Black Mirror and Critical Diversity

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I want to talk, yet again, about the need for  diversity in film and television criticism. We need this  badly, especially with the increase in PoC in genre films and TV shows. We don’t just need diversity but we need people who can put the images we’re seeing into some historical context. We need critics who can detail WHY some of the media we’ve consumed is racist, homophobic or anti-Semitic, for example.

This was brought back to my attention after I scoured the internet for reviews of Black Mirror, a Netflix Scifi anthology show, which featured an episode about racial retribution, titled Black Museum, and starring Letitia Wright, from Black Panther. The vast majority of those critiques panned that particular episode. Many of those critiques were written by White men and women.

It is certainly within the realm of possibility that the episode sucked, but then I came across an article on The Root, written by a Black critic, that says everything I wanted to say about that episode, and which deeply affected me. Black Mirror critiques our addiction to, and fetishization of, modern technology, and as a result, a lot of it deals with the virtual monitoring of mental and emotional spaces. Of the six episodes in this 4th season of Black Mirror, Black Museum is the most difficult to watch. And it has also  been the most panned, and lowest ranked episode,  by White critics at The Verge, Vulture, and Collider specifically, and one has to wonder why that is. I want to give a comparison between two critiques:

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 Ashley Nkadi gives a devastating critique of America’s consumption of Black pain for entertainment, within the narrative of Black Museum. (This review contains spoilers.)

https://www.theroot.com/black-mirror-black-museum-reckons-with-america-s-histo-1821814356

Notice how she links the narrative to a Socio-Historical context in which Black people’s pain has always been commodified, monetized, and available for White consumption, outlining why some White people are in no hurry to dismantle White supremacy, the source of so much of that pain. Her points are direct and her review is uncompromising.

One of my mantras  has always been “everything is connected to everything”, and Nkadi touches on  those connections in her article, how various social movements collapse through commodification, for example, and how White fans consume media that includes marginalized people, and their reactions to it. Black critics of fandom have been saying, over and over, that White people’s consumption of media does not occur in a vacuum, no matter how much some of them want to separate, and disconnect, these issues from each other, insist they are unrelated, or that they have no bearing on actual lived experiences. Part of my job on this blog is to delineate just how connected everything is, and draw parallels between popular media, and the real world.

Here’s another article written by a White critic at The Nerdist:

https://nerdist.com/black-mirror-black-museum-recap/

And by Sophie Gilbert (a White woman) at The Atlantic:

https://www.theatlantic.com/entertainment/archive/2017/12/black-mirror-black-museum-is-a-throwback-to-episodes-past/549389/

Notice how Nkadi is very blunt about the issue of race in that particular episode, and how the writer from The Nerdist, glides right up to the subject of race,  and then slips past it without much mention. He has nothing to say about that. He has no interest in it.

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Another comparison review from The Black Youth Project:

https://blackyouthproject.com/black-mirrors-black-museum-slave-revolt-fantasy-hollywood-never-intended-make/

 —- I do not trust my enjoyment of this, but I trust that what white people see when they watch a story isn’t supposed to be what I see. And maybe for them this was simply a cautionary tale for what might happen when they do business with “supremacists.” Maybe that’s why they placed themselves in the “main character” Haynes’ shoes. But if you are Nish, not Haynes, you would know it is too late for cautions now. And if all of us Black folks are Nish, maybe burning down one man, one prison, one museum each is enough.

Now to be fair, The Root is a website for Black writers, about Black media, so it would seem especially precious for them to avoid the subject of race. The Nerdist is mostly White male writers writing about genre media. Their priority is to appeal to everyone, so approaching the topic of race in media is not going to be important to them, because they may not want to make their White readers uncomfortable, and that’s if they can see the racial implications in the media they critique, at all. Or, the retribution against the White male character, in the story,  made the writers uncomfortable, in a way they did not wish to examine too closely.

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And it seems I’m not the only person to notice or feel this way:

https://www.vice.com/en_ca/article/59w53k/im-a-black-critic-who-dismissed-the-black-museum-episode

—– ‘But listen, I’m not trying to say that “Black Museum” was peak Black Mirror. I’m not even saying that all its concepts are put together well. What I’m saying is that we need more people like myself and more women of colour in general that can see these messages and interpret them for the masses—free of filter. Because diversity on the big screen without diversity among critics is like planting fruits without tending to the damn weeds. The message is liable to get lost.’

After I started writing this post, I came across this on The Mary Sue!

https://www.themarysue.com/black-museum-black-reviewers/

— ‘ Let’s not forget, as well, Clayton is accused of killing a white woman. None of this is accidental and yet, none of this is mentioned in any of the reviews I’ve seen. Maybe a word or two about the racism, but nothing digging deeper to show why this episode reflects a narrative about the black catharsis that we might need in 2018.’

This review, from Ira Madison III at The Daily Beast,  I posted last week:

https://www.thedailybeast.com/black-mirrors-season-4-finale-black-museum-is-a-horrifying-critique-of-american-racism?ref=wrap

—– ‘The problem with most science fiction that uses race as an allegory is how it reduces racism to hatred based on emotion and circumstance. Human beings hate aliens, orcs, vampires or whatever else because they’re different than them. It ignores the sinister ways that racism has entrenched our legal and political system. “Black Museum” tackles that and much more, using the American curiosity framework—a roadside museum—to tell its story.’

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I’m not arguing that these White writers are bigots. That’s not my point. What I’m arguing is that a White writer’s need, to make their audience comfortable, will hamstring their review, and that White writers have a huge blind spot when it comes to critiquing race in the media we consume, and especially media that’s of importance to PoC.

Although it could be said that some white writers probably just wish to stay in their lane, and not comment on racial topics, the problem with that approach, is that their silence allows their audience to be lazy, to simply go on not thinking about the deeper implications behind their entertainment. In any comment section there are always calls for the writer to ignore racial issues, “Why does it have to be about race?” And”Why can’t you just find it entertaining?” There are parts of fandom that simply don’t want to think very deeply about anything they consume, claiming entertainment as a safe space for themselves, but not affording the same to marginalized people.

And I don’t know what to think of those writers who claim to want to challenge their readers, and don’t, or write the same bigoted drivel that marginalized people are regularly subjected to, in an attempt to seem “edgy”, (but I know I feel about it, though.)

I’m not avoiding critiques from White writers because I dislike White people, or think they’re being racist. (FTR: Black Mirror is a British show created by a White writer named Charlie Brooker,) I mostly avoid these critiques because many of the writers don’t, won’t, or can’t see the details, and nuances, behind media created with PoC as the audience. Most of them are  unable to put the images they’ve seen into any Socio-Historical context, as Nkadi did, to devastating effect, in the above review.

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White writers will not see the broader ramifications in movies like Black Panther, and Get Out, or the meaning behind Luke Cage’s wearing of a bullet riddled hoodie, and Black Mariah’s respectability politics. Many of them are not educated enough on the subjects to be able to speak on them. It took Black reviewers to see and state these things. It took Asian American reviewers to outline the racist implications of whitewashing Ghost in the Shell, and to explain why Danny Rand needed to be Asian. Left to White reviewers these kinds of things are not mentioned.

Because all the media we consume is still primarily written by straight, white, cis-gender men who are only really capable, through a combination of ignorance, malice, and laziness, of writing from their own perspective, we learn what it is they care about, what subjects they think are important, and who they believe matter.

Not that White writers aren’t capable of thinking and writing beyond such boundaries (I’ve discovered a few who can, but most of them can’t write cis- gender, straight, White women very well , and these are, presumably, the people they most often come in contact with). How much less accurate are they going they be when writing about lifestyles even more divorced from their own, like a transgender woman of color,  or an Asian immigrant. Why is Hollywood still so reliant on White men to tell stories they can’t possibly know anything about, except through copious research, and most of them are too lazy to do that, relying instead on the same  old established shorthand of such groups written long ago by other white men, who not only didn’t do any research either, but didn’t care, because those people didn’t matter.

Most white critics are not familiar enough with the various topics of race, within any sociocultural and/or historical context, and then there are those who don’t think it matters at all. But it matters to PoC and other marginalized groups, not just that they are represented in popular culture, but how they are represented, what kind of story is being told.

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Earlier in this country’s history, marginalized groups focused on entering the field of politics, and that was helpful in addressing some of our grievances, and furthering cultural progress. But our realization now is that we need to change the culture. And we can see that the way that a culture can be changed, is through  popular media. Until we control ,write, direct, and disseminate our own stories, in film, television, and books, we cannot change a culture that had long ago decided, with the aid of that same media, that we were less than.

Only we can  (will) declare our own worth. And there is always going to be a certain amount of push-back from those who don’t like it, because it benefits them, on a near spiritual level, to see “The Other” be emotionally downtrodden.

Not only do we need to be able to control our own image, but we need to be in a position to critique those images, because apparently, the reason why those images exist, will only be ignored by members of the dominant culture. The critiques of stories about us need to be done through a diverse lens, otherwise it will only result in reviews that say nothing, of any meaning, about our images.

White writers cannot talk about racial issues in media, and make their audience comfortable, at the same time. It’s not possible to do that and write about the Soci-Cultural issues being addressed in a show like Luke Cage, Beyoncé’s Lemonade, the movie Get Out, or the upcoming Black Lightning, and Black Panther, as that might come across to their White audiences as a indictment, and an attack, on Whiteness. And some of them won’t take  the step  of approaching their own discomfort.

PoC, who critique the media that is about us, don’t have that problem, because we’re not necessarily interested in being liked by our readers. (I mean, it’s important. But it’s not out top priority. ) We’re interested in delineating the hard truths, and hope people are willing to come on that journey with us.

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Invasion of the Body Snatchers (1956) Vs. … All The Rest

There have been three other iterations of the original 1956 movie, Invasion of the Body Snatchers. Hollywood keeps rebooting this movie (in fact, there is yet another remake of this movie in the works), despite diminishing returns on its efforts. I blame this on a lack of understanding, by the last two directors, of the core themes.

Invasion of the Body Snatchers (1956)

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The first film is based on Jack Finney’s novel of the same name, which was written in 1955. I haven’t read the book since I was a very young child, (like 9 or ten),  so I can’t speak to the authenticity of the plot vs. the book, but Hollywood has been fascinated with it for over six decades now, remaking it every twenty or so years, to less audience enjoyment.

The 1956 version was directed by Don Siegel, and starred Kevin McCarthy, and Dana Wynter. This version is very much a product of its time, so to understand its themes, you need to understand something about the era during which it was made.

A simplified version: Just after WW2, America and Russia were not on good terms with each other. The Russians were still reeling from the devastating 1941 German invasion, and America had just used its first nuclear weapons on Japan. So both countries were paranoid from the war, and shit talking each other in the media.

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During this time, the Red Scare, as it was called, was  ramped up to hysterical heights in the American media, by Senator Joseph MCCarthy. Called McCarthyism, there was increased paranoia that America was full of Russian spies, that they were everywhere,  and their goal was to destroy American democracy, and make America a communist nation.

American society was inundated by the media  ‘…with stories and themes of the infiltration, subversion, invasion, and destruction of American society by un–American thought and inhuman beings.’

… https://en.wikipedia.org/wiki/Red_Scare#Second_Red_Scare_(1947%E2%80%9357)

There were numerous congressional hearings, the federal government targeted Hollywood as the bastion of communist thought, popular actors were accused and blacklisted, careers were destroyed by even the smallest whispers of private disloyalty, people were encouraged to tell if any of their acquaintances were disloyal, and many of the movies from that time period reflected, not just the paranoia of the American government, but the fear that Hollywood actors  lived with, that at any time, they could be accused, and have to defend themselves against accusations of UnAmerican Activities. Just associating with the  accused, could put a person in the spotlight.

‘Some reviewers saw in the story a commentary on the dangers facing America for turning a blind eye to McCarthyism, “Leonard Maltin speaks of a McCarthy-era subtext.”[17] or of bland conformity in postwar Eisenhower-era America. Others viewed it as an allegory for the loss of personal autonomy in the Soviet Union or communist systems in general.[18]’The general consensus over the decades, is that the movie’s primary theme was anti-communism, even if the creators say there was no particular political allegory involved.

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In the movie, Dr,Miles Bennell is approached by patients who all claim their family members aren’t really them. Ironically, this is an actual mental illness known as Capgras Delusion, a psychiatric disorder in which a person believes that the people closest to them have been replaced by imposters. While investigating these delusions, he and his companions keep stumbling across pods, and duplicate bodies, and come to the terrifying realization that the delusion is all real, that humanity is being slowly duplicated and replaced by aliens spawned from seed pods.

The original story takes place in a small town in California called Santa Mira, and ends with the lead character, on his own, trying to warn the rest of the populace of the threat.The lead, Kevin MCcarthy, and the director, Don Siegel, both went on to make cameos in the 1978 remake.

The 1978 version manages not only to perfectly replicate the paranoia of the original, but build on it, by setting it in a large city, and  touching on themes of existential dread, mental illness, and urban isolation. It is, like the remake of The Thing, an exceptional example of a film remake.

Invasion of the Body Snatchers (1978)

“Invasion of the Body Snatchers is regarded as one of the greatest film remakes ever made.[11] The New Yorker‘s Pauline Kael was a particular fan of the film, writing that it “may be the best film of its kind ever made”.[12] Variety wrote that it “validates the entire concept of remakes. This new version of Don Siegel’s 1956 cult classic not only matches the original in horrific tone and effect, but exceeds it in both conception and execution.”[13] The New York Times‘ Janet Maslin wrote “The creepiness [Kaufman] generates is so crazily ubiquitous it becomes funny.”[14]Related image

This version has an all-star cast of Veronica Cartwright, who had yet to star in the movie Alien, but had been the young star of Hitchcock’s The Birds, playing Nancy Bellicec. A very young, and handsome, Jeff Goldblum, as her husband Jack, whose career was just picking up speed.  Leonard Nimoy, who was still working against being typecast as Mr. Spock, plays Dr. David Kibner, Donald Sutherland is Matthew Bennell, a city health inspector, and Brooke Adams as his co-worker and best friend, Elizabeth Driscoll.

Yes, this is a remake, although McCarthy’s cameo, as a panicked pedestrian screaming about the alien invasion, in the same manner that the first film ended, has prompted some viewers to speculate that this is a sequel to the original film. (No.) All of the primary plot points of the original are replicated in this film, only writ large. Part of the success of this film is the skill, and charm, of the actors who are at the top of their game here, especially the relationship between Matthew and Elizabeth.

One of the more charming things in the movie is the genuine friendship between Matthew and Elizabeth, with more than a little unrequited love on Matthew’s part, although that’s never specifically stated. Elizabeth is already in a committed relationship with one of the first of the pod people, her dentist boyfriend. In any other movie, a romantic relationship between her and Matthew would be inevitable, but that’s not the focus of the film. It has other messages to convey.

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This version improves and embellishes on the original in ways that feel entirely natural, while keeping all of  the basic elements of the plotpoints of the original. When humans fall asleep, duplicate versions of them are birthed from pods, and the original body is destroyed. (So, yes, even though the duplicate has all the memories and thoughts of the original person, it is not them because  all of their the emotions are lacking, and the original body is dead.) The movie  manages to keep the mood and messages of the first film intact, while tweaking and embellishing the relationships and characters.

From  the opening moments, there is the theme of urban isolation, which is the opposite of the original’s theme, which focused on the closeness of a small-town environment, where everyone seemingly knows everyone, an environment which makes it all the more horrifying to find that people have changed, and that what was once known, is no longer. In the remake people are already unknown to one another, no one is really close in the city. This urban isolation is juxtaposed against the intimacy of Matthew and Elizabeth’s friendship, and their relationships to their friends The Bellicecs.

In the remake, the aliens are able to finish what they couldn’t accomplish in the first film. No one knows anyone in the city, and everyone lives in such small personal bubbles, that’s it easy for the pods to make significant inroads into the population. By the time Bennell finds out about the invasion, it’s already far too late to do anything to stop it, and it’s a just a matter of time until he, or one of his companions, falls asleep, and are changed.

