Tag Archives: film friday

Film Friday :: movies that should have been Sapphic [Bring It On]

1 Mar

I know I’ve mentioned before that I had a pretty serious Bring It On phase. In junior high, my three best friends and I were so into it that we decided we wanted to be cheerleaders, and funnily enough I was the only one of us that decided not to actually do that once we got into high school. We also wrote (meaning we all collectively brainstormed and I actually wrote) a very stupid movie that was initially a parody-amalgam of teen movies and ended up being a parody-amalgam of every movie we’d watched in the last several years (I’ll have to tell you this whole gory story someday, it was pretty hilariously dumb), and rival cheerleading squads were one of the central plot points.

But I’m pretty sure none of them loved this movie in the way I did. In a gay way.

Of course, I didn’t realize that at the time. I first saw Bring It On when I was like ten. It was one of the first big-girl (read: PG-13) movies I rented from Blockbuster. I owned it on VHS and I owned the soundtrack on CD. I would watch it with my friends, on VHS, in what I still called “the playroom” because it had once housed my Barbie Dream House and Hot Wheels tracks and Lego table. I would listen to the soundtrack on my Walkman. I didn’t get all of the sex jokes, or I figured them out along the way but definitely missed them initially.

But while all of my friends seemed like they wanted to be Kirsten Dunst’s Torrance, or someone like her (the popular but still good-hearted typical cheerleader type), I wanted to be Eliza Dushku’s Missy. I had no illusions that I would ever be able to perform gymnastic stunts like her (I could not, and still cannot, even do a handstand) but while I was hypothetically interested in the group activity of cheerleading I also inherently came with a healthy dose of sarcasm.

And, of course, I was incredibly unbelievably gay for Eliza Dushku. I’m fairly certain she, in this movie, is my first solid distinct crush ever (except a boy I knew in kindergarten that I remember nothing about except for that I thought his last name was Glasses, which I am positive it was not). I wanted to hang out with her (I didn’t do well with Popular types, but snarky assholes with affinities for doodling on themselves were my speed) and, though I didn’t realize it, I thought she was very attractive.

I also, in retrospect, read her character very queer-coded. When Missy joins the squad, she’s the sarcastic quasi-punk girl who wants fuck-all to do with the politics of cheerleading (“I transferred from Los Angeles, your school has no gymnastics team, this is a last resort”). She quickly becomes friends with Torrance, the kind of friends who have one-on-one sleepovers (in my experience, this was something you only did with really close friends), and she’s sort of accidentally instrumental in Torrance’s learning to be a better person or whatever while Torrance gets her to be a little bit less of an asshole.

Torrance also, unfortunately, develops a crush on/relationship with Missy’s brother Cliff (Jesse Bradford) and it’s stupid and heterosexual.

But look. Missy is the alternative one. I’ve known many heterosexual alternative kids, but I’ve also known many queer alternative kids, and a disproportionate amount of cinematic queer girls are alternative. Missy also, at no point in the movie, flirts with a boy, expresses any interest in doing so, expresses any jealousy over another girl doing so, or is characterized as being too innocent to want to do so. There are a lot of background characters in this movie who don’t have visible romance plots, but Missy is the second female lead! In most high school movies, she’d be shoehorned into a relationship for optics or at least have more of a lovingly jealous opinion of Torrance’s relationship. (Hypothetically. Not literally, since it’s with her brother. Twin brother? I was never clear, since they were in the same year at school but also Cliff looks like he got held back at least two grades not for stupidity but just for refusing to put in any effort.) ALSO, Torrance ends up with Missy’s brother. Narratively the boy version of Missy. That always struck me as really odd in a way I couldn’t articulate.

I can now. It’s transference, plain and simple. It’s “well, the nice normal cute one can’t end up with the punk girl because that would be gay, but that makes narrative sense so, uh, here’s a boy who can fill the same function.” It’s like how ASOIAF fandom will cheerfully marry Sansa off to Willas Tyrell not because he’s a character they know and love (or in fact have ever met, since he’s only been mentioned thus far) but because they know they like Sansa and Margaery together but they don’t want to be gay. (Which is ridiculous. Sansa and Margaery are freaking lesbians. But I digress.)

Also, there are definitely some interactions between Torrance and Missy that I found not weird but odd at the time, and I realize now this is because they were weirdly flirtatious. Sometimes they’re just talking like buddies, but sometimes they’re still friendly but talking in ways I didn’t associate with how I talked to my friends or how other friends in things I consumed talked to each other. It was best marked by a certain funny feeling in my chest, unscientific as that is, and the way I can tell that this is a Gay Feeling is that I also got it in my chest while watching my first should-have-been-Sapphic movie, All I Wanna Do. (The fact that both of these instances involved Kirsten Dunst is actually a coincidence, given that by herself and in other roles she doesn’t particularly set off my Sapphic alarms like, say, Eliza Dushku does. [And that, in turn, is not meant to speculate about the woman’s personal life, just that she plays characters that vibe that way like who. And also I, a Sapphic person, am attracted to her.])

