Tumblr Weekend Reading

Its been a whole minute since I made a Tumblr post, so here, have some interesting thoughts, memes, and photos, that came across my  dashboard:

Yes, I am lactose intolerant, although I am to understand that I have a fairly mild case. I can eat some dairy items like yogurt, ice cream, and cheese, without  wishing I would die, but a glass of chocolate milk would probably send me to the hospital, with excruciating abdominal pain.  But for real though, most cases of lactose intolerance just end in lots of farting.

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This is funny because this was sort of my thoughts while watching this movie. Earth, and the aliens, are basically a bunch of drama queens.

dragon-in-a-fez

I know we’re always talking about how Pacific Rim embraces the ridiculousness of the human race because “just build a giant robot to punch them in the face” is probably the most full-on human bullshit response we could have thought of to an invasion of giant aliens, but can we pause and also consider that the aliens are basically doing the same thing

like they wanted to invade us and their first thought about how to do so was “let’s genetically engineer giant fucking monsters that will crawl out of the depths of the ocean and trample cities”

Pacific Rim is just the story of two species that on a scale from 1 to 10 respond to every problem with a 17

 

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Image result for cat fighting gifs

The mildly annoying fighting styles of female action characters. I think Charlize Theron, and a couple of others, are leading this charge to make female fight scenes more realistic to how a woman might actually kick some ass. Most filmmakers try to give women pretty, ballet -like, fighting styles, and I don’t mind that a whole lot, but they need to know it’s okay to show women getting down and dirty, when they fight, too. This is why I loved the movie Kill Bill, because it showcased a variety of women vs. women fighting styles.

rainbow-femme

So whenever i would watch movies and see The Badass Female Character fighting in various ways, something about it always bugged me. I just assumed it was internalized misogyny that made me dislike characters like black widow and Tauriel and tried to make myself like them.

Then I was rewatching Mad Max Fury Road the other day and I noticed that nothing bothered me about watching Furiosa fight and I realized the problem wasn’t watching women fight in movies that got on my nerves.

Watching the stereotypical Badass Female Character she always has these effortless moves and a cocky, sexy smirk on her face as everything is easy. Watching Furiosa, she grunted and bared her teeth. Her fighting was hard and it took effort and it hurt like fighting is supposed to. For once her fighting style wasn’t supposed to seduce the audience it was to be effective.

I wasn’t disliking these characters because they were women I was disliking that their fighting was meant to remind me they were women. High heels and shapely outfits and not showing effort or discomfort because it’s more attractive to effortlessly lift a long leather clad leg over your head rather than rugby tackle someone.

It’s the same with the Wonder Woman movie too. Fighting is hard and it takes effort, blocking bombs and bullets with a shield makes her grimace and bare her teeth with the effort it takes. She’s not flip kicking bombs she’s yelling and straining, not because she’s weak or bad at fighting but because that’s what it would be like.

I really hope we’re moving into an era of women having fighting styles designed for realism and not how hot it looks for the men in the audience.

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Image result for serena williams gif

I’d say the answer to this is yes. America has long been obsessed with the Black female body, while trying to pretend it’s not, and here’s why:

Is Society Fascinated with Black Women’s Body Types?

blackfeminisms

Colonialism introduced Europe as the cultural/aesthetic authority on values including beauty. While doctors in ancient times warned against obesity, diet culture began in the 1800s. Weight turned into a cultural status marker that considered fat to be negative. Whiteness as the epitome of beauty imposes a standard that devalues body types by race, gender, shape, size, and color. Society teaches women to deal with fatness through exercise. Nevertheless, Black feminists see Blackness as the site of resistance to the standards.

Society interprets Blackness as indicative of moral, sexual, and racial pollution. For example, a society threatened by Black women’s reproductive capabilities, 19th century Europe likened Black women to prostitutes through the controlling image of the Black Venus, which characterized her as the perpetual prostitute. Society discouraged coupling between Black women and White men through “blood discourses”  that projected the fear of Blackness onto mixed-race children. Some sociologists remarked on this phenomena with  Meghan Markle.

Society treats Black women’s bodies as a danger to social order. On the one hand, they might displace white women as the archetypical love and sex object. On the other, they threatened the patriarchal order of worker by having the status of worker and woman.

Society robs fat Black women of their sexual agency 

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Sociologist Shirley Anne Tatediscusses how we can read the iconic Venus statue as a fat Black woman. This perspective reveals which Black women’s’ bodies society reads as fat and how they represent them. Tate embraces an ‘alter/native’ view of Black women to highlight the multiplicity of body politics around Black womanhood. Society treats Black women’s bodies as other to white women’s and does so by making their forms hypervisible. This process simultaneously renders the whiteness of other women’s bodies invisible. As a result, Shirley Anne Tate argues this perspective: “enable[s] us to see that there is a corporeality of white class (Bourdieu, 1988) and gender with thinness as its epitome” (Tate 2015: 80).

The Mammy portrays Black women as undesirable sexually and desirable for service work. The Mammy symbolizes the status of a domestic servant to a white woman through her girth and dark skin. This controlling image reinforces the perception that white women were superior.  For example, Hattie McDaniel played a Mammy figure in Gone With the Wind. The UK has a similar portrayal Black women as “Big Mama. Fat Black women live in a society that paints them as undesirable and worthy of disgust. These beliefs divided fat Black women into domestic and care workers and thin white women into the domestic and care overseers.

Society ridicules Black women for their fatness

In the UK racist humor often revolves around fat Black women. In the 19th century White men dressed in drag to mimic Black women for racist ridicule, making fun of the notion of a desire for this body through minstrelsy. Far from being just a joke, racist humor has more sinister implications:

“Humour is not a harmless or benign form of communication. Rather, ‘racist humour, jokes may act as a type of coping mechanism for the racist, in the form of a palliative because the effects of joking allow for the expression, reinforcement and denial of racism’ (Weaver, 2011: 12). “ (Tate 2015: 91).

Additionally, Some White women performed minstrels too. Originally, minstrels arose from white racial fear of Black men. Minstrelsy thus demonstrates simultaneous racial aversion and desire.  Fatness and Blackness place Black women outside of beauty.Rhetoric in the U.S. frames Black women in terms of discipline, relegation, marginalization, imprisonment, and segregation away from white life, comfort, embodiment, and being. Treating Black women’s body as inferior meant colonial labor and gender roles placed Black women in the lowest rung of the social order.

Society treats muscular Black women with dark skin with fear

Whenever the former First Lady chose to wear a sleeveless outfit, some members of White society reacted to Michelle Obama’s muscular arms:

The struggle over Michelle Obama’s ‘right to (bear) bare arms’ shows that the USA is far from being post-race as the respectable femininity of the First Lady is judged by white, middle/upper-class privilege which insists on lack of musculature on women (Tate 2012:93).

Shirley Anne Tate argues Michelle Obama’s body defines norms of white upper/middle-class respectability. Her very presence creates a space of resistance that represents a deviation from the somatic norms of the U.S. First Lady. As a result, she endured a constant surveillance of her body, viewed as an outsider. Therefore, this fascination transforms her into the Black First Lady.

Why do people fetishize muscular Black women?

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Black women’s muscle as a spectacle dates back to racist pseudoscience of the 18th/19th  century. Shirley Anne Tate describes Black women’s bodies as a site of fascination.  A person compares themselves and others to a norm. As a viewer, a person extends their own bodies through their gaze. They interpret others through points on their body like their face, muscles, or skin. Comparison of one’s body parts to another leads a person to determine how close or different one’s body is to others:

Inassimilability or extension into the other does not mean that fasci- nation ceases. Fascination continues in the desire to find out the why of assimilation and the untranslatability of the body. Why can’t I be like her? Why do I want to be like her? What have I become? Is my becoming accompanied by fear, disgust, contempt? Fascination makes us look at ourselves first and foremost, at our very lives, to find out why we are fascinated by bodies/body parts. It is in the exchange between bodies, in the matching and untranslatability that we can begin to know ourselves, begin to understand our fascination as a pull to knowing the other, to get behind the façade that is the skin to ‘the real them’ beneath (Tate 2012: 94).

Fascination leads to a desire to find out why a woman’s body does not conform to the norm. However, narcissism motivates this fascination. Hence, people recenter themselves as they gaze upon others’ bodies to construct a sense of self. Therefore, the incorporeality of fascination makes it a fluid, simultaneous process of becoming and unbecoming through comparison to others.

How does fascination with Black women turn into fear?

Fascination is a multisensory experience that has varying degrees of effect and affect, motivated thus making the gaze a result of both desire and disgust. Therefore, fascination compels a response on the part of a viewer as it occurs not only through the senses but also through imaginings.

As a result, people pursue a means to satisfy their fascination. For example, this fascination extends to dark-skinned Black women who have muscular bodies. This affects interpersonal interactions across racial lines. Stereotypes about Black women motivate people to approach them with a feeling of insecurity or a desire to avoid her at all costs. So when Black woman’s bodies get policed in this manner, they are cast as evil and transgressive to indicate they fall outside the norms of appropriate ways of life.

Tate writes that “once it is set outside the norm it remains as it is cast, an unknowable hyper-known, knowledge of which remains within the colonial stereotype.”  White people project their fear of getting displaced in society’s racial hierarchy onto Black women through a racialization process that involves creating zones of containment by labeling her a source of fear.

How is fearing Black women racist?

Groups use fear to maintain racial regimes through the restriction of the movement of others’ bodies. Additionally, they expand their own movement. However, this involves a “racial regime of visible whiteness [that] must be kept in place to ensure that the borders of whiteness are kept firm.”Furthermore, this produces a fear of racial mixing. Rather than mix interracial, they develop resemblances through what Tate names racialized aesthetic profiling:

So expert surveillance is set up of Black women’s bodies, noses, lips, hair, skin colour, breasts, bottoms and muscles so as to mark difference and develop racialized aesthetic profiling. Racialized aesthetic profiling means that fear can be materialized in all Black women’s bodies irre- spective of who they are. This ensures the continuation, circulation and amplification of fear of the Black woman’s body as she begins to move outside of the borders established through the phenotype and stereotype (Tate 2012: 98).

One such Black woman who suffers this fascination is Serena Williams.  Serena, in particular, embraced a “girly” sports aesthetic, which contradicted social norms about appropriate muscularity for women. Yet, society characterizes women with darker skin as undesirable. Serena faces derogatory comments for posing as feminine. Nevertheless, muscular Black women experience fetishization just as fat and slim women experience hypersexualization.

Race and the sociology of emotions

The white affective matrix confers and questions womanhood as the view Black women’s bodies with varying degrees of adoration and disgust. As a result, Black women experience different treatment based on their body type.

The post Is Society Fascinated with Black Women’s Body Types?appeared first on Blackfeminisms.com.
from Is Society Fascinated with Black Women’s Body Types?

 

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These affirmations of allyship are exactly my sentiments too. I want LGBTQ people, Non-Black PoC, people with disabilities, everyone to experience all the same emotions I experience when I think of the movie Black Panther. I am deeply, and profoundly happy for Jewish female representation in Wonder Woman, Black gay men in Moonlight, Queer Latinas in Brooklyn 99, and Asians in Crazy Rich Asians, even though I’m none of those things. Everyone deserves to see themselves beautifully represented on a movie screen.

 deadletterpoets

Maybe I’m not the right person to say this as a black man but,

I hope the success of Wonder Woman doesn’t just mean more women are directing superhero movies, but are given the chance to direct/write movies from the many other franchises that exist like Mission Impossible, Transformers, Star Wars, Anything in this Dark Universe Universal is doing, a big budget Monster movie with Godzilla and King Kong, James Bond, I heard they are rebooting Resident Evil let’s let a talent woman director like Jennifer Kent with her horror background tackle that, Terminator (cause they just won’t ever let that go), Alien, Fast and Furious, and so many other I can’t even name them all. Or you know give them a big budget to adapt a popular book like Ava DuVernay is currently doing with A Wrinkle in Time, or let them have their own stories we need more original voices, or let them build their own unique franchises. And if they fail, let them try again cause lord knows even the best male directors and writers fail at times and they are still given multiple chances. We all should celebrate Wonder Woman’s success, but know it’s not the end of a long journey to true equality for women in Hollywood.

yumearashi

Maybe I’m not the right person to say this as a white woman but,

I hope that Black Panther is a *smashing* success and that it leads to not only more POC directing superhero movies, but also being given the chance to direct/write movies from the many other existing franchises and adaptations.  Plus, let them have their own stories and build their own unique franchises, we need their voices. And if they fail, let them try again cause lord knows even the best white directors and writers fail at times and they are still given multiple chances. Hopefully we’ll all be able to celebrate Black Panther’s success, but even if it breaks every box office record, it won’t be the end of a long journey to true equality for POC in Hollywood.

@deadletterpoets – thank you for being an amazing ally)

 

daughter-of-rowan

Maybe I’m not the right person to say this as a black woman, but

I hope that Crazy, Rich Asians is a roaring success. I hope it leads to doing away with the whitewashing of Asians in Asian properties (I’m talking to you, Netflix: White Light in Death Note? NO!). I would love to see Asians being able to break out of the “smart Asian friend” and “inspiring immigrant story” roles. I want to see Asian representation in CBMs. I want to see more than Japanese, Chinese, and Indian people as doctors, lawyers, shop owners, and financiers on the way up. And while we’re at it: Pacific Islanders are not replacements for Asians, and they don’t just play football and dance. Representation matters, and it has to be more than what makes Hollywood comfortable.

 

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From the comments on this one, I’d say the answer is a resounding YES!!!! Yes, White people, do indeed, get tired of looking at White people onscreen sometimes, and are just as hungry for new perspectives on old stories, as PoC.

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This pretty much was the permanent oven setting in our house. Hell, it was a major source of anxiety for me to turn the oven to 375 degrees, that first time.

luvyourmane: “The perfect temperature for everything! 🤣😂 .. . . . #sundaydinner #cooking #blackpeople #baking ”

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This conversation started out talking about how terrifying angels are, and then went in the direction of the  running commentary, on Tumblr, about how murderously dangerous is the wildlife in Australia.

Anonymous asked:

What do angels actually look like per the bible?

revelation19 answered:

Well, according to Ezekiel 1 they might look something like this…

According to Daniel 10 something like this…

According to Isaiah 6…

In Ezekiel 10…

Again in Ezekiel 10…

 

Basically, when the people writing Scripture tried to describe what they saw when they saw an angel… they run into the end of their imagination… they can never quite seem to fully explain it because they had trouble even comprehending what they saw, let alone being able to describe it to someone else.

 

musiqchild007

revelation19

Yeah, that’s usually how people responded to seeing them in the Bible…

 

the-unreadable-book

There’s a good reason why angels’ standard greeting is ‘Do not be afraid’.

 

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I used to listen to this radio show and one thing I remember because it was so funny was a Christmas special where an angel showed up to tell the shepherds about the birth of Christ.  The conversations went:

Angel: “FEAR NOT.”

Shepherds: *screaming*

Angel: “I SAID FEAR NOT.”

Shepherds: *screaming LOUDER*

Angel: “WHAT PART OF FEAR NOT ARE YOU NOT UNDERSTANDING?”

 

 cameoamalthea

So demons are fallen angels but they don’t look scary because they’re fallen, that’s just what all angels look like…

Maybe that’s why so many Christians see visions of Saints or the Virgin Mary instead…like Jesus is all…no, no see being human made me realize sending Angels might not be the best idea. I don’t know if humans can handle this. So I’m gonna just send mom

 

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I’M GONNA JUST SEND MOM

 

veronica-rich

God: The humans are scared.

Mary: Fine. I’m on it.

 

 upallnightogetloki

Jesus: It’s either Mom or the thousand eyed flaming wheel, Dad, do you really think the humans are gonna be chill with that when they’re terrified of spiders already?

God: Hey now, some of those spiders eat birds.

Jesus: …Dad…

God: …To be fair, Australian wildlife was my dark creation phase.

 

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Image result for funny cartoon  nazi gifs

I touched on this in an earlier post, about Hollywood treating Nazis like a story prompt for the past fifty years, in everything from comedies, to action movies, has led to Americans seriously diminishing their influence, obscuring their crimes, and complacency, with their ideas. 

 kendrasaunders

never forget that narratives that follow “what if the nazis won” are never for those of us who faced their terror- they are for tourists to our suffering, people who wish to be saviors. no jew every gets to succeed alone in a story where nazis win- we, rromas, lgbt people, and disabled people are shunted to the sidelines, in an eternal genocide from which we cannot escape. they forget the persecution that we still face- to them, to the tourists, this is clever. to them, we are helpless. we cannot fight nazis, that’s why they won.

this is a false retelling of history, and YES, in ALL CASES, it is a glorification of nazis. they DIDN’T win because they COULDN’T. and to my jewish, rroma, lgbt, and disabled followers, they lost because WE FOUGHT. We closed camps with our riots. We killed nazis. We scalped them. Our stories aren’t told because every tourist wants to act like they would Stop The Nazis- WE were doing it LONG before anyone came to our aid.

Don’t let people fool you into thinking you are helpless. Don’t let narratives that put white, straight, able-bodied and able-minded characters at the forefront make you think you need them.

Superman was originally created as a gollum- A character of jewish magic who protects us. He is not Christ, he is not Goy, he is not Theirs. We are our own protectors. We are a community, a family, and a riot.  You don’t not have to accept the idea that the Nazis could’ve won. Because the only thing Nazis are good at is dying. And the only thing a person who writes this storyline is good at is violence.

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A call out post on fandoms faux-progressivism. I think I wrote about how fandom isn’t nearly as imaginative, in its treatment of characters, as they like to believe they are, and that the vast majority merely reproduce the same racist and stereotypical narratives they’ve seen in popular media, since its inception. They just don’t have enough imagination to create anything outside of the boxes that have been created for them to play in.

Many of them are in the business of upholding the status quo, too. And far too many think being progressive is just writing about two white men, having sex, or holding hands, and that’s as far as they need to go to be considered woke. Anytime fandom ignores canon gay relationships of PoC, in a show or movie,  my argument is that their insistence on slashing every white man who merely wanders into the orbit of another for longer than a minute or two, amounts to nothing more than a straight girl fetish, which parallels the straight male  obsession with lesbians.

We are supposed to be the most progressive and transformative community in pop-culture.

We who…

  • Hyper-focus on white, male characters
  • Contort these male characters into heteronormativity
  • Marginalize and erase characters of color
  • Write out women and replace them with men, especially in shipping
  • Attack women for “getting in the way” of our preferred ships
  • Hold female characters to higher standards than male characters
  • Hold characters of color to higher standards than white characters
  • Latch onto any single excuse to marginalize female characters
  • Utilize any single excuse to demonize characters of color
  • Put women on pedestals and act as if we’re doing them a favor
  • Justify white and male abuses or dismiss them as “mistakes”
  • Use actual mistakes to denigrate female and non-white characters
  • Romanticize white, male pain and mental illness
  • Expect female characters to perform all the emotional labor
  • Expect characters of color to be perfectly mentally healthy forever
  • Expect everyone to subsume their own mental health for the white males’
  • Dismiss the traumas and experiences of characters of color
  • Minimize the achievements of female characters

And then we wonder why mainstream media is so regressive, especially compared to us. We all talk as if mainstream media creators are behind the times.

They’re not.

Fandom likes to imagine itself as being progressive because of all the slash – a mechanism of progress which conveniently boils down to extra attention on overwhelmingly male (and overwhelmingly white) characters. This form of progress is one which takes a minor deviation from the social norm (homosexuality), only to end up ultimately supporting or even amplifying the status quo, by virtue of over-focusing on male characters (and over-representing white ones in the process).

Strip back that gay window dressing, though, and you’ll see that at best, fandom is just as socially stagnant as mainstream media and mainstream culture – or even worse, by virtue of engaging in media that overwhelmingly sidelines several other marginalized groups in order to prop up one.

Professional women have long known the old adage, “Whatever women do they must do twice as well as men to be thought of half as good.” What no one seems to realize is that fandom is still doing exactly the same thing.

We expect female characters to be twice as good for half the acclaim, we expect characters of color to be three times as good for a third of the acclaim, and we let white, male characters be only a quarter as good for four times the acclaim.

Mainstream media is keeping up with the times and with social progress just fine, it’s us who’ve deluded ourselves into believing that we, as a community, are more progressive than we actually are.

It’s been a while, but since this post just got a bunch of notes recently, I figure this is as good a time as any to add on some more thoughts.

Comparative Progressivism

Historically speaking, fandom has been progressive when compared to mainstream media. What most people don’t realize is just how little that’s really saying. When mainstream media is built on white male heteronormative power fantasy, it’s easy for any “alternative” depiction to come off as progressive.

A world where most of the women are fag-hags is certainly progressive compared to a world where most of the women are walking sex toys. That does not mean we should settle for this as a good depiction of women, or the marginalization of female characters.

Same goes for race. A character of color who is not a stereotype while supporting a white character is certainly better than a world where characters of color are stereotypes who are subsumed by white characters. That does not mean we should accept these as good representation of POC, or settle for their marginalization – or ignore their demonization as racism rears its ugly head, anew, in fandom.

And quite frankly, for a community where the overwhelming majority of our stories are based on mlm relationships, it speaks a lot to our internal attitudes and beliefs that we still, even after decades of existence, continue to write gay relationships as straight relationships with different genitals. The subtle heteronormativity that permeates the gay relationship tropes of fandom are astounding, and sometimes reek of internalized misogyny.

We Are All Joss Whedon

Joss Whedon was once considered tremendously feminist, and hailed as a paragon and idol of feminism in mainstream media. But contemporary analysis of his works shows that feminism was often a shroud covering some serious fetishization and occasional bursts of downright misogyny – and somewhat more disconcerting is the fact that more and more, his current works demonstrate that he hasn’t progressed forward from this much, if at all.

Fandom is the same.

We have long prided ourselves upon a history of progressivism and being transformative. It certainly was, back in era of Star Trek slash in an era where homosexuality was still illegal in many parts of America and the world. Fandom was truly transgressive when it wrote content that challenged such a deeply entrenched status quo. Even the most misogynistic and heteronormative portrayal of a gay relationship was transgressive against the staunch heteronormativity of mid-20th century mainstream media.

“Was.”

Because we’re still writing a lot of our fics on that model. Take a look at how many people debate hotly on who in a gay pairing is “the top” and “the bottom”. They are rarely ever discussing the hypotheticals of which male finds a certain sex position/act physically pleasurable. They’re asking, which one is the penetrative and active partner, and which is the receptive and passive partner. They’re asking which one is the “dominant” and which one is the “submissive” partner (with terms like ‘power bottom’ still relying on those baselines). They’re asking, “which one is the man and which one is the woman”. *( And often engaging in racialized transphobia and homophobia, by casting any people of color in inter-racial relationships, as the “top”, who is often described as bigger, and more muscular looking, than their slighter, more feminine/ effeminate same sex partner. This goes for both mlm, and wlw, relationships.

Meanwhile, actual female characters are rarely more than props to the men’s emotional health and personal narrative. A lot of them are written as little more than a fag hag or a “Straight BFF”.

We’ve gone from characters of color being walking stereotypes in the white characters’ narrative, to characters of color being either obstacles or non-existent in the white characters’ narratives. We don’t expect characters of color to literally serve the white characters while saying “yes, massa” all the time, now – but we still expect characters of color to to subsume themselves to white characters, with white characters’ feelings coming ahead of their own mental and physical health, their safety, and sometimes even their lives. Characters of color who have the audacity to act with a fraction of the self-absorption that is routine for white characters are castigated for being irresponsible and selfish.

This is if they’re even included at all. Ranging from marginalization to outright demonization, fandom constantly sidelines characters of color. Some fandoms have the unique anti-honor of being more racist – more sociall conservative, more prejudiced, and sometimes even more bigoted – than the mainstream media source material. Think about that for a minute. Mainstream media is finally moving forward and fandom is staying right where it is.

Fandom Wants the 1960s Back

Fandom can talk about feminism and progressivism all it wants. The reality of the true desires of fandom as a collective and as a community are expressed in its fanworks – not only in what is created in the first place, but which works become popular and get attention…and which ones don’t.

Fandom wants a world where white men are still front and center of everyone’s attention, where women are kickass but their stories aren’t that interesting, and where POC don’t need any care or attention.

Peel back the white mlm fetishization, and fandom hasn’t budged more than an inch since the first slashy Star Trek zines. Joss Whedon’s got nothing on us.

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Hannibal Kills

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I was asked recently, by one of my readers, (The Laughable Cheese) to elaborate on my thoughts  about the whys and wherefores of Hannibal’s murderous motivations on the show. Now, I’m no psychologist, so what I’m about to write is sheer speculation on my part, based mainly on my thoughts about the series version of Hannibal.

Throughout the series we’ve seen him kill to aid Will Graham, out of spite and anger, to satisfy his curiosity, out of a sense of whimsy, to protect himself from being captured, or manipulate others, but it is not until season two that we get any deeper reason for his murders.

Acc­ording to Holmes typology, serial killers can be act-focused (who kill quickly), or process-focused (who kill slowly). For act-focused killers, killing is simply about the act itself. Within this group, there are two different types: the visionary and the missionary. The visionary murders because he hears voices or has visions that direct him to do so. The missionary murders because he believes that he is meant to get rid of a particular group of people.

Process-focused serial killers get enjoyment from torture and the slow death of their victims. These include three different types of hedonists — lust, thrill and gain — and power-seeking killers. Lust killers derive sexual pleasure from killing. Thrill killers get a “kick” from it. Gain killers murder because they believe they will profit in some way. Power killers wish to “play God” or be in charge of life and death.

— http://people.howstuffworks.com/serial-killer1.htm

I think Hannibal kills for a multitude of reasons, but seems to fit the model of being a process killer. The act is drawn often a long drawn out event, which has a lot of meaning for him. We can see that in his killing and eating of Abel Gideon, in season two and three.

A lot of fans speculate that Hannibal kills because he can, and that’s as good a reason as any other, but I don’t feel that goes deep enough. Hannibal’s reasons are complex. Why does he feel he can? Because Hannibal likens himself to God. Why does he want to assert himself as God’s equal? For the same reason that many others seek to assert their power. Because, on some level,  he knows how it feels to be powerless.

In season one, Hannibal mostly kills the rude (for food), or to protect his identity. He kills Georgia Madchen because he believes she saw him killing Will’s doctor. He killed Will’s doctor because that man knew too much about his unethical manipulations of Will Graham, and could blackmail him for it.

Image result for will and hannibal eating  gifs

The first time we encounter one of Hannibal’s kills,  is when the body of Cassie Boyle is found in an open field. Hannibal has impaled her on a rack of antlers, (and removed her lungs, so that he can eat them.) Crawford and his forensic team discover her body after Will is confounded  about  the murder  of another young woman, named Elise.

Hannibal kills Cassie to provide what Will calls “a negative” to the body of Elise. Will thinks Cassie Boyle was killed to aid him in his search for Elise’s killer, and he’s not wrong. That is one of Hannibal’s motivations for killing the young woman, but another motivation, and this is just my speculation, is that he was also inspired by Elise’s killer, to create a more elaborate death. The way Cassie Boyle was killed was simply a way he hadn’t tried before.

In fact, no mention is made of how the Chesapeake Ripper (also Hannibal) killed or displayed his victims prior to the show’s opening, although the Chesapeake Ripper is mentioned as someone Jack has been hunting for many years. His killing and display of Cassie Boyle is the first mention of what Will calls “Field Kabuki”, which stands in direct contrast to how Elise was killed by Garret Jacob Hobbes. That contrast is what helps Will develop a picture of Hobbes, but also has the side effect of  bringing Hannibal to Will’s attention.

Now remember at this point, Hannibal has only  just met Will, after being given the task by Jack Crawford, of being the caretaker of Will’s sanity, while Will helps the FBI catch serial killers. Already we can see that he is fascinated by Will, and wants to get closer to him. He wants to be friends. So he was willing to take that risk to aid Will. He would get to see how Will’s mind works and better understand him. So one could argue that Cassie’s death was an overture of friendship to Will (although Will does not know that.).

Image result for hannibal series gifs

The very first meal that Will and Hannibal eat together is Cassie’s breakfast scramble. Prior to that we are shown Hannibal eating this alone in his house. He doesn’t appear to have any friends until he meets Will. After feeding Cassie to Will, he seems to have developed a sense of satisfaction from feeding the remains of his victims to his acquaintances, because he continues to do this throughout the entire series run, feeding his victims to Jack, Will, Alana Bloom, and various dinner guests. In the movies, Hannibal is shown feeding his victims to dinner guests, so there is precedent for it, but that’s  only shown in the TV show once, and only after he meets Will Graham. After that he mostly feeds his victims to his “friends”.

Hannibal kills for multiple reasons in season two. He also manipulates people into attempting to kill others. He manipulates Abel Gideon into  killing Alana Bloom, so that Will Graham will be forced to kill Abel to protect her. He does the same to Miriam Lass, using her PTSD against her, to get her to kill Frederick Chilton, who he has framed as the Chesapeake Ripper. He and Will attempt to orchestrate the killing of Mason Verger, and Lecter  successfully manipulates Will Graham into killing Randall Tier, by sending Tier after him at his home.

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Hannibal kills others for  a dinner party. One is a doctor who was rude to him, and Sheldon Isley, a land dealer who opposed the salvage of some wetlands. Lecter kills him out of spite and plants his body within a tree. It is the clues from Sheldon’s body that lead to the discovery that Miriam Lass, (a detective whose disappearance had been attributed to The Chesapeake Ripper), is actually alive.

However, his most notable and memorable killing, in season two, is the judge in Will’s case. Having framed Will as The Chesapeake Ripper in season one, Lecter now regrets his actions, and misses Will. The judge dismissed the testimony he gave in his attempt to free Will. In a fit of spite, Lecter simply removes the judge, which has the added side benefit of freeing Will, as his case gets thrown out.

Most of his reasons for killing in season three are pragmatic.  In season three he kills to protect his identity, as when he kills Reynaldo Pazzi, a detective who recognizes him from a previous case, and Anthony Dimmond, a man who tried to blackmail him. He kills to establish a new identity when he kills and eats Roman Fell and his wife.

But the most notable killing in season three are the flashbacks to the  killing and eating of Abel Gideon, the man who tried to steal his name and reputation as the Chespaeake Ripper, and knew too much about his manipulations of Will Graham. It’s especially horrifying as he spends most of that time talking with Gideon about what he’s doing to him, and forcing Gideon to partake of his own flesh.

Image result for hannibal series gifs

Note that what Hannibal does with his victims bodies afterwards is not the reason he kills them. He is not necessarily killing them to help Will, or send messages, or be artistic. He is making art out of something he already feels compelled to do. For example, he didn’t kill Dimmond to make the origami heart for Will. He just took advantage of a death he caused to leave Will a message. He killed Dimmond to protect his identity as Norman Fell.

Lecter has also talked, at length, about ethical killing, claiming to Bella Crawford that he employs an ethical butcher, who doesn’t make the food suffer before killing and eating it, and in season two he chides Will for terrifying Freddie Lounds too much before killing her, saying that it makes her flesh taste acidic. What he is saying is that the method (the process) by which he kills is important to him.

Miriam Lass, in her testimony to the FBI, also claimed that the Ripper never tried to cause unnecessary pain, informed her of his actions beforehand, and taking care to see that she didn’t experience undo anguish. So one could make the argument that Hannibal is definitely a “Process” type killer.

One of the theories for why Hannibal kills goes back to his childhood and the loss of his little sister Mischa. In the book version of his back story, (Hannibal Rising) he lost his sister during the war, when a group of enemy soldiers took his family prisoner, killed his family, and ate his sister, which he witnessed. Subsequently he hunted, killed,  and ate each of  them in turn, and this is a habit he simply developed and continued. Killing and eating people he thinks were rude to him.

In the show, this has been changed to;  witnessing his sister’s death, and then eating her himself, after he had pledged to always protect her. But Hannibal’s motivations on the show parallels his motivations from the books. He says to both Will Graham, and Margot Verger, that killing bad people feels good. Of course Hannibal’s criteria for “bad” is fairly loose, in that almost everyone can meet it. Hannibal likens their behavior to disrespecting God (himself).

Of course Will is allowed to be as rude to Hannibal as he likes. His motivation for trying to kill and eat Will, in season three, is not because Will is rude, but because Bedelia suggested it to him, as the only way to relieve his heartache over Will.

Image result for hannibal series gifs

Because Hannibal doesn’t see his victims as people, he sees them as creatures far beneath him (a theme that will more heavily come into play late in the second season, after Mason Verger is introduced). A much truer version of his thoughts is heard in season two when he says that God kills with impunity, and so should he. When killing the “Eye of God” killer, he explains that he is God’s equal and uses that argument to persuade the Eye of God killer to sacrifice himself for his art.

This thirst for power over people, to be godlike in his killing of them, may have derived from the vigilante killing of his sister’s killers. Having helplessly stood by and watched her be killed would be excellent motivation for taking back his power by killing her killers. In a sense, Hannibal is a kind of vigilante killer, only killing and eating those people who his cellkeeper Barney, in the movie Hannibal, referred to as  “Free Range Rude”. And what may have started as a form of vigilantism, to avenge his sister’s death, or to right the wrongs of the world, has simply evolved into a lust for power. Put all these reasons together and Hannibal definitely comes across as a Power type of Killer.

 

Interesting Tumblr Posts

Here, have some trailers:
*I did enjoy The Punisher parts of Daredevil’s second season, so I was interested when it was announced that he’d be receiving his own show. This looks worth a watch. Hopefully the show will be coherent and consistent.
*I have never been a Tomb Raider fan. I’ve always thought of her as just a sexier version of Indiana Jones, and I’m not a particular fan of him either, although I’ve watched all the films. I don’t hate either of them. I’m largely indifferent to them, so fan would be a strong word.  I didn’t play the games, or watch the movies.
This looks interesting because it doesn’t actually appear to be about tomb raiding, but about putting something back in a tomb, and it also stars Daniel Wu, from Into the Badlands as the seeming voice of reason.

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* I love Galaxy Quest, and this person is right. I do just sort of lump this show in with the  rest of Star Trek. Its such a faithful parody of the original source material that ‘s not mean or demeaning to it, and its genuinely funny, too. Of course Guy is a big reason for that. He says exactly the kind of shit we’d say if we were in these situations:
I love the way that Star Trek fans just accept that Galaxy Quest is part of the film franchise.

Galaxy Quest is what i imagine people would be like if star trek suddenly became real tomorrow.

Galaxy Quest was voted the 7th best Star Trek movie out of 13

 

“Intelligence is knowing that Galaxy Quest is not a Star Trek movie.
Wisdom is knowing Galaxy Quest is the best Star Trek movie.”

And I think that says a lot about the Star Trek fandom, really.

 

Source:

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*I love these posts on Fantasy armor for female characters. Often the armor is just the dumbest, most ludicrous looking shit one could possibly imagine. Most of it is just metal lingerie, and in some cases just metal pasties. I mean, nobody’s fucking shoulders, or knees, needs that much protection. I often want to inform the creators that a) women’s boobs just don’t work like that, b) those need protection too, because they’re a delicate part of a woman’s anatomy, and if something hits them, they hurt like a muthafucka,  and c) what the fuck!!!

Another thing I hate when men draw women, in any kind of uniform, is what I like to call boob-socks. Just special pockets on an outfit that are specially fitted for a woman’s boobs. This is especially prevalent in comic books.

If you want to see more of this type of critique visit Bikini Armor Battle Damage’s website, where they also discuss media that gets women’s armor right.

brb shaking my head forever

 

Time to bring this back, with a few examples proving that this parody is NOT a gross over-exaggeration of actual stuff we see in pop media:

 

The Boobplate

[x] [x] [x]

The ‘Boobplate+’ (A.K.A. boob window): 

[x] [x] [x]

The ‘What’s the Fucking Point’

[x] [x] [x]

It truly is impossible to properly satirize female sexualization. How do you even ridicule pure ridiculousness?

And that’s without even touching “warrior woman” costumes that bear no pretense of resembling armor of any kind.

~Ozzie

Source:

*This is something rarely discussed in fandom. How older characters of color are desexualized and “mammified” in fandom narratives, and sometimes made to seem older than they actually are, to keep from having to ship them with their White faves of the same age range. So older White male characters get the sexy older man treatment, but never with the nearest man of color who is anywhere close to their age. As for shipping them with a younger man of color, you can forget about it. At least some of this has to do with White women’s fetish for older men, just not if they happen to be Black.

I think its interesting that Coulson is being shipped with a woman of color, though. Although that could have something to do with the idea that fandom likes to think of Daisy as White, rather than half Chinese as the actress herself identifies. I find it interesting because one of the easiest relationships to ship in the CW is Stein and Jax, but I just don’t see it in the numbers.

For the record, I totally shipped Rupert Giles with Joyce Summers, and Rupert Giles with Ethan Rayne, when I watched Buffy. Later, I liked to ship him with Spike, but found shipping him with Xander or Willow kinda icky. When it comes to Shadowhunters, I love the combo of Luke Garroway and Magnus Bane, though.

Racialized ageism and fandom

The age of the white male character is never the problem for shipping in fandoms. The age of the white actor is never the stopping point for him being viewed as “sexy” and “desirable”. The white guys in their 60s are seen as “hot” and “shipworthy”. The age gap between the older white guy and the character he’s shipped with at the moment is never the issue.

Look all over the fandoms: Clark Gregg (62), Peter Capaldi (59), Norman Reedus (48), Colin Firth (57), Rory McCann (48)… etc. etc. are in their late 40s – early 60s. Yet their characters are seen as sexually desirable and worthy of shipping not only with the characters, who are within their own age frame, but also with much younger characters:

Fandoms are not caging these older white male characters within the frames of a “desexualized parental figure” trope. In fact, “an older white guy x younger [usually also white] character” is a hugely popular shipping trope.

Yet, things differ drastically when the male character isn’t white (or seen as white – eg. Wentworth Miller’s Captain Cold), especially when the male character is dark-skinned. These male characters of color, who are over their 40s, are almost always invisible for fandom shipping.

For example – Joe West from The Flash. Jesse L. Martin is 48. He’s the same age as Norman Reedus, Rory McCann, he’s about a decade younger than Clark Gregg, Peter Capaldi or Colin Firth. And yet, he’s mostly seen as an “unshippable parental figure”.

Samuel L. Jackson has prominent roles in numerous popular franchises, that have big presence in fandoms with rich shipping content – Star Wars, MCU, Kingsman… Yet, his characters are always left out of the shipping pool in these fandoms – Mace Windu is ignored; Nick Fury is seen as the “dad” figure of the avengers; and Valentine is seen as nothing more than a funny villain, even though, fandoms do love white male villains. SLJ was 51 when Mace Windu first appeared on screen, he was in his early 60s when the MCU franchise started out, SLJ is only few years older than Clark Gregg.

Or take Stacker Pentecost from Pacific Rim, played by Idris Elba. Idris Elba. Idris was 41 when PR came out. And yet, the fandom had collectively decided that the only ship suitable for a “parental figure” like Stacker is Herc Hansen. Max Martini is two years older than Idris, and yet:

Worth noting that the incest father/son ship with Hansens is more popular than Hercules Hansen/Stacker Pentecost, which only has 288 works in total. Raleigh had more on-screen connection with Stacker than he had with Herc; Chuck and Stacker died together while trying to save the world. Together in Death is a hugely popular shipping trope all across fandoms, for example Enjolras/Grantaire from Les Misérables had 3 seconds of total screen time together in the movie, and they have ~9k of fics on AO3 alone…

Another one is Luke Garroway from the Shadowhunters, played by Isaiah Mustafa (43). Have you seen Isaiah? Yeah, I know. And yet, he is also seen almost as some “grandpa” figure of the group. Often people use his age as an excuse of excluding him from most fanon activities involving the main group of characters – shipping, group fanvids, group edits etc. The only ships involving Luke that are accepted and supported by the fandom are with Jocelyn and Maryse. And I often see people in tags saying that any other ships with Luke are “creepy” and “uncomfortable” because he’s the “dad” of the group. I agree about the creepy factor with, say Clary and Simon… but others? – Not so much.

And, yeah, I would’ve agreed with this fandom “activism” if it wasn’t so hypocritical. Remember Rupert Giles from BTVS? Who also was the “father figure” of the Scooby Gang? Anthony Head was 43 at the start of the show and 49 when it ended. And yet, I don’t remember BTVS fandom excluding Giles at every turn because of his age:

Compare to Luke’s ships:

Speaking of Shadowhunters, people also often try to put Magnus in the same “father figure” frames – anti-Malec (J@lecs, Cl@lecs etc.) people, who ship Alec with everything white that moves, always try to insinuate that Magnus is borderline a pedophile because he’s dating Alec. Regularly I see posts in Magnus’ tags saying that shipping Magnus with Clary, Jace, Simon or Maia is “creepy” because he’s basically their “dad”. Magnus is not their dad and (so far) never considered himself to be their parental figure. I guess he did say something like that about Clary in the books, but the show had an AU storyline in 1×10, where Magnus first met Clary in that episode, and didn’t have any kind of connection to her prior. AU!Jace even thought that Clary was cheating on him with AU!Magnus. So, even with Clary there are canon possibilities of avoiding the “unhealthy” factor for the ship within fanon.

After all, I don’t see the Torcwood fandom acting as if Jack Harkness (an immortal who lived through ages and generations) is some unshippable “dad” figure, who can’t be shipped with other members of the team. I haven’t seen people there saying that Jack is a “creep” for dating Ianto (just for the record: the age gap between John and Gareth is 14 years vs. 5 years between Matt and Harry).

I’m not suggesting that people need to start shipping Luke or Magnus with the younger characters, what I am saying is that, had Luke and Magnus been portrayed by white actors, people wouldn’t have been putting them in the frames of “parental figures” of the group as much. And yeah, I love the dad!Luke and dad!Magnus headcanons as much as the next person, but let’s also be honest that we’re not living in a vacuum, the race can’t be taken out of the equation.

These are just a few examples, but this is happening all across fandoms. And not just with MoC – take Shirley Bennett from Community. Yvette Nicole Brown is of the same age as is Joel McHale – they’re both 45 now and were in their late 30s when the show first aired. And yet, both the show and the fandom treated Shirley as if she was some “grandma” and Chevy Chase’ peer (who was in his late 60s back then).

 

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*I haven’t been watching this Fear the Walking Dead ,despite its diversity of characters, because one Walking Dead show is enough for me, but I liked this particular meta.

‘Fear the Walking Dead: Passage’ Did What No Thriller Could: Empower Two Lead WoC

As some of you may know by now, I am a fan of The Walking Dead. Unpopular opinion, but I think Fear the Walking Dead is one of the greatest things to come from it (I can hear the gasps already). I can’t stress it enough, but unlike TWD, its racial inclusiveness was something that had me hooked and reeled from the very beginning. My wishes were fulfilled when FTWD premiered because for the first time, I was able to look at a popular franchise with a Native lead and Latinx main characters. It’s partially one of the reasons I’m surprised when advocates for diversity prefer the original. Other characters of color were introduced, but I still felt something was missing—what I really wanted was a Black girl. As I mentioned before, when I began to realize the absence of black women in certain genres I wanted them everywhere as a challenge for writers, especially with all the sacrificial negresses going around. At this point, we were into the second season and I still hadn’t seen one, so I promised to remain patient until it did. Finally, Fear the Walking Dead: Passage happened.

If you’d like to watch Passage, a 13 minute web series before reading, click here.

Keep reading

 

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*Okay, I’m definitely going to be watching The Exorcist show in October. I left off watching it because it wasn’t holding my attention as tightly as I wanted. But I like John Cho, and he is right in that its highly unusual to see an Asian American character in this type of venue. I’ve watched a lot of Asian horror movies, so why are they absent absent from American horror movies, and shows.

 

The Exorcist: How John Cho is changing American horror

[John Cho will] do whatever he can to help the push for Asian-American representation. It’s one reason he joined the second season of The Exorcist… “I had not seen Asian faces in American horror, and it kind of tickled me to want to change that visual vocabulary a bit,” he says. “I thought it would be, I don’t know, intrusive to have my face in it…”

“What I’ve been thinking about lately is how to tell stories that are specifically Asian-American but aren’t necessarily about being Asian-American as much,” he explains. “I’m looking at the totality of things.”(x)

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*I find Haka fascinating and terrifying, but I think that’s the point.. I would watch these all day. I’m glad Maori culture is getting some international recognition through these different sports groups, too. Even Beyonce got one when she visited new Zealand, which just made my heart hurt, I was so proud. 

https://youtu.be/xI6TRTBZUMM

2nd 1st Farewell Their Fallen Comrades With A Huge Haka

Haka is used throughout New Zealand by many, not only Māori, to demonstrate their collective thoughts. There is a haka for each of the Services, as well as the Defence Force. Units with the NZ Army have their own haka. This video shows the soldiers of 2/1 RNZIR Battalion performing their Unit haka, powerfully acknowledging the lives and feats of their fallen comrades as they come onto the Unit’s parade ground. It is also an emotive farewell for they will leave via the waharoa (the carved entrance way) for the very last time.

Haka –sometimes termed a posture dance could also be described as a chant with actions. There are various forms of haka; some with weapons some without, some have set actions others may be ‘free style.’ Haka is used by Māori (indigenous people of New Zealand) for a myriad of reasons; to challenge or express defiance or contempt, to demonstrate approval or appreciation, to encourage or to discourage, to acknowledge feats and achievements, to welcome, to farewell, as an expression of pride, happiness or sorrow. There is almost no inappropriate occasion for haka; it is an outward display of inner thoughts and emotions. Within the context of an occasion it is abundantly clear which emotion is being expressed.

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*I was always under the impression that women couldn’t do the Haka, or that they had their own special ones or something. But watching this gave me life:

Women’s Haka

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*Its officially Latinx/Hispanic Celebration Month and I came across this post on Latina in Superhero shows. There are a lot more than this is the SciFi genre but I think this is just for superheroes:

Latinx Heritage Month

↪ Characters in DC Shows’ Main Cast

✪ Lynda Carter as Diana Prince / Wonder Woman (Wonder Woman S1-3) 

✪ Angélica Celaya as Zed Martin (Constantine S1)

✪ Victoria Cartagena as Renee Montoya (Gotham S1) 

✪ Zabryna Guevara as Sarah Essen (Gotham S1-2) 

✪ Aimee Garcia as Ella Lopez (Lucifer S2-)

Honorable Mention – Recurring Characters:

– Michelle Veintimilla & Camila Perez as Bridgit Pike / Firefly (Gotham S2-3)
– Briana Venskus as Agent Vasquez (Supergirl S1-2)
– Jessica Camacho as Cindy Reynolds (The Flash S3)
– Odette Annable as Samantha March / Reign (Supergirl S3)

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*Yes, this clown vs. mime discussion has been sorely needed. People keep confusing the two, and really, mimes are just waaay, waay creepier than clowns, imo.

Okay, I’ve had it

I see people posting videos of clown-mime and clown-jester hybrids and cooing about how “pretty” and “cool” they are, but this is NOT HEALTHY OR SAFE CLOWN HUSBANDRY! In fact, it’s downright dangerous for both you and your clown!

Clowns, Mimes and Jesters may be related, yes, but their genetics are quite different and mixing their genes together have an adverse effect on your clown when they come at odds with one another, causing a host of genetic health problems like giganticism, heart problems, higher rates of cancer, organ failure, bone degradation and neurological defects.

They’re also more aggressive, territorial, unfriendly and destructive than non clown hybrids. You’re super cool clown x mime hybrid is gonna more satisfied with attacking you than making invisible balloon animals.

Not to mention the process of making a clown hybrid in the first place, considering that Clowns, Mimes and Jesters are natural enemies of each other! Your clowns/mimes/jesters are more likely to maul each other than fuck each other!

 

People only breed clown hybrids because they are seen as “cool” and “exotic” and cost a lot of money, they’re a status symbol with unique patterns, and the clowns suffer for it.

If you still have your heart set on a clown-hybrid, there are actually some breeds out there, like the Venetian Diamondcheek Juggler and the Parish Mockfool, that are bred specifically for their mime and jesteresque markings and are perfectly healthy, perfectly happy clowns.

Clowns shouldn’t suffer for human aestheticism.

Source:
 *So October is almost here, and I will be forgoing my little pop culture essays to concentrate on reviews, reviews, and more reviews. Halloween is coming and I have a list of movies I want to review, like The Mist, and Let the Right One In vs. it’s American counterpart. Its also the real start of pilot season, so I’m going to be busy with a few of those, and I want to round that out with a series of posts/reviews of Hannibal the series.
Yes, I did watch the first two episodes of Star Trek Discovery and I’ll let you know what I think by the end of the week. I know a lot of you guys either don’t have cable, or don’t want to sign up for a streaming channel just to watch one show, but I’m a die-hard Star Trek fan who  managed to sit through the mess that was Enterprise. I don’t know if I’ll keep paying for it. The show would have to be very, very compelling (which it was) to get me to keep paying to see it, at basically 5.99 per episode.

ETA: I just unsubscribed to CBS. I can always wait for the release of the dvd.

Weekend Linkspam: Television

Here, have some more interesting article links.

On Hannibal: The Series

 

I loved this mashup video of all the different iterations of this specific scene in Hannibal.

 

 

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

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

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

 

 

On Whitewashing and Other Concerns

The Seven Strategies for Defending Your Problematic TV Show or Movie—and Why They Don’t Work

http://www.slate.com/blogs/browbeat/2017/03/24/filmmakers_and_actors_keep_defending_casting_controversies_but_here_s_why.html

 

On American Gods:

 

https://blackgirlnerds.com/american-gods-realities-race/

 

On Popular Media and Racism Vs. Historical Accuracy

https://eidolon.pub/how-to-be-a-good-classicist-under-a-bad-emperor-6b848df6e54a

https://sarahemilybond.com/2017/09/10/hold-my-mead-a-bibliography-for-historians-hitting-back-at-white-supremacy/amp/

https://www.publicmedievalist.com/race-racism-middle-ages-toc/

 

On The White Savior Trope

Oh Come All Ye White Saviors

http://www.salon.com/2013/02/21/oscar_loves_a_white_savior/

 

 On Daredevil and the Yellow Peril Trope

Black Mask, Yellow Peril: Anti-Asianism in Netflix’s Otherwise Brilliant <i>Daredevil</i>

https://io9.gizmodo.com/marvel-s-got-an-asian-problem-and-it-s-not-getting-any-1781448797

 

On Furiosa and  Disability in Film

Cover Photo: Frock Flicks

https://catapult.co/stories/love-disability-and-movies

http://www.popmatters.com/feature/194573-power-and-disability-in-mad-max-fury-road1/

https://serfbazaar.wordpress.com/2015/05/22/furiosa-disability-representation-and-empowerment/

https://www.inverse.com/article/15806-one-year-later-fury-road-resonates-on-disability-sexuality-and-the-end-of-days

https://www.bitchmedia.org/article/more-our-machines/aesthetics-and-prosthetics-science-fiction

Weekend Linkspam: Film

Just a collection of interesting articles and posts for the weekend. Pick a topic. Enjoy!

On Race and  Film

Image result for FILM RACISM

 

http://splinternews.com/theres-a-huge-divide-between-how-black-and-white-critic-1797478105

https://the-artifice.com/miscegenation-on-screen/

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

https://www.thoughtco.com/dismantling-race-based-stereotypes-and-myths-2834983

https://www.thoughtco.com/common-black-stereotypes-in-tv-film-2834653

https://www.theatlantic.com/entertainment/archive/2014/03/-em-star-wars-em-and-the-4-ways-science-fiction-handles-race/359507/

https://mic.com/articles/184292/mike-hanlon-the-black-kid-in-stephen-kings-it-has-a-really-good-backstory-the-movie-erased-it#.vpeyQFX0G

http://www.blackenterprise.com/lifestyle/the-power-of-black-women-in-fandom/

http://www.blackenterprise.com/lifestyle/does-racism-impact-the-way-reviewers-rate-tv-shows/

http://blackyouthproject.com/girl-gifts-black-girls-destroying-world-save/

http://www.racebending.com/v4/blog/aliens-looking-white-extraterrestrial-skin-color-in-sci-fi/

https://www.pastemagazine.com/articles/2017/09/bias-does-not-come-out-with-the-whitewash.html

 

Image result for yellow peril no escape movie

The Yellow Peril Trope

 

https://www.bitchmedia.org/article/yellow-peril-in-the-defenders

http://thestake.org/2015/08/27/no-escape-southeast-asia-and-the-failure-of-cinematic-empathy/

http://www.scmp.com/lifestyle/film-tv/article/1854131/film-review-no-escape-owen-wilson-racist-thriller

https://www.bitchmedia.org/article/asian-women-abuse-in-science-fiction

http://www.screenspy.com/articles/tv/shadowhunters-malec-burden-representation/

https://www.thoughtco.com/asian-american-stereotypes-in-t-film-2834652

 

Scifi Film Analysis

https://pionic.org/everything-i-needed-to-know-in-life-i-learned-watching-star-trek

http://www.plotpedant.com/the-purge/

https://narrativefirst.com/articles/meaningful-storytelling-an-analysis-of-inception

 

Get Out:

Image result for get out

http://racebaitr.com/2017/03/07/listen-ancestors-run-get-zombification-pathologizing-escape-plantation/#

https://harpers.org/archive/2017/07/getting-in-and-out/

https://www.theringer.com/2017/2/27/16039722/get-out-and-the-villain-next-door-ffbbd4c84058

https://www.theatlantic.com/entertainment/archive/2017/03/in-get-out-the-eyes-have-it/518370/

https://www.vox.com/culture/2017/3/7/14759756/get-out-benevolent-racism-white-feminism

 

 Logan:

Image result for logan

https://film.avclub.com/a-cross-on-its-side-logan-gets-religion-1798258715

https://www.newyorker.com/magazine/2017/03/06/get-out-and-logan

http://www.rogerebert.com/mzs/all-things-must-pass-the-emotional-reality-of-logan

http://www.btchflcks.com/2017/03/logan-on-death-and-dying-and-mutants.html#.WcKB1rKGMnR

https://www.theverge.com/2017/3/6/14829768/logan-movie-wolverine-hugh-jackman-patrick-stewart-discussion-highs-lows

http://www.rollingstone.com/movies/news/why-we-needed-logan-to-kill-the-modern-superhero-movie-w470501

https://www.theringer.com/2017/3/6/16040020/logan-and-conquering-pessimism-through-fatherhood-86d377ae85b9

http://birthmoviesdeath.com/2017/03/05/logan-the-things-we-leave-behind

 

Alien Series:

Image result for alien movies

http://www.slate.com/articles/arts/culturebox/2012/06/prometheus_why_are_academics_so_obsessed_with_ridley_scott_s_alien_and_its_sequels_.html

https://cinephiliabeyond.org/ridley-scotts-masterpiece-alien-nothing-terrifying-fear-unknown/

http://hellotailor.blogspot.com/2012/03/movie-costumes-i-have-loved-alien-part.html

http://hellotailor.blogspot.com/2012/03/aliens-james-cameron-says-put-gun-on-it.html

 

 

On Gender and Sexuality

http://www.signature-reads.com/2017/08/the-monster-that-lgbtq-readers-see-in-stephen-kings-it/

https://www.top10films.co.uk/1600-top10films-analysis-alien-feminism/

Horror is the only film genre where women appear and speak as often as men

http://www.rogerebert.com/balder-and-dash/the-trouble-with-carrie

Fight Club

 

http://thefederalist.com/2017/03/30/why-fight-club-still-matters/

http://www.huffingtonpost.com/entry/fight-club-2-chuck-palahniuk_us_5845c35ae4b028b32338a632

https://www.theguardian.com/books/booksblog/2016/dec/13/fight-clubs-dark-fantasies-reality-chuck-palahniuk

Tumblr Discussions on Race

Just putting these numbers out here. Actually, I think this is may be from 2014, but really, it doesn’t make much difference. Hollywood talks a good game but is really, really slow to change. I think it takes so long because Hollywood is this big unwieldy ocean liner, and most of the power players on it consider themselves to be above using social media, and interacting  with the public. I think most of them consider that to be the actor’s job, and disdain listening to the public themselves. I think if the ones calling the shots in Hollywood do hear about social issues regarding their movies, it’s probably  second hand/hearsay. (and the ones who do hear about it, just make excuses for their laziness.)

“You’ve just very bravely cast a white person in a role and people are being very critical of it. Here’s how to handle that backlash as poorly as possible.”

http://www.gq.com/story/the-whitewashing-playbook

I’ve noticed that the television creators are much more likely to interact with audiences at Cons, and on social media, than the film/casting directors, and money lenders of Hollywood. The creators of television are just much more intertwined with their audiences, and can know what their audiences think about their product, almost in real time.

For example, the creators of Arrow were on social media that first season, probably just gauging reactions to the show. But I noticed a marked change in the show from the beginning to the end of that first season. The show improved tremendously, and I think many of those improvements were based on the critiques they saw in social media. That’s how fast the creators were able to react to audience reactions. Unlike with movies, the creators for TV don’t have to wait until a show’s run is over before finding out what an audience thinks about it.

I’m not saying that television content creators don’t fuck up, (HBO we’re looking at you!) or that there isn’t an element of racism involved in Hollywood’s decision making process. Just that, in Hollywood, change takes a hell of a lot longer to be implemented because so many of these factors seem to work well enough together to delay progress. To the rest of us it just looks like a truculent inability to move forward.

From the Tumblr: 

Hollywood sticks to the script: Films aren’t more inclusive, despite a decade of advocacy 

The report “Inequality in 900 Popular Films,” released today, from Smith and the Media, Diversity & Social Change (MDSC) Initiative at USC Annenberg, reveals how little top movies have changed when it comes to the on-screen prevalence and portrayal of females, underrepresented racial/ethnic groups, the LGBT community and individuals with disabilities.

“The deficits we see on screen are worse behind the camera,” said Smith. Out of the 1,006 directors hired on the 900 films studied, just 4.1% were females. Only 5.6% of the directors were Black or African American and 3% were Asian or Asian American. Three Black or African-American women and two Asian women worked as directors across the 900 movies. “When we look intersectionally at directors, that’s where we see just how exclusionary Hollywood is when it comes to the hiring process,” said Smith. “The image of a female director seems to be that of a White woman.”

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And riding on the point of that last essay, there’s this one,  in response to  another essay/rant that, basically, blames identity politics, and call-out- culture, for why certain TV shows fail.  Essentially, that person was trying to blame the fans of color for the failure of certain shows. Yeah, that’s not it!

This essay sure sounds like it’s making a lot of sense, but it’s predicated on a bunch of false presumptions.

I agree that hypercritical dogpiling call-out culture is bad. It makes fandom a toxic environment.

Here’s where I find fault in this argument:

Violent fandom backlash/hypercriticism/dogpiling does not actually get shows cancelled, nor does it discourage the creation of future diverse media.

Lord, sometimes I wish it got shows cancelled.

But in reality, when you run the numbers, angry scary fans have a negligible effect on the success or failure of a diverse show.

Shows with a ton of discourse are usually quite successful. Supernatural’s been embroiled in fandom backlash/outcry its entire run and I’ve lost count of how many seasons it has.

Okay but SPN’s not especially diverse, so let’s go to my next example. Speaking of shows I can’t believe are still on the air, Teen Wolf (a show with a non-white lead and numerous LGBT characters) is SIX MOTHERFUCKING SEASONS LONG and fans have been ranting and raving about how shitty and problematic it is since the beginning of season 3 (I myself was one of its loudest and most savage critics back in the day).

Sleepy Hollow was a diverse show that suffered a lot of fandom backlash prior to cancellation. I suppose one might argue that the cancellation was a result of the backlash.

But consider – Sleepy Hollow’s fridged it’s black female lead, Abbie Mills, at the end of its 2nd season, shortly after, The 100 fridged it’s wlw female lead’s primary love interest mid season 3.

There was a shitte tonne of *intense* fandom drama surrounding Lexa’s fridging in season 3 of The 100. Every vaguely liberal entertainment news outlet had something to say about “Hollywood’s dead lesbian problem.” A lot of wlw fans wrote scathing rants and swore off the show.

In comparison, fandom was downright quiet about Abby’s fridging. In fact, the very small handful of posts I read criticizing the writers of Sleepy Hollow made a point of also criticizing fandom’s white feminists for their ‘deafening silence’ with regard to Abbie’s death.

Consequently The 100 just got renewed for season 5. Meanwhile,  Sleepy Hollow is as dead as a doornail.

Seems to me that silence does a better job of killing shows than any amount of screaming and ranting.

.

Here’s what actually causes diverse shows to fail:

1) Old white men in power.

@temporaldecay you want to talk revenue? Perhaps you’d be surprised to learn capitalism is not the be all/end all of a tv show/film’s success as people often assume.

For example, we know that movies with diverse casts are more lucrative, yet the industry continues to churn out all-white media. Why? Nepotism. White execs bring in white producers who find white directors to tell white stories and cast white actors.

They keep doing this, even though financially speaking, it’s self-sabotage.

Teen Titans was the most popular show on Cartoon Network when it was canceled because it appealed to an audience (of girls) that wasn’t the intended target audience (boys) and the marketing team didn’t like how this messed up their gendered merchandising strategy. You can read all the details [here]

Which brings me to the next item on the list:

2) Bad marketing (combined with the aforementioned institutionalized bigotry)

There’s a great essay called Shut The Fuck up Marvel that explains in detail the problematic economics of the comics industry – TL&DR, diverse comics are failing not because of fickle and hypercritical fans, but rather because Marvel’s entire marketing strategy is so flawed that fans don’t even find out about diverse comics until they’ve already been axed.

The same is true of a lot of diverse television.

Wonder Woman got hardly any marketing. I didn’t see trailers for the movie. It managed to go viral anyway through word of mouth, and through the inherent publicity of being the first big blockbuster superhero film revolving around a female lead, but it’s the exception that proves the rule.

Still Star-Crossed, a Shondaland period romance/drama based on pro-fanfiction for Shakespeare’s Romeo & Juliet was recently canceled due to low viewership. The show got next to no marketing. The few people who managed to hear about it from tumblr couldn’t even figure out when it was airing due to the network changing the time slot twice within the first 4 episodes.

Similarly, Sense8 season 2 was under-marketed, as was The Get Down. I must have seen about 8 million ads for that garbage suicide apologia show Netflix has been hawking.

Networks don’t want to market diverse shows. They assume diverse shows will magically sell themselves, and then blame fans when they don’t.

3) Appealing to too small of a niche – Novelty vs. Variety

Consider Agent Carter – this show catered to a niche within a niche within a niche – a period noir drama, that was also a science fiction. Lack of POC meant it had trouble attracting POC as audience members. Lack of LGBTQ rep (queerbaiting doesn’t count) meant it had trouble holding on to LGBTQ fans.

The only audience Agent Carter seemed to want to actively market itself to was ‘straight white feminist-identifying women who like retro noir sci-fi’ – that’s so specific. Too niche of an audience to attract the kind of audience a network like ABC expects for its prime time shows.

Compare that to How to Get Away With Murder – which has a little something for everyone. Ensemble cast, multiple sexual orientations, multiple cultural backgrounds and ethnicities, people from diverse socioeconomic backgrounds – Shonda Rhimes knows how to cast a big net.

Or Brooklyn 99 – similar kinda deal.

Having a one member of a marginalized demographic in a lead role is a novelty. And novelty’s good for getting people to watch your pilot, but it wears off quickly. People come for novelty, but they stay for representation. I don’t mean representation as an abstract concept. I mean people continue watching a show when they find a character that they personally identify with and relate to. The more character variety, the greater the number of audience members who feel consistently well-represented.

.

Discourse is not killing diversity.

This is a lie networks and showrunners tell fans to scare us into silence. They sabotage their own shows and then blame fans for being “too critical” or “too entitled.”

And we buy this bullshit. We buy it and we sell it to other fans. We write big long essays telling fellow fans to count their blessings and stfu.

Fuck that noise.

 

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This one is about how Blade began this whole superhero movie nonsense, that we all love so much. Yes, I blame Blade too. Frankly, even though I was a big Marvel Comic book reader, I had never even heard of this character before the movie was released, but I’m always gonna stan for that first movie, which still holds up very well to this day, and despite that Wesley Snipes is something of an asshole.

I personally consider Blade, and The Crow, to be two of the Blackest superhero movies of the 90s. (I will fight ‘chu!)

And that’s the real difference between Blade and the superhero franchises that have followed. Blade was never a big-name character in the first place. So there wasn’t a whole lot of retro-geek enthusiasm associated with the character. But more than that, Blade, the film, simply isn’t backwards-looking.

There’s none of the Greatest Generation boosterism that clings to the Captain America franchise, for example. Nor do we get from Blade the home front 50s stay-at-home mom-with-kids meme that pops up incongruously in Age of Ultron when we get to meet Hawkeye’s secret, perfect family.

Instead, Blade is deliberately, defiantly hip. Motherhood isn’t idealized; on the contrary, one of the queasier moments of the film involves Blade ruthlessly offing his feral, incestuously sexual, evil vampire mom. If there is nostalgia, it’s for blaxploitation’s up-to-the-minute cool.

The movie’s first grinding, sweaty, sex-and-blood drenched night club scene hasn’t dated at all. Nor has the Afrocentric incense store where Blade buys his formula fix, nor the black, brotherhood embrace between that store’s owner and the hero. There’s a notable lack of cell phones, of course, and the computer graphics prophesying the coming of the blood god look rather dated. But there’s little question that, as much as it’s able, the film is looking forward not back.

And part of the reason it’s looking forward, I think, is race. Blade—unlike most superhero films—is set in a meaningfully integrated world. That Afrocentric shop suggests, quietly but definitely, that Blade is part of a black community and that that community matters to him. One of his two crime-fighting companions Dr. Karen Jenson (N’Bushe Wright), is also black.

The diverse cast, and the acknowledgement of diverse communities, is part of why the film still feels and looks relevant. Here, after all, is a narrative that was fulfilling the call for more diverse superhero movies before superhero movies were even a thing.

But beyond that, Blade makes clear the extent to which nostalgia and whiteness are inextricably bound together in so much of the superhero genre. Retooling old, old pop-culture heroes[1] means, inevitably, dreaming about white saviors and about a time when white people were the only ones who were allowed to be heroes.

THE WHITE SUPERHERO FAD STARTED, CRAZY ENOUGH, WITH BLADE

[1]

A lot of us have talked a lot about how Blade started the current superhero domination in Hollywood and how current films forget that; and though it’s important to ask what kinds of behind-the-scenes decisions have caused that, I like this analysis about how Blade is fundamentally different from what we’re getting today and how that film is, in many ways, incompatible with today’s Ant-Men and Men of Steel.

 

@@

Another argument for why HBO’s new idea for a show, Confederate, (about an alternative world in which the South won the Civil War), is a truly bad idea:

blackfemalescientist

I’ve been thinking a lot about Confederate, the upcoming project by the creators of game of thrones. I’m not alone in actively hating the idea for this, but it took me a while to figure out why the idea for this show bothers me so much. Part of it is the current political climate, part of it is the idea being not nearly as new or interesting as the creators think it is (sci fi and fantasy is full of stories about chattel slavery in more modern/technologically advanced societies), and part of it is just me not trusting these two guys with this kind of story.

But what it really comes down to for me is this: even if I could buy that the south won the war, I do not buy that black people, in a majority black country, would be content to live in the only slave-holding society in the world for another 150 years. And the fact that the creators of this show can imagine that says a lot about how they feel about black people and their agency.

Like to put that idea in perspective, black people waged a successful national campaign to end jim crow in a majority white country and it didn’t take them 150 years. Haiti rebelled in 1804, and while we can talk current economic conditions (and how frace is primarily to blame for that), what you can’t say is that chattel slavery exists there now. Like what world are you living in where black people aren’t resourceful, smart or motivated enough to end chattel slavery 150 years after the entire world decided that maybe chattel slavery was doing too much.

The entire premise doesn’t work as alternative history because its not an alternate world, its a complete fantasy – a fantasy where black people are not only subjugated but incapable of taking steps to end that subjugation. And that leads to all the “who is this for” and “why would you do this” questions that smarter people than me have talked a lot about.

 

And here’s my man, Ta Nehisi Coates, laying it out, in his own very eloquent way, why the writers of Game of Thrones, and HBO, need to catch some hands:

HBO’s Confederate takes as its premise an ugly truth that black Americans are forced to live every day: What if the Confederacy wasn’t wholly defeated?

https://www.theatlantic.com/entertainment/archive/2017/08/no-confederate/535512/

Of course, any time Black people hold discourse on a subject that directly affects our lives, you’ve got those white people crawling out from under the baseboards, to defend this wtf*ery, because for them Black life is  no more than an intellectual exercise, and we should  get over it, because it’s messing up their ability to be entertained by our misery.

 

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This is one of the most cogent arguments I’ve ever read against financial inequality. I also had no idea of the history of the game of Monopoly.

We played this game all the time in our house. My Mom was, naturally, the Banker, and we always played it Socialist style,  I guess, with everyone getting the same amount of money, and being treated the same, following the same rules. Of course she always won, up until we were teenagers, and started learning more about how to handle money,  like how to plan ahead, and how to delay gratification. 

Monopoly isn’t maybe the best way to learn about money, but it does teach you something about how financial systems work.

So let me get this straight, in Monopoly if you give one player more money to start out it’s “unfair” but if you do it in real life it’s “capitalism”?

 

You know what, I’m going to tell you guys a story.

In my Sociology class a few semesters ago, our prof had us break off into groups and, much to our naive joy, began distributing Monopoly boards! We had no idea what was going on but yay! Games! Of course, once our group, and a number of others, got the board we began to work at setting up and distributing the money…

until suddenly our prof told us to put the money down and pick up the dice.

“Roll the dice and sort yourselves from highest to lowest,” our teacher commanded.  “Now, the highest number is the upper class. The next one is upper middle class.  The next two or three are middle class. The last person is in poverty.“

Well, as the person who rolled a two this was startling and not wholly welcome news.

From that point the game changed entirely. We had to hand out the money so that the “upper class” had this fucking mountain, and then less for upper middle, even less for middle, and I didn’t get any triple digit bills. We would all collect different amounts from passing go as well.

The biggest change though? Going to jail. Upper class didn’t. Period. Upper middle class could go but they only had to stay for one turn or they could immediately pay their way out. Middle class had some pretty easy guidelines for when they could pay to get out. As lower class, it was really easy for me to wind up in jail and REALLY hard to get out. But since I was working with so little money when everyone else had so much I was in jail all the time because there was no “game over”.  If I couldn’t pay I had to go to jail for a certain period of time. I had to take out loans with interest I could never pay back just to get out only to wind up back in it again, rolling dice turn after turn hoping to be able to get out.

It was simultaneously the most enlightening and most awful game I had ever played. I was bored and frustrated and a little terrified about it all. And it wasn’t only me. I would never win, I sort of accepted this, but it was amazing how the middle classes reacted as well.  They were stressed. Because they were always that close to either being able to one-up the upper class or from crashing into poverty with me. They had to fight constantly just to stay in the middle.

(I should also mention that the upper class player in one group felt so bad for the lower income players that they ended up overhauling their entire game and creating a “socialist” society instead. I’m not sure how our teacher felt about that one.)

 

Worth stressing this is entirely in the spirit of the original designer’s aims for Monopoly.

Monopoly’s  original form of The Landlord Game which was explicitly designed to teach people about the unfairness of rent systems. To quote from the wikipedia entry, just as it’s the easiest source to hand…

Magie designed the game to be a “practical demonstration of the present system of land grabbing with all its usual outcomes and consequences”.[2]She based the game on the economic principles of Georgism, a system proposed byHenry George, with the object of demonstrating how rents enrich property owners and impoverish tenants. She knew that some people could find it hard to understand why this happened and what might be done about it, and she thought that if Georgist ideas were put into the concrete form of a game, they might be easier to demonstrate.

When the usual suspects start making “don’t bring politics into games” noises, I roll my eyes pretty hard. They have no idea of the history of the form.

 

 

@@

This final topic speaks to the idea of accurate Representation from a Historical perspective. One of my biggest pet peeves is the bigoted argument against diversity and inclusion, in Fantasy media, coupled with the erasure of PoC from  Historical narratives, and not just because such an argument is irrelevant to a discussion of Fantasy based world-building. 

As an amateur Historian, I’m sick and  tired of seeing the argument about Historical accuracy, from the mouths of lazy, sometimes bigoted, individuals, who have done no research, who have only ever gotten their ideas about what History was like, from various movies and TV shows, trying to uphold the pop culture status quo, by saying we don’t belong in Fantasy environments.

I have found that even the  most well intentioned people are deeply, deeply, ignorant of History, having gotten most of their ideas about it, from whitewashed movies, television shows, and History classes, in which the contributions (sometimes even the presence) of PoC  are erased. When you consider that the vast majority of the world is made up of PoC (Chinese, for example) and that those who are most definitely considered to be “White”  Europeans (whatever that may mean) made up only about 11% of the world’s population in 2010, and by 2060 are set to become less than 10% of the world’s population, I find it more than a little hinky that such  people would argue for Historical accuracy. 

And now we have the Alt-Right attempting to lay claim to this same argument  in an attempt to bolster their racist  beliefs that PoC contributed nothing to Historical narratives, and that all of the humanity’s  major contributions to Literature, Science, and Art, were only done by White men.

Part of the problem is that Historians need to make clear that PoC were History. We were everywhere, not just invented in certain eras, and trotted out when White men needed to conquer somebody. History is far more nuanced and complicated than most people know.

Medievalists, Recoiling From White Supremacy, Try to Diversify the Field

By J. Clara Chan

—-The criticisms of the conference’s diversity stems from problems in medieval studies for decades — that it is still too Eurocentric, male-dominated, and resistant to change. But as the medieval era has become increasingly prevalent in rhetoric used by white supremacists to advocate for a return to racial, ethnic, and religious purity, many nonwhite medievalists are feeling a new urgency to combat the stereotypes that accompany the field.

http://www.chronicle.com/article/Medievalists-Recoiling-From/240666/

 

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And on Historical Anti-Semitism in Art:

thegetty

Dialogue: Exposing the Rhetoric of Exclusion through Medieval Manuscripts

By Kristen Collins and Bryan Keene, originally published on the Getty Iris

We invite your thoughts on an exhibition-in-progress at the Getty that addresses the persistence of prejudice as seen through lingering stereotypes from the Middle Ages.

As curators in the Getty Museum’s department of medieval and Renaissance manuscripts, we are interested in how books, and museum collections more broadly, can spark dialogues about inclusivity and diversity. Our manuscripts collection at the Getty consists primarily of objects from Western Europe, which can present challenges when trying to connect with a multicultural and increasingly international audience.

We are striving to make connections between the Middle Ages and the contemporary world—connections that may not be immediately evident, but are powerful nonetheless. Museums are inherently political organizations, in terms of the ways that collections are assembled, displayed, and interpreted. This year’s meeting of the Association of Art Museum Curators addressed how institutional narratives and implicit bias can skew ideas of history and culture in ways that exclude minorities and gloss over the shameful aspects of our past. Groups such as the Medievalists of Color, the Society for the Study of Disability in the Middle Ages, the Society for Medieval Feminist Scholarship, and the Society for the Study of Homosexuality in the Middle Ages, among others, are applying similar lines of inquiry, seeking to decolonize and diversify the field of medieval studies. We stand with these groups.

We were also inspired by Holland Cotter’s call to arms, as he exhorted museums to tell the truth about art, “about who made objects, and how they work in the world, and how they got to the museum, and what they mean, what values they advertise, good and bad. Go for truth (which, like the telling of history, is always changing), and connect art to life.”

Here is our description of the exhibition, still in draft form:

Medieval manuscripts preserve stories of romance, faith, and knowledge, but their luxurious illuminations can reveal more sinister narratives as well. Typically created for the privileged classes, such books nevertheless provide glimpses of the marginalized and powerless and reflect their tenuous places in society. Attitudes toward Jews and Muslims, the poor, those perceived as sexual or gender deviants, and the foreign peoples beyond European borders can be discerned through caricature and polemical imagery, as well as through marks of erasure and censorship.

As repositories of history and memory, museums reveal much about our shared past, but all too often the stories told from luxury art objects focus on the elite. Through case studies of objects in the Getty’s collection, this exhibition examines the “out groups” living within western Europe. Medieval society was far more diverse than is commonly understood, but diversity did not necessarily engender tolerance. Life contained significant obstacles for those who were not fully abled, wealthy, Caucasian, Christian, heterosexual, cisgendered males. For today’s viewer, the vivid images and pervasive narratives in illuminated manuscripts can serve as a stark reminder of the power of rhetoric and the danger of prejudice.

 

“If you don’t know you have a history, it can be hard to believe you have a future.” —-National Museum of Stockholm

James Baldwin: “Not everything that is faced can be changed; but nothing can be changed until it is faced.” 

 

Tumblr Weekend Reading #210

I spend waaay too much time scrolling through Tumblr, but I just can’t help it. The things that come across my dash are a reflection of America in microcosm. Some of the most virulently anti-logic, and vapidly ignorant human beings, clashing with some of the smartest, articulate, and astute people on the internet. (There are people on the internet who are so dumb, it makes me wonder how they found the internet, and why whoever told them about it, didn’t receive a knock to the head, with a Lego block.)

But I digress. Some of the more recent interesting discussions are from Mikki Kendall, whose rebuke, to the Fireside Fiction Publishers and Readers, is about the lack of PoC being published in the Speculative Fiction Genre. This is her response to their response:

http://firesidefiction.com/a-note-from-the-editor-of-the-blackspecfic-responses

**

Okay, I still don’t think people are realizing just how incredibly groundbreaking this is, not just for television, but for SciFi, in general. You have two…count ’em two, WoC, who are headlining a Science Fiction show, with one of them as the Captain of a Starship (White women had Janeway), and the other is the show’s lead character. The last time a Woc played a prominent character on a Star Trek show, (Voyager), was  B’elanna Torres, played by Roxanne Dawson who is Hispanic. The last time a Black woman played a prominent Star Trek character was Nichelle Nichols. (I don’t count Whoopi Goldberg because she was only a (semi)-recurring character, not a regular.)

This is very possibly one of the most diverse Star Trek casts ever assembled! And we just learned that the Medical Officer, for the ship Discovery, is Wilson Cruz who is from Puerto Rico. (I totally stan for Latinoooos in Spaaaaace!)

I’m also gratified to see Asians included in the cast, because outside of Sulu,  that’s also rare, although DS9 was very inclusive, too. Shazad Latif is from London and is English and Pakistani. Michelle Yeoh is of Malaysian descent. (Wooo! I’m excited for you guys, too!)

And let’s not forget:

Star Trek: Discovery’ Will Actually Have an Openly Gay Character

https://www.inverse.com/article/34758-star-trek-discovery-gay-beyond-anthony-rapp-stamets

 

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📷: Matthias Clamer for EW📷: Matthias Clamer for EW📷: Matthias Clamer for EW

**

And all these images tie back to the idea of representation, most especially for little girls, as stated by 

You know what? I really wish people were as hyped about Sonequa Martin-Green being the first Black woman to lead in a Star Trek series as they are about the D*ctor Wh* casting. But then again, most feminists don’t care about non-White women so it’s to be expected that most of you guys don’t care about the fact that she’s making history too. And when you factor in Michelle Yeoh, you get it doubly so. Last time I checked, this is a pretty big deal for the sci-fi genre too.

What’s strange, to me, is people thinking that the D*ctor Wh* casting gives hope to all little girls when we know that’s not true. This issue is just so very layered and complex, but there is something particularly troubling about the fact that people think a White woman should be the symbol all little girls should look up to, regardless of their race. It’s so very arrogant to believe that little non-White girls will be represented by this woman that looks nothing like them. It’s very arrogant to think that little non-White girls should look up to the new Doctor as their new hero, especially knowing this casting is only a win for White women and White women only.

*Don’t get me wrong, Woc aren’t unhappy about Wonder Woman, or the new Doctor Who, but White women need to recognize that they are not universal. They don’t represent us or our view of hte world, and need to quit acting like they are. One ofhte biggest divides between White women, and Woc, is their complete disregard for the things that affect WoC.

Little girls of color may like and admire these characters, but they’re not going to look to them as role models. I know I didn’t when I was little. There were White actresses and characters I cared about and admired, like Linda Carter, and Ellen Ripley, but I didnt look to be like them. I did not use them as examples for how to live in the world as a woman, and certainly wasn’t looking to those women to teach me how to be a Black woman, even if I did like them. My role models were the handful of Black women, (and non-Black WoC), who made it into TV shows and movies, like Nichelle Nichols, Diane Carrol, Pam Grier, and yes, even Michelle Yeoh.

I plan on watching the new Doctor because I’m curious, I like the actress, (who  starred in Attack the Block, with John Boyega), and I liked Missy on the show this season. I’m not enthused about  the Wonder Woman movie, but I plan to watch it, at some point, and I’m looking forawrd to watching the Justice League.

Bt I’m a Black woman, and I wish White women would keep in mind that those women are not our idols, nor are they idols for other WoC. Even if we really like, and admire them, they don’t do anything to further our representation, but Sonequa, Michelle, Danai, and others  do. 

 

**

In the new Star trek show we’ve heard that Sonequa’s character, Michael Burnham is Spock’s adopted sister. Now the timeline, assuming she and Spock are near the same age at ten years before the Enterprise, would mean that the two of them grew up together, and she lived with his family. She could also be a relative of Amanda’s as well, which is how she came to live with Sarek’s family.

 Now this has messed with a lot of people’s heads, because they claim that it messes with canon, which I can understand why someone would say that, but there’s a very good rebuttal I’ve seen to that argument, and that rebuttal is Spock himself, who was prone to dropping bombshells about his family’s  status, when given half an opportunity::

Adding to canon is not the same thing as

destroying canon

From the mind of : tomfooleryprime

At San Diego Comic Con, we learned that Sonequa Martin-Green’s character, Michael Burnham, is Sarek’s adoptive daughter. The second I heard the news, all I could think was, “Let the hate begin.” And boy, did it ever.

I understand the disappointment, particularly with fan fic writers who invested a lot of time and effort into crafting stories that fit neatly into canon. Amazing how one sound bite can bulldoze right through decades of widely accepted fanon, huh?

Let’s be real, those little behind the scenes moments are almost the entire point of fan fiction: some of us like something so much, we like to imagine all the things the writers didn’t tell us, but now Michael Burnham has come along like a square peg in a round hole, rendering countless stories AU that previously adhered perfectly to canon. Some of mine included.

But fanon isn’t canon. One might say, “How come we’re just hearing about this now?” Surely Spock would have mentioned having an adoptive sister? But would he? Would he though?

No one had any idea he was engaged to T’Pring until the Enterprise showed up to Vulcan on Spock’s impromptu wedding day in the TOS episode, “Amok Time.” What was it he said when Lieutenant Uhura asked who the lovely woman on the viewscreen was?

If you watch closely enough and get creative with your interpretation, I swear Christine Chapel mouths the word, “bullshit.”

And no one knew that Spock had a strained relationship with his father until that time dear old Sarek hopped on Enterprise for the Coridan admission debate in the TOS episode, “Journey to Babel.” Kirk urged Spock to go down to the planet and visit his family before they left orbit, and what was Spock’s reply?

I can’t think of a better example of where Spock made Kirk look like a total asshole.

And then there’s the fact that Kirk had known Spock for decadesbefore finding out he had a half-brother named Sybok in Star Trek V: The Final Frontier.

You would think Kirk would be used to Spock family bombshells by now.

So if anything, the idea that Spock had a secret adoptive sister actually feels more in keeping with canon than going against it. Given the weight of the evidence, I wouldn’t be all that shocked to discover he had three step mothers and a whole nest of secret love children drifting around out there.

The other thing is, as viewers, we tend to get into the habit of thinking that if a character doesn’t specifically address something on screen in front of other characters, other characters are in the dark along with the viewers. Like if a character didn’t explicitly announce some detail about their personal life to the world, not only did it never happen, it never could have happened. And that’s just silly. Think about this: Kirk, Spock, and the rest of the crew spent five years together on that mission, and we only got to view a little less than 66 hours of it. So imagine all the conversations in the mess hall we as viewers missed out on. Not only that, many of those details would be fairly trivial anyway.

Going back and adding to canon is not the same thing as destroying canon. Star Trek, particularly The Original Series, was always more focused on exploring the galaxy and meeting new civilizations – its primary purpose wasn’t to flesh out complicated life stories for each of the main characters. When you think about it, there’s so much we don’t know about Sarek, Amanda, or Spock’s upbringing. Almost everything we do know about this family comes from two episodes – “Journey to Babel” in The Original Series and “Yesteryear” in The Animated Series.

I think because we spent more than five decades without any concrete ideas of how Sarek and Amanda met, what Spock’s formative years were really like, or how their family dynamics worked, we just filled in the blanks for ourselves. But fifty years is a long time for the lines between canon and fanon to start getting blurred.

So I’m actually tickled pink at the thought that Spock had an adoptive sister, not furious that they’re corrupting more than fifty years of canon. It would be tampering with canon to claim that Starship Troopers is actually some kind of prequel to Kirk and the starship EnterpriseThat would be destroying canon, but writing in a sister for Spock where one previously didn’t exist isn’t quite the same thing.

Would you like to know more?

The writers of the show are just doing what we as fan fic writers do all the time – filling in the gaps. You’re definitely allowed to feel however you want to feel about it. And I do understand a lot of the dismay and shock. It really sucks to pour your heart and soul into something, polishing it for months or even years until it’s perfect, and then have Michael Burnham thrown into the mix and it almost feels like a bad Photoshop job over your favorite family portrait, ruining your origins fics for Sarek/Amanda or Spuhura or Spirk or Spones or Spotty? (Is that actually what the Spock/Scotty ship is called?). It’s perfectly acceptable to say that Michael Burnham’s existence has ruined your perception of canon, but I don’t think it should be confused with ruining actual canon.

During the Comic Con panel, producer Alex Kurtzman insisted they have a good canon explanation for why Spock never mentions Michael. He was quoted as saying, “We’re aware [of the situation]. You’ll see where it’s going, but we are staying consistent with canon.” So I’m inclined to keep an open mind and see where they take it before dismissing it outright for being “too ludicrous.” Weirder things have actually happened within the Trek universe, so try not to let this revelation get you down.

 

And from  alightinside

Considering the fact that Spock’s family has to be literally in the same room as him before he even mentions they existent, having adopted sibs he just never talked about is the most canon compliant thing they could have possibly added.

 

*I might also add that Buffy the Vampire Slayer managed to throw in a sister for Buffy, that destroyed four years of watching the show, until it was carefully explained to the viewers why she was there. We haven’t seen Discovery yet, so we don’t have any explanation for why Michael is Spock’s adopted sister, but the creators say there’s a perfectly good explanation for it, and one of those creators is Bryan Fuller, who never puts anything that big into any of his shows by accident. 

 

**

 

And While we’re here,  there’s been some discussion of the marked lack of excitement towards the new Star Trek, from  White feminists, who claim to be progressive, and want diversity. There’s been more excitement from them about the new Dr. Who , then there has been about the groundbreaking diversity on Discovery, with a Black female lead, and an Asian Captain. 

As I said before, I don’t have a problem with White women being excited about stuff that affects them. I’m happy they’re happy. I don’t even have a problem with them being more excited about Dr. Who then about Star Trek, but what  I do object to, is their insistence that white female characters, in leading science fiction roles, are somehow groundbreaking, and role models for little girls all over the world. 

I need them to keep some perspective, in their excitement,  and that perspective is that white women’s stories are not universal, and they are not often role models for little girls of color.

From the mind of  abigailmills: 

You know what? I really wish people were as hyped about Sonequa Martin-Green being the first Black woman to lead in a Star Trek series as they are about the D*ctor Wh* casting. But then again, most feminists don’t care about non-White women so it’s to be expected that most of you guys don’t care about the fact that she’s making history too. And when you factor in Michelle Yeoh, you get it doubly so. Last time I checked, this is a pretty big deal for the sci-fi genre too.

What’s strange, to me, is people thinking that the D*ctor Wh* casting gives hope to all little girls when we know that’s not true. This issue is just so very layered and complex, but there is something particularly troubling about the fact that people think a White woman should be the symbol all little girls should look up to, regardless of their race. It’s so very arrogant to believe that little non-White girls will be represented by this woman that looks nothing like them. It’s very arrogant to think that little non-White girls should look up to the new Doctor as their new hero, especially knowing this casting is only a win for White women and White women only.

 

And my response: lkeke35

I have noticed the chirping silence coming from that particular contingent!

I think that’s one of the biggest divides between White feminists and women of color, is White women’s complete and utter disregard for the fact that WoC  see the world differently than them. They really do think we’re supposed to look up to them as role models. That they are universal.

When I was a little girl, there was precous little diversity on TV, but what diversity there was, I gravitated to. As a young Black woman I never chose White women as my role models, even if I admired a few of them , like Linda Carter as Wonder Woman, or Sigourney Weaver as Ellen Ripley.

I modeled who I wanted to be after women like Eartha Kiit,  Nichelle Nichols, Diane Carroll, and Pam Grier. They were smart, tough, beautiful, graceful women. And yes, I was a Michelle Yeoh fan, and I loved her because she was all those things I just listed (and she still is).

Its not that I didn’t like and admire White actresses. I did. But I also knew, on some level, that no matter how admirably I (or they) behaved,  that as a Black woman, I wasn’t ever going to be accorded the status of a White woman, so I did not use them as  my role models. I didn’t try to be like any of them, and didn’t want to be like them. (This was a lesson I learned very, very early.)

I think its an incredible era we are living in, that my 12 year old niece is growing up with so many role models to choose from, in Pop Culture. I’m going to watch Star Trek Discovery with her and explain the significance to her. I’m going to watch The Walking Dead, and talk about how important Michonne is, and I’m going to take her to see The Black Panther with its gorgeous, and badass women, and yeah, I’m going to go see Proud Mary with her (and my Mom), and we’re all gonna geek out about it afterwards.

I wish White women cared enough to care about, and talk about, WoC in Pop culture, (and think of us as women too) but I don’t need White women’s validation to find and love those characters.

 

And from diversehighfantasy

Nicely said.

I’m also really bothered by the relatively subdued positive reaction to Sonequa leading the new Trek vs Doctor Who. I realized how little it mattered even to white women who are into sci-fi and fantasy when that gifset was going around celebrating all these recent genre leading women (The Doctor, Wonder Woman, Rey etc) all white or perceived as white, and when people started asking where were the Black women/WOC, they added May from Agents of Shield. That’s how off the radar Sonequa leading the new Star Trek (STAR TREK!!) is even for a lot of fandom people.

Now I’m wondering if people on Tumblr even talked about it much outside the Walking Dead fandom. (I know a bunch of people on Twitter acted like ass about “forced diversity,” I mean Tumblr fandom people).

Anyway. Yeah, the difference is very noticeable. I mean, I get the big deal about Jodie, The Doctor has specifically always been a man while Sonequa is playing a new character, and, I guess, to white feminists the barrier was already broken by Janeway. Still, I can’t shake the feeling that if a white woman was leading ST Discovery, we’d be seeing Star Trek/Doctor Who edits everywhere.

 

**

Interlude:

Image result for furious knitting gif

 Just like you shouldn’t drive while angry, you should never knit while you’re mad! That’s just wrong.

**

 

Okay Here’s something I’d never given any thought to, as an able -minded Black woman. I don’t suffer from mental illness (now), although I’ve had bouts of it in the past, and I’ve never been on Schizoid-Spectrum. But what do you do when you are Black and suffer from many of the symptoms of schizophrenia, and some of the things you actually believe are true, but will forever be invalidated by the White people around you. The very White people who refuse to acknowledge the existence of the racism that makes some of your beliefs true.

I’m still going to urge any of my PoC readers to look for therapists who are also PoC, if at all possible,  as there are some  unique issues, when you are a person of color on the spectrum, or suffering from mental illness. This is not because White people are incompetent but because they are not aware of the many issues surrounding your circumstances, if you’re a PoC.

Their reluctance to address the existence of racism, in the day to day lives of their patients, and to accommodate for the stress of that, as well as the stress of mental illness, and the different dynamics that exist in communities of color regarding such illnesses, will end up ultimately being of no help to you.

 

From Tumblr User Questingqueer:

questingqueer

I was sitting in the group room at my intensive outpatient program. I had just finished recounting an incident where I believed a security officer had been following me, but the person with me at the time had disagreed and said we weren’t being followed.

The head psychologist said “Your goal this week should be letting in alternative theories to your paranoia. It isn’t likely anyone is following you.” I said “What do you mean? How can I trust someone else’s perspective over my own, especially when that someone is white?” Another person spoke up, suggested increasing my anti-psychotics.

I looked around the room at the other patients and the professionals in group with me. I was the only Black person there.

I’m mentally ill, and sometimes I’m paranoid, and sometimes I’m delusional.

I’m Black, and I’m more likely to be followed around by security, or have negative interactions with the police. The racism in this world is real, and it can affect me.

I’m mentally ill, and sometimes I have persecutory delusions, and there wasn’t any drugs in my orange juice or bugs living in my arms even though I was convinced there were.

I’m Black, and I’m mentally ill. And that intersection has never been acknowledged online or in therapy. That intersection makes us more vulnerable to abuse, domestic violence, and police brutality. 

Black schizo-spec people face challenges that others don’t. We are more likely to be be labeled as dangerous and violent and be disbelieved when we share about how racism has impacted our lives, among many other things. That makes it harder for me to trust others- not to mention that difficulty trusting others is a symptom.

Was I being followed that day? I wish I had an answer, but I don’t know. Maybe I was, maybe I wasn’t. But that isn’t the point.

A simple search will tell you that schizophrenia is more readily diagnosed in Black patients than in white (source), and some say it is overdiagnosed.

But where are the positivity posts for Black people with stigmatizing disorders?

Where is the positivity for the Black schizo-spec people trying to figure out what level of fear and suspicion towards the police is reasonable and what is a symptom? Where is the positivity for Black schizo-spec people who have everything blamed on their diagnosis while their other mental health problems get ignored? Where’s the positivity for Black schizo-spec people who distrust the medical professionals they deal with, who have ugly symptoms, who are pigeonholed as dangerous?

We have died because we are Black and schizo-spec. Remember those of us who have been murdered or attacked.

And? Don’t forget to include us in your activism while we are living. 

**

 

In Canada, Target seems to have the same rep as Walmart does in America.

TARGET STORE GOTHIC:

strongermonster

it’s so weird hearing americans talk about Target© as some kind of semi-religious holy space of reasonably priced goods and services, bc in it’s short, fever-dream existence up here in the frozen north it was… Not Good.

in my experience with the three (3) i went to in the surrounding area it was. uh. you know when you step into a place and there’s nothing immediately noticeably wrong but you can just Feel that this is a Bad Space? like the kind of space where if you catch a glimpse of your mother walking down an aisle and turning a corner you know it’s a demonic trick and if you follow her it’ll lead you down a path to a dark space you can’t return from?

or you go in with your friend who’s right next to you but you get a text from them saying “hey i’m in the shoe aisle, you should come here” and you know it’s a trap from the devil? like other things:

  • only half of the dim, washed out, often flickering fluorescent lights were lit at any given time, usually only every-other set, leaving these valleys of darkness that made entire aisles inaccessible for fear of shadow people latching on to your soul like a dark passenger.
  • entire sections were just Empty. empty shelves with no product, never any employees filling them up, no boxes waiting to be unpacked, no signs saying what should be there.
  • no employees at all actually? wandering around the store even though the parking lots were full and you walked in with a group of 20 or so felt so lonely. you could walk the whole place and it was dead silent and the only other “people” around always were several aisles away with their back turned, unmoving. there was always only one cashier and there was never anyone in her line.
  • there was never any music on or announcements played? another place that does this are all the dollar trees in my area and it gives me anxiety. i feel like i’m being hunted, like i have to hold my breath and listen for the footsteps of beasts in other aisles.
  • the fitting rooms had a strange, dark energy to them. it felt like if you ever used them, whatever universe you closed the door on would not be the same one you stepped out into when you were done. the washrooms also contained this same dark energy.
  • passing the employees-only doors felt like wandering too close to a bears den. the glass windows never showed anything going on back there, no racks of product, no employees milling around. it was just pitch black, complete darkness. a hungry void.
  • leaving a target was the same disorienting feeling as leaving a dark theatre and exiting into the light. sound and colour and feeling rush back in. you feel like you can breathe again. a weight is lifted from your shoulders. you can’t remember any of the time you spent inside the target.

it is my sincere belief that the targets in canada never existed. the storefronts were put up, yes, but the stores themselves were vast empty caverns filled with dark dreams and sinister interlopers. passing through the automatic doors was meant to teleport us to the nearest american location, but something went wrong and we entered an unnatural zone halfway between the upside down and whatever it was that happened in the langoliers.

i believe the balls outside target are carefully crafted and powerfully attuned magical artifacts that keep up the illusion known as Target©, but were incorrectly spaced in canada due to a mixup between the metric and imperial systems of measurement, and that is why the brief twilight zone episode that was canadian target collapsed virtually overnight.

 

Source: strongermonster
**
From the Tumblr:  writingwithcolor
This is a nice, long essay on the trope of the color black representing evil, and the color white representing goodness:

Black and White Symbolism: A Look into the Trope

We’ve noticed a volume of questions on the topic of Black and White symbolism in works. Light and white symbolizes good and pure. Dark and black is bad and evil. It’s an age-old trope deeply engraved throughout Western society, language, and cultures.

She’s having a “black day.”  He’s the “Black sheep” in the family. The evils of “Black magic.”  They’re “Black as one is painted.”

On the other hand…

They told an innocent “white lie.” He’s “whiter than white.” Good ole “White-collar” jobs.

These were just a few phrases found in the dictionary. The most frequently used dictionaries were written by racist old white men, so most of the language has been shaped by them.

If you flip further back you find entries like these:

imageNow, this guide comes from a western particularly American lens of the view of Black and White and its connotations. We recognize that B&W color symbolism and meaning varies across cultures.

However, western society imports its racist views across the globe, strengthening the Black as Evil and Good as White association within its “conquest” of mass media.

The Trope Incorporated into our Media

This trope is so normalized in Western culture that it is often unconsciously used and incorporated throughout many aspects of culture. It can easily be found in media, such as our TV-series, movies and literature:

  • The black, darkly-dressed or featured characters are often the villains or antagonists,
  • The white or light-featured characters are often the heroes, dispelling the world of the dark Others.

Also note that usually when good guys wear black, they’re more anti-heroes than full-heroes.

image

Tolkien really let himself go with this trope in Lord of the Rings and has the pure white race of elves be ethereal, wise, super good and natural *angelic singing*. Then there’s the orcs on the other side who are barbaric, unintelligent, violent and disgustingly ugly. Their language is black speech by the way.

“The Black Speech, also known as the Dark Tongue of Mordor, was the official language of Mordor. Sauron created the Black Speech to be the unifying language of all the servants of Mordor, used along with different varieties of Orkish and other languages used by his servants.”

“It is notable that the letter “e” is totally absent from the Black Speech. It was omitted on purpose for being a favourite letter of the Elves, and for forming a smile when uttering it.”

“In real life, J. R. R. Tolkien created this language with the intention of making it harsh and ugly…” then later on in the same piece is written: “…the forces of good refuse to utter it.” and “Tolkien designed it to be unpleasant in his own mind…”

With these quotes you can see the link between calling it “Black speech” and the unpleasant, evil and anti-social aspects of the named. Quotes are taken from here.

Many epic fantasy writers mimic Tolkien in his use of fantasy races and themes and such, so they unconsciously also mimic this trope.

Game of Thrones also plays with the good vs evil but switches up the color code with the Kingsguard wearing white and the Night’s Watch wearing black. This posts speaks of the symbolism pertaining to the white cloaks of the Kingsguard.

Attracted to gray characters instead of orcs and angels, Martin regards the hero as the villain on the other side. The Wall’s Night’s Watch, whom Martin described as “criminal scum [who] are also heroes and they wear black”, was a deliberate twist on fantasy stereotypes. Furthermore, the use of black as the identifying colour for the essentially good Night’s Watch and the use of white for the much corrupted Kingsguard is another example of Martin subverting traditional fantasy which tends to link light colours with good and darker ones with evil. From here.

Then there’s Disney that’s notorious for their ingrained racism

This is easily seen in their visuals when portraying villains. When you look at the heroes vs villains, the villains are often portrayed as darker, more “ethnic” (see: Mother Gothel, Jafar) and sometimes queer-coded (like Ratcliff and Dr. Facilier).

Another example: the shadowy,dark huns in Disney’s Mulan. They have greyish, dark skin with strange eye coloring, and they all look the same.

imageOn the left: a hun as portrayed by Disney in Mulan. 

Furthermore, Disney typically depicts baddies as “less beautiful” with some exceptions of very beautiful and vain evil ladies (they have a trope with two types of beauty where one is pure and wholesome while the other is vain and egocentric. The second is also usually an older individual).

The Oz film was pretty visual, colorful, and magical until the evil witch and her black monkey minions come and then everything is dark suddenly. Oh, but there’s the “good” monkey, depicted in bright and lighter coloring.

image

Angels and Demons

There is also the trend where angels are always white and demons black/dark in fantasy. This doesn’t have to be and is a biased way to depict them, at least from a non-religious point of view, and as far as I know I never found a mention of white wings if wings at all when angels were mentioned. Exceptions go to the angels in higher orders, but still no white mentioned. Fallen angels suddenly have black wings, when they still have them.

The Harms of the Trope

Why is the B/W – Good vs Evil- trope harmful? Well, look at how the colors are associated. Dark as bad, evil. White as good, pure. But then you group a whole people as Dark + “Black” and the other as Light and “White” and you’ve set these people in opposition of each other.

There are Black people in the world. There are white people in the world. “Black” as a word is literally viewed as synonymous with darkness and evil. “White” is literally viewed as synonymous with goodness and purity. There’s an intentional pattern here.

Malcolm X’s discussion regarding how Black is used to describe a people adds clarify to this.

Read about it here.

Martin Luther King Jr. also discussed the association of Black to Evil and White to Good.

Somebody told a lie one day. They couched it in language. They made everything Black ugly and evil. Look in your dictionaries and see the synonyms of the word Black. It’s always something degrading and low and sinister. Look at the word White, it’s always something pure, high and clean. Well I want to get the language right tonight.

I want to get the language so right that everyone here will cry out: ‘Yes, I’m Black, I’m proud of it. I’m Black and I’m beautiful!

Check out the clip from this speechhere.

Another notable example of the result of these engraved associations and aversion to Blackness is how racist fans reacted to the Rue character from the Hunger Games being (rightfully) portrayed as a Black girl in the movies.

A lot of these reactions can be found online. Like this one.

image

The trope is deeply ingrained into people’s minds and reinforced by the media that combined with systematic racism Black people and even Black children cannot be seen as pure and innocent. These traits incorporated in the Black and White Symbolism is enforced on Black people (and white people to some extent). The symbolism has been influenced further with racism and that is why it can be harmful.

What to do with the trope

Now, we don’t believe people should stop using Black and white in relation to people; running away from the word, even given its history, would only reinforce Black as a badge of shame when that’s simply a lie. We think the better solution is to built up a new dictionary. To stop using black to mean all things sinister and evil and white as all things blameless and good.

Black & White in our Writing

While it’d be difficult to deconstruct these associations overnight, it’s definitely not impossible to be more conscious of how one might be perpetuating the B&W trope within their works.

Pay attention to your writing and the color symbolism there.

  1. Where do you find Black & White imagery? How is it being used?
  2. Are you using shadows and night skies to foreshadow bad things to come?
  3. Morning light and white gowns to symbolize purity and hopefulness?

Now even these aren’t inherent pitfalls.

The following are some ways to make sure of that:

Defy the Trope

I was watching the first season of Sleepy Hollow, when there was an episode with a playful little girl running in the forest in a white dress. A little Black girl. While I don’t recall if she were meant to symbolize good or evil so neatly, but simply featuring this young child in white, both common emblems of “innocence” felt like a deviation from the typical white or pale girl to play such a part.

Even when using typically good and white symbolism, including Black and brown people to take part in these roles is a better option that shunning them out of such roles and thus the associated symbolism. How many dark-skinned angels do you see in media? How often are characters of color associated with beings that typically represent purity and goodness?

It’s like with heroes and villains. It’s more preferable to have a diverse mix of characters who play positive roles as opposed to making all your Characters of Color villains or antagonists.

Another example of deviating from the trope can be found with George R. R. Martin’s Game of Thrones series as mentioned further up this post.

Subvert the Trope

Suppose Black represented good. Suppose Black represented life, innocence, and good things to come.

Now suppose White symbolized evil. Suppose White represented death, immorality and ominous things on the horizon.

Subverting the B&W trope is another way to handle it in your writing. If your story is one based on a non-western or even fantasy culture, it’d be easier to sell the idea that this is simply a world that doesn’t treat Black as evil but of neutral or good (and here’s how & why). Attempting to pass this off in a more westernized culture might get confusion or skepticism from readers, though.

One idea is to subtly apply the symbolism. Death always or often occurs under bright, white lighting or sky. The dark, black forest protects the character who is being pursued by evil. A Black cat brings hope and good news.

And before you say this is enforcing “reverse racism!” Nah. Just like if you felt like having all white villains, there is no engraved association with whiteness that exists today that could actually reverse society’s overarching association of white to good and black to bad.

Not All Evil

Say you do have some negative imagery in connection to darkness. First, evaluate how heavily you’re enforcing Black as bad and consider if a change would be good.

You could also avoid reinforcing the message of dark as only/always evil if you were to balance out your associations of darkness by also including positive or neutral connections to darkness.

New B&W Meanings

Black & White don’t have to mean good or evil at all, as in not the case in every society anyhow. There are other associations with the colors you could emphasize in your writing. Take some of these examples below:

Black Associated Meanings:

  • Beautiful
  • Bold
  • Calmness/Comfort
  • Elegant
  • Health/Fertility
  • Heat/Warmth
  • Hidden
  • Life
  • Magical*
  • Mysterious
  • Protection
  • Seduction
  • Strength/Power*
  • Wealth
  • Wholeness

*Additional Notes:

  • Avoid strong = Black people tropes
  • The term “Black magic” is rooted in racism. Read about this and for alternatives to “Black magic” here.
  • See here for more associations with Black

White Associated Meanings:

  • Cold
  • Confusion
  • Death
  • Distance/aloofness
  • Emptiness/Absence
  • Fairness/Balance
  • Isolation
  • Opportunity
  • Order
  • Organized
  • Peace/Calm
  • Plain
  • Protection
  • Sterile

Additional Notes:

  • The point with the White list is to provide more symbolism besides the typical good – pure – innocent therefore some of the images are less neutral and positive than that of the Black list.
  • See here for more associations with white.

Construct New Images

  • Black & White aren’t the only colors that can oppose each other.
  • What about contrasting colors? Primary colors, secondary colors, tertiary colors? Earthy colors/oceanic colors?
  • You could even use bright and dimness as a means of symbolism, as discussed in this post.

There’s so much more you can do with the Black vs. White trope. Getting away from the Black/Evil – White/Good overarching symbolism can add something fresh to your writing.

We hope this inspires you to at least be more conscious of the color symbolism in your writing. More discussion on Black & White can be found in our color symbolism tag!

–Mods Colette and Alice

Hannibal Season Three: Antipasto

Hi!

This is me beginning season three of my Hannibal re-watch. For some reason, during the time of its airing, there was a huge drop off in critical analysis for this show, after season two. I was hard pressed to find anything on the third season. (If you got a rec’, holla at me.) For some reason, most reviews stopped at the Season Two finale, and I sort of understand why, but still, there’s a whole ‘nother season after that, that none of the reviewers seemed to care about. I actually liked season three, although I do have to (somewhat shamefully) confess to blowing off the first five, or six episodes, when they aired, and having to go back to watch them later. Where here’s where I make up for that

In season three, we begin the Hannibal and Red Dragon arc of the books. The first two seasons were Bryan Fuller’s version of a pre-quel to The Red dragon, when Will and Hannibal first met. Between the season two finale, and the Red Dragon half of the third season, Fuller managed to squeeze in the primary  plot of the book, Hannibal aka Mason Verger’s Revenge.
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There will be lots of call backs to specific dialogues in the books, and some Silence of the Lamb references, throughout the entire season. But since the DeLaurentis didn’t have the rights to Silence of the Lambs, (and the show got canceled), we never got a chance to meet Fuller’s version of Clarice Starling, Well the rights to Silence of the Lambs reverts back to the DeLaurentis this August, and Fuller, who is now the showrunner for American Gods, along with the Martha DeLaurentis, has been in talks with  Mads Mikkelson, and Hugh Dancy about returning for a fourth season. Let’s keep our fingers crossed that this happens.

Hannibal Season 4 Needs to Happen: Here’s Why

At the end of season two, Hannibal took down everyone during what’s now called The Red Dinner, or for the more pretentious among us, Le Diner Rouge. Everyone who knew Hannibal, and converged on his home, left there in an ambulance. Will, Jack, Alana, Abigail… Of the four, its Abigail who dies from her injuries. The others make a comeback this season to try to recapture Hannibal.

Season three picks up with Hannibal, in black leather, riding through the streets of Paris on a motorbike, which is never how I pictured him from the first seasons. He is stalking a new victim, Roman Fell, a Library Curator from Italy, whose identity he plans to adopt as his own. There are flashbacks to the direct aftermath of The Red Dinner, we go with Hannibal to Florence, Italy, we get answers on how Bedelia and Hannibal ended up on that plane together, and about what hold he seemed to have over her.

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After leaving the House of Blood, Hannibal heads to Bedelia’s  home/office, to shower. Bedelia, who had just been called in by Jack Crawford to testify against Hannibal in preparation for his intended capture, assumes that its safe for her to drop in.  She discovers Hannibal in her shower, and in a classic pulpy, film noir, image, she holds a pistol on him when he steps out. He manages to talk her down, but really, she  could have done what no one else in the show seemed capable of doing, except she’s suffering from the same problem that WIll Graham seems to suffer from. Fascination. 

Every time Will  Graham had an opportunity to pop a cap in Hannibal’s ass, he hesitated, or wasn’t really serious about it, (to be fair, the first time it happened, Jack shot him), because there’s just something about Hannibal that made him not really want to. Bedelia does the same thing here, putting down her weapon and listening to whatever Lecter has to say. I  never completely understood why these people listened to Lecter, because I’m not impressed by the things he says. But then I’m immune to a lot of  things real-life evil people say to me, so I do struggle to understand the motivations behind why people in these narratives always listen to any  villain’s self-serving bullshit.

Bedelia, having gotten the Jedi treatment from Hannibal, flees with him to Europe. Now to be fair, one of the reasons he has such a hold over her, is just plain fear. A year or so ago, he sent a patient to her that she killed. It wasn’t entirely her fault, but Hannibal’s argument to her, was that it looked deliberate. Hannibal sent her a patient who was unstable, paranoid, and violent. When the patient (played by Zachary Quinto aka Spock) loss control, he had a seizure (it’s implied that this was something subliminally implanted in him by Hannibal, and is a direct callback to the scene in Silence of the Lambs when Hannibal makes “Multiple Miggs” eat his own tongue.) Bedelia, thinking she was helping him, tried to grab his tongue with her hand (something you are NOT supposed to do) and she killed him instead. Hannibal has been holding that death over her head for some time now.

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There’s also this: she was granted immunity by Jack Crawford in exchange for any testimony against Hannibal. Perhaps, since she believed since Jack was dead, that the  immunity he had granted wouldn’t be honored, and she’d still be held accountable. So she sort of owes Hannibal a debt for not telling on her. There’s fascination, and her own fear for her future, but there’s also plain ol’ fear of Hannibal. She is terrified of him the entire time she’s with him in Italy, but that terror doesn’t exactly spur her to leave him. (I’ll have more on this in a moment.) Perhaps there’s also the fear that he could easily track her down, and she’d never know when or where he’d be. It may be her idea of keeping her enemy close. And they are close. But I wouldn’t ever call them friends. Or even frenemies.

They are very, very close, though I don’t believe they have slept together. There are scenes of Hannibal helping her out of her clothes, and scenes where they’re half naked together, and even a scene where Hannibal washes her hair, but I never got the sense they were lovers. I think Bedelia is too terrified of Hannibal to be his lover, and Hannibal only really loves Will Graham, for which Bedelia is not a substitute. Although he greatly admires Bedelia, and is charmed by her intelligence and beauty, I believe he merely covets her, and you can see that he lacks the level of respect for her, that he’s displayed towards Will. I think it’s because of her lack of killer instinct.

Will can, and does, kill people, without hesitation when the mood takes him. There’s a deep well of darkness in him, that Hannibal has been trying to access, since he first saw Will in action waaay back in episode one, when Will took down Garrett Jacob Hobbes, without breaking a sweat. He greatly admires Will’s cool ability to kill without remorse, even with his empathy disorder, and Bedelia simply doesn’t have that in her. She lacks both Will’s levels of darkness and his, paradoxical, empathy.

She and Hannibal first travel to Paris where Hannibal stalks,  kills and eats Dr. Roman Fell, a curator for a Museum in Florence, and his wife. While staking out Dr. Fell, he encounters Anthony Dimmond who, I feel, is totally mackin’ on Hannibal, at this point. There’s no other way to see that scene except as a flirtation. I have no idea how Hannibal sees it. Anthony used to be a TA for Dr. Fell, and claims to  dislike him. Bedelia and Hannibal travel  to Florence, as Dr. Roman Fell, and his wife Lydia, where he assumes Dr. Fell’s position, as a guest lecturer on Dante, at the Library.

Dr. Fell’s name might be a reference to Bishop John Fell, who is  mentioned in The Strange Case of Dr. Jeckyl and Mr. Hyde, when one of the characters remarks that he doesn’t like Mr. Hyde. This same man is also the subject of a nursery rhyme of the same name called I Do Not Like Thee Dr. Fell. This is basically the theme of the first third of the episode as at least two people claim to dislike Dr. Roman (an anagram of Norman) Fell. (This is  an example of Fuller’s very dry literary humor.)

http://www.rhymes.org.uk/a32-i-do-not-like-thee-doctor-fell.htm

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Throughout all of this, we are treated to flashbacks of Abel Gideon (The Man Who Would Liked To Have  Been The Chesapeake Ripper) being forced to eat himself, as Hannibal slowly takes him apart, limb from limb. In an especially horrific touch, he feeds Gideon snails, acorns and wine, then feeds parts of Gideon’s body to more  snails, to make the snails  taste like Gideon, and then makes him eat those. How snails take on the flavor of whatever they eat is a recurring theme in the first three episodes. Gideon snarks at Hannibal about his future, and warns that Hannibal will soon become a hunted man. He  refers to Hannibal as  the personification of the Devil, paralleling the discussion about Dante that appears afterward.

At a party in Florence, Hannibal and Bedelia dance, and Hannibal is accosted by one of the one of the library’s professors, Professor Sogliato, who hates Dr. Fell because he is a foreigner, and who questions his knowledge of medieval Italian history. Lecter, who loves to play to a crowd whenever possible, dazzles everyone with his ability to speak fluent Italian,  by quoting Dante’s first sonnet. Dante’s first sonnet by the way is the basis of La Vita Nuova (The New Life), which is also the basis of the operetta by Patrick Cassidy, called Vide Cor Meum, which is the central musical theme in the movie Hannibal. Bedelia tries to distract Sogliato by requesting a dance, but that man has already signed his own death warrant, by questioning  Hannibal’s credentials in a public place. We learned from his reactions to  Alana and Chilton, in season two,  that Hannibal dislikes having his credentials second-guessed.

After the party, Bedelia dreams she is drowning in her bath. People being submerged in water is a recurring theme throughout the entire series. Whenever a character is feeling overwhelmed, or trapped, they often dream of being submerged in water, while unable to move, or help themselves. Both Will and Alana have had this recurring dream. In the first season, Will was struggling to hold on to his sanity, as he also suffered from encephalitis.  In season two, he struggled to hold on to his sense of who he was, as he got closer  to capturing Hannibal. Alana experienced this same sensation when she entered a romantic relationship with Hannibal and began to realize he was not who he seemed. That Bedelia is having this dream now, means  she is losing herself in Hannibal’s world, and is struggling not to be overwhelmed. Hannibal just seems to have this effect on people.

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       – Drowning in a dream is  about struggling to survive as a person, so it applies to your identity as it is dealing with relationship with other people, but also with your own internal world of instincts, body activities and needs. This is about being or feeling overwhelmed by something.

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Bedelia is in the habit of shopping at Vera Dal, and making the exact same purchase, once a week. There has been a lot of speculation about her actions in Florence, but I think the consensus that was reached, is that she knows people are looking for Lecter, and maybe her, and is trying to be found. At one point, she goes to a train station, not to escape, but to be seen on the station’s camera, just in case anyone is looking for her. I believe she’s trying, to be rescued. Notice how her Vera Dal bag is carefully turned towards the camera above her, and she makes sure to turn her face up to it. She has to be subtle about this, because she knows Hannibal is planning to eat her and if she is too blatant, in her attempts to leave,  he will kill her that much sooner. She escaped his intentions before by fleeing, but knows he won’t let her get away with that a second time.

I just want to point out that while in Florence, Bedelia’s hair, makeup, and outfits are on point. She was always a well-dressed woman, but in all her scenes, her costuming is absolutely superb.

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Lecter encounters Anthony Dimmond again, and invites him to dinner with him, and his wife. He doesn’t tell Dimmond who he’s impersonating, but invites him to one of Dr. Fell’s lectures, as well. At dinner, we find that Hannibal has been treating Bedelia to some very specific foods, much as he did with Abel Gideon. Lots of Oysters, snails, and other types of invertebrates, as Bedelia sadly jokes, that she’s trying not to eat anything with a central nervous system, because her husband wants her to taste a certain way. So yeah, they both know he was planning to kill and eat her, at some, unspecified,  point. Dimmond mentions that the Romans used to do the same thing to the animals they would eat, but  thinks Bedelia is flirting with him, perhaps suggesting a three-way. Meanwhile, Hannibal watches all this, with a great deal of amusement.

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Until this season, we’ve gotten only glimpses of Hannibal’s sense of humor. We know he has a very dry one because of the things he’s said in preceding seasons, but we rarely got a look at him actively making jokes, or reacting with happiness or glee. This season we get to see a Hannibal that is much freer in his display of emotions. He tells Bedelia that he has removed his person suit. Especially after he gets captured midway through the season, when he just has a very  “I Really Don’t Give A Fuck” attitude about the entire situation. This season Mads Mikkelsen appears to be having a great time all season.

After discovering that Hannibal is posing as Dr. Fell, Dimmond tries to blackmail Hannibal. Its an interesting discussion, as Lecter asks if  Dimmond is trying to fold him into some new shape. We never learn what their deal is because Lecter kills him in the apartment, in front of Bedelia. Bedelia was already terrified for Dimmond when he had dinner with them. When Dimmond shows up at Hannibal’s lecture, she runs back to the apartment, packs a suitcase, and attempts to escape, but Lecter and Dimmond show up before she can get out the door. This is the first time we’ve really seen Bedelia lose her carefully designed composure since making the decision to accompany Lecter to Europe. What it shows is a woman in the grip of extreme terror. Earlier, Lecter walked past her and touched her on the shoulder, when Dimmond walked into the lecture hall and that seemed to galvanize her. She is ready to run.

Lecter bashes Dimmond’s over the head as Bedelia watches. Before he breaks Dimmond’s neck,  Lecter asks if she is observing or participating, and reaches the conclusion, based on the fact that she knew what was coming, yet did nothing to prevent it, (including warning Dimmond to stay away) that what she is doing is participation. After this we see Bedelia in tears as she contemplates that this is her possible future. This is why she is not Will Graham’s substitute. She makes no pretense of her ability to handle watching Hannibal do this. In Hannibal’s mind she has no instinct to kill, despite her big talk to Will about it, later in the season. Will would not have tried to run. Will would’ve tried to kill Hannibal, or just taken it in stride, as he did when he watched Hannibal make Mason Verger cut off his own face.

Later, we find that Lecter has folded Dimmond into an interesting new shape, (just as he joked to him earlier) as he travels by train to the  Norman Cathedral in Palermo. During his trip, he folds a paper image of Michaelangelo’s Vitruvian Man into the shape of a heart, while thinking about Will Graham. ( I spoke about this in a previous post on how Will is Hannibal’s perfect man.) Will is very much in Hannibal’s thoughts after Dimmond’s death. He wonders if Will is still alive, and is in a pensive mood while on the train to Palermo.

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He places Dimmond’s body on display in the middle of the Norman Chapel over the image of death that is inscribed in the floor. He has folded Dimmond’s body into the shape of a heart, and pierced it with three upraised swords, like the Three of Swords from the tarot.

The Three of Swords represents rejection, sadness, loneliness, heartbreak, betrayal, separation and grief. Such events feel so painful because they are unexpected. However, the Three of Swords often serves as a warning sign to show when one or more of these are possible. By preparing for this difficult event, the emotional blow can be minimised or even prevented entirely.

https://www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-of-swords/three-of-swords/

I don’t know if he knows that Will is alive. I think he suspects it, but  Hannibal often does things just to see what will happen, or just to artistically express himself, and this could be one of those times. If the display is meant for Will, then it’s Hannibal’s psychotic version of an apology to him, saying that he forgives Will for hurting him, and misses him.

 

 

So, this episode was entirely from Lecter’s point of view. The next episode will be about what happened  directly after the “Diner Rouge”, from Will Graham’s  point of view.

Note:

Since the airing of American gods, I’m hoping these reviews of Hannibal helps people to look more deeply into the meanings and expressions in that American Gods. As I said, in my reviews of that show, Fuller loves to put meaning into everything you will see on the screen, and that almost  nothing you see is accidental. Every image, name, and line of dialogue is, at the very least, some type of in-joke, if not foreshadowing for some later event, or an illustration of the episode’s theme. So if you are a literary student, or history major, you will find all manner of easter eggs in his work.

What’s the 411? LinkSpam

Hey! I got some great reading material for your weekend. 

History of Dance Music

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*Actually pretty much all of the Popular musical styles originated in marginalized communities. I was inspired by someone asking a question on Tumblr on why Disco died. The answer is that Disco didn’t actually die, it simply went back underground, and morphed into something else.

http://gawker.com/frankie-knuckles-discos-revenge-and-gay-black-music-1556413442

https://thump.vice.com/en_us/article/aeqxwz/dance-pride-the-gay-origins-of-dance-music

https://djmag.com/content/special-feature-gay-dna-house-music

http://www.dazeddigital.com/music/article/35892/1/chicago-house-lgbtq-history-documentary

View story at Medium.com

https://www.univie.ac.at/Anglistik/webprojects/LiveMiss/Chicago-House/house-text.htm

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*This is about the White male backlash against Disco. There are a number of reasons why there was such a backlash, but what I’ve noticed is that its a pattern that keeps repeating itself through US history. A marginalized community creates a musical style that becomes very popular, which is then followed by an urge to contain and control that music, by the preceding generation, when its adopted by their children.

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

http://www.thedailybeast.com/of-gamers-gates-and-disco-demolition-the-roots-of-reactionary-rage

*This article chronicles how the backlash against Disco was tied into homophobia and racism:

https://muse.jhu.edu/article/224099

*This video by Sut Jhally, which lasts about an hour, discusses the misogyny of  behind so many poplar musical styles, but pays particualr attention to Rock N Roll. Warning this is NSFW:

https://thoughtmaybe.com/dreamworlds-desire-sex-and-power-in-music-videos/

 

At the Movies

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http://www.huffingtonpost.com/entry/black-panther-costume-designer_us_593ff13ee4b02402687cd1d2

<em>The Magnificent Seven</em> vs. The Historical Negationism of Westerns

https://www.theatlantic.com/entertainment/archive/2016/10/how-the-west-was-lost/502850/

http://www.hollywoodreporter.com/heat-vision/predator-oral-history-arnold-schwarzenegger-film-1014132

http://www.theroot.com/sophia-coppolas-blatant-erasure-of-black-women-in-the-b-1796386121

https://www.villagevoice.com/2016/10/13/the-men-who-were-the-thing-look-back-on-a-modern-horror-classic/

http://www.vanityfair.com/hollywood/2017/05/alien-xenomorph-actor

 

Sex and Gender

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Articles on Gender and Sexual expression will always get a read from me. I just find the topic fascinating. Apparently, so do a lot of other people.

*An article about the “Berdache” gender among American Plains Natives Cultures:

http://plainshumanities.unl.edu/encyclopedia/doc/egp.gen.004

*This one is about how  much freer men were in the past, to express affection for one another.  The most distracting thing in these photos for me was the smoking of cigars. I found the cigar smoking to be kinda weird. We hardly ever see that kind of thing now.

https://truewestmagazine.com/homos-on-the-range/

http://www.artofmanliness.com/2012/07/29/bosom-buddies-a-photo-history-of-male-affection/

*I found this great article on Gender expression in other cultures throughout history:

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http://www.teenvogue.com/story/gender-variance-around-the-world?mbid=social_facebook

 

And the obligatory Fandom Racism post:

http://beatrice-otter.dreamwidth.org/343325.html

American Gods/Hannibal Crossover

*Since the airing of American Gods, there has been a lot of speculation about the “FULLERVERSE”,  since the showrunner of both Hannibal the Series and American Gods, is one and the same, Bryan Fuller.
As a result there have been quite a few mashups of these two. Here from Tumblr Fannibal  is one of my favorites fanfictions:
Church of One
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An American Gods/Hannibal mashup for Fuller Fest. (Eventually going to post on ao3)


“The next one we’re going to is out in the sticks,” Wednesday said. “This time of year, they’ll be at their summer home in Montana. When it gets colder, they head for the warmer climes. The Florida Keys. Too bad its not winter.”

Shadow said nothing. They were going there for business, not a vacation.

“This man we are going to see…It could go either way,” Wednesday continued. “He’s a mixture of old and new; born out of brimstone, but suckled at the teat of Media. He could be an important ally.”

“If you can get him,” Shadow said.

Wednesday raised an eyebrow.

“I mean if he suckled at Media’s…teat..or whatever, will he want to turn against her? Isn’t she like his mother?”

Wednesday chuckled. “Relationships between parents and children can be fraught with conflict. I hope to agitate those feelings.”

“Stirring the shit as usual?”

“Stirring the shit,” Wednesday agreed. “Seeing what floats to the top.”

The last stretch of road was little more than a footpath through the trees. Shadow thought they would have to get out and walk at any moment, but somehow the large car kept finding a way between the trees until they finally came to a small cabin sitting in a clearing. Half a dozen dogs came from around the back, barking and rushing the car.

“Shit!” said Shadow and barely pulled his door closed in time as a husky mix jumped up and braced his front paws against the driver’s side window.

A sharp whistle from the cabin called the dogs away from the car. A dark-haired man stood on the porch, hands in pockets, watching sternly as the pack ran up the stairs to join him. However, for all his serious expression and scarred face, he didn’t look like a child of brimstone.

“You can come out,” the man on the porch said. Shadow opened his door slowly, waiting for the dogs to rush them once more, but they stayed seated at the man’s feet.

“Thanks for calling off the hounds,” Wednesday said as they mounted the porch.

The man eyed the wooden box Shadow was carrying and, still unsmiling, said. “He’s waiting for you inside.”

The cabin was small and the front door opened directly into the main room. There was a fireplace on the far wall, and although it was a warm day there was a fire roaring in it. A man sat in front of the fire, but slightly to the side, so he was half in shadow and half illuminated by the flames. The firelight played over the severe planes of the figure’s face and the knife-sharp pleat in his trousers.

“Come in,” the man said, his voice resonant with a strange accent Shadow couldn’t place. He leaned over and turned on a lamp and Shadow could see him better. The severe bone structure was still there, but with the full light on him, he was softened somewhat and  looked like a normal, if fastidious man. He was wearing navy blue slacks, dress shoes, and a smoothly-ironed electric blue shirt that lost none of its formality by having the top button left undone.

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“I brought a gift for the host.” Wednesday motioned for Shadow to hand over the tributes: a single white truffle, sealed tight in a glass jar with a cork and red wax seal, and a bottle of wine still in the wooden crate they transported it in. On the way here, they had swaddled it like a baby so the ride wouldn’t shake up the sediment.

Their host stood to receive it.

“It’s a good vintage,” he said, using his thumb to wipe dust from the label. “Just barely. Its teetering on the edge of being overblown. We should drink this soon. Maybe tonight.”

“It needs to settle,” Wednesday said. “From the trip.”

“Would you at least stay for dinner? Will and I don’t often have guests.”

“Absolutely not,” Wednesday said with a smile. Curiously, the other man did not seem to take offense to that. “Unfortunately, we are in a bit of a time crunch.”

“I heard,” their host sat and indicated a chair next to his for Wednesday to sit in. “I don’t have another chair. How rude of me. Should I have my consort bring you one?”

“I like to stand,” Shadow said.

Their host nodded deferentially then turned to Wednesday. “Are you here to ask for my help? I’ve heard you’ve been supplicating all over the country and finally you find your way to me. I don’t know why I should consider helping you. Would you even want my help? I’m so far down on your list.”

“That’s more a function of geography than lack of respect,” Wednesday said. “Of course I respect you. You are the newest old deity I know. An old soul in a glossy new package. You could play an integral part in the war that is coming, the fight for the hearts and minds of this land. Let’s face it, you could only exist here, in this country, with a 24-hour news cycle and tabloid journalists scrabbling for profundity. But they have the depth of a wading pool and the attention span of a mayfly.” Wednesdays voice got low. “They are already forgetting about you. Last week there was a man in Florida who bit his girlfriend’s tongue off while they were fucking because he wanted to know what it would taste like.”

“Chewy, I would guess.” the man looked up at Shadow with a ghost of a smile on his lips. “At least they usually are, in my experience.”  Shadow felt a chill in the overheated room.

“They are already forgetting about The Ripper,” Wednesday said.

“They will never fully forget about me,” he said. “I will be feared in nightmares and taught in classrooms–”

“In a few years you will be on internet listicles with names like ‘Ten Shocking Killers You’ve Never Heard Of.’”

Shadow saw the anger flare up in the man’s eyes, although he remained perfectly still and otherwise expressionless.

“Such meager offerings,” Wednesday said. “Not what you deserve.”

“I have all the worshipers I need,” the man said. “I have my consort who is totally devoted to me.”

“One person? I think you are losing sight of the big picture here.”

“I have a foot in both camps, Wednesday,” he said. “So I have carved out a space for Will and myself that is in neither camp.”

“You make running from the cops sound like a utopia of your choosing.”

“I don’t believe discretion and prudence are the same as cowardice.”

Wednesday leaned forward. “What about the blood sacrifice? What about the meat that is passed through the fire?”

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“I told you, my consort is very devoted,” he said. “When I want meat, I have it. Do I want a million people to have a vague idea of who they think i am or one person who knows me totally and would do anything, sacrifice anything to me and for me, up to and including his very life?” Again, the man, this Ripper, looked up at Shadow. Shadow couldn’t understand how brown eyes could look so heat-fired and yet so cold. “I took Will’s child and still he loves me. I spilled his blood and still he loves me. I stripped everything from him, and he is still with me.”

The Ripper turned back to Wednesday. “ You cannot offer me that sort of devotion if I help you, but I may lose it if you fail. So, no, I will not help you. The outcome of this war does not affect me.”

“Even if it means you become yesterday’s news?”

“Even so,” The Ripper said. “I have created an entire universe for my consort and I to rule.”

“Rule? Rule what? You only have one worshiper.”

“And one is all I need.”

With that, the Ripper stood and showed them to the door.

Will was still out on the porch when they left, seated now in a rocking chair, with the dogs clustered around him.

“He’s not going to help you, is he?” he said.

Shadow paused, but Wednesday kept walking to the car.

“No,” Shadow said. “He..uh..declined that opportunity.”

Some of the dogs raised their heads, but Will made a sound through his teeth and they settled back down.

“I’m a lot like you, you know. Or I was,” Will said. “I was just a person, not even a particularly religious person at that. I didn’t know what I was getting into. When I finally figured it out, it was too late.” Will leaned down to scratch the ear of the nearest dog. “Tell me, Shadow, have you ever looked the devil in the face?”

Remembering The Ripper’s eyes, Shadow said, “I may have.”

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“What if you liked what you saw?”

Shadow didn’t answer. He couldn’t imagine what Will must have gone through to get to this point, if he really was “just a person” to start with.

“You can still go back,” Shadow said.

“Here’s where myth and reality divide,” Will said. His eyes were the same blue as a cloudless summer sky. “No on wants me back.”

“That can’t be true.”

“Everyone is either dead or glad to see me gone,” he said. “Besides, I keep him away.” He nodded toward the cabin. “I keep the beast sated.”

“Can’t someone else do it?”

“No,” he said. He smiled, looking happy about that. “They tried and they’ve died. And here is where myth and reality converge again: I wouldn’t want to go back even if I could. I’m not bound to his underworld because I ate his food. I eat his food and live in his world because I am bound to him. Nothing else matters.”

“Are you trying to warn me or something?” Shadow asked.  He didn’t want to talk to this man any more. He could feel the fanatical devotion coming off of him in waves.

“Worship whatever gods you want, Shadow. But when you find one who worships you back? Run.”

 

*I hope she doesn’t mind my posting this here, and possibly blowing up her Tumblr stats. Please visit her blog, for lots of gifs, info, and some excellent reviews of the TV show, Hannibal.

“What if a white guy played Black Panther?: The Fake Concern of Fake Geek Guys — Stitch’s Media Mix

Whenever I talk about racebending as a concept when it comes to comics and comics-related properties, smartasses always show up to say something snarky like “what if Black Panther or some other Black hero were a white guy”. They crowd into my mentions or any comment field they can get a hold of, trying to […]

via “What if a white guy played Black Panther?: The Fake Concern of Fake Geek Guys — Stitch’s Media Mix

 

**And for further reading, the distinction is that Whitewashing is bad and Racebending is okay, and here is why:

Dear Comic Fans: We Get it. You’re racist and racebending scares you.

The Incomparable Differences between Whitewashing and Racebending

Whitewashing vs. Racebending: Yes, There is a Difference

https://moviepilot.com/p/how-whitewashing-does-and-doesnt-affect-movies/4112605

https://www.theodysseyonline.com/whitewashing-racebending

 

**And further readings on Race and Media for the weekend include a description of harassment in the Art world,  for speaking the truth, which is important to me because I’m an artist.

This ties into America’s general belief that History was all White, and that PoC played no part in European History at all. As Dr. Who said, “History has been whitewashed!” And yes, I blame Hollywood, and America’s  general historical ignorance. It’s this ignorance of the part PoC played throughout every era of human history that leads to cries of “Historical Accuracy” every time a Black person wanders into the orbit of, not just historical films, but any Fantasy films that have a foundation in European folklore.

https://hyperallergic.com/383776/why-we-need-to-start-seeing-the-classical-world-in-color/

https://www.artforum.com/news/id=68963

 

**And on Race and Fandom Wankery…Stop It! Fandom is every bit as racist as non-geek culture, but Klandom thinks it’s better at disguising it. There has also been some confusion about patterns of implicit racism vs calling individuals racist.

Thinking that you are personally being called out on your racism is basically the Racism 101 approach to this topic,  because we’re not talking about individual people, although individuals may be used as examples of what were drawing attention to.

The discussion that PoC and LGBT people are having is from the 401 Class, and seems to be over quite a few people’s heads. We’re discussing patterns of behavior across multiple platforms. We’re not talking about a handful of bigots, writing stories we don’t like, but  about hundreds of people across fandom engaging in the same behavior, and then making the exact same excuses for their behavior, over and over again.

We are supposed to be the most progressive and transformative community in pop-culture.

nyxelestia

We who…

  • Hyper-focus on white, male characters
  • Contort these male characters into heteronormativity
  • Marginalize and erase characters of color
  • Write out women and replace them with men, especially in shipping
  • Attack women for “getting in the way” of our preferred ships
  • Hold female characters to higher standards than male characters
  • Hold characters of color to higher standards than white characters
  • Latch onto any single excuse to marginalize female characters
  • Utilize any single excuse to demonize characters of color
  • Put women on pedestals and act as if we’re doing them a favor
  • Justify white and male abuses or dismiss them as “mistakes”
  • Use actual mistakes to denigrate female and non-white characters
  • Romanticize white, male pain and mental illness
  • Expect female characters to perform all the emotional labor
  • Expect characters of color to be perfectly mentally healthy forever
  • Expect everyone to subsume their own mental health for the white males’
  • Dismiss the traumas and experiences of characters of color
  • Minimize the achievements of female characters

And then we wonder why mainstream media is so regressive, especially compared to us. We all talk as if mainstream media creators are behind the times.

They’re not.

Fandom likes to imagine itself as being progressive because of all the slash – a mechanism of progress which conveniently boils down to extra attention on overwhelmingly male (and overwhelmingly white) characters. This form of progress is one which takes a minor deviation from the social norm (homosexuality), only to end up ultimately supporting or even amplifying the status quo, by virtue of over-focusing on male characters (and over-representing white ones in the process).

Strip back that gay window dressing, though, and you’ll see that at best, fandom is just as socially stagnant as mainstream media and mainstream culture – or even worse, by virtue of engaging in media that overwhelmingly sidelines several other marginalized groups in order to prop up one.

Professional women have long known the old adage, “Whatever women do they must do twice as well as men to be thought of half as good.” What no one seems to realize is that fandom is still doing exactly the same thing.

We expect female characters to be twice as good for half the acclaim, we expect characters of color to be three times as good for a third of the acclaim, and we let white, male characters be only a quarter as good for four times the acclaim.

Mainstream media is keeping up with the times and with social progress just fine, it’s us who’ve deluded ourselves into believing that we, as a community, are more progressive than we actually are.

 

 

And Danae Guriria lays it out:


**And on Hollywood Erasure. This topic is especially interesting to me becasue I know there were Black cowboys. When Slavery ended, a lot of Black people fled West, rather than North, which is how and why there are so many black people in places like Minnesota, Oklahoma, California and a huge Black population in Texas. I know there were Black Cowboys (and many many Mexican ones) but this is something most Americans don’t no about due once again to Hollywood Whitewashing. The remake of the Magnificent Seven is a lot more historically  accurate than the original.

Although the reception of that movie proves one more thing to me, that Denzel Washington can make whatever the Hell movie he wants, and no one will criticize him for historical accuracy. Apparently, he belongs in any era he wants.

 

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The LIT History Series is for the Legends, Innovators and Trailblazers that have shaped our culture.

It is widely believed that the “Lone Ranger”, the famous cowboy of the TV show and the movie, was inspired by a Black man named Bass Reeves.

Reeves was born a slave, but he escaped to the West where he eventually became a Deputy U.S. Marshal, an expert marksman, and a master of disguise with his Native American sidekick. Blacks were a huge part of the Western frontier despite what’s told to us in pop culture or taught to us in the classroom. “The kids who are learning history in our schools are not being told the truth about the way the West was,” says Jim Austin, founder of the National Multicultural Heritage Museum. “I bet you nine out of 10 people in this country think that cowboys were all white – as I did.” (x)

Cherokee Bill, born Crawford Goldsby, was a notorious outlaw whose father was a Buffalo Soldier. His reputation and career as an outlaw rivals the reputation of Billy the Kid. Bill Picket was a “famous” Black cowboy who toured the U.S., Canada, Mexico, South America, and England, and he was inducted into the National Rodeo Hall of Fame 40 years after his death. (x)

And black cowboys are still here, they do exist.

That’s a huge part of history that was also erased from the history of America. We need to bring attention to this, because it’s unfair that black people along with other people of color have been erased from this narrative.

Source

 

Why I Don’t Give A Damn About the Wonder Woman Movie

I had written an essay about this but scrapped it, because I wasn’t saying what I wanted to say, without getting sidetracked by secondary issues. I think some other writers have explained this a lot more clearly than I would have.

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Note: We are not saying that WW is a bad movie, or that the 25 year old white nerdgirls at which this film is aimed, shouldn’t enjoy it. Love the fuck outta this movie, if that’s your appealing! I understand that there are a bunch of Jewish women who are really loving the representation from Godot. I got it. Hell, we got Luke Cage, and Black Panther, so let Jewish women have their thing.

Let me make something clear though: I don’t hate the movie. Its not much different than the many, many, other action movies, starring a white woman, from Selene, to Ripley, to Sarah Connor, that I’ve thoroughly enjoyed, and even loved. I’ve also heard its a fun movie, so that’s not what this criticism is about. What I’m having a problem with is, once again, white women are putting themselves in the position of speaking for ALL women, in saying that this movie is a win for feminist representation in superhero movies, without considering intersectional feminism. Black women can count on one hand the amount of real representation we have in superhero movies, and in this movie specifically. For Latinas, and Asian American women, it’s even less. None of them are adequately represented in this movie either.

My problem is with white women’s claims about this movie, not the movie itself (which is a whole other subject.)

‘Wonder Woman’s Feminism Is Strong As Hell, But It’s Not Intersectional

As both a woman and a longtime fan of superhero movies, the success of Wonder Woman at the box office has made me happier than I can express. But as a black woman and a longtime fan of superhero movies, the actual content of Wonder Woman depressed me. Racking up $200 million worldwide on its first weekend, Wonder Woman‘s status as a superhero film starring a woman and directed by a woman has made it a feminist victory in ways having nothing to do with the all-female island of Themyscira and the inclusion of lines like “Be careful in the world of men, Diana. They do not deserve you.” But I’m sorry to say that Wonder Woman is just a white feminist victory — barely. For black feminists, it’s exactly like every other superhero movie, just with a white female lead.

 

https://www.bustle.com/p/wonder-womans-feminism-is-strong-as-hell-but-its-not-intersectional-62798

 

Continue reading “Why I Don’t Give A Damn About the Wonder Woman Movie”

American Gods Season One: A Murder of Gods

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This episode is a big fuck you to American politics, and its Ra-Ra Americana, Gun Loving, Make America Great Again, America is for White people aesthetic. That it puts a Black man right in the middle of all this is no accident. Outside of Mr. Nancy’s speech in episode three, this is one of the more politically blatant episodes this season, as Fuller usually tries to keep his social sensibilities clear, but a little more subtle.

In the opening scene, we meet the Mexican version of Jesus, as he shepherds a group of Mexican immigrants across the border. I thought this was a respectful depiction, even though I’m not a believer. Nevertheless, I know that these beliefs are important to someone, and should be treated with a certain amount of respect. One of the immigrants doesn’t know how to swim, nearly drowning while crossing a river, but is saved by Jesus. Even I had to admit to feeling a tiny bit of a thrill with the walking on water scene. That was kinda cool.

Everyone makes it to shore but they are fired upon by a group of White men wearing badges with the word Vulcan on them. This is Fuller’s open political statement of how immigrants who came here earlier like to set themselves against the immigrants who come after them. This was the primary theme of the movie Gangs of New York, with gangs of White people calling themselves Natives, fighting with the more recent Irish immigrants. The irony in this episode is that the Mexicans are the real Natives, as they were living in this country before White people got here.

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The very nature of Jesus is sacrifice, and is illustrated in this scene of him protecting his followers with his life.  Here you have two  old gods who are diametrically opposed to each other. One of them is symbolized by fire and violence, and the other by peace and water, but both of them are willing to make sacrifices. One of them does so for the benefit of others,  and the other does it only for himself. The followers of Vulcan are  older immigrants than the ones they’re killing that night, but nevertheless feel that they have staked a claim to American soil and don’t want to share it with any others, who came here later than them. They’re devoted to the idea of America, only their version bears no resemblance to what America actually is. The Mexican immigrants have a much clearer idea of what America is but their god isn’t as powerful as the one who has decided to profit from racism,  and xenophobia, and has a lot of guns. There is a reason Vulcan has to die at the end of this episode. He has been complicit in corruption the very nature of sacrifice.

Shadow and Wednesday are walking back to the motel, to retrieve their car, after their escape from the police station. Wednesday still has not noticed that Shadow is injured, as they discuss what happened at the station. Wednesday still refuses to tell Shadow what to think, insisting that Shadow make up his own mind about what’s happening. He insists that Shadow has to believe to understand,  but Shadow doesn’t want to go there. It’s just too much. Gods are actual real beings, and Wednesday is one of them!

Note that most of the events in tonight’s episode are made up of whole cloth by the writers. With the exception of some verbatim conversations and dialogue, none of the events, from Wednesday’s healing  session with Shadow, to the return of Salim, to Laura’s road trip with Sweeney, to Wednesday’s meeting with Vulcan, is in the book. Fuller’s general method, regarding adaptations, is to expand on the source material in ways that enhance and deepen the story. In the original narrative, almost the entire book is from Shadow’s point of view, but Fuller has changed things here to make the show, an ensemble piece, where we get to see different points of view.

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Shadow and Wednesday make it back to the motel, where Shadow confesses that he was visited by Laura. Wednesday claims to be surprised, but still gives no set answer to Shadow about her resurrection. He eventually pressures Shadow into leaving with him. When Wednesday looks in the rearview mirror, he can see Laura chasing after their car, and turns up the volume on the stereo, so Shadow can’t hear her. He is determined that the two of them stay far away from each other. Either he’s concerned that Lara would be a distraction from him, and he does not want to share Shadow’s attention, or he thinks that Laura is working for his enemies and trying to seduce Shadow to their side.

Notice that up to now, there has been no emphasis on weather phenomena during this episode. No transitioning from sky to sky, or shots of storm clouds, as in previous episodes. Instead we often get shots of sun and clear blue skies, along Laura’s road trip, and in Vulcan. I can’t help but think that must be on purpose. Whenever Shadow is holding his emotions in we often get shots of turbulent weather, but when he’s openly expressing what he’s feeling, the skies are often very calm and clear.

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Shadow isn’t your typical hyper masculine asshole, with a stiff upper lip. Nor is he weak. He won’t allow himself to be preyed upon, but fights only when he absolutely has to. I like that the show allows him to not only have feelings, but openly expresses them, and that this is never sided as a weakness. When he’s afraid, he’s allowed to say so. When he’s overwhelmed, we get to see it. We’ve spent the past two episodes watching him hanging on to reality by his fingernails, and that’s kind of refreshing. Shadow isn’t trying to be “Shaft of the Supernatural”, and I like that. He’s just some guy, thrown into extraordinary circumstances, trying to make sense of it all.

While we’re on the subject I want to address some concerns some people have shown about Shadow not interacting with any PoC in the show. I had the impression that Shadow’s lack of interaction with any other black people is meant to parallel his lack of interaction with normalcy, since he signed on to work with Wednesday.

Before Shadow met Wednesday he often operated in all white environments, so he  is used to navigating racial dynamics, while holding on to his sense of self. That’s not a problem for him. Shadow is always acutely aware of who he is,  and where his place is in American society.  Here,  he’s thrown into an environment,  where he’s the only regular human being. He has to renegotiate reality now, to encompass the idea that gods exist, the television will personally talk to you, dead people can walk, and trees can come to life, plus this entire ordeal has been incredibly violent towards him, as he has been attacked multiple times. So while he is very used  to navigating racial politics, navigating the world of gods is some brand new shit he’s got no experience with, and he’s barely holding onto what is real.

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Often in situations where black people are in a minority of two or three, you’ll see us touch base with each other, to reassure ourselves of our reality, to help each other emotionally navigate an all white environment. As an example of this, see the movie Get Out. Chris regularly touches base with his friend Rod, while trying to navigate an all white environment where he is questioning what’s happening to him, and his doubts are being dismissed by the White people around him, and the black people are not reliable either. Shadow is a player in two separate environments, one of them is whiteness, and the other is the supernatural. He is alone in both spheres, as there are no normal human beings for him to interact with, just as there are no PoC for him to touch base with.  I’d like to see him interact with some people of color, but Shadow doesn’t actually need to do that. He knows how to navigate the color line. He’s got that part down. It’s the world of the gods he’s having trouble with.

The only assurance he has of the reality he’s experiencing, is coming from beings he can’t trust, because none of them are human. Notice that Wednesday behaves exactly the same way about Shadow’s reactions to the supernatural as he does to all of the racial things Shadow has mentioned.  You could substitute just about any discussion they’ve had about the supernatural, with discussions that many blacks have had with whites about race. Wednesday uses deflection, derailment, defensiveness, obtuseness, and gas lighting,  to not tell Shadow what’s happening to him. Laura also does this in their brief conversation in the last episode.

Notice how the gods in Shadow’s presence all speak to one another. It’s obvious that none of them think themselves human, but absolutely none of them come right out and say to Shadow, “Hey! I’m the God of Media! Or I’m the God of Commerce! I’m the God of War!” Nobody speaks directly to him about a state of being, that they consider to be obvious. Except for Wednesday everyone makes the assumption that Shadow knows what’s going on. Its like one of those conversations where everyone knows everyone but you, and they keep referencing events you were never a part of, in  short hand, as if you had been there.

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And there are other parallels too. When Vulcan makes his remarks about the hanging,  Wednesday narcissistically makes Shadow’s pain and suffering about himself. White people will often make the pain and suffering of PoC about themselves. (Well okay, in this case, it’s actually true. Most of Shadow’s suffering is a direct consequence of knowing Wednesday, or is used to insult him.) Nevertheless,  this makes Wednesday an unreliable indicator of whether or not he is insane.

Without any normal humans to touch base with, to confirm what he’s been experiencing, Shadow begins to doubt reality, which is something that can  happen to PoC in all white environments, where there’s not another marginalized person to keep them grounded, or affirm something they just experienced. That Shadow has not interacted with any black people may be something that’s just as on purpose as his not interacting with regular humans. I think we’re supposed to see that Shadow is twice a fish out of water, navigating two, separate environments, only one of which he has mastered.

 

On the drive to their next assignment, Wednesday finally notices Shadow is bleeding profusely, and stops the car to check his wounds. It turns out that the creature that attacked Shadow at the police station is some type of forest god, named Mr. Wood, who used to be the spirit of the woods, but sacrificed his trees for greater power. Once again we have a story about a god sacrificing a part of himself for greater power, and a parallel of Vulcan’s story.  Mr. Wood  injected a tree root into Shadow’s wound when it attacked him, and Wednesday pulls it out. This scene is so touching and funny. I can’t have any idea what Wednesday is thinking in this scene, as he kisses Shadow on his forehead, and shushes him, like an indulgent uncle, but Shadow’s level of trust in him is interesting.
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Laura returns to the motel to find her car, but encounters Sweeney again. He makes all kinds of promises this evening. He tells her he knows someone who can resurrect her,  while name dropping Jesus Christ. While trying to steal an old taxi, with a toilet for a backseat, they are interrupted by Salim. I was really glad to see him again as this meeting between the three of them doesn’t happen anywhere in the book. Salim, overhearing that Sweeney is a leprechaun, asks if he knows where to find the Jinn who left him his taxi. Salim has been searching for him ever since, and Sweeny promises that he will tell Salim where to find the Jinn, if Salim drives  the three of them to Kentucky. Salim agrees, but doesn’t go to Kentucky.

 

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Meanwhile at the Vulcan weapons manufacturing plant one of the employees falls to his death in a vat of molten metal, to the incongruous tune of C’mon Get Happy, by The Partridge Family. They were like a white version of The Jackson Five, only with worse outfits. I know this because  I watched this show, religiously, when I was about 8. To say that I enjoyed it, would be too strong an expression. Most likely it was the only thing on TV in that time slot. Anyway this is a singularly horrific death, especially once you realize the guy has just been baked into the factory product: bullets.

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When Shadow and Wednesday reach Vulcan West Virginia (Yes, this is an actual place! I checked.) they find the townsfolk having a memorial for their fallen co-worker. Shadow becomes acutely aware that he is a man out-of-place, as the entire town is covered in flags, and everyone, from the smallest child to the oldest grandparent is carrying a gun. It’s so over the top ridiculous that it’s almost funny, except this is how some Americans actually believe we should all be living. I was uncomfortable on Shadow’s behalf, because this very much reminded me of Sundown Towns:

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At the memorial, which is really a celebration of the sacrifice to Vulcan, there’s a gun salute and Wednesday warns Shadow to stay in the vehicle. At first I thought he was warning Shadow to stay hidden, but unlike me, Shadow remembers what goes up, must come down, and he decides to sit it out, as Vulcan and Wednesday greet each other in the middle of the street. There’s a hailstorm of bullets, none of which ever touch either of the two gods.

On their road trip, Sweeney, Laura and Salim get to know each other. Salim figures out that Laura is dead, and takes it in stride. After all, he met a Jinn. I think Salim is very lonely, as  he never stops talking the whole time, while Sweeney snarks at the two of them from the back seat. Sweeney ending up in the back, when he insisted that Laura would be the one, is deeply hilarious to me, for some reason.

Salim proves to be a precious cinnamon roll of sweetness, while Sweeney is the exact opposite of all decency. Yes, I would love it if Laura ripped his lips off, whether he uses the “C” word or not, but we need Sweeney to be the “truth teller”. Every Bryan Fuller show has at least one of these, a character who tells the blunt-faced, unbridled truth to the other characters, no matter how much pain it causes, or who it hurts. Salim and Laura bond over their belief that their past is gone, and so are the family members  who were a part of it. When Laura has a chance to visit her family, she changes her mind. She and Salim both agree that they can, “Fuck those assholes!”

The three of them end up at the Crocodile Bar where Sweeney lost his coin. It’s like a horrible joke. A leprechaun, a zombie, and a Muslim walk into a bar…

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Wednesday and Shadow go  Vulcan’s home, where Vulcan keeps assuring Shadow that he’s safe, but Shadow ain’t buying it. He knows badness when he feels it, and insists that the two of them leave. His instincts are correct because things are not as they seem, especially when Vulcan alludes to events to which he was never a witness, like Shadow’s lynching. That was number one. Number two is when Vulcan refuses to drink the Soma that Wednesday brought as a gift, substituting his own instead. Notice that Wednesday tells Shadow that Soma is not  the drink for him. Soma is a drink only for gods.