I’ll have to do a more detailed review of this movie at a later date, because “I got some thoughts.”

Body Snatchers (1993)

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This version is set up as if it were a sequel to the second film, although none of the characters from the previous remake appear. Apparently, its a parallel story of the invasion, happening on some other front, and according to this movie, humanity is gonna lose, no matter how many pods get blown up at the ends of these films.

The 1993 version loses a lot of the atmosphere, and messages of the first two films, although it does make a game effort.  All of the basic rules of the first two movies, are kept in place. People fall asleep, duplicate versions of them come out of pods, and the original person is killed. This one takes place on a military base,  and there is a vague theme that the aliens are successful because of military conformity, or because people are unhappy, or something, but this isn’t clearly articulated.

Just as in the second film, the aliens get to speak for themselves, stating that pod-ification of humanity will solve all of its troubles, and the screaming and pointing stuff, from the previous remake is kept intact. The way a person is duplicated is every bit as disgusting, involving what appears to be large worms, but unlike in the first remake, it’s not entirely clear how the worms are draining a person’s life essence.

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You have to pay very close attention to infer the themes of this movie, and you are, more or less, left to guess what was the point. Unfortunately, paying close attention to the dialogue (which is actually not bad) brings the actors lack of skills to the forefront. Billy Wirth and Gabrielle Anwar are just bad, and many of the other characters already act like pod people before they get duplicated, so its hard to tell whether or not they’ve been replaced. These particular actors just  are  not in the same talent realm as those of the  previous remake. Theyre too young, for one thing, and simply don’t have the talent, or gravity, to carry this movie, although Christine Elise does turn in an engaging performance as the best friend of the lead character, Marti, played by Anwar.

The core plot is centered around the Malone family dysfunction, as Marti and her family, which consists of her, her father, her stepmother and her baby half-brother, have moved to a new military base. I think we’re meant to sympathize with Marti’s displacement and isolation, from her family, and her surroundings, where she has no connections or friends, and is angry for having to start all over again. I see the parallels the director was trying to make, but I  don’t think it was very successful, because Anwar’s performance is so bad, and she has an annoying, and unnecessary, voiceover, as well.

There’s some surprisingly sedate, and creepy, acting from R. Lee Ermey, from Full Metal Jacket fame, Meg Tilley, and even a cameo from Forest Whitaker, who gives one of the more compelling performances, as an officer who is terrified of being duplicated. Both Whitaker, and Ermey do a great job in their scene together, making you wish the movie had been entirely about them, and leaving out Marti’s family melodrama altogether. These three actors (Ermey, Whitaker, and Tilley) are the highlights in what is otherwise a mediocre film. It doesn’t begin to reach the heights of the previous one.

I get that the pod people are not meant to have strong personalities, but Tilley manages to imbue her pod-Mom with just enough personality to be really creepy, while the rest of the pod people don’t. There’s just all kinds of different acting across this movie, so the pod people don’t seem like so much as a unified group, as much as they seem like a bunch of people who have all been lobotomized.

This movie mostly stars a cut-rate cast, that is very obviously sub par to the 1978 version. Most of these actors, who were unknown at the time, continue to be unknown today, with the exception of the colonel played by Forest Whitaker, and Terry Kinney. who went on to star in the series “Oz”, for HBO, and Gabrielle Anwar later starred in Burn Notice, and Once Upon a Time. Billy Wirth (from The Lost Boys) stars as Tim, a young helicopter pilot, who becomes an unconvincing love interest for Marti. It seems that every body snatchers movie must include a, not-quite-romantic subplot.

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This movie differentiates itself from the first two by depicting the alien invasion from Marti’s point of view. She, and her friend Jenn, are the only two people on the entire base whose personalities seem to be intact.

While the film has some occasionally creepy moments, (as when Marti’s little brother first attends school, and we realize his entire classroom has been duplicated), it is rather lackluster, and  kinda disappointing. The duplication special effects don’t evoke the same fear and sadness that the process did in the 1978 version, the soundtrack isn’t as memorable as the city/heartbeat sounds of the previous movie, and the sonic screaming of the aliens in distress, is mostly all that’s left from the ’78 version. This was directed by Abel Ferrara, who went on to make more violent indie movies in the 90s, like Bad Lieutenant, and The Addiction.

The Invasion (2007)

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In 2007, the film was remade, yet again, this time directed by James McTeigue, and starring Nicole Kidman and Daniel Craig. The atmosphere of this one is cool and emotionally detached, almost as if the viewer had been duplicated, rather than the actors. The messages and themes of this movies are even more vague and unstated, but a close reading suggests that the messages of urban isolation, and peace through conformity are still intact.

This time Dr. Bennell is a woman (Kidman) and there are some brief feminist themes mentioned because of this change. This time the film is from her point of view, but also viewed through the lens of a parental love, as she seeks to protect her son, who is immune to the effect of duplication.

Everything about the 1978 film is jettisoned from this movie except the occasional name, so this is a clear reboot. Even the aliens themselves get an upgrade. There are no pods in this movie, but rather a kind of sentient virus, brought to Earth from some space debris, like in the movie The Blob. Anyone who is infected with the virus gets possessed by a kind of alien collective, after they fall asleep, but their primary body is left intact.

Dr. Carol Bennell is a psychiatrist whose patients start to report that the people they love are not who they seem. Daniel Craig stars as her counterpart Dr. Ben Driscoll, and they too have a not-quite- romance type of friendship, which is about the only thing kept intact from the original films. Carol has a young son named Oliver who, because of a previous illness, is immune to the virus. The plot becomes a race against time for Carol to save Oliver from one of the pod people, her ex-husband, Tucker, who wishes to kill the handful of humans who are immune.

This is a better movie than the 1993 version, mostly because it has better actors, although I have never liked Nicole Kidman, considering her to be an actress who lacks enough warmth to be engaging. She is too formal and icy for me to care about her plight, or buy her relationship with Oliver, although she does give it some effort. She’s not a bad actress. She’s just too emotionally remote. This is something that worked well when she starred in The Others, but not here.

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In an effort to approach some of the mood of the 1978 version, McTiegue only makes the viewer feel detached , although there are some deeply creepy moments, like various pod people trying  to get people to drink various infected fluids, and a scene where one of the pod people vomits in Carol’s face to infect her,  along with a couple of exciting chase scenes.

One of my favorite moments in this film is when Carol, pretending to be one of the pod people, is invited to dinner by the possessed child of one her friends. While they’re eating you can hear snippets of news shows, in the background, as someone talks about the Middle East Peace Treaties that were recently signed. I feel like that type of political idea should have played a larger part in the plot. Most certainly the political situations of the entire world would change after humanity is possessed by an alien species, and I found that intriguing.

Another scene I found intriguing, was a scene on a bus, with Carol and several other passengers pretending to be possessed, because they don’t know who is or isn’t possessed. I thought it was a very effective scene. This scene also contains some of the few Black people with speaking lines, in any of these movies, (there is Jeffrey Wright, and a Black cop who gives Carol advice in an earlier scene) and I was intrigued at the possibilities of some highly imaginative future director making a movie about how  an alien invasion would affect PoC, and their communities. Would they notice, and would they care if they did? I would love to see a movie where an ethnic community’s reaction to such an invasion is unexpected, positive, or even ignored. There are 7 billion people on this planet and not all of the reactions we would get to  such an invasion would be “fight it out” with guns, and explosions.

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It’s unlikely I will ever see a film about people who have already experienced colonization by a foreign entity, experiencing a second colonization by another. Alien invasion movies are almost always from a  Middle class, White,  Western perspective, are almost always about White people’ s reactions to being colonized, it is always  coded as a negative, and it always involve fighting and explosions. One of the most intriguing lines from the 1978 version is Veronica Cartwright’s character asking why people always expect metal ships. What makes IotB unique is that it is one of the few alien invasions caused by space travelling spores.

Once again, there’s a cameo of an actor from a previous film, Veronica Cartwright, who probably should’ve been allowed to play Dr. Bennell in this one, because she’s the most emotionally accessible character in the movie. Daniel Craig is completely unmemorable in this movie, as a love interest, who is so removed, he barely affects the plot. He barely affects Dr. Bennell. Jeffrey Wright is  a scientist who comes up with a way to stop the aliens. He is never in any danger and is mostly wasted, as he’s only there to give exposition. (I suppose we should be grateful that he survives the movie.)

The themes of this movie are even murkier than the last remake, although I get the focus is on familial bonds. But again, the emphasis on rugged individualism, and its protection at all costs, is something very common in White Western filmmaking.

There is a new version of this movie in development, or so the rumor goes, and I’d like to see some of the above themes addressed in it, but I’m not holding my breath. Chances are, it will be written by, and from the perspective of a White middle-class urban professional, and just reiterate the same themes of paranoia, and the protection of individual identity that were addressed so well in the first two films.  These movies have become less effective over time, and one way of grabbing a new audience is by infusing it with different thinking. What I would like to see is this film, done by a PoC, and what messages they might have to convey.

Ep. 2 Hannibal Season Three: Primavera

In the last episode, we got caught up with Hannibal’s activities since the night of the Red Dinner. In this episode, we find out what Will Graham has been doing, as one of the survivors of that night.

All throughout season two, we’ve been getting strong “hints and allegations” that Hannibal and Will have an intense (and dangerous) attraction to each other. This season the subtext has definitely become text, as it’s flat-out stated by both of them, what feelings they have for each other, and exactly how far into the abyss Will Graham fell, in his efforts to bring Hannibal to justice. At the beginning of this season, Will sets out to find and re-engage with Hannibal again, seemingly not having learned his lesson from that night.

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We open almost immediately after the Red Dinner, with Will in the hospital recovering from his wounds, reliving the events of that night, and  imagining that Abigail has survived. Actually this imagining of her isn’t any different from his previous thoughts about Abigail. Will has an idealized view of Abigail, as the perfect daughter and companion, an image that Hannibal well knew, and used against him. In the real world,  he and Abigail weren’t  that close, and she certainly didn’t feel about him the way he felt about her, although since this Abigail argues with, and castigates him for his actions last season, this is probably a much truer version of her than we’ve seen from Will before.

This is something a lot of fans of the show forget. That Will and Abigail didn’t interact that much in the real world, beyond season one, and on those occasions when they were together, she was just as unforthcoming, duplicitous, and manipulative with Will, as she was with everyone else, so I was immediately suspect of this image of her. And the show  plays coy with the idea that she survived that night, until near the end of the episode.

One of the  clues, that maybe she didn’t survive, is that Abigail asks Will questions about things she couldn’t possibly know about, unless Hannibal discussed these things with her, and  I don’t believe he did. Also notice that Abigail wears the same hunting jacket that Will has imagined her wearing before, but in a dried blood color,  we’ve never seen. Her body language, and attitude, are the same as when he imagined talking with her, when he was in prison last season.

So keep in mind that Abigail did not survive that night, and Will’s discussions with her, are just Will castigating himself for being stupid.

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Will also has an image of the stag, for the last time, as it dies on Hannibal’s kitchen floor.  The Stag doesn’t represent Hannibal, (as he knows Hannibal isn’t dead), and when Will is hunting for Hannibal in Europe, the Stag  is reborn. There has been a lot of discussion about what the Stag means, but my theory is that this is an avatar of  Will. This isn’t the RavenStag, which is an avatar of Hannibal the Killer. This is just The Stag that Will imagines whenever the darker side of his nature begins to assert itself.

Will  has an image of himself, and Abigail, drowning in a lake of blood. I’ve written before, that images of drowning represent  someone’s belief that they have gotten in over the heads, or into a situation that has overwhelmed them, or that they can’t control. Bedelia has such dreams in the last episode. These dreams of drowning are Will’s though, and are tied to the knowledge that he totally underestimated Hannibal’s will to survive, and his spiteful nature.

Will’s hallucinations and images are jumbled with Hannibal’s images of the breaking teacup, that reverses itself, and becomes un-shattered. I think  this represents Will, and the reversal of its breakage represents the turning back of time, and the resurrection of their previous relationship, which is something Hannibal deeply misses, even in his anger at Will’s betrayal. It’s something that Will longs for too, as he deeply regrets the decisions he made leading up to the night Abigail died. So both men are in the same place emotionally, saddened. missing each other, and regretting what they did to each other.

Will sets out in his boat to look for Hannibal in Europe, based on conversations had during Will’s therapy sessions. On arrival, eight months later, still accompanied by the ghost of Abigail, he goes to the Norman Chapel in Palermo, Italy that Hannibal mentioned, and finds a murder investigation in progress.

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The Norman Chapel  is an actual place, which is also part of Hannibal’s Memory Palace. It’s  real, although, the skeleton on the floor isn’t actually there. That was placed in post-production by Fuller, and i think it indicates indicates Hannibal’s placation to Will. It is an image of Hannibal’s forgiveness, or perhaps, he is praying to Will for forgiveness..



One of the images of Hannibal’s forgiveness is the Vetruvian Man origami from the first episode, and the mutilation sculpture of Dimmond’s body by Hannibal. He folded Dimmond’s body into the shape of a heart, pierced it with upside down swords, and placed it in the Chapel’s foyer. Will doesn’t actually get to see the body, though. He is met at the Chapel by a Rinaldo Pazzi, a detective in the city, who has been reading of Will’s attempts to capture The Chesapeake Ripper. Pazzi shows WIll a photograph of the crime scene, and believes it is linked to Will’s arrival in the city.

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Pazzi believes that Dimmond was killed by a serial killer that he calls Il Mostro, who managed to escape capture many years ago, by framing another man for his murders. He believes Il mostro, and The Chesapeake Ripper, are one and  the same, and that Il Mostro left Dimmond’s body as a message for Will, which it is. After learning from Bedelia that Will is still alive, and has traveled to Italy to find him, Will is much on his mind. Even if Hannibal may not recognize his feelings as a form of love, Bedelia does. (I mentioned in season one, that every show needs a truth-teller, a person who sees things more clearly than the main character/s around whom the story revolves. Bedelia’s role is to say what the outsider (us, the viewer) has observed.)

https://www.keen.com/articles/tarot/3-of-swords-tarot-card

Pazzi recalls the case that set him against Il Mostro. He found the bodies of two people designed to emulate the 1482 painting, La Primavera by Boticelli, which hangs in the Uffizi Gallery in Florence.

Primavera or Allegory of Spring by Sandro Botticelli

http://www.uffizi.org/artworks/la-primavera-allegory-of-spring-by-sandro-botticelli/

Hannibal was obsessed with the painting. Sitting for hours, and drawing the painting over and over, and his last murder in Italy was a reenactment of Zephyrus chasing Flora (to the right in the painting). Pazzi recognizes Hannibal’s style in the killings of the Chesapeake Ripper and believes Hannibal has returned to Italy. He thinks Will may have some insight into Il Mostro’s nature.

https://hannibalfannibals.com/2015/06/17/hannibal-the-history-of-il-mostro-fact-vs-fiction/

But Will is not helpful, as he grapples with his darker self. Will is torn between wanting to join Hannibal, and wanting to capture him. Whenever he feels he is getting too emotionally involved, too close to Hannibal, he becomes afraid that he will lose himself, (hence his dreams about drowning), and feeling a need to reassert his better self (as an agent of the law), he  tries to capture him instead. He seems to go through this cycle of longing and destruction at least twice a season.

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Observe that while contemplating Hannibal’s crime scene, Will doesn’t use his pendulum system to ease into the killer’s mindset. He knows Hannibal so well that he doesn’t need it, and he seamlessly moves back and forth between his own mind, and Hannibal’s. He hallucinates (or dreams) of the Dimmond heart, and in one of this series most grotesque scenes, it comes to life, unfolds itself into the shape of the Stag, and stalks him across the chapel floor. My theory is that this is the rebirth of Will’s murderous avatar. Just being in a place Hannibal has been, has awakened the darker parts of his nature, a part of himself he thought was destroyed that night in Hannibal’s kitchen, when Abigail died.

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Will and Pazzi descend into the catacombs underneath the Chapel. Will is searching for Hannibal, believing he can feel him nearby. Will warns Pazzi to not be so trusting, because he may harm him. Will knows that his distress will attract Hannibal and killing Pazzi might bring draw him for sure. And Hannibal is there, so he hears Will’s quiet assertion that he is forgiven. But what is Will forgiving him for? Running away and leaving him? Trying to kill him? Killing Abigail? All three? Does it matter?

 

Of Note:

Will’s mention of the church ceiling falling in is something mentioned by Hannibal, in the movie Silence of the Lambs, where he says he likes to collect church collapses.

Abigail stares at one of the priests in the chapel, and he stares back as if he can see her, as if he can see this dark spectre following Will around.

 

Posts & Articles

https://www.firstthings.com/web-exclusives/2015/10/the-moral-universe-of-hannibal

http://www.vulture.com/2013/06/seitz-on-hannibal-its-a-dream-and-it-hurts.html

http://www.vulture.com/2015/08/hannibal-redefined-how-we-tell-stories-on-tv.html

The Mist Movie Review

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Normally this would be a comparison between The Mist film, and the TV show, but I didn’t watch the TV show beyond the first couple of episodes, because I got bored. Let’s just  say that the TV show ain’t got nothing on the movie, probably because Frank Darabont had nothing to do with it, and the two people who were involved with it had a very different vision of what the Mist was about.

The series was a hot mess, that was slow and mostly incoherent, and was finally canceled.  I was hopeful that it would be good, (I’m always hopeful that a show will be good), but I was a bit dubious when I heard there wouldn’t be any monsters in the show, and I think part of the reason for its failure, is  fans of the movie had one idea of how it should be, and the creators had a completely different, and incompatible, idea

And of course, it’s really hard to top the original movie that it was based on. Frank Darabont has proven to be something of a genius when it comes to adapting Stephen King’s stories, having directed not just The Mist, but The Shawshank Redemption (which I loved), and The Green Mile, (which I hated for  different reasons.)

Except for the controversial ending, The Mist is faithful to the novella on which it’s based, and that’s part of its success, because  the story is a very effective study of human nature under extreme conditions, and you can’t get more extreme than being trapped in an enclosed space, while being menaced by giant hungry monsters.

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The Grey Widower

I wrote an essay on how to write the apocalypse novel, and I used The Mist as the type of  framework that many writers could try to hang such a story on, but really I have to credit Agatha Christie with making the premise famous, (although its much, much older than her) of a small group of people, trapped in a  space they can’t leave, who start mysteriously dying. So many books and movies have been based on this idea that you can’t count them, and it’s an idea that seems to work especially well with horror movies, in everything from Alien (outer space), to Friday the 13th (the woods), to Night of the Living Dead (the apocalypse). The only thing that you can truly change about such stories is the size, and nature, of the space, (jungles, warehouses, summer camps, and spaceships) the type of people dying (probably White), and why (probably monsters). Along the way, the survivors have to navigate the very human monsters of greed, stupidity, callousness, cowardice, insanity…

In The Mist, David Drayton, his son Billy, and neighbor, Brent Norton get trapped inside a local grocery when a mysterious mist descends, a mist that contains some very hungry creatures. Also trapped with them is a small contingent of local people, along with Mrs. Carmody, a woman with the reputation of being a kind of hedge witch, who is also a  religious fanatic.The two standout performances are from Andre Braugher as Norton , and Marcia Gay Harden, as  Mrs. Carmody, with Melissa Mcbride (aka Carol from The Walking Dead) in her big film debut, making this a grand trifecta of awesome. Bringing up the rear, but never slouching, is Toby Jones, William Sadler, Sam Witwer, and Laurie Holden as Amanda Dunfrey, a woman David has an attraction to.

The Stephen King Multiverse

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The Leviathan

Near the small town of Bridgton Maine is a military facility that’s believed to be responsible for the descent of the Mist, after a huge thunderstorm knocks out  the power in the town. The book suggests it was some experimental physics event created by something called The Arrowhead Project, that triggered the Mist, and Stephen King (and many fans ) have made this story part of the Stephen King Universe by suggesting that the Project opened what’s known in other King books, as a “thinny”, a portal between the worlds.

My personal assumption was that the portal opened into what King calls “todash” space, the dark void between the different worlds, which is inhabited by different types of monsters, like Tak , from The Regulators, and the creatures in this story. Todash Space is also something heavily referenced in The Dark Tower books, and at the opening of the movie, we can see David Drayton painting a picture of Roland Deschain, from The Gunslinger.

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David Drayton

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Thomas Jane, as David Drayton, just manages to just hold his own in this movie, which is impressive, as I never credited him as a particularly fine actor, although he has had a long career in film. Here, he’s supposed to be our everyman character, with whom the audience is meant to identify, and through which we’re meant to get into the story. His most direct nemesis’ is not the mist, but Edward Norton, a representative of disbelief, and Mrs. Carmody, who represents too much belief.

David tries to navigate these two approaches to their extreme circumstances, without falling into either the camp of delusion and denial, called The Flat Earth Society, in the book, or hysterical religious ideation, like Mrs. Carmody. In the novel, David has an affair with Amanda Dunfrey, as a form of solace over the loss of his wife, but in the film, Darabont stated that the two of them having an affair would make David’s character less sympathetic, so that was removed from the script. It would also have had the unintended side effect of the audience supposing that David was being punished for his adultery with her, especially if that was coupled with Darabont’s ending.

The ending sparked some controversy, because it’s completely at odds from what happened in the book, and some viewers claim that it defeats the purpose of everything David Drayton survived beforehand. The story itself is open-ended, David and the others never find their way out of the mist, although it ends on a hopeful note. In the movie, David and his friends elect to kill themselves, rather than be eaten by the monsters,, when their car runs out of gas. This made some people angry because they felt he went through so much to survive Mrs. Carmody, only to give up at the end.

But I felt this was an entirely reasonable response, if looked at along a continuum  of the kinds of  behavior we’d seen from everyone caught in the mist. In the book, some of the characters retreat from their circumstances by getting drunk, and a number of people who David says “went over”, simply go insane. People commit suicide, and retreat into religious hysteria, and denial. But the bottom line is that most of these people (except for a handful) do not want to face their situation head on. In the movie, David does, but even he and his friends are eventually defeated by the mist, and take their own lives.

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Eventually, the only survivor is David, and he realizes the futility of what they’ve done after he steps out of his vehicle, intending to just give up and be eaten by whatever monster finds him first, only to encounter the retreat of the mist, and the American military destroying any monsters left over. That was something that infuriated a lot of people. David and the others having given up too soon. Had they waited just another hour or two, they would have all survived. But many people don’t understand that this is all an illustration of how hopelessness works. It’s immediate and intense, and must be taken care of right away. Hopelessness has no patience, and believes there is no time.

At any rate, staying in the store wouldn’t have saved them. They would have had to leave because of Mrs. Carmody anyway, as the military would never have arrived before she started killing more people.

Edward Norton

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Andre Braugher is incredible as Edward Norton. Heperfectly  captures Norton’s officious resentment, from the book, and even manages to add an uncomfortable racial component, to his discussion with David in the market. So watch that scene again where he insinuates that people are racist, wtihout actually saying people are racist towards him.. In the book, he becomes the leader of the Flat Earth Society ,a faction of people withing the store who simply refuse to believe that the mist is  dangerous., or that there are monsters.

It’s never made exactly clear what Norton does for a living, but I suspect he’s a lawyer. He approaches the entire event from an argumentative stance, as if his clinging to a rational approach to their circumstances should be enough to survive it. He and his crew represent just one approach to what has happened, and they (and the bagboy, who also didn’t believe the mist was dangerous.) are the first of the store’s customers to die. After those people are dead, we are left with the  those who believe their circumstances are real, and that the monsters exist.

In the book, David states that there are so many different ways that the mind can approach what’s happened, but really there aren’t that many. People can only respond in about three ways to extreme fear: flight (whether it’s  physical (suicide), mental (insanity)) from their circumstances, confrontating the situation head on, in an attempt to get around it, which is what David does, and negotiation, which is what Mrs. Carmody does. Edward Norton, and Norm the bagboy, tried disbelief and confrontation, and that promptly got them killed. In the novel, several people choose flight from their circumstances. They just mentally check out, (they go insane), still others use alcohol, or suicide to escape. This is somewhat less evident in the movie than in the story. We don’t see any of the characters getting drunk as a way of coping with the situation, for example.

And then  there’s Mrs. Carmody. I think, in the movie, she’s meant to represent insanity, but I don’t believe she is insane, and I’ll explain why in a moment.

Mrs. Carmody

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In the book, Mrs. Carmody is  a caricature of religious insanity, screaming about the abominations in the mist, in a bright yellow pantsuit. She starts off the story as a joke, a figure of mockery. Over the years King has become better at writing radically religious people, but Mrs. Carmody is one of the weakest characters in the novel, as she is very one-note, and over the top. When we first meet her in the novel, she only has one setting and that is “crazy”, and she remains that way for the rest of the story. There’s no background or depth given to her. She’s little better than the monsters in the mist.

This is where Darabont’s talent for adapting King’s films comes into play. Under his creative control, Mrs. Carmody is considerably  deepened as a character. We don’t  learn anything new about her backstory, but we do learn that she is not as sure of herself as she would like everyone to believe. In the movie, she begins as a simple curmudgeon,  complaining about the smallest thing. Like Norton, she sees her response to what’s happening as entirely reasonable, calmly and quietly explaining to the imprisoned crowd what will happen to everyone, if they don’t do as she says,  which is one of the best changes from the book. As the movie progresses, you  get a much better grasp of her character, especially in the scene with Amanda.

Amanda Dunfrey comes across Carmody in the lady’s restroom, and finds her in tears, as she prays to God to give her the strength to commit to His will. Amanda offers her comfort, but Mrs. Carmody’s response lets you know that she is  aware of what contempt she is held in the town, and she rejects her. She speaks from  the perspective of someone who sees herself as an underdog, a figure of mockery and disdain. She doesn’t accept Amanda’s overture of friendship because she knows Amanda doesn’t care about her, and that none of the people in the market are worthy.

That scenes lends a new perspective to her actions in the market. She is not as certain of her strength as she seems, not as sure she’s doing the right thing but she forges ahead anyway, and since you get the subtle impression she has just as much contempt for the townsfolk ( they are all horrible sinners) as they do for her (as the town crazy), we have to question her motivations for calling for more and more extreme ends to deal with the  mist. Her way of dealing with the mist is to try to appease the deity, from whom she beleives the mist comes, but she goes about it the wrong way.

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Carmody’s belief, that she is doing God’s will, is abetted by surviving an attack by one of the mist creatures. A large dragonfly creature, with a venomous stinger lands on her, while she prays that it won’t kill her. When it doesn’t harm her, I think she sees that as a sign of God’s approval, that she is indeed doing the right thing, (after which she starts to show a certain degree of pride, and certainty, in knowing what God wants). She also shows pride in believing that she can save these people from certain damnation. But I don’t believe she is insane, as that’s too easy. (I think her motivations are a lot darker than insanity, and some of it may be revenge against the townspeople, she feels hate her, although that’s something that’s not immediately clear, and is just my supposition.) In other words, her motivations are not pure.

If Norton, and David, represent forms of confrontation, then Mrs. Carmody represents negotiation, which also doesn’t work in their circumstances either. Norton tries confrontation and dies, Carmody’s approach is appeasement and negotiation, and she dies, and this is why Darabont’s ending doesn’t upset me overmuch, as its entirely in keeping with the theme of the movie, that there’s only one response that saved anyone from the mist.

David’s confrontational approach doesn’t work because it is self-serving, and he  ends up losing everything, his wife, son, friends, and endangering his sanity. Everyone around David dies, every time he goes into the mist. But he miraculously  survives, because his reasons for going into the mist, while altruistic, are not completely pure. One can even make the argument that only the impure, the sinners, die, and that the reason David survives while others do not, is because, although he is tainted,  he is still never directly responsible for anyone’s death, and does make efforts to save people, like Norm the bagboy, and Edward Norton. But he is the one who talks the others into going to the pharmacy,  and talks them into escaping the market. And those actions could be considered a form of hubris, as Mrs. Carmody says.

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One can make a comparison between David and Mrs Carmody, in that it is their pride and hubris  that get other people killed, as they are both guilty of these things. Norton’s pride and disbelief got him killed, and David’s pride lets him believe he can somehow defeat the mist by confronting it head on. Carmody’s prideful belief that she knows God’s will results in her death, too.

It’s interesting to note that Ollie Weeks dies just after he kills Mrs Carmody. He is not a prideful character, and seemed to genuinely regret killing her, and even though he had a very good reason for doing so, murder is still a sin. In the novel, the soldiers commit suicide, but in the movie Carmody is directly responsible for the death of at least one of them, when she talks the crowd into sacrificing him to the mist, which is still murder. Their situation can be likened to a form of purgatory, in which there is nothing they can do to escape their fate,except for  the one character who actually does.

Melissa McBride’s character is one of the few people who actually survives walking out onto the mist, and I suspect it’s because she doesn’t  negotiate with it, or try to run from it. She surrenders to it with faith, and humility, that she will be safe to save her children. She is also one of the purest people to do so, as she has harmed no one,  unlike Mrs. Carmody. She believes the mist is dangerous, but leaves the market anyway, to save her kids, and hers is one of the few motivations which is pure and not entirely self serving, the love for her children. At the end of the movie, we see her riding with the soldiers, both her children with her. It is interesting that David survives only after he does what she did, which is knowingly surrender himself to the will of the mist, and simply walk out into it.

All that said, I don’t believe Darabont (or Stephen King) set out to tell a religious allegory, but the presence of Mr.s Carmody allows one to see it in that light.

Superstition & Stuff I’m Not Doing

Well apparently, I’m not reviewing any TV shows, which I probably should be doing. Actually, all it is is that I’ve been busy and tired to review the shows, and movies, I’ve been watching, and I’ve been watching a lot of stuff.

What have I been watching?  I have been watching The Walking Dead. So far I’m really liking this season. It’s very action packed, and full of feels, and I like that. All of my favorite characters are doing some next level shit as  the war between The Alexandrians, Hilltoppers, The  Kingdom, and The Saviors  heats up. I haven’t been feeling any urges to write about any of these episodes though, although I find  Morgan’s storyline the most compelling. I just learned that my precious tigress is dead. Shiva got taken out by a pack of zombies, while defending the life of her king. (RIP Shiva! You badass!)

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I’m so tired!

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Part of the reason I’m not reviewing so much is that I’m tired, but part of it is that I don’t actually know what to say about it yet.. There’s not a lot to be said about the plot, other than to recap it, and if you’re watching the show, you already know what happened. Morgan and Jesus came to “fisticuffs’ over the treatment of prisoners of war, and Carol got her kill on for a while, and Gregory kept it real by being an asshole. I do have thoughts about the characters, and major themes, but I think I’ll wait until after the first part of the season is done to comment on those. We’ve got three episodes left, so I think I’ll just do a summation of my thoughts at the end.

I always get fatigued in November and December, and not because I’m celebrating the  holidays. I’m not celebrating, or hosting or anything. It’s a combination of insomnia, sleep apnea, and finding human beings exhausting, even when they’re not jitterbugging with overexcitement  about the  holidays. (Also, some of it is just a change in the weather and age. Feeling cold all the time is just tiring. Y’all yunguns just don’t know!)

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And I don’t get any respite from the weather while at work. The PTB keep it freezing here, so all the women are wearing sweaters, and carrying around tiny electric heaters, while many of the  men walk around in shirtsleeves, and poke fun at us for being cold all the time. I can’t stand them!

 

Supernatural

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Where was I? Oh yeah, I’ve been watching episodes of Supernatural, but not reviewing those either. I have liked the episodes I’ve seen, but that one particular standout episode, that occurs every season, hasn’t happened yet. I’m waiting for that one. There’s only so many times I can say this episode deserves a B-. So far the show appears to be in a kind of holding pattern except for the return of Castiel from The Empty, but it’s still early in the season, so we have plenty of time to establish where the plot is going, but our theme is, as always, is family.

 

Ghost Wars

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I’ve been watching Ghost Wars, which is still chugging along on the Syfy channel. I’m liking this show, with one of my favorite characters being played by Meatloaf. He is doing an exemplary job on this show. I hadn’t paid too much attention to his acting before, but I love him in this show. He is tearing it up! The show is actually proving to be kinda scary. I’m not normally into ghosts. I don’t usually find them particularly scary, but the show is pretty good at establishing mood, and I find most of the characters likable. There’s a token Black woman,  a scientist from the local research center. No, I would not be surprised to find that some physics experiments were behind the influx and hostility of the ghosts.

 

The Exorcist

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The Exorcist has kicked it into high gear. The first few episodes were spent establishing the information about where, and who, the characters are going to be, and then trying to figure out who is possessed. So we’ve figured out  its John Cho’s character, who is possessed by a demon that’s masquerading as his late-wife, and this is really groundbreaking for American television because Asians don’t often get to be possessed by demons, and the show is actually proving to be compelling. There also an added gay subplot, as one of the priests is engaged in some flirtation with a local silver-fox, who looks like Anderson Cooper, (if he was a fisherman). There’s also a secondary plot about some type of holy order of assassins hunting down a cabal of demons, which is only of mild interest to me. I’ll have more to say about the treatment of the show’s traumatized children, and their disabilities, later.

I am working on some long form essays. I can still knock those out, it seems. And I have a bunch of ideas, that I’m not gonna tell you about, because I wanna surprise you. I’m going to  concentrate on those for a while, along with a few long form movie reviews, and eventually I’ll have something to say about The Walking Dead, and Supernatural.

 

Superstition

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What I have been enjoying is the show Superstition. I mentioned it before, and said I wasn’t greatly impressed with the acting,in the pilot,  and I thought the drama was a bit much, considering I didn’t know any of the characters, but I’ve kept up watching it, and it’s maturing into a compelling show.

Superstition has an all Black cast, about a family, The Hastings, who have a history of fighting monsters. It’s their calling, and their base of operations is a small-town funeral home in Georgia. It stars Mario Van Peebles, and while I was a bit dubious about the quality at first, I’m  glad  the show is here. Even if it doesn’t become a breakout hit, it’s still a good foot in the door, paving the way for other genre vehicles starring PoC casts, (so is The Exorcist).

That said, this show has greatly improved since the pilot. The acting has gotten much better, too. I’ve got a good bead on people’s relationships to each other, and the show can, and does sometimes surprise me, by overturning certain tropes, or not going in an expected direction, and it keeps me asking questions, on the basis of those relationships, which is proving to be the show’s strong point.

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Isaac Hastings & May, Chief of Police

The show stars Mario Van Peebles as Isaac Hastings, who taught his son Calvin the ins and outs of monster killing, and his wife Bea, who runs the day to day operations of the funeral home and, I think, is one of the keepers of the family lore, along with a woman of mixed parentage named Tilley. I’m not certain if Tilly is a member of the family or not, but she’s very smart and nerdy, and I like her. The local police chief is May (above), and she has a daughter by Calvin, named Garvey. Garvey is the least likable character on the show but only because, as is  typically written, she’s an obnoxious teenager. There’s nothing wrong with her acting. The character is just annoying.

The show has a lot of Black women, and all of them have complicated, and occasionally mysterious, relationships with each other, which Calvin has to try to navigate, along with getting to know the daughter he never knew he had, reacquainting himself with her mother, and his childhood sweetheart, May, who is now the Chief of Police. He has already been through a bout of people fighting, as he has returned from the Iraq war, after having left town many years ago, and not had any contact with his family, after a falling out with his father.

The show is notable for its depiction of a stable Black family, depictions of Black love and loyalty and Black women actually holding conversations with each other, instead of screaming at each other. Its also important for PoC to be shown being heroes, saving themselves and each other, and being total badasses, in general. Calvin is obviously meant to be the everyman hero of the show. I like how the writers allow him to be human, complex, tragic, and also have a sense of humor. I love the female friendships (and mild enmities) on the show. I like what I see between Garvey and her Mom, Bea and May, and them and Tilly, who seems to be some kind of archivist or researcher. She’s the one who most often explains whats going on to everyone else.

What’s interesting  for me is Calvin’s flirtation with his old girlfriend, May. He was taken aback at the idea of having a daughter he didn’t know about but he’s taken it in stride and wants to get to know her better (though Garvey is having none of it. She’s used to not having a Dad.) I like that May and Calvin are trying to get back together, and making some effort at getting to know each other again. The show could’ve taken the easy way out, and had the two of them hating on each other, and I’m glad it didn’t go in that direction.

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I made the mistake of reading the reviews on IMDb, which truly indeed was a mistake, because some of the reviews seriously pissed me off. The show is being roundly hated on , while being compared to Supernatural. Superstition is everything that Supernatural isn’t, and it really isn’t fair to compare the two. For one thing, Superstition has a cast of WoC, who are well written and treated better by the script. None of the Black characters are there to make White characters lives better or happy, or sacrifice themselves for them. (And I am unlikely to be subjected to the image of an innocent Black woman being held at gunpoint, by a deranged stalker, because the Black writers  have at least some sensitivity to their audience.)

Other than a family fighting monsters, I don’t see  much resemblance. Half the shows on TV have the same premise as Supernatural, so I don’t understand exactly why that’s the comparison being made, unless of course the reviewers are Supernatural stans who just hate any shows about the supernatural, or are too young to remember that Buffy the Vampire Slayer was a thing. There’s also a third reason, but I don’t wanna get my blood pressure up by talking about the Klandom today.

 

The Hastings aren’t travelling the country, evading demons, fighting angels, and developing superpowers. Their base of operations is a funeral parlour,  which they’ve been at for a long time, and everybody in the family knows what it is they do, and appear to be on board with it, including Garvey. They also have a society or person (I’m not sure which) which rivals them, called The Drudge. There are other mythologies and belief systems being represented besides European ones. For example, one of my favorite actors, Jasmine Guy, is doing a great cameo as a representative of  Anansi, named, of course, Aunt Nancy, and I love her already, and all she had to do was show up, and be intriguing.

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Isaac and Calvin Hastings

 

For the Hastings this is all just a job. The show tries to make what they do seem as normal as possible, as just a family profession. This show doesn’t talk down to its audience, or browbeat a point, because that’s not Peebles style.  Superstition doesn’t give you a whole lot of setup, which I had a moment getting used to. It throws you right in the deep end with Calvin. You learn what he learns as he learns it. You get one explanation and then it’s  on you to keep up. If you don’t pay attention to the dialogue and you miss something, you betta rewind, because it probably won’t be mentioned again, but still may be an important plot point later.

The atmosphere is one of normalcy, with routine answers to supernatural  puzzles, like trying to retrieve May when she gets trapped in a “mirror world” by an evil witch. There’s no oohing and ahhing about the paranormal in this show. It’s the bizarreness of the situations people  are put in, and the relationships between the characters, that is the source of most of the drama. Supernatural started as a show for teenagers, and still has much of that flavor. This is a show about grownups for grownups. The audience is expected to pay attention and keep up. I reminded more of the show Leverage, crossed with the X-Files, more than anything else.

Not that the there aren’t legitimate criticisms of the show. The pacing needs some smoothing, some of the acting is  still a little dodgy, but not enough to make me stop watching. It could use some memorable music. I don’t care so much about the special effects, as I don’t think that’s what makes a good show, and some of the acting could be tightened up a bit, but its far from being the worst show on TV, and shows real promise of future greatness, and I’m here for it.

 

So, I’m off for the next couple of days, and will get back to you, for some weekend reading, later this week.

TTFN

Racism in SciFi

*I just wanted to elaborate on this article, that I posted earlier in the year, on the topic of how race is depicted in SFF genre films and shows. No matter how well meaning the filmmakers may be, their blind spot is almost always racial in nature, and it is impossible to completely and fully tell certain narratives, if the creators refuse to even look in the direction of race. I don’t know if it’s intentional, or deliberate, but one of the failures of modern SFF cinema is an inability to approach the subject of racism  from an honest perspective, when these creators are White.   This is why creators like Jordan Peele, Ava Duverney, John Cho, and even Rod Serling are so important. They did not (do not) ignore race as a factor in the stories they are (were) trying to tell.

Why Don’t Dystopias Know How to Talk About Race?

————Fantasy novelist Daniel José Older sees the problem as a failure of imagination and craft. “I find it very telling how little these worlds that are so much about power and oppression and ways of resistance also magically somehow have solved race,” he said. “On the one hand it’s a truth failure in the sense of it doesn’t feel real to anyone who knows about the lasting power of racism and to anyone who is paying attention to the world today. And it’s a craft failure in that it is a tremendous missed opportunity to develop the world more deeply.”

http://www.vulture.com/2017/08/why-dont-dystopias-know-how-to-talk-about-race.html

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* I’ve been seeing an increasing number of SciFi shows where Blacks, and other minorities, are being cast as the oppressors of White protagonists. We’re not arguing that PoC can’t work for oppressive systems, because plenty of them do. And we’re not arguing that PoC cannot discriminate against White people.Yes, we know PoC can be bigots (towards other PoC, mostly) but that’s not what is being discussed here.

We’re talking about the casting of Black people, particularly, dark skinned, Black women, as virulently racist bigots, which  is starting to become a trope. From Teen Wolf, to The Gifted, to Heroes Reborn, I think the White male writers who create these shows are starting to get a little too comfortable with this idea.

They don’t seem comfortable with depicting actual racism towards PoC by White people, and they continue to cast White actors as the oppressed minorities in these racial allegories (like The Handmaid’s Tale). It’s especially galling in a racism/slavery allegory, to not only erase the existence of  PoC, who are actually experiencing what is being depicted onscreen, in the real world, but to cast them in the roles of the oppressors, and I’m not here for it. I’m also not here for White Writers stealing the narratives of oppressed people of color, but then NOT including any of those oppressed people in the story. (I touched on this briefly in my review of The Gifted.)

One of the major reasons I stopped watching Heroes Reborn wasn’t just because of its lackluster, badly written plot, but because  a Black woman was cast as a virulently nasty, hardline racist, who was willing to kill children, and the children they showed her killing, were White. This is the same plotline used in the final season of Teen Wolf, where a Black woman is seen killing and sometimes torturing White teens, and again, in the show The Gifted, you have a brown-skin man, of indeterminate race, spouting racist jargon against the White protagonists of the show, and hunting and arresting White kids. All of these shows steal the narrative of Black and Brown people being killed (shot, tortured, and abused) by people in positions of authority, but does not include any of these Brown people in the story that’s being told. Instead, casting White actors in roles that real PoC actually live out.

The Gifted is even more annoying because there are PoC on the show who are members of the oppressed minority, but we don’t get to see their stories, sympathize with them, or understand what their lives were like. We do get to see them be bravely tortured by the government, which sends the message that not only are our stories available for consumption, but the pain and degradation of PoC is as well.

Just Like A Caucasian

How Sci-Fi and Fantasy Television Shows Always Get Racism Wrong.

                                                     ————Shabazz Malikali
On Medium.com

 

 

**Reprinting my review of The Gifted, (which I wrote before I saw this article)

I’m simply not in the mood for this show, and I’m fed up with this type of plot, now. It’s loosely based on some of the X-Men and New Mutants comic books, in that it has some Sentinel plotline, and some of the characters from those groups. Stephen Moyer stars as a lawyer who used to prosecute mutant criminals, and  the father of two young mutants, now on the run from the government, which is rounding up mutants and imprisoning them in scientific camps.

I tried watching the first episodes, and while I like a couple of the characters, the show is simply not compelling enough to keep me watching it every week. The characters have the usual teenage angst, with superpowers, that made me dislike the First X-Men movie. Blink is a teenager who can teleport by creating portals, and Thunderbird, who is Native American, is a kind of tracker of people and things. I’m dismayed that the show used the Native American tracker stereotype, as that’s nothing like Thunderbird’s actual powers in the books, which consists of speed and strength.

And I’m just not here for yet another plotline of people with superpowers being rounded up and used by the government. This seems to be the only plotline they can come up with for superpowered characters, especially on TV, and once again, there is only the focus on how this affects White, suburban, middle-class families.

Just like with the show Heroes, there is no focus on how the discovery of superpowers would affect any marginalized communities, something I would consider much more entertaining, and which the show Cleverman handled with a certain amount of depth. As I complained about before, we keep getting stories about middle-class White characters being subjected to the same oppressions that have been visited on marginalized communities. This show would have had far more depth and been much more interesting if it had been set in the G/L community,  or the Black and Latinx communities, in which this type of interment is already occurring.

In the forties, the Japanese were rounded up in internment camps because they were considered a danger to the US, and later, authorities used to raid the gay and lesbian communities and lock them in jails with the full force of legal authority behind them. Today, its immigration officials grabbing random Brown people out of their homes, and locking them up on suspicion of being illegal immigrants. What do you want to bet that none of these things will be addressed in yet another show where we see average White people being treated in the same manner?

 

*For further reading check out Malikali’s article on The Ellison Test. It’s great reading, and available on Medium.com, (which I can’t link to here.)

 

The Ellison Test: The litmus test for diversity.

 

 

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Another way that TV and movies get racism wrong is the constant message, and I’m not certain this is intentional, is the idea that the people being oppressed actually are powerful and dangerous and need to be controlled. So, while Hollywood steals the narratives of PoC to sell their oppression stories of White people, they paradoxically send the message that the oppression is also deserved. This is what went wrong with the movie Zootopia. Zootopia made some excellent points about discrimination, but the animals being discriminated against are all powerful animals that traditionally eat other animals. There’s also the setup that in the past these animals did indeed eat the lesser animals, and so deserve persecution and fear. So Zootopia is trying to tell a story condemning the discrimination and persecution of others is wrong, it reinforces the idea that the ones being persecuted deserved to be feared and hated.

This is also the same problem I ran into with the X-Men and Mutant hysteria plotlines of The Gifted.  The persecuted minority are actually exceptionally powerful beings, and actually can destroy human life, and even the entire world, which goes against the racism metaphor the stories are trying to establish, and defeats the anti-discrimination message that’s being touted.

One story that does get the themes mostly correct is the graphic novel called Maus by Art Spiegelman, in which the Jewish people are represented as helpless prey animals being harmed by cats. The cats are depicted as Nazis.

How Zootopia Gets Its Own Point Exactly Backwards

———–The movie starts with a history of the world, explaining that while predators used to be uncontrollably violent, they have since been civilized and can now live among prey animals, which also means behaving like prey animals (prey animals aren’t asked to accommodate their behavior for predators at all). Because in Zootopia there’s a right way to live and a wrong way to live, and some animals are — in the context of this movie — biologically programmed to live wrong. They have to be corrected in order to fit in with proper, civilized society.

http://www.cracked.com/blog/why-talking-animals-are-bad-way-to-talk-about-racism/

 

Zootopia wants to teach kids about prejudice. Is it accidentally sending the wrong message?

————–The most natural line to draw between the two is that Zootopia‘s predators stand in for black men in our world, and one needs only look at the resurfacing of Hillary Clinton’s “superpredators” clip from the ’90s to know why that’s potentially inflammatory territory.

But all of this pales in comparison to the fact that when you scrutinize Zootopia‘s core metaphor for even a second, it struggles to make sense on a literal level. Yes, the film’s message is that Judy learns to trust Nick, even though he’s predator and she’s prey. But on some other level, we all know that an actual rabbit is right to be afraid of an actual fox — and that muddies the movie’s message considerably.

https://www.vox.com/2016/3/7/11173620/zootopia-review-racism

 

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Yes, even Bladerunner manages to fall into this same trap of presenting a persecuted minority as being incredibly physically powerful and smarter than the humans hunting them.