Imagine: it’s exactly the same movie. I mean, shit, Torrance can even still use Cliff’s shitty rock song he wrote for her in the cheerleading competition finale. But instead of her kissing him at the end, she kisses Missy. I feel like that would ring much truer.

(I can see how one might, incidentally, also frenemies-ship Torrance and Isis [Gabrielle Union], the rival cheerleading captain. I don’t, particularly, and there’s less solid evidence, which is why I didn’t really get into it. But it could be done. I just know it’s not the gay that I always subconsciously needed from this movie.)

–your fangirl heroine.

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Film Friday :: movies that should have been Sapphic [All I Wanna Do]

1 Feb

I thought I’d start up a little series, because it is Femslash February, aka the greatest month of the year that isn’t Halloween. In this I’m going to be examining movies that really should have involved some stripe of ladygay but did not, and I’m going to be starting not with anything obvious but with the 1998 teen girl comedy All I Wanna Do, because it is the first movie that I consciously remember thinking “oh, this should be gayer, why isn’t it?” about.

Haven’t heard of this movie? Well, you’re not alone. I’ve met literally no people who have unless I was the one to introduce them to it, and the only reason I knew about it was an interview with the cast of Josie and the Pussycats in the magazine Girl’s Life where Rachael Leigh Cook mentioned it offhand. But about two years after that interview, I ran into a copy of it at my local Blockbuster (RIP) and decided to rent it, and boy howdy, was I probably the only person who rented that movie at that Blockbuster for the next two years. And I rented it a lot. It’s a comedy set at an all-girl boarding school in the 1960s, and our protagonist Odie short for Odette (Gaby Sinclair) is sent there by her parents after they find out that she’s planning to – gasp – Do It with her boyfriend Dennis (Matthew Lawrence of Boy Meets World etc.) because, they rationalize, she can’t Do It with a boy at an all-girls school.

Which is exhibit A for why this movie should, in fact, have been gay. While I’m all for not everyone having to be into romance all the time, I feel like if you set something at an all-whoever institution and you don’t have at least one queer couple you’re practicing particularly egregious erasure.

She is assigned to room with possibly the biggest trolls in the school, Verena (Kirsten Dunst) and Tinka (Monica Keena), and is soon dragged into shenanigans with them and their other besties Momo (Merritt Weaver) and Tweety (Heather Matarazzo). Things get off to a rocky start – Odie resents the school but also resents Verena and Tinka’s, well, trolling – but eventually they bond over a desire to take down a perverted teacher of theirs. Schemes are hatched so Odie can, in fact, Do It, but then the girls learn that their school trustees are pushing a merger with a boys’ school and the group splits up over it. Verena (a lil baby feminist with attitude) and Momo (a chemist who aspires to go to MIT) are firmly against this, touting the advantages of their all-girl environment and saying they learn better when they’re not constantly pressured by/about, demeaned by, and overshadowed by boys; Tinka (who’s the flirt of the group), Tweety (the insecure one who needs love and approval), and Odie (a feminist, but one who’s obviously not anti-boy) think it’s not a bad idea and the others are overreacting. And thus do Verena and Momo begin a plan to take the boys’ school down when its choir comes to visit their school for a concert, dance, and general tryout.

This is where it gets wacky, but this is also another time it should have been gay. Verena ends up getting kicked out of school for Doing It with a boy she’s initially trying to con, and even at twelve when I had no idea I was queer this struck me as incredibly out of character bullshit. Verena is aggressively queer. She’s not particularly butch, but she specifically says she’s not interested in anyone (meaning boys in the context of the conversation) but then adds “not even you” to Odie. As if acknowledging the viability of this option. She’s very misandric, but with good cause. Her surprise attack of hetero is, in my opinion, the movie’s biggest mistake. And Momo! Oh, Momo. She was always my favorite character, because she was the only one who didn’t truck with boys at any point (how!!! did!!!! nobody!!! know!!!! I!!! was!!! queer!!!) but also because she’s funny and clever. Her whole thing is that she doesn’t want boys to ruin her chances of getting into MIT, and the same for other girls in their respective fields, because it’s the 60s and people are sexist. At one point she’s brewing alcohol that’s going to make the boys act like idiots in front of the adults up in their secret hideout wearing a flannel shirt and if that is not a lesbian I do not know what to tell you. I’m not saying Verena and Momo needed to be gay together, but they sure should have been gay.

Anyway, during the dance et al, Odie decides not to fuck Dennis because he’s a dumbass and more importantly  some of the boys do a very bad and invasive mean thing to Tweety so Tinka is also furious. This gets them all on the same side again and they plot to stop the boys. Unfortunately, Verena gets kicked out for the aforementioned reason and the trustees decide to go forth with the merger anyