attracted Pilgrim. And guess what? Bajie seems to know him too. So, at some point he and Pilgrim will be reunited.

Nathaniel Moon

Nathaniel Moon

Nathaniel Moon tracks Sunny to the lair of the cannibals, where he gets taken prisoner, as well. In exchange for saving his life from the cannibals, Moon decides to spare Sunny’s life. Also, Moon is an honorable man, who does not wish to make Henry an orphan.

The writers have learned at least a few lessons from the past seasons. They have given Moon a backstory, and although he does questionable things (most of the people in the Badlands do questionable things), he manages to maintain his honor, and occasionally make some good choices, but I suspect sooner or later, just like Tilda and Waldo,  he will grow disillusioned with The Widow, and leave her.

He also has a sordid past with Lydia, who had an affair with him, when he was Quinn’s Clipper. I like this relationship and hope they get together because their chemistry is unmistakable.

The Widow

The Widow

The Widow’s war with Baron Chau continues, and its hard to say who is winning. They both use innocent lives to manipulate each other into action, so I can’t even say who is the better person. The Widow is still one of my favorite characters but I still got  problems with her methods.

After Pilgrim floods  her poppy fields with pamphlets, stealing away half her Cogs, she decides to get out in front of the problem, and goes to see him. Subsequently, she and Pilgrim reach an accord. He doesn’t steal away any more of her workers, and she will take his side against anyone who attacks him.and there won’t be any need for violence between them,

 

Lydia

Lydia

Lydia has been appointed to be the Widow’s governor,  taking over the poppy plantation, where she used to live. It turns out that she and Nathaniel Moon used to be lovers, and their reunion was …how do you say? “Fraught with tension!” Like I said, the twists, turns and connections on this show fly fast and furious, and you have got to pay close attention, or you’ll miss some new, and relevant, development.

 

M.K.

M.K.

When we last saw MK he was zonked on opium, and without his powers, but the opium caused some type pf revelation, and he now believes that it was Sunny who killed his mother. I’m inclined to believe this is a delusion on his part, except Sunny has met more than a few people he’s wronged in his time as a Clipper, so why not MK.

During MK’s mission to find and kill Sunny, he’s shot by Gaius Chau’s crew, and found by Pilgrim. Pilgrim knows what he is, and wants him to stay and work for him, as a kind of enforcer, since one of his enforcers is in the final stages of being a Dark One burnout, and he needs a replacement. I’m not sure where this is going, but I’m pretty sure this won’t end with MK killing Sunny.  They are set to be reunited, and I’m sure there’s gonna be some kung fu fightin’, but I think that will be the extent of it.

 

Tilda

Tilda

Tilda and her mother have reconciled, (sort of), and she is now a kind of liaison, between the war refugees and her mother, helping to run the  camp set up in a corner of the Widow’s district, by Lydia. Over the course of the season, this camp has been attacked by everyone in the Badlands, mostly in an attempt to steal the refugees and get them involved in the war. Tilda makes this  deal, with her mother, to protect them.

 

Baron Chau

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After her people are attacked by Pilgrim, Juliet Chau realizes she cannot fight a war on two fronts, and sends in her nuclear option, her brother, Gaius Chau, who she suborns into working for her, by threatening his friends. She and her brother have a history where he tried to be a nice guy, but his sister took over his position as head of the family because she was utterly ruthless. They were feuding, but she imprisoned her brother, after he tried to stage a coup. Needless to say, Juliet is a few rungs down the ladder of villainy than Minerva, as she seems to actually believe in, and support, the slavery of the Cogs.

She sends her brother out to find, and assassinate Pilgrim.

I’m not sure I like this version of the “dragon lady” stereotype, but I do like this character, who is every bit The Widow’s equal. Perhaps if the show had more Asian women in it, to offset her depiction, that might be better.

 

 

Gaius Chau

Gaius Chau

Fomented a rebellion against his sister when she became the head of hte clan. And guess who was at the bottom of this rebellion. A very young Minerva, of course! She seems to have ties to everyone in the Badlands.

We’ve already seen The Widow’s reunion with Bajie, last season, which did not go well, but after Gaius’ assassination attempt of Pilgrim is unsuccessful, he finds his way to the refugee camp led by Tilda, where he and Nathaniel team up to protect it from Baron Chau, after which he is reunited with The Widow, and now works for her.

Can I just say how happy I am to see Lewis Tan in this show.

 

Pilgrim/Cressida

PilgrimCressida

Pilgrim and his entourage, which include the two Dark Ones, Nix and Castor, (and now MK), have taken up residence in an abandoned castle/museum on an islet. Pilgrim certainly seems to be educated from somewhere as he knows a lot about the artifacts in the museum, and has been heard quoting The Hagakure: The Book of the Samurai.

Pilgrim is turning into one of the top power players in the Badlands, mostly because he is able to offer hope and stability, from the war, to the Cogs  who flock to his banner. He’s certainly becoming someone who needs to be gotten rid of for becoming a hindrance, or parlayed with, instead. The Widow decides to make a deal (which she will renege on, at the first opportunity, of course). Baron Chau decides that getting rid of him is her best bet, and sends Gaius to do it.

Pilgrim and Cressida are engaged in some mysterious construction activities. Its kind of confusing because a lot of the people in the Badlands refer to Azra as  a place that is gone, a place that exists now, a place that will exist in the future, or sometimes, a person. At any rate, actual mystical abilities (magic) have been introduced to the mythology of the Badlands, as Cressida actually is a seer, and keeps seeing Sunny’s Clipper hash-marks in her visions, which is convenient becasue Sunny is on his way to Pilgrim’s place, in the last episode.

 

This season consists of sixteen episodes this time, so we’re about half through. Of course, by the end of the season, every individual situation will have changed, and I hope they all survive to the next season.