Blade Runner’s source material says more about modern politics than the movie does

It was written for an age of overreaching policing and sociopathic lack of empathy

———-The police in Do Androids Dream…? are merciless, unstoppable android killers. Their victims, in contrast, are remarkably vulnerable and weak. In the film, the replicants have enhanced reflexes, super-strength, and tremendous intelligence. Part of the reason Deckard evokes sympathy is that he’s clearly overmatched. Replicants may not deserve to be murdered, but they are terrifyingly powerful and dangerous. Roy, howling his shirtless way through an abandoned building at the end of the film, is an atavistic, gothic terror. The androids in Blade Runner are dangerous and threatening when provoked — which is how Darren Wilson saw Michael Brown, and the excuse most often given by police who kill unarmed black civilians.

————–https://www.theverge.com/2017/10/5/16428544/blade-runner-philip-k-dick-do-androids-dream-of-electric-sheep-analysis-adaptation

 

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*The next  3 articles are essays on how the new Bladerunner movie tackles the narratives of racism, assimilation, inclusion, and persecution. Or  how they actually don’t.

‘Blade Runner 2049’: The Deckard Question Matters More Than You Think

Whether Harison Ford’s character is a replicant has far-reaching implications for the film series — and for what it says about our own society.

———-http://www.hollywoodreporter.com/heat-vision/blade-runner-2049-why-it-matters-deckard-is-a-replicant-1046963

 

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Race and Blade Runner 2049

The only black people in Ridley Scott’s Blade Runner are extras. The replicants are all white, and the city of Los Angeles is basically an unmixed population of whites and Asians. The Asians live on the streets or work in small shops. Whites rule the LAPD (all that’s left of the city’s government) and biotech corporations. Whites are also the slaves manufactured by Tyrell Corporation. There are no black, Mexican, or Asian replicants. And the leader of the rebel replicants is a very Aryan Roy Batty. Replicants, however, are, according to Rick Deckard’s voiceover, called “skin jobs,” which is equivalent to calling black people “niggers.” So, Blade Runner is about a slave revolt. And what do the slaves want? Freedom? No. They want more life, which, to be fair, is another kind of freedom. As the 20th century British philosopher Alfred Whitehead put it: “Life is a bid for freedom.”

http://www.thestranger.com/slog/2017/10/06/25457531/race-and-blade-runner-2049

 

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This Future Looks Familiar: WatchingBlade Runner in 2017

————-I watched Blade Runner for the first time this week. Since I have apparently been living in a cave for the past few decades, I thought that Blade Runner was kind of like Tron but with more Harrison Ford, and less neon, and maybe a few more tricky questions about What Is The Nature Of Man.

That is the movie I was expecting.

That is not the movie I saw.

 

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*It is far easier for White audiences to watch allegories about racism, than it is for them to actually tackle the subject head-on in their daily lives. Just as it seems easier for White filmmakers to propose the idea that persecution of minorities is wrong, while engaging in erasure and whitewashing in their films on the subject.

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*There has been some discussion on Tumblr of The Empathy Gap, to explain the woobification of White villains in fandom, vs the vilification of Black and Brown villains, and even characters of color that are the stars and protagonists in the narrative. Want to know more, then read on:

Why White People Don’t Like Black Movies

Why White People Don’t Like Black Movies

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

 

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*This is a perfect example of what we mean by implicit bias in filmmaking. I know the director of this movie, James Mangold, is not some die-hard ,card carrying, member of the alt-right, or KKK. Nevertheless a critical look at his films reveals his own blindspot when it comes to the subject of race.  Because the directors are White males, living in America, they have a tendency to reproduce narratives of race that have always prevailed in films, without much examination. I’m sure it never occurred to Mangold that it would be difficult for PoC to watch a movie in which am entire Black family is brutally murdered by vigilante members of the state. It certainly did not occur to him how such images would impact our watching of the film, given the status of American race relations today. (The same blindspot is evident in the Netflix show, Daredevil, and Mangold’s last Wolverine film, which was set in Japan.)

The Thoughtless Diversity of Logan

————–   Let’s linger on that last point for a second. In Logan, an entire black family gets slaughtered onscreen. This is a black family who we already see terrorized by racist hicks for refusing to move off their farmland. We are shown that they are at the mercy of these white folks to maintain basic amenities like running water. We also see that they are often terrorized by these men WITH GUNS on what seems to be a daily basis.

——https://fishnetcinema.com/2017/03/07/the-thoughtless-diversity-in-logan/

 

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*I liked this rather tongue-in-cheek essay on why Black people don’t attract ghosts or hauntings.

White Fright; Or, Why Are There No Black People in Haunted House Movies?


http://www.blackhorrormovies.com/white-fright-no-black-people-haunted-house-movies/

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*And another tongue in cheek piece on the expectations that Black people should  die in Horror movies, because that’s the tradition, and how hard it can be getting used to watching them survive these movies sometimes.

The Black Die Young: The Internal Struggle of a Black Horror Movie Fan

——–I have a secret passion; the less addicted of you might call it an addiction. I like to watch. I rent base, filthy movies and slip them into brown paper bags so no one can tell. I sit alone in seedy, near-empty theaters, pleasuring myself with this trash. I’m too embarrassed to tell anyone about my weakness, although my wife has caught me watching a time or two (“It’s a documentary!” is my standard excuse; she’s since cancelled the Discovery Channel.). But now I’m ready to step out of the shadows and proclaim loudly, I am a black man… and I love horror movies.

http://www.blackhorrormovies.com/black-die-young/

 

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*Yeah, we’re looking at you Star Wars! 

Every Galaxy Needs More Than Three People of Color

———When people of color do appear in science fiction, it’s often as sidekicks or advisers. Black characters are likely to die quickly and are unlikely to ever interact with any other black characters, since many galaxies seem to contain only about three black people. That lack of representation makes it hard for people of color to imagine that their writing will ever find a home in the genre.

https://www.wired.com/2016/02/geeks-guide-diversity-destroy-scifi/

 

 

*I was going to finish up my review of Bladerunner 2049 with a critique of the films technical and philosophical aspects, but I think I’ll post a list of other critical apporaches to the movie, and post my viewpoint as a followup. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Thangs I Been Looking At (Mini – Reviews)

Ghost Wars

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I’m  impressed with this show, ,not just for its good production, but because it’s actually scary. I don’t normally pay much attention to literary ghost stories, but movies and TV shows seem to work for me a bit, although I still prefer monster movies, where normalcy has been upheaved by something that’s blatantly malicious, and then order is restored after the creature is defeated. Ghost stories are too open ended for me to really get into them, and sometimes they’re just not very scary to me.

The ghost stories that actually scared me were The Sixth Sense, Ju-On, and, The Ring. In my mind, everything made since those movies have been nothing but ripoffs of the originals. But I actually like this show. There’s just enough uncanny shit happening to keep me off balance. I like the characters and their issues. The acting is better than I expected (because Vincent D’onofrio is present as a town preacher.) and there’s also just enough social subtext to make it compelling.

 

 

Roman Mercer is the town outcast because he can see ghosts, especially the ghosts of regular townspeople, so he has a reputation. In the pilot, he was attempting to leave town, but there was some type of explosive paranormal event that prevented that, and killed the bus full of people he’d been on. (His best friend is a young lady who is also a ghost, and she warned him about the bus crash in advance.)

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So now this remote Alaskan town is being overrun by ghosts, who are definitely malevolent. What event awakened them all, and what the ghosts want, is still a delicious mystery, that I’m here for. The ghosts can possess people, cause nasty hallucinations, like when the town preacher, while giving a wake in the town bar, sees blood pouring from his drinking glass, and they cause people to believe the town bridge  is still intact, when its been destroyed. The only thing that saves everyone is that Roman can see through the hallucination, and prevent people from trying to drive across.

There have also been some interesting character changes as the townsfolk who didn’t believe in Roman’s abilities, now have no choice but to believe, as they are being attacked by ghosts, and those who did believe in Roman’s powers, and hated him for it, have since realized his usefulness, and stopped bullying him.

 

Kim Coates and Meatloaf also star in the show. I’ve liked Coates ever since I first saw him in Waterworld, although he’s been around since the late 80s. In the show he plays either a lovable rogue, who is responsible for his little brother’s death, or the town ne’er do well. I wasn’t sure of Meatloaf’s acting abilities until I saw him in Fight Club, although I’d also seen him in other projects. He plays one of the town bullies.

I think I’m going to stick with this show for a while. The Syfy Channel is slowly starting to build back its reputation for interesting shows, and I’m glad. The Expanse, Dark Matters, Killjoys, Z Nation, Superstition, Ghost Wars. By focusing on character, paying close attention to diversity, (lots of women in these shows, lots of PoC, and most importantly lots of different WoC), and coupling these things with interesting  concepts, Syfy is slowly getting back its street cred as a network that geeks are not ashamed to admit to watching.

 

Superstition

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I really like the idea of this Black family that fights supernatural creatures in this small town, and I have tremendous respect for Van Peebles for breaking new ground, just by adding racial diversity to genre shows. He’s done Westerns (Posse), and werewolves, (Full Eclipse), and now he’s taking a crack at the Supernatural/Buffy style show, involving family dynamics with monster killing.  I don’t know how long this show is going to last because I haven’t seen many people talking about it anywhere, but I hope it at least finishes out one season.

The problem I have is with the execution of the ideas on the show. The acting could be better, (its a little dodgy) and the plot needs to be beefier. I feel like it should’ve lead with the demons/monster plot, and then worked in the soap opera aspects, once we got to really know the characters. I  think the plot leans a little too heavy on the drama, and we just met all these characters, so we have no incentive to care about their emotional issues.

The Hastings are basically a bunch of badasses who use deadly weapons and magic to battle the forces of evil. The eldest son was estranged from the family, but has come back home, and been welcomed back into the family business of monster killing, so we learn about what’s going on just as he does, as he needs to be taught the ropes.

Sadly, not much was known about this show before it aired and the only place I saw any promos was on the Syfy network itself. The network does not appear to be as invested in this show as it seems to be in other shows, like The Expanse, and Z Nation, and that’s why I don’t think this show is going to last very long. But I’m here for it while it airs.

 

Stranger Things Season Two

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I get why people like this show. There’s a definite nostalgia factor, and those kids are cute as all heck, but My feeling about the show was kinda meh. its not a bad show, and it has excellent production values, but I just wasn’t deeply invested. I wasn’t carried away, I guess.

Maybe part of the reason I didn’t find this especially compelling is because I didn’t watch the entire first season. I saw bits and pieces of it. Enough to get a general idea of what was happening, but not all the tiny details, like names. I liked all the little 80s callbacks, and I liked quite a few of the characters. Wynona Ryder plays Michael’s Mom, and she was her usual excellent self. Sean Astin plays her love interest, and he is a goofily cheerful character that I sort of liked. The most interesting two characters were Lucas, and his seeming love interest, a ginger haired skater- girl ,who just moved into town. Lucas’ friendship with her causes a minor riff between the four friends.

Eleven escapes from her overprotective adoptive father, but after the two of them have a falling out,  she finds herself having adventures in the city, where she falls in with a group of thieves led by another girl with tattoos, and the ability to cause illusions. She eventually leaves them when she receives a premonition that Mike is in danger. Eleven’s activities are the most interesting part of the show.

Michael, the boy who befriended Eleven in the first season keeps having visions of a massive creature that has infested (infected) the entire town. He develops a connection to it, and eventually becomes possessed by the creature. When the rest of his family and friends realize what’s happening they spring into action to prevent the creature’s release, into the town, from the local  medical facility, but its already too late, as one of Michael’s friends has befriended a small  frog-like creature that turns out to be a juvenile form of the monster.

I didn’t dislike the show, and I bingewatched all ten episodes, but I wasn’t wildly enthused either. I can recommend it if you don’t have anything more pressing to watch, or if you just really love 80s nostalgia. Really, the most compelling thing in the entire show was the monster, and I want to see season three because I’d like to know what’s going to happen to it, and Eleven.

 

Jeepers Creepers 3

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Don’t worry. I didn’t pay money to see this movie. At any rate I couldn’t have even if I wanted to. Sensing that people wouldn’t want to associate too much with the cinematic output of a convicted pedophile, the movie’s creators sought only a limited, one day, release, before sending it directly to video, or rather the Syfy Channel where I saw it the weekend before Halloween.

I did not care for this movie because it’s a confusing mess. It takes place between the first and second films, but that isn’t immediately apparent, as only two of the characters from the first film appear in it, and only one of the characters from the second. Ridiculous things happen in the movie that I couldn’t make sense of, and even though there’s a lot of exposition, (I mean a LOT! People talk and talk and talk.) all the talking didn’t make anything about this movie any clearer.

Most of that talking is is from a brand new character, a cop named Tashtego, who is constantly stressing to the other characters how evil The Creeper is and that he must be killed. There’s lots of shots of he Creeper being his usual weird and nasty self, terrorizing teenagers, eating people, etc. For some reason, someone thought it would be a grand idea to prominently feature the creature’s truck, which is tricked out with various booby traps, which is what the police find out when they try to investigate the dead bodies lying in it, and a pack of obnoxious teenagers find this out too before they’re promptly caught and killed by The Creeper. He still likes to hunt  pretty young men, but occasionally takes time out of his busy schedule to terrify a woman or two.

One ofthe most baffling scenes is the discovery of a disembodied hand of The Creeper that gives people visions when they touch it. This isn’t something that was even hinted at in the first movie, although in every film, there’s the one character who seems to mystically know shit about The Creeper, so as to give more exposition on him. Exposition that illuminates not at all.

Since The Creeper can’t actually be killed, and we saw him in the second movie that was released we pretty much know how this one ends. He doesn’t get caught. At any rate, it matters not one bit, because I don’t believe Salva will be making any more of these. I sense that the makers of this movie just wanted to release it quietly, and get it off their books, and get Salva out of their hair, so I don’t think he’ll be making another Creeper movie any time soon. It’s very possible that he won’t ever be making any more movies again, since no one wants to be associated with him, especially in this new climate of awareness involving past sex scandals.

 

Seoul Station

Image result for seoul station

I was really excited to get to see this, the moment I heard of it, especially after watching Train to Busan. Seoul Station is an animated pre-quel to the live action Train to Busan, and its every bit as harrowing, nerve wracking, and action packed as the movie, despite the medium. It takes its time getting started but like the live action movie, once it gets going it doesn’t let up, doesn’t let you have a rest, and you get attached to the primary character just as in the other film.

In Seoul Sta. we see the beginning of the zombie infestation, and how it managed to escape notice until it got out of hand. This happens the way it always does by affecting the poor and underclass first. We meet a young woman who just escaped prostitution with  an abusive pimp, but the man she’s currently  living with isn’t much better. He’s having money issues and keeps trying to convince her to sell herself so they can pay the rent. At one point he hits her, and she;s so used to being treated that way she doesn’t even fight back.. (I wasn’t expecting that scene and it kind of threw me for a bit, so here’s my warning in advance. If you have trouble watching such things,s know the movie contains scenes of stalking and domestic abuse.)

We follow this young woman for the rest of the movie, after she breaks up with her current boyfriend. She barely manages to stay one step ahead of the zombie infestation, running from one seemingly safe place to another, only for those places to be overrun by the dead. From a police station, to the subway, to an alley that’s been cordoned off by the police (who think its all some type of insurrection), she has to use all her strength, and wits to stay ahead of the zombies, while wearing nothing more than a little pink dress and bare feet. She’s not an entirely sympathetic character either, as one of her most annoying traits is a complete inability to close doors behind her, thereby exacerbating her zombie issues.

In the meantime she’s also being pursued by her current boyfriend and her former pimp, both of whom have try to make their way through the zombie infested streets of Seoul. I was a little confused at first, because I thought her former pimp was her father, but it turns out he’s just lying to enlist her boyfriend’s aid in finding her.

A funny observation  about this movie (and I don’t know if this is just something that’s done in the movie, or if people in Seoul actually behave this way) are the many people who are  willing to verbally harangue strangers in public. From her landlady screaming at her about her late rent, to when she screams at her boyfriend at a cyber cafe, to random disturbed people on the street, characters are forever running up to others and screaming at them. Needless to say you cannot do that shit in America, where you just run up on somebody and start yelling, especially during a Zombie apocalypse. (You will get your ass beat for that just on a regular Tuesday.) Sometimes they just scream gibberish, but sometimes the rants are very specific. At any rate, some of this behavior serves too illustrate the lives of the rather downtrodden, and in some cases, criminal individuals.

Unlike the live action film, none of the characters are your typical salaried workers, which is a refreshing change from American made films, in which we watch your standard  American family endure some kind of crisis. Some of them are not the least bit nice, or innocent, either. There are homeless people bullying each other, and salaried workers, who treat the homeless characters with disdain and contempt. I don’t know if the creator is trying to make some kind of social argument about life in Seoul, or not, though.

Seoul Station is available right now for free on Amazon Prime, (or for rent). This is an absolutely excellent double bill, with its sequel, but you’re going to have to rest between films, because neither will give you a moment.

The Mummy

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I was not impressed by this movie. In fact, I think I hated it. Tom Cruise looks worn and tired, the plot is rather lackluster, and I was not expecting Russell Crowe to be shamelessly overacting in this movie. Its not a bad film, in the sense that the people who cared about it, tried their best, to make it look good, but the movie is simply uninspired. The first Mummy movie in the last trilogy at least had a feeling of freshness in its lead female character, Evie. Here the only female character we are meant to pay attention to is boring and flat, and the other one is the villain.

Essentially, The Mummy tells the origin story of how a modern man gets chosen by an ancient priestess, Ahmanet, to be the avatar of the Egyptian god, Set. It would’ve been a much more interesting movie, if they had just stuck to the portion dealing with Ahmanet, but you know Hollywood hates WoC, because its unthinkable to them that one of them (namely Sofia Boutella, who is actually Egyptian) would ever be the head of her own franchise. Franchises must be led by your standard white guy named Chris, or Tom in this case. One of these days Miss Boutella will be treated with respect and won’t have to kiss tired looking men, twice her age, to be in a movie.

Tom should  stick with those Mission Impossible, and Jack Reacher movies, which I actually like. He looks as if he’s enjoying himself in those, and I like a Tom Cruise film in which he appears to at least be having some fun. Here, he  looks like he can’t wait for the movie to be over, and seems like he’s just going through the motions until it ends.

I was only mildly excited to see this in the theater, and I’m glad I didn’t waste my money. My advice is to skip this and watch the 1999 version again.

Mindhunter Review

*Amanda DobbinsWe need more expensive, mediocre, highly watchable television!

https://www.theringer.com/tv/2017/10/18/16495494/mindhunter-exit-survey

*Fennessey: One of the things I like about this show is that its pleasure is not derived from murder sequences, scenes that depict or dissect murder, or even the hunt for a killer. They’re process-driven, sure. But they are also skeptical of their heroes, unafraid to undermine their intelligence. This show isn’t about watching serial killers. It’s about watching watchers.

                                   ———-Excerpted from the Mindhunter Exit Survey

I’m just going to showcase this review of Mindhunter from Bitch Media. It highlights all the good and bad, from the perspective of a fan of Forensic Science shows.

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I’m also a fan of Forensic Science shows, in general, and I did like this show a lot, but it does have some real issues. Those particular issues didnt stop me from bingewatching it though, mostly because, on the issues of racism and misogyny, I expect only the absolute bare minimum, from a White male Hollywood director like Fincher, who has never addressed those specific issues in any of  his movies. (Now if this were Bryan Fuller, I’d be more upset. I expect more social awareness from Fuller, than I do from Fincher.)

Hollywood’s writers, who tend to be White and male, have a blind spot when it comes to certain issues and most of them are highlighted in this show. Not wanting to address those particular issues, (like  racial corruption in the FBI and COINTELPRO) doesn’t make those issues go away, and this is something that made me increasingly uncomfortable as I watched, as  I know something of the FBI’s sordid history.

I would have found this a far more interesting show had its focus been on one of the much smarter women, like the lesbian psychologist who gives the lead character all the correct answers, or the girlfriend with an actual sociology degree. I would have liked to have seen whatever dynamic played out with the killers being interviewed by someone they would normally consider one of their victims.

One thing that the article doesn’t mention is the latent homosexuality, in this all male environment, which is tinged with just a hint of violence between the main character and his interviewees. This is noticeable especially in the scene with Edmund Kemper, who makes a habit of invading the character’s personal space ,and touching him in an almost intimate manner, when they first meet. I think this is entirely unintentional on the part of the writer, but probably not on the actor’s part.

Cameron Britton and Jonathan Groff in Mindhunter

 

On the other hand, I do realize that’s not the show’s focus, (as its not a critique of the FBI,) and I do know more than I should about some of  the serial killers being interviewed in the show, having read John Douglas’ seminal book of the same name (and all his other books). Edmund Kemper, Jerome Brudos, and Dennis Rader (known as BTK) are all featured, and I can see that much more attention was paid to getting their details correct than in approaching social issues. Also, Douglas doesn’t address any of these issues in his book, so the writers may have been performing their idea of faithfulness to the source material.

PROFILING 101

THE WHITE MEDIOCRITY OF “MINDHUNTER”

https://www.bitchmedia.org/article/mindhunter-white-male-problem

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‘Ford is a mediocre white cishet male hostage negotiator for the FBI, who we are introduced to during a hostage situation. While the hostage was not harmed, the perpetrator–who was suffering from mental illness–committed suicide. We learn, though, that Ford already exhibits some of the character traits that will lead him to criminal psychology; that is, exploring not just what killers do, but why they do it. Post-hostage scene, Ford’s mediocrity is increasingly apparent to everyone except, perhaps, the writer and director, who clearly envision him as a determined and dedicated individual hellbent on finding answers, but who the audience might peg as a white guy to whom white-guy things happen.’

 

Mindhunter is available on Netflix, and despite its problems, is actually is worth watching, although it’s a much better show if you know nothing about the history of the FBI. Hopefully, the writer will become a little more daring with his characters and plot, in the second season.

Note: This is a vert talky show. There are no car chases, gore, or scenes of women screaming and running. The horror doesn’t derive from watching the killers take lives, but talking about why they did it, and how, and the focus, and casualness, with which they approach the concept of killing other human beings, as a hobby. 

28 Days Later (2002): The Evolution of Selena

This was number four of the five Black Women in Horror reviews I wanted to do for October.

When I first saw this movie I had no idea who Naomie Harris was. I ‘d heard about the movie in a magazine and I was already a Cillian Murphy fan, having loved him in Kinky Boots, so I was pretty much just watching the movie for him. Naomie Harris came out of nowhere and just killed it. Literally!

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Now, I’m going to go off on a bit of a tangent, and mention once again, that this is why we need diverse reviewers of Pop Culture. When I read the early reviews of this movie, all of the focus was on Murphy, which is understandable, because his star was definitely on the rise at the time, and people were enamored of him. (He is very pretty!) But Selena was barely mentioned, and I feel some type of way about that. I think if I had known there was  an awesome Black woman in this movie, I would’ve paid more attention to her.

And people really should pay attention to Selena. In fact, I would argue that though the film is from Jim’s point of view, the movie is really about Selena, and Jim, as they both grow and change, and adopt what the other thought of as each other’s worst traits to survive. Selena grows from someone who is cold and calloused, who disparages Jim’s compassion for others, into someone warm and compassionate, willing to love and let herself be loved. Jim grows from someone who is too trusting and idealistic, and saying he could never live the way Selena has been living, into someone willing to fight and kill for the people he loves.

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When we first meet Selena, she is essentially  the Sapphire stereotype, of a cold an unfeeling Black woman. She loves no one, isn’t capable of loving anyone, and is angry, cold, and bitter, saying she would cut Jim loose, in a hot second, the moment he jeopardized her survival. That her anger and bitterness is justified is not made specifically clear, but she has reason. Her entire world and life has been destroyed. She believes the only thing worth doing is surviving, for survival’s sake. She is unlikable at first, (and Jim says as much), but she grows into a  more sympathetic character as the plot moves forward. Selena is the co-protagonist of this movie. She has a definite character arc, and her decisions  help to carry the plot.

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Jim wakes up alone in a hospital and discovers that the entire city of London has been evacuated because of a disease called Rage, which makes the infected viciously attack anyone they encounter. When he meets Selena, she really isn’t all that different from the infected herself, violent and quite vicious. She is travelling with another young man, who is accidentally infected, and Jim witnesses the brutal manner with which the uninfected, like Selena, have had to deal with the situation. She is cold, and incompassionate, and does not want to get attached to him. Nevertheless, she agrees to travel with him because she doesn’t want to be alone. Being alone is not good for survival either, it seems.

Over the course of the movie, she does get attached to him, and the young daughter of a family they meet in their travels., named Hannah. When they encounter an AWOL military company, who threaten to imprison and rape her and the girl, and execute Jim, they both have to use all their wits and bravery to save themselves, but ultimately it’s Selena’s attachment to her new family, and his love for her, that’s saves all of them. One of the most poignant moments in the movie is when Selena, unable to prevent their degradation from the soldiers, offers Hannah drugs to survive what’s about to happen. Not because she’s trying to hurt her, but so Hannah won’t care what’s happening. The woman who was willing to cut anyone loose, who impinged on her survival, offers to do this from a place of compassion.

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I initially didn’t like Selena, and it took some time for me to understand that that was the point. The things she says to Jim when they first meet are mean and callous. She is a hardened woman, and he rightfully chides her for it, telling her he can’t live that way. Ironically, he has to become  hardened, and more than a little brutal himself, if he wants to save the woman he’s fallen in love with. He brutally slaughters all the soldiers he meets in an effort to find and rescue the two women. Selena, in turn, has to adopt the qualities she hated in Jim, when they first met, if she wants to save Hannah, and herself.

In the end, Selena and Jim declare their love for each other when he walks through a nightmarish landscape of screaming zombies, and military men, to rescue her and Hannah, and I am totally here for it, as it echoes the plot of Django Unchained, which was based on Siegfried’s Story from the German opera, Der Ring des Nibelungen. Siegfried, who rides through a ring of fire, in a locked tower, to save the Shieldmaiden Brunhilde, and make her his wife. Selena could be classified as a Shieldmaiden like Brunhilde. She is a warrior, who at first only fought for her own survival , but later fights for those she loves, Jim and Hannah.

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If Selena were White, it would be insulting to see her dameseled in such a fashion, but since we so rarely get to see Black women be vulnerable and loved, but still brave and smart, it overturns the stereotypical narrative of the strong Black woman, who don’t need no man. At the beginning of the movie she declares she doesn’t need anyone, but she is wrong. Hannah tells her midway through the movie, that they all need each other, and by that point Selena is willing to accept that.

The movie has three different endings. In the first ending, which was not filmed,  everyone arrived at a research medical center, and gets trapped there. The second involved Jim dying in the hospital, with Hannah and Selena continuing their journey without him. The third ending involved Jim waking up in the hospital to discover it was all nothing more than a dream. The director decided to go with the more positive ending we eventually got, of Hannah, Jim, and Selena  being rescued.

28 Days Later was the best zombie movie released that year, so it got a lot of attention, not just for Murphy’s presence, and its fast zombies, but because of the multiple endings. If you have no quarrel with zombies that are not strictly zombies, then this is an excellent film to add to your zombie film collection.

It won’t be October, but I’m still going to do that last review, which is Gugu M’Batha-Raw From Blade. Stay tuned!

10 More Scary Short Films

Here are ten more very short horror films to watch for Halloween. I had to watch a lot of really boring, and in some cases really bad movies to pick these ten gems. There are a bunch of these all over Youtube, so I just sorted through, picking my favorites. Some of these are genuinely scary, and others… not so much:

Close Before Midnight

I’m still not sure what to think of this one. Is it funny or just terrifying? Is it both?

 

 

The Moonlight Man

The main character is none too bright, but this was actually pretty scary.

 

The Other Lily

This one actually scared the bejeebus out of me because I had no idea where it was headed, and the animation is appropriately frightening.

 

 

The Hambuster

You’re gonna fall on the floor laughing at this one, and then probably throw up. Its disgusting!

 

 

Horror Short Film

This was genuinely scary.

 

 

Who’s Hungry?

This one is cute, disgusting, and funny. I had no idea where it was really going  either. (Warning for children being eaten by a giant.)

 

 

I Heard That Too

I first heard of this in a two line short story which was really creepy. This movie is just as effective.

 

Dead Friends

This one was funny, sweet, and disgusting. Skip it if you don’t want to see accidental animal mutilation.

 

 

Killer Kart

This one is almost as ridiculous as the movie, “Rubber”, and if you haven’t seen that one, it’s hilariously surreal, and you should check it out. This is gory, so I warred between feeling disgusted, and laughing my ass off, two feelings which are not necessarily compatible:

 

Nightfall

I thought I’d end on a funny note. This one just tickled the hell out of me. I totally identified with the little girl in this film.

They Came From Netgalley

 

 

I was really excited to get these from Netgalley, and I’m happy to share my thoughts about them with you guys. I’m usually never able to finish reading these before I get the next book, or the original is released but, I like to take my time and get the full flavor of a book before reviewing it.

 

Under the Pendulum Sun by Jeanette Ng 

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I don’t think I’m going to finish this book. I was initially very excited at the idea of Christian Missionaries from the Victorian era visiting the land of Fairy, as that is such a novel concept, but this book has turned out not to be what I’d hoped. What I thought would be  a kind of expedition to strange lands and peoples,  with grand adventures, heroes and villains, turned out to be a lot slower and more contemplative. This isn’t a bad book, I just don’t think I’m the audience for it.

First,  let me start off by emphasizing, for me, this is a very slow book. There’s almost no action, and little investigation of the Fairylands, even though I’m almost a third of the way through. The main character, a woman searching for her brother who has become lost in Fairyland, has been trapped in the same location since the beginning of the book, a large mansion where her brother resided. She is an acceptably brave and intelligent character, and I like hearing her thoughts as she narrates the story, but she hasn’t gotten a chance to have any real adventure, which I thought this book would be about. The most notable thing she has done is find an important book in the mansion’s  library, meet a couple of  fairy house servants, and hold a church service.

I also feel some type of way about missionaries in general (as in not approving of them) but so far the proselytizing has been kept to a minimum. It’s not  that type of book, for which I am grateful, but I still don’t know if I want to keep reading it.

 
Magicians Impossible by Brad Abraham

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This book is much more promising. I like the action in this book. What I don’t like is the protagonist. The lead character is just boring and so very ordinary. Jason Bishop has a mysterious past, and a father he barely knew, who was said to have committed suicide. When he attends his father’s funeral, he starts an adventure where he discovers that he comes from a line of mages, and that his father was one of the primary players in an ongoing fight between several magical societies.

I don’t dislike this book, (I really like  it!) but Jason is not an exciting  character, and maybe that’s the point.  Maybe there’s some character growth later in the story? I don’t dislike him though. That would require that he have enough personality to dislike. On the other hand, the other characters are really interesting. There’s a female  Punk/Mage I really liked, and the bad guys are suitably nasty, and everyone is after Jason. Jason  has to try to navigate an entirely new and unknown world, manage his own magical gifts, and figure out who are his friends and enemies.

The magic in the books is the typical bombastic hand waving sort, but it’s also abetted by actual card magic,  which I thought was a lot of fun. Despite the presence of Jason, I am looking forward to the next book in the series, as we get past all the introductory stuff of Jason picking up skills, and meeting the other characters. Once we get into the serious world-building, this will be a wonderful series to tide you over, between Harry Dresden novels, which is the greatest compliment I could give to an Urban Fantasy book.

 

The Change Series by Guy Adams

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I remember reading something very similar to this book a few years ago. That opening chapter scared the Beejesus out of me because I had no idea what was happening. I never got a chance to finish that book, and I think this is it.