 

Soma was a fermented juice drink which was believed to have been consumed by the Hindu gods and their ancient priests, the brahmanas, during rituals. Thought to be an elixir its consumption not only healed illness but also brought great riches. Soma is personified by the god of the same name who is also the god of sacrifices and who may, in some texts, be associated with the Moon.

Not only drunk by priests for its sacred nature it was also credited with uplifting qualities, giving the drinker a boost in energy and alertness. These effects meant that the drink has been considered divine since ancient times; a beverage which brought humans closer to the divine.

——-     http://www.ancient.eu/Soma/

Soma is also another word for “body” and may represent the physical body of humans, in a pagan parallel of the Christian Communion ritual.  Vulcan can’t drink the Soma that Wednesday brought, even though he promises to support Wednesday in his war. Vulcan  already made a deal with the new gods, who have set up this system of worship for him, in the town of the same name. He claims that every bullet fired from one of his weapons, is a sacrifice to him.

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Wednesday tasks Vulcan to make a sword for him that can kill a god, and he does so. It’s a gorgeous specimen, and I want one. (Never mind what I’d do with it! Smite my enemies! What else?) After Vulcan confesses that he betrayed Wednesday to the new gods, Wednesday, in one lightning swift move, cuts Vulcan’s  throat and tosses his body into  one of the vats. Shadow freaks the fuck out, which is an entirely appropriate response. We’ve seen Shadow unhinged from the first episode, but this is really the first time we’ve seen him totally lose his shit. It will be interesting to see how he behaves in the next two episodes.

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Wednesday expresses his complete contempt for not just Vulcan’s actions, but an entire setup that’s basically a shiny, automated, bloodless form of sacrifice, that gives nothing back to the people who worship him. Wednesday said this to Vulcan earlier, that the new gods take, and promise,  but do not give anything in return, and that the old gods at least did something for their worshipers, which makes them less corrupt.

Wednesday curses the entire enterprise by pissing into the vat. This is probably a pretty good idea of Bryan Fulelr’s sentiments, too.

Laura, Salim, and Sweeney are still heading West. They stop to see the sunrise as Salim says his morning prayers.

 

 On guns:

https://www.bustle.com/p/american-gods-statement-on-americas-gun-obsession-takes-no-prisoners-61502

http://www.refinery29.com/2017/06/157569/american-gods-vulcan-gun-culture-season-1-episode-6

http://io9.gizmodo.com/american-gods-vulcan-is-everything-that-scares-me-abou-1795761610

 

American Gods Season One: Lemon Scented You

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In tonight’s episode the New Gods and Old Gods meet for the first time in the narrative. This episode is a lot less confusing for some people in that it’s pretty straightforward. (Okay, except for that crawling tree-thing in the police station. ) Anyway since the plot was actually understandable, I can focus on the characters. Namely, the gods who are the four main players in both the book, and the series. They will be joined by others later, like Anansi and Easter, who both have  big parts to play, but for now, the major characters are Technical Boy, Media, Mr. World, Wednesday, and I’m including Shadow.

While we were not confused by the plot, Shadow spent most of the episode reeling and coping with the strangenesses around him. Til now he’s been a real trooper, handling all this batshitness like a boss, but I think this episode knocked him for a loop, because the hits just kept coming. He’s visited by his dead wife, and it’s not a dream; he’s arrested by the police after trusting Wednesday; the man who tried to lynch him apologizes for it; Marilyn Monroe is floating into his jail cell; there’s spiders running around; all the police are massacred; he gets attacked by a giant crawling tree. It’s not that weird stuff hasn’t happened before it just didn’t happen all at once. There was time to digest.

That was all a bit much for one night!

The episode isn’t frantic, or fast paced, but there is a lot to understand. There’s no plot movement but Fuller and Green are very aware that, at this point, the viewers need a breather, so some shit can get spelled out for us, we can take a minute to absorb, see where everybody is standing, and get some idea of the layout.

For four episodes now we’ve had Wednesday telling us of how frightened he is of being forgotten. Remember, the gods don’t die like humans do, there is no afterlife for them. When humans have forgotten about their existence they become nothing, which speaks to their non-corporeal existence. They come from nothing, are only what we make them out to be, and go back to nothing. And we witness this in the prologue of tonight’s episode, in a scene taken directly from the book.

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Nunyunnini (NUN – you – nini) was worshiped by the first people to cross the land bridge to what is now America. Notice the ritual where the priestess calls on the god to inhabit her and how it involves smoke. Remember what I said, in an earlier post, about smoke/and smoking being a part of many summoning rituals, and how when we’re introduced to a lot of these gods and goddesses, on the show,  there is smoking involved.

After facing many hardships, including the death of their priestess by the Buffalo god ( in the book he’s called a spirit of the land) N’s worshipers are offered a new god by the people already living there, in exchange for survival. Eventually, it is never remembered that N was worshiped at all, and  his name is forgotten. This is what Wednesday is afraid of, and this is important because he wants to be relevant again, and his war is one way  to accomplish that. The choice to make this scene animated was a deliberate choice on the part of the creators. Using live action would’ve given a modernity and immediacy to Nunyunnini’s story that would not have reflected its great age.

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Shadow walks into his motel room to see his dead wife and takes it rather well, I think. He seems more focused on her having cheated on him, than the how and why of her return. Shadow is the protagonist of the show, but he’s also our stand-in. Our Everyman character we’re meant to identify with, and through whose mind we’re meant to process the craziness happening on the show. Til now, no one has bothered to explain what’s going on to him. If you’ve read the book, you know more than Shadow, which changes the dynamic of your relationship to the character, than if you didn’t read the book.

Laura is unable to manipulate Shadow the way she has in the past. He stays focused and blunt with her, insisting she answer for having cheated on him with his best friend.. At one point she asks for cigarettes, and after smoking one, (she doesn’t exhale any smoke, which is a nice detail), she kisses Shadow, and her heart beats. Once. (Many viewers found it remarkable that cigarette machines still exist in that world, along with pay phones that still work, but Shadow seems okay with it.) When he goes back to his room you’ll notice the number 55 is prominently displayed. I’m told that if you go to page 55 of the author’s preferred version of the book, you’ll be at the exact scene in the show, where Laura and Shadow meet. Later, in his convo with Laura, Shadow tells her he is no longer her puppy. I know a bunch of people stood and applauded this moment, since they see Laura as a manipulative user, who didn’t love him. I personally don’t care what she was, as long as she’s on his side right now.

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Technoboy is having a meeting with Media, and this is one of my favorite scenes from this episode because I’m a huge Bowie fan. Gillian Anderson turns in a wonderful performance as David Bowie’s Ziggy Stardust, imparting to TB that he fucked up (when he tried to lynch Shadow), while using nothing but David Bowie song cues, which I thought was pretty clever. Mr. World is mentioned for the first time, requiring that TB apologize to Shadow for what he’s done. Even TB has a master, it seems.

Wednesday’s raven spy knocks on his door, and either snitches to him that Shadow has company, or that the motel is under surveillance. I prefer the former because it just tickles me to think that. If the raven is telling him about Laura, than Wednesday was attempting to get Shadow out of the room and away from her, which is how I initially interpreted that scene. But if the raven was telling him about the police, then he was trying to get Shadow to escape with him before they got caught. It doesn’t work anyway.  They are both promptly arrested and taken to the little podunk police station.

They’re interrogated and Wednesday puts on his forgetful old man act, while at the same time, he completely explains what’s happening, knowing the officer won’t believe him. Shadow refuses to speak at first,  but is finally convinced, by the detective questioning him, that Wednesday has some pretty huge enemies, because they were tipped off to their whereabouts by satellite surveillance photos, and GPS coordinates of their location. Of course not everything in the episode makes sense. Why don’t the police search Shadows motel room if they though he’d stolen money? They didn’t even bother to go inside his room until much later.

While Shadow and Wednesday are being detained, Sweeney finally catches up with Laura, and demands his coin back. One of the funniest moments for me is Laura throwing Sweeney across the room by popping her finger at him. She’s got some idea of her strength now, and no, Laura is not a nice person. She taunts Sweeney about the coin and he tries to choke her in the bathtub. It is then that he is interrupted by the police, who naturally think he’s insane for trying  to choke a dead woman, in a tub full of water. Why the police show up at that particular moment is still a mystery. Is that just more of Sweeney’s bad luck?

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Back at the station, Wednesday is frantic to leave before company arrives. He’s helped by a tiny friend of Compe Anansi,who unlocks his cuffs. But it’s too late. There’s the sounds of fighting and screams from the rest of the station, and Media arrives in the form of Marilyn Monroe, dressed like her character from Some Like It Hot, and while I admire and applaud Gillian Anderson’s mimicry, I have never been impressed by Marilyn. (Personally, I prefer Eartha Kitt.) I think she broke Shadow, because he nearly loses his shit at the sight of I Love Lucy literally floating into the interrogation room. Apparently, Marilyn was the last straw, after his dead wife. Shadow doesn’t regain his equilibrium for the rest of the episode.

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We finally meet Mr World who walks in on glowing floor tiles like Michael Jackson in Billie Jean. It’s a lovely entrance, (☺️) but not as impressive as Anansi’s. World and Media explain to Wednesday that they don’t want a war, and offer him a merger in the form of a missile named after him. But their charms don’t work on him or Shadow. Mr World calls TB who offers an insincere apology to Shadow for lynching him. World offers Shadow the opportunity to knock out a couple of TBs teeth, and Shadow looks appalled, but when TB disrespects Mr. Wednesday, like the little shit that he is, Mr. World gives him the business end of his tongue, then has Media knock those same teeth out with a blown kiss. Shadow gets his offering anyway. The three new gods exit the station.

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Shadow and Wednesday try to escape, but the police show up with Sweeney before they can get out the front door. They head to the back door, but before they reach it,  Shadow is stabbed in the same spot in his side as his earlier wound , by a giant tree creature, that grew out of one of the desks in the station. They escape via the back door into a thick ground fog, that I suspect was conjured, like the snow in the episode Head Full of Snow, by Shadow.

The police who are dropping off Sweeney are alarmed by the silence at the station. They abandon their suspect, and charge into the station,  guns ablazing. Sweeney escapes the patrol car and runs off into the night, determined to get his coin back. Laura has been taken to the local morgue, where she accidentally kills the nightman when she breaks out of one of the drawers. She gets dressed  but not before examining herself in a mirror. A nice little detail is Laura trying to breathe on the mirror, but there’s no moisture, or warmth, in her to create any condensation, so the mirror doesn’t fog. She walks out into the night. She and Sweeney are on another collision course.

Note:

To those of you who haven’t read the book, how is it going? Was this episode at all helpful? I mean I read the book, and have some frame of reference, and  sometimes even  I’m confused, so I can’t imagine what y’all must be thinking if you have no context . Oh, and it turns out that the tree-thing, that attacked Shadow, might have been Yggdrasil. Yggdrasil is an Ash tree that connecting the nine worlds of Norse mythology, the nine worlds consisting of the various heavens, earth, hells, and the  tributaries of knowledge referenced in The Prose Edda. If the tree thing is Yggdrasil then there’s great significance in its attack on Shadow.

 

New Gods vs. Old Gods

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Mr. World is the god of global capitalism, which is the master of media and the internet, which makes him Media’s and Technoboy’s boss. He knows everything. Just by touching Shadow, he knew everything Shadow liked, loved, hated, how many men his momma slept with, and what he looks like when he masturbates. He’s also a world class shapeshifter. Those of you who’ve read the book already know his real name. Crispin Glover is known for playing eccentric characters and he’s perfect here, smooth, polished, charming, and just a little bit unhinged..

Media and Technical Boy are the new gods everyone is worshiping without knowing they’re doing it. As media says, all she requires is time and attention. She’s the god of television, and movies, which is why she keeps showing up as iconic characters, or people who have used the media to great effect. What better person to chastise Technical Boy over his image problem than the master of his own image, David Bowie. Btw, the songs referenced in Media’s conversation with TB are: Starman, Under Pressure, Cat People, Rebel Rebel, Life on Mars, Space Oddity, and Oh, You Pretty Things.

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The New Gods are not corporeal in the same sense as the old gods. The old gods feed off more material things, like blood and flesh, and as Wednesday says, grant boons and wishes to their supplicants. The new gods give nothing back and take the energy and attention of their worshipers. Notice how the old gods are so physical. Lusty, hungry, angry, dirty, sarcastic, violent, in ways the new gods aren’t. The old gods are sensationalist creatures who are messy, emotional, love blood, sex, a good cigar, and  liquor. They enjoy interacting on the physical plane with their subjects. More human than human. Which is entirely in keeping with the eras in which they were created, when humans had more concrete, basic concerns.

The new gods are cool dispassionate creatures. Technical Boy likes to do his dirty in a virtual, bloodless realm of his own control. Media has no real face of her own, and is a consummate shapeshifter herself. They’re not physical the way the old gods are physical. They’re clean, polished, bloodless, and pretty beings, who do not require physical sacrifices, as they feed on far more intangible things, like time sacrificed to them. But, and here is what they have in common with the old ones, they are just as much grifters and con artists. Especially Media. They both promise all manner of things, power, money, sex, but the problem is they don’t actually deliver those things. The old gods, when they are sacrificed to, give back something physical in return for their worship. Bilquis gives unending orgasmic bliss, Odin will help you out of a tight spot, Anansi will tell you the truth. Even the Zorya sisters tell fortunes. Sure, it’s a con, but it’s a real one. The new gods seduce, cajole, and charm,they promise much, but largely give back nothing in exchange. Some of the other new gods like commerce, or the stock market are even less tangible. Those gods don’t exist on the physical plane at all.

Next week we get to meet one of my favorite old gods: Hephaestus, the Roman version of the god of weaponry, Vulcan.

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The Mist Vs. Nightworld: Writing the Supernatural Apocalypse II

I just recently listened to the audiobook versions of these two stories, and was as  struck by the similarities,  as much as the dissimilarities. Suffice to say, if you’re going to write a Kaiju Style Apocalypse, for maximum terror, these are the things you’re gonna need to include: monsters, death, intrepid survivors, and some human villains.

Nightworld, written by F. Paul Wilson, waaay back in 1992, (it was heavily revised in 2001) ,  was the conclusion to a seven book series that started with The Keep, and starred Wilson’s original character, Repairman Jack, (who is sort of like Jack Reacher, only he fights the supernatural.)

In Nightworld, the entire world is beset by  monsters who have emerged from sinkholes that circle the globe. This invasion is the precursor to the rise of an of Anti-God, named Rasolom, and Hell on Earth, as the sun begins rising later every day, and setting earlier every evening. Worldwide. (To someone with even the most basic understanding of Astronomy, that’s already pretty terrifying.) The endgame is an endless nighttime, where the various monsters, that are  allergic to sunlight, can roam, and eat, freely.

In The Mist, a novella written by Stephen King, and first published in 1980, in the anthology titled Dark Forces, the world is overcome by a dense fog, in which all manner of different  monsters live. It is theorized, by the characters, that scientists accidentally opened a portal to another universe, that flooded into Earth.

First, something naturally unnatural has to occur, in the sky or in the earth, like the sun setting at the wrong time everyday, fogs, mists,  tsunamis, or giant holes opening up in the ground. The precursor to all hell breaking loose (literally), for these characters, is if the natural environment has suddenly gone horribly awry.

Second, you are going to  need monsters, and not just Leviathans. You’re gonna need a variety of sizes to induce maximum terror. After all, you might be able to fight off,  or avoid, the big ones, (I say “might”) but smaller monsters can creep into human hiding places, and cause general havoc, as well as sleeplessness.This is what makes these books different from a Kaiju story. They’re more like Kaiju-Adjacent.

You must have gruesome deaths. Some of these gruesome deaths must involve the use of some kind of acid that dissolves its victims alive. In Nightworld, there is a thoroughly disgusting collection of acidic  critters that fly around eating people’s faces. In The Mist there are giant spiders with acidic webbing, as if the idea of giant spiders isn’t  quite terrifying enough,I guess.

Some of your monsters must have wings. It doesn’t particularly matter what type of wings, as long as the creatures can fly. In Nightworld they have insect wings. In The Mist bat wings seem to be the preferred method of flight.

At least some of your monsters must have tentacles. Nightworld fulfills this requirement admirably, by having lots (and lots) of creatures with tentacles, grabbing people and pulling them into small apertures. The Mist has giant tentacles just sitting outside a grocery story, not even attached to anything, apparently. They’re certainly not attached to anything aquatic as grocery stores are normally on land. The Mist pours some extra gravy on its tentacular horrors by giving them tiny mouths.

At least one of the monsters encountered has to be so fantastical, that it defies belief , like The Mist’s Leviathan, or the creature that decides to take up most of the Atlantic Ocean in Nightworld.

Speaking of giant monsters, they have to come from somewhere, and out of giant holes, whether under the ocean,  or out of the ground, as in Nightworld, are the perfect portals for entry. You must have portals. What?! Them monsters gotta get here somehow.

Okay, once you’ve got your monsters sorted into their various sizes, along with where they’re visiting  from, and their transportation, you then have to lay out who it is they’ll be eating. You must have an intrepid group of people, whose job it is to be eaten, trapped, survive, or defeat the monsters.

Intrepid – fearless, unafraid, undaunted, unflinching, unshrinking, bold, daring, gallant, audacious, adventurous, heroic, dynamic, spirited, indomitable;

I’m not sure if The Mist qualifies in that department, as the people in that story seem scared shitless, throughout the entire ordeal. Nevertheless, since all the other criteria are met, we’ll refer to them as intrepid anyway. After all, they do some brave things,  like fighting the giant spiders, and arguing with the crazy religious lady. The characters from Nightworld are actually described as brave and fearless in the book. In fact, one of the characters has a speech about it, and they all engage in some boldness, some daring, and  even some indomitable behavior.

Your intrepid group of people must consist of, at least one straight, honest, stand-up, White guy. It is a requirement that he be both honest, and White, and no substitutes will be made. He must be the kind of White guy who is strong and bold, but also compassionate, idealistic, and willing to protect the little guy. He must be able to clearly articulate why things need doing, and convey those beliefs to the other characters.

In other words, you need Captain James Tiberius Kirk.

Nightworld fulfills this quota with two…count’em!, two stand-up White guys. Although,  I feel the writer is clearly overdoing it, by having one of them be a former priest, and the other an ancient swordsman.

In accordance with the James Kirk Axiom, you will them need a pretty  blond  White woman. A redhead or possibly auburn haired woman can be used in a pinch, but she must be heterosexual, and conventionally pretty. No arm fat, tattoos, arthritis, or nervous diseases need apply. Not even allergies. She must be in perfect physical health and form, and above all else, she must remain un-traumatized by any of the preceding events attending the end of the world, like watching her family and friends be eaten.

And for Gob’s sake, no women of color! Apparently women of color, (and any women with tattoos) all get eaten first…or something. Whatever is happening though,  they never seem to make it to the being intrepid  part of the story.

There must be at least one child, preferably a boy, but a young girl will suffice. They can be White, but it is not a hard and fast rule, as it is not  required that they be genetically related to either the White man, or White woman. Sometimes it can just be some kid one of them picked up somewhere. Extra points if the child is an orphan who  just witnessed their family be eaten by the monsters, for maximum trauma. How else are you going to convey to the reader how dangerous the world  is, without the help of crying, screaming children. Also, you can always fill up some time by having the child be in extra special danger, by having them wander off alone, or be autistic, or something.

Nightworld is interesting in that there is a perfectly healthy and un-traumatized child in the story, which is turned on its head, by having the child become autistic, when he helps save the world.

Surrounding this trio are what I like to call the intrepid, but disposable people. They are the  literary equivalent of non-playable characters. Don’t get too attached to them, these characters could be eaten at any second. They should consist of at least one (if not more) men of color, preferably Black or Latino.  You can break the rules and have there be at least one  woman of color in the story, but they can’t have any lines of dialogue, unless its exclamations like “Look out!”, or “Aaaaaahhhh!” Any exposition should be left to any extra White men, that you have added,  preferably a teacher, or a scientist. Nightworld has a priest, who knows what’s happening, and can explain it to those characters who are out of the loop. David Drayton, from The Mist, is an illustrator, which kind of changes things up a bit, but he is still the narrator.

Nightworld is not a good template for casting your characters because all of its major characters are White. (People of color probably didn’t exist when it was written. I have it on good authority, that we weren’t invented, in Horror literature, until about 1999. Well, Stephen King had discovered us, but we had to be magical to get in his stories.) There should be no more than ten of these non-essential characters. More than ten and the reader will  lose track of who they should be terrified is going to die next.

And last, but not least, you must have at least one asshole. No story about the end of the world is complete without at least one human being, who is trying to kill off the other human beings, and  that you wish would hurry up and be eaten by something. By anything.

The Mist is exemplary in that it has two…Count ’em! Two assholes. Norton, the asshole neighbor of David Drayton, and Ms. Carmody, the asshole religious townie. Norton fulfills the role of the asshole who wants desperately to be in charge, but no one will listen to him, who becomes increasingly unhinged. He eventually dies by skipping out into the mist to feed himself to the monsters.

Ms Carmody fulfills the role of the asshole, who is already thoroughly unhinged, before the story even begins, and the intrepid people are now trapped with her crazy ass, and the other scared  people start thinking that human sacrifice makes sense.

Nightworld  fulfills this requirement, in exemplary fashion, by also having multiple assholes in the script. In the unrevised edition of the story, (from before 2001), it was the husband of one of the intrepid people. In the newly improved book, its some random bad guys from  previous books, who mostly don’t come into contact with our intrepid gang.

And finally, the ending can’t be all wishy-washy. (We’re looking at you Steve!) In The Mist, there really isn’t much of an end to the story. We don’t know if David Drayton and his friends ever get out of it, or how long it lasts. (Thankfully the movie corrects this problem, which is all I have to say, in that the movie definitely has an end.) Nightworld correctly follows the rules, by having the good guys win, at the last possible second. You know the rules. Disaster is only averted when the countdown reaches one.

Now my people, go forth, and kill your darlings.

Gruesomely!

 

 

 

 

 

 

 

 

 

 

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