Something happened. As in Robert McCammon’s short story ‘Something Passed By’, something happened on Earth that was so awful, that most of the people who witnessed it died. The ones who didn’t die were  mentally and physically altered and all the rules of the world changed. No one can get near any of the cities without dying, animal life has been altered, and strange and malevolent creatures prey on the people who are left.

Howard managed to survive the invasion but has amnesia. He doesn’t remember what happened but knows he needs to make it to the city of London. On the way he encounters machinist biker gangs, deadly blackbirds, and a mechanized monster that eats people and incorporates their bodies into its own.

This is a six-part series ranging from London, to Paris, to Tokyo, chronicling the adventures of various characters as they deal with this new and changed world. What makes the books so frightening is that all of the changes are inexplicable and unexpected. We learn about the nightmares of this world at the same time the characters do. The world was a known thing, but now all bets are off, and almost anything at all can happen to them as they try to survive, not just the monsters created in the wake of The Change, but the people who were badly affected by it.

The latest in the series, about the adventures of a young girl in Tokyo, named Noriko, is available  on Amazon.

 

 

 

 

Alien Vs. Predator & Demon Knight

Who Saves the World

(We do!)

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Here’s the second set of reviews for 31 Days of Black Women in Horror Movies for the website Graveyard Shift Sisters.

You may not think these two movies have much in common, but you’d be wrong. They have at least two things in common, Black female heroes, and Black female heroes who live to the end of the movie.

 

http://www.blackhorrormovies.com/scary-sistas-a-brief-history-of-black-women-in-horror-films/

 

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If you’re not aware of the old movie trope, “The Black Guy Dies First”, then you don’t know how groundbreaking it is for a movie to not only have a Black hero, but for that Black hero to live all the way to the end of the movie ,while saving the world. This was famously spoofed by the Black slayer named Rona, from Buffy the Vampire Slayer, with her snide remark to Buffy, “The Black girl gets it…”

Thanks to Romero’s Night of the Living Dead, horror movies have always tried to have progressive representation. This certainly isn’t true of all such movies, but Horror and Scifi movies are at least willing to break with the tradition of a White male hero and cast women, and PoC, as the stars of the movies. From The Afflicted with its Asian male lead, to Halloween’s Jamie Lee Curtis, and Sigourney Weaver in Alien,  from Danny Glover in Predator II, and Wesley Snipes in Blade, many of these movies have become iconic films by overturning the tradition of having a White guy be the hero.

Predator, the franchise ,was itself willing to break with tradition, after casting Arnold Schwarzeneggar as the hero of the first movie, by casting Danny Glover as the hero of the second. That movie is also unique in casting a Latina, Maria Conchita Alonso, as one of that movie’s good guys, who also gets to live to the end.

 

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Alien Vs Predator is just continuing this habit by casting Sanaa Lathan as Alexa Woods,  the guide for a team of archaeologists, who are exploring the Antarctic for alien artifacts, along with Charles Bishop Weyland, the CEO of Weyland Industries, and the prototype for Bishop, the android from Aliens. Suffice to say,, she is the only  survivor, after the team gets caught in the crossfire between the Aliens, and the Predators who came to Earth to hunt them.

Alexa is as tough as they come. She’s brave and determined, and finally rewarded for her fortitude with the proper facial scars of a successful Predator, by the other Predators, who have been watching the events from on-high. I haven’t watched this movie in a few years. I have to admit, I failed to appreciate its novelty when it was released. It’s only on later viewings that I realized the film’s uniqueness. It, and the fearless Alexa Woods, have since become a favorite. (I find it especially interesting that most of the reviews of this movie seem to ignore her presence in it, although fans of the movie seem to really like her, and Danny Glover.)

This movie is also notable because Alexa is also a scientist, an environmental technician. As depictions of Black women in science are really hard to come by at the movies, its important to take note, its the Blerdgirl who saves the world.

http://www.btchflcks.com/2016/07/when-will-black-women-play-leading-scientists-more-often.html#.WfDwM1tSxD4

 

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Irene goes out like a Boss!

Demon Knight is notable not just for Jada Pinkett as Jeryline, the hero of the movie, but for also starring CCH Pounder as Irene, her bullying work release employer, who is every bit as badass as she thinks she is. I did not fail to appreciate the release of this movie. Mom and I were already Jada Pinkett fans after her work in A Lowdown Dirty Shame and we were looking forward to seeing her work it in our favorite genre, Horror. We were not disappointed. Jeryline is smart as fuck, and fearless too. From the moment you meet her character, she is sympathetic, and you start to root for her to survive this movie, because you just know, somebody’s gonna die!

William Sadler (another favorite of mine) plays Frank Brayker, as a Knight of the Cross, attempting to keep a Holy artifact out of the hands of Billy Zane’s Collector, to keep the world safe from demons. The artifact is meant to hold the blood of Christ, but over the centuries, the Keepers of the “The Key” began to fill it with their own blood. The blood in The Key is sanctified  to create protective barriers, or to kill demons directly, and when the last of the blood is used, the Keeper, who is immortal as long as he/she carries it,  dies.

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When Brayker finally sacrifices his life, he passes The Key to Jeryline. The person who carries The Key must be a thief,  in homage to the first carrier of The Key, a thief who stole Christ’s blood at God’s command. Jeryline fits the bill because it was the reason for her prison conviction. In the end, Jeryline defeats The Collector, in a novel way that would never have occurred to Frank, and sets herself on the road, followed by a new Collector, a Black man carrying a suspicious looking guitar case. (My mom and I applauded.)

I was disappointed to learn there would be no sequel to this movie. I would’ve loved to have  seen this take place in Georgia or Louisiana, with an all Black cast.

Hollywood is still somewhat stuck in the rut of pandering to the White male demographic, but that is slowly beginning to change, especially after the success of Get Out, and the forthcoming release of Proud Mary in January, and Black Panther during Black History Month, next year. Hollywood could use Indie and genre films as an example of how to craft movies that appeal to other than White men.

TALES FROM THE CRYPT PRESENTS: DEMON KNIGHT, Jada Pinkett, 1995. (c) MCA/Universal Pictures
Jeryline – Tales From the Crypt: Demon Knight 
In this cult classic, Jerlyline is the definition of survivor. She wasn’t afraid to speak her mind nor kick a serious amount of ass, both of which she did!

 

 

http://wickedhorror.com/top-horror-lists/7-fierce-black-women-in-horror/

Yes, Black women want to have onscreen adventures. We like to see representations of us in movies, and TV shows, being heroes, being brave, and fearless, and saving the world, just like White women, (and I’ll wager that Asian women, and Latinas want to see this too.) There have been so many demographics Hollywood has been ignoring for decades. Horror movies, by their nature, seem willing to be different, to overturn tropes, and even mock its own stereotypes.

These aren’t the only Horror movies featuring Women of Color, they just happen to be two of my favorites. Its about time for me to watch them again.

*     *     *   *   *     *       *      *    *       *

https://blackgirlnerds.com/black-women-and-feminism-in-horror-films/

In all these films, these women used their brains, brawn, and instincts to survive amidst a mostly white, male cast. They weren’t treated as servants or sex slaves except for that cringe worthy scene in 28 Days Later.

All three women fought just as hard or harder than their white, male counterparts; proving that they could and did survive regardless of their gender or race.

The Girl with All The Gifts (2016)

This is the first of my five posts reviewing horror movies where the stars are Black women, all part of the Graveyard Shift Sisters posts on 31 Black Women of Horror, for the month of October.

Okay, despite the fact that I read the book, I still didn’t know what to expect from the movie. I should have because the movie is mostly very faithful to the source material. It had not occurred to me that the filmmakers would do the thing, and make Melanie a little Black girl. I loved the character’s voice in the book and was looking forward to whoever they would cast as she would be carrying the movie, and I’m glad the director made that decision.

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When the writer, M.R. Carey was asked about the development of the movie he stated:

‘We went a slightly different way in the movie, especially when it came to point of view. Where the novel moves between the five main characters and lets us see what’s going on in all of their heads, the movie sticks with Melanie all the way. And there are no Junkers in the movie. The base falls to a hungry attack. But it’s a case of two different paths through the same narrative space. The ending is absolutely faithful to the book.’

— M.R. Carey, in an interview with Mom Advice[7]

The plot of the movie is very faithful to the source, so if you’ve read the book, you know the ending. Most of humanity has succumbed to fungal spores and become what are known as “Hungries”. ( Basically they’re zombies. They attack and eat people. (This is not  unprecedented in nature, as there are actually fungal spores that infect hosts, and force the hosts to  propagate itself.)  Some of the zombies are intelligent, and Melanie is one of the smartest ones.

Melanie, and a group of like children, all of whom were infected in utero, are being taught, studied, and experimented on, at a specially guarded facility, by Dr. Caldwell, played by Glen Close. She is attempting to find a cure for the fungal infection by vivisecting  the children’s brains, and Melanie is her star pupil. One of Melanie’s teachers is Ms. Justineau with whom Melanie develops a close  relationship.

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Melanie is played by the unknown Sennia Nanua, and she is absolutely perfect. She doesn’t try to play Melanie as sinister, or evil. She’s just like any other regular little girl, smiling, curious about the world , and happy, until her hunger is triggered. Those scenes are shocking in their viciousness. We watch Melanie attack and bite people, and at one point she captures and eats a cat. Although the movie has kids in it, it is not for children. Her behavior isn’t sugar-coated  or glossed over, and the soldiers are correct to be afraid of Melanie, as her Hunger appears to be something she seems to control. Gemma Arterton is great as Justineau, and I enjoyed seeing her relationship with Melanie.

Justineau doesn’t try to control, or change Melanie, seems to accept Melanie just as she is, and unlike the soldiers, seems unafraid of her. She doesn’t seem to want Melanie for what Melanie can provide for her like Caldwell. Seeming to genuinely love and care for her, worrying about her safety when she’s not around. The two of them seemed to have formed a real and loving bond, and that bond between them, goes a long way towards the audience accepting Melanie for who and what she is, too.

Image result for girl with all the gifts movie

Justineau was constantly cautioned against attaching herself to the children she is teaching, but  she seems unable (or unwilling) to do so with Melanie. There are several scenes of the soldiers being verbally abusive to the children in their care, in order to teach Justineau to avoid them, but Justineau always behaves towards them with dignity and respect.

 

When the facility is overrun by Hungries, Melanie and Justineau escape inside a mobile lab, with some other soldiers. Caldwell, who has been bitten by one of the Hungries has developed sepsis, but still continues her experiments. The soldiers are wary that Melanie will turn on them so they make her wear a muzzle ala Hannibal Lecter.

Image result for girl with all the gifts movie

 

They soldiers fear her but Melanie is useful because she can walk among the infected with impunity. In their travels, they use Melanie to lure the Hungries away from them so that they can more successfully forage for supplies. Melanie uses that time as an opportunity to feed. During her explorations she encounters a group of feral infected children who have formed a gang to hunt  any wayward humans.

In one of the movie’s most exhilarating moments Melanie challenges and kills the gang’s leader, and commands the gang afterward, keeping them in line with the threat of her strength and ruthlessness. I’m not sure how to feel about these scenes. On the one hand, I applaud Melanie’s ability to survive and be a leader. On the other hand, I’m witnessing children committing shocking acts of violence, which is something I’m just not used to seeing. I generally avoid movies where children are killing each other. Melanie’s leadership of this gang is something that will come into play at the end of the movie.

I have to admit I felt some type of way about watching this little Black girl kicking ass, and being so vicious, because that actress looks so sweet and innocent, when she’s not doing those things. I can only guess that’s why this particular actress was chosen. There’s also the stereotype of the vicious Black brute, who is uncivilized and must be controlled, restrained, and made useful, which is illustrated in Melanie having to wear a plastic muzzle for at least half the film. All of Melanie’s captors are White, and with the exception of Ms. Justineau, they are all deeply frightened of her, which gives this movie a  disturbing racial angle, that it would not  have otherwise had, if Melanie had been cast as a little White girl. Her Blackness gives the end of this movie  a wholly different meaning, which I’ll have to discuss in another post.

There’s very little wasted space in this film, which is less than two hours, but feels   longer because the director takes time to have quiet moments to explore Melanie’s world from her point of view. She is in nearly every frame, she is the one around which the other characters revolve, and she moves the plot forward with the decisions she makes, especially the last one.

I considered giving away the ending of the movie, because I wanted to discuss how groundbreaking this is, but if you’ve read the book you already know it, and if you haven’t, I really don’t want to rob you of your feelings (and you will have some) when you see it for yourself, as everything that happens in 90 minutes of the movie is what leads up to Melanie’s final decision.

This is an excellent movie to watch on Halloween night along with, 28 Days Later, and Train to Busan, two other films that have WoC dealing with a zombie apocalypse.

28 Days Later will be my next review.

ETA: The Website featuring this list is available at the Graveyard Shift Sisters.

http://www.graveyardshiftsisters.com/2017/09/watch-31-horror-movies-starring-black.html

 

Ten Scary Short Horror Movies

Well, it’s almost Halloween and so naturally, as it does every other day of the year, my mind turns toward scary movies. I can’t out a whole movie on here but I can share with you some of my favorite short films. I like monsters, so most of these have monsters. I like comedies, so some of them are funny and there’s a couple of these that scared the living shit outta m
This movie infuriated me, especially after I realized what was actually happening:

Don’t Move

 

 

You guys know I’m not a  fan of spiders, so I was reluctant to watch this one, but it just so happens it has a surprisingly funny ending:

Itsy Bitsy Spiders

 

 

I saw this one last year, and it stuck in my mind for a whole year, but I’d forgotten where I’d seen it, and the title. It took me some time to find it again, and it’s still scary:

Ghost Story

 

 

Yeah, this one is very, very, creepy:

Mimic

 

 

Yeah, this one is creepy but hilarious, and I think I remember this song from my childhood.

The Cat Came Back

 

 

This is a little longer than the others but it’s worth the wait and it’s  funny.

Waiting

 

 

This one isn’t particularly scary but it has zombies in it and I thought it was deeply cute:

Less Than Human

 

 

Here’s a slightly different haunted house story:

Vienna Waits For You

 

 

This isn’t what it seems:

Midnight Snack

 

 

Okay, this is the one that made me actually scream  out loud:

The Thing In The Apartment

 

Hope you enjoyed these. I’ll have some more on Halloween!

 

 

 

 

Last Week Tonite On Tumblr

Generally happy stuff to start off your week, especially if you haven’t heard some things yet:

Movie News

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The first official trailer for Pacific Rim is LIT!!! Hollywood is killing it with the music for these trailers, but I do have to remind them that just because a movie has Black people in it doesn’t mean you need to put rap music in the trailer. Some of us recognize different musical styles, although I realize that the soundtrack can go a long way towards getting a certain type of Black guy into the theater, (namely that no account Pooky from down the street.)

I love that we get to hear Boyega’s natural accent again in an action film. I’m definitely taking my niece to see this because she loved Mako Mori in the first movie, and John Boyega was her first movie boyfriend. This movie also heavily reminds me of The Power Rangers, only for grownups, because its more violent. (I’m pretty sure there’s also lots more of the cussing.)

Boyega stars as Jake Pentacost, the son of the late Stacker, who gets called into Jaeger service, from his underworld criminal lifestyle ,by his adopted sister, Mako.

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I’m really looking forward to the reboot of The Predator franchise because it has a long history of racial progressiveness. The first movie featured the first time team up of Arnold Schwarzenegger and Carl Weathers, and I guess the makes realized they had a good thing going, because the second film starred Danny Glover ,as the hero of the movie, and Maria Conchita Alonso, who gets to live to the end of the movie. The third movie, Alien Vs Predator starred Sanaa Lathan, a Black woman as the hero of that movie and it’s one of my favorite Predator films, naturally. 

It’s interesting that as many tropes about race have been created in the horror genre, it’s also been a genre that’s been very progressive in its treatment of women, and characters of color, allowing them to be heroes and heroines, allowing them to be the stars, and sometime save the day, or the Earth. But this version of Predator appears to be more mainstream and there’s always tropes in mainstream movies.

Its as if mainstream movies know no other language beyond the visual shorthand of stereotypes (or maybe mainstream writers are just a bunch of lazy fucks who are unwilling to think outside the box). Namely The Black Guy Dies First Trope, and The Smurfette Syndrome.

Mainstream movies simply don’t have  track record for subverting tropes that the Horror genre does, and I’ve noticed, the more mainstream a horror movie  franchise becomes, the less likely it is to star a PoC, or have the woman be the primary character. This isn’t a hard and fast rule, just a trend I noticed.

I do blame the original Nights of the Living Dead for this. Something of George Romero’s liberal sensibilities in the making of that movie (and casting a Black man as the lead), has made its way into the genre.

Also, I just love Keegan Michael Key and want to see him defeat a Predator.

Keegan-Michael Key Joining Shane Black’s ‘The Predator’ (Exclusive)

http://www.hollywoodreporter.com/heat-vision/predator-keegan-michael-key-joins-shane-blacks-reboot-961207

Director Shane Black has shared a look at his team of alien hunters.

Soon, the hunt will begin... again.

 

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I thought this was a really interesting article about casting more than one Black person per movie. Now if we can get to the point where we can cast more than one gay person per film, or one woman per action  movie, or hey! let’s get all wild and shit and put two, count ’em! TWO, women of color in one mainstream movie, and let them interact with each other. 

I know, it’s crazy right?!!!

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Chadwick Boseman And Sterling K. Brown Remember When There Could Only Be One Black Actor In A Movie

“The opportunities are not so scarce. And that’s an important moment to note.”

https://www.buzzfeed.com/jarettwieselman/chadwick-boseman-and-sterling-k-brown-remember-when-there?utm_term=.jfaWKG0qQ#.wavvWkD5R

Chadwick Boseman and Sterling K. Brown in Marshall.

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Here is the official trailer for the live action version of Tokyo Ghoul. I’ve heard that Hollywood is planning an all out assault on Manga with live action movies of some very famous books. My stomach dropped as soon as I heard that because nobody, and I mean NOBODY, is asking for Americanized versions of Full Metal Alchemist and Akira. ( I swear to Gob, if Akira does not star Osric Chau, I’m gonna personally send J J Abrams a strongly worded letter suggesting that he go fuck himself!) Now these movies have not been cast yet, but hopefully, they learned their fucking lesson from the handful of whitewashed flops in the past few years. 

Yes, it looks almost as terrifying as the anime!

Note to Hollywood:

Please, stop removing Asian people from the stories they created, and cast them as the main protagonists!!!!!

People who are fans of these stories are well used to seeing Asian faces, and some of us have a pretty large pantheon of Asian, and Asian American actors they enjoy watching. We do not read anime, or read Manga, so that we can see White people. If we wanted to see White people in Asian influenced media, we’d just watch your whitewashed dreck!

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This is why Osric Chau needs to be in any live action version of Akira. Here he is  in a (kind of) fan made trailer of The Akira Project. This is AWESOME!!!!

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The Twitter and Tumblr response to this article had me cackling the whole week. I mean, how do you reach a point in your emotional development, where you have had your ass beat by this person 18 times, and you still out here signing checks your ass can’t cash, even when you cheat.

Maria Sharapova’s Rivalry With Serena Williams Is In Her Head

Sharapova’s new memoir suggests that she still can’t seem to accept the reality that her whiteness is not enough to compensate for her own failings.

https://www.buzzfeed.com/bimadewunmi/maria-sharapovas-rivalry-with-serena-williams-is-in-her-head?utm_term=.jpMJEzJvw#.mjQPrOPmB

She’s not good enough at tennis to have a rivalry with Serena. You have to be able to sometimes be able to beat someone for it to be a rivalry as opposed to a regularly scheduled ass whoopin’.
It’s never a rivalry if you’ve only beaten someone two times and they’ve beaten you 18 times in a row and badly Serena has decimated this woman for a decade-plus there is no rivalry it’s only Domination by Serena, Maria knows that but pride mixed with delusion is a motherfucker

that’s like me having a rivalry with bill gates lmao

 

I have a rivalry with Beyoncé

 

It’s like I had a rivalry with god by throwing rocks at the sky.

 sauvamente

Sharap it’s over needs to put the meth pipe down and face reality. She’s shit and a cheat. Retire.

 pinkcheesegreenghost

Even illegal, performance enhancing drugs wasn’t enough to keep her from losing 18 times

 stayingwoke

18-2. That’s 90%. I don’t even have a 90% win rate in closing a car door all the way.

 

my-friends-call-me-lol

I have a rivalry with the sky, nothing can be higher than me.

 btheadventurer

Serena don’t give a fuck bout her. She’s literally has beef with her imagination.

 

 

 

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*Okay , here’s some commentary on why dystopian apocalypse wardrobes always seem to consist of bondage and fetish gear. Personally I blame Mad Max for starting that trend, but this person has another theory on this very important issue:

why does so much post apocalypse media have people wearing straight up bdsm/fetish gear like. do the kinksters watch the world ending and think “oh boy i can wear my bondage gear in public now”

 

What I wanna know is why the spiky kink warriors are always the bad evil marauders. They might be into some weird shit and unafraid to show it but that doesn’t mean they want to go around killing dudes. They’re a tight-knit bunch. A lot of them are queer. They understand the importance of community.

If the government collapses and all laws come to an end, the people rampaging around killing and looting are gonna be like, frat boys and 4chan rejects. You can mistrust the bondage raiders all you like but they’re definitely the ones you’re going to run to for help when the neoliberal blood cultists and Nazi meme demons lay siege to your survivor enclave. There’s gonna be gayboy berserkers busting up slaver gangs and burning down warboy frat houses. The assless-chaps leather daddies and weird petplay people are gonna be the accidental peacekeepers of the post-apocalyptic world just because they’re the only motherfuckers who understand the importance of consent anymore.

Listen. Don’t come to me asking how to get the secret cadre of bisexual death commandos to protect your wretched tent village if you’re scared that we might call in the kinksters for backup. I don’t give a shit if they dress up like dogs and spend all day writing poems about butt plugs. There’s assholes out there acting like Vlad the Impaler on a meth bender and you’re afraid of seeing a nipple. Fuck you. If you really want to get rid of the MRA death gangs you’re going to have to accept that a lesbian chainsaw dominatrix or two might be involved. It’s the fucking post-apocalypse my guy we gotta weigh our priorities here

 

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I love these Gothic Fables :

Black Diaspora Gothic

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your mother tells you to go find something for her. it’s not there. when she goes looking for it, it reappears, just where she said it was.

this woman is your auntie. that man is your uncle. you have too many aunties and uncles to remember. you haven’t seen them, but they all have seen you. you know, when you were no bigger than THIS?

 

You start to notice that your mom actually does look like one of your little friends. Too much. More and more each day.

You do have ____ money, but you don’t know where it is coming from. It’s just that every time you put your hand in your pocket you have just the right money you need.

 

You buy a tin of brand new cookies. When you open it there are only sewing supplies. Tin after tin there are only sewing supplies. You continuously have cookie money, but there are no more cookies.

 

you are walking down the street. you spot your favorite cousin and wave in greeting. but wait – she has a friend with her. the friend is also your cousin. he smiles. you have never seen this man in your life. it’s fine. family is family.he waves at someone behind you. it’s your cousin. your cousin waves. the legion of cousins waves
as a child, the sizzle of a hot comb or the burn of a relaxer has desensitized yet traumatized you. you tell yourself there’s food at the house just when you think about heading down to wendy’s. there’s always food at the house
  1. nightshadepaladin the-afro-argonaut

    you take the chicken out of the freezer.your mother calls. did you take the chicken out of the freezer? of course you did – but the counter is bare. you take the chicken out of the freezer.did you take the chicken out of the freezer? of course you did. you do a double-take. there is no chicken. there is no freezer.<i>did you take the chicken out of the freezer?

    You think you might be suffering from amnesia … You could have sworn you just took the chicken out of the freezer but each time you go back to check on it thawing you find it right back in the ice box. Maybe you just imagined taking it out. But this feels like the third or fourth time.. Also, hasn’t the clock read 4:15 each time you remember coming in to take it out? Just 45 minutes before mom is due home. Theres nooo way it’s going to thaw in that amount of time…

    butpersephoneitsspring

    you open a tub of ice cream and find rice. you open another, and find chicken; you open yet a third, and find stew. was there ever ice cream in the house? does ice cream exist at all? you don’t know.

    aphonicgod

    that girl? she your 5th cousin twice removed. both your parents got 5+ siblings and those siblings each have 3-5 kids. your great grandparents had 15+ kids and 10+ siblings. that random guy who says hi to you is actually your 3rd cousin his name is Jackson. say hi.

    Your mom’s always asking you if you think she looks like Booboo The Fool. You’ve never met this person, but you instinctively know that the answer should be no. One day your mom looks a little different. Is it her, or is it Booboo?

    Your mother tells you not to play in your nice clothes. After school you come home and take off your nice clothes and replace them with your play clothes.While out playing with some friends you fall into some mud. You look down and you’re still in your nice clothes. Not the other ones your switched into.In the distance you hear the distinct snap of a switch being made.

     

    lkeke35 

    You remember there’s food at the house just before you decide to go to Wendy’s. There’s always food at the house. The food is always freshly made and hot, and although there’s a huge variety to choose from, it’s always the same dishes. Cornbread, yams, potatoes, fried chicken, biscuits, green beans, a variety of side dishes but only ever one kind of meat: chicken.You’ve never seen anyone cooking in this house. You know the people in it have full time jobs, but the food is always ready no matter the time of day…or night.

    You are not The One. Your mother is not The One.No one knows The One.But everyone knows The One is somewhere.Everyone knows The One is waiting. And if someone finds The One…Pray no one ever does.

    isisnicole 

    You are told to fix your face or it will be fixed for you. My face is a part of your face so are you fixing your face also? You fix your face does my face get fixed at the same time?

    stsathyre intheindigo

    There’s just a little clap of thunder, not even full applause. Turn off the TV. Turn off the lights. Don’t touch the phone. Stay out of the tub. Whatever you were watching will never be seen or heard from again.

    You go outside to play, but you can’t come back in, because you smell like outside. You smell like an abandoned baby bird. Not her baby bird. How does one smell like inside again? Somehow you get dinner.

    Your mother had a dream. She calls every family member living or dead.

    fantasticallyvicious sauvamente

    grandma says “stop runnin in and out of my house.” grandma says “close the door you lettin all the cool air out.”every time you open one door, a different but similar grandma waits, demanding that you close the next portal to their worlds.

    spookiest-star iridessence

    You hear your mom call your name from another room. You respond only to be met with silence. You immediately get up and start running to find your mom, knowing she expects you in front of her ASAP. The silence is deafening. You hear your name called again, this time with a sharper tone. You’re not sure where the voice is coming from but you run around, only finding empty rooms. Again, your name is called with the ferocity of nails on a chalkboard and you panic. Your mother’s voice carries…

     stonecoldfemme

    You open the Danish cookie tin and find sewing supplies. Your trust has been broken. You have never seen the tins in the store, and when you finally do, you are afraid to look inside. Who are these people that create sewing tins with cookies on them?

    karnythia cypheroftyr

    There was a party. You made yourself a plate to take home. It was not enough food. It is never enough food. Even though you cooked too, the ribs made by someone you don’t know are the best you have ever had.

     karnythia

    the women have been doing your hair since you could sit up. the hands in your head are both familiar and new at the same time. each touch is a memory handed down from women for generations. out of the corner of your eye you see your mother’s mother’s mother’s behind you. stay still. don’t cry. tenderheadedness is a fault. you must suffer to be respectable, black girl child, the hot comb smells of seared ear skin.

     

     angelsscream

    Your fave Auntie makes the best potato salad. She is designated potato salad maker by the family. You get to the cookout, your fave Auntie couldn’t come and your not fave auntie made the potato salad.

     boolyphyll

    Your mother tells you to take the chicken out of the freezer before she gets home. You take out the chicken. You take out more chicken. The chicken never ends, the freezer is full of chicken, and only chicken. She gets home, everything you brought up and put on the counter is not the chicken. She is furious.

    psammoma 

    Your mother tells you to do the dishes. The sink is empty, the dishwasher is empty. You search the house for dishes. You own no dishes. You don’t remember owning any dishes. What are dishes? Who are they? Your mother screams at you to do the dishes. “What dishes?” You cry. “ALL THESE RIGHT HERE!” She screams, pointing at the sink. The dishwasher. The counters. There are no dishes. But you do the dishes.

     

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The X-Men

I’ve been reading the X-Men comics since the 80s and I can fully attest that this is generally true. This really is what most of the plots were in the 80s and 90s. I stopped reading the books in the late 90s, but I imagine this is still true:

A Complete Listing of All The Plots of the X-Men Comic Books

– vampires vs xmen
– god damn it where is [insert xmen]
– youre a better leader. no youre a better leader. no youre a better leader. no youre a b…
– someone dies
– someone comes back to life
– THE XMEN GO TO SPACE
– magneto is in the yard and wont leave

 

– Time for the annual kidnapping (either Mags and Charlie or Sabretooth and Logan, occasionally others)
– House blowing up builds character
– Put that thing back where it came from or so help me

 

-i came back from the future because you need to stop

-your best friend turns out to be mystique

-hey look some new x kids, time to ignore the ones we already had for the rest of *checks watch* forever

-the x men are DISBANDED!!!!!

-alternate universe babies

-your best friend turns out to be a clone/xorn/psychic projection

 

-well i guess it was Mr. Sinister all along

-fuck the Summers family

-no seriously fuck the Summers family

-i quit the x-men but normal life sucks

-just like the last time but i guess kind of grittier

-fuck the Summers family… IN SPACE

-wellp i guess Charles faked his own death again

-goddamnit Hank don’t put that there

 

– who the fuck is possessed this time

– the villain is in love with storm but who can blame them

– goddammit give me my body back you’re using it WRONG

– somehow we’ve ended up in a fetish club, let’s just go with it

– we’re revamping the uniforms again! deal with it logan

– our powers are gone! now they’re back! now i’ve got someone else’s!

– who wants more trauma? too late, you’re getting it

– the phoenix force is tired

 

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Introverts

Seriously, this speaks to me for some reason:

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Disability

*As a person with one of those unpredictable disabilities, where I have good days and bad days, I just found this post hilarious. Yes, I have wanted to say these things to able-bodied people:

you ever realize how able bodied people just are not expected to do things that cause them excruciating physical pain? like they’re just. not

if i shouldn’t use my cane because i can sometimes technically walk without it, it would just hurt like a motherfucker then abled people should no longer be allowed to use potholders to take things out of the oven because i mean

well they could technically pick up a hot pan with their bare hands. it would just hurt like a motherfucker

 

*sees an abled person using potholders*

i just think it’s really sad that you’re giving up on yourself like that

 

*abled person rests the day after they sprained an ankle*

‘oh come on you can’t just lie in bed. it won’t get better if you don’t run around! get up and help me!’

*abled person uses protective eyewear when handling dangerous chemicals*

‘sweetie why would you limit yourself like that.’

*abled person wears shoes*

‘some people are MUCH WORSE OFF THAN YOU and they don’t wear stupid things like shoes! stop pretending that it hurts to tread on broken glass’

 

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*The Defenders

Really, I actually liked The Defenders, but this post is an incredibly accurate description of each of these character’s approaches to problems:

The Defenders: How Shall We Get to the Boardroom?

Danny “White Privilege” Rand: Shows up in a suit, gets escorted in by security.

Luke “Harlem’s Hero” Cage: Busting in like the Kool-Aid Man

Matthew “Vigilantism as an addiction metaphor” Murdock:unnecessary staircase parkour with a scarf on his face

*Jessica Goddamn Jones: Takes the fucking elevator like a normal-ass person, what is wrong with you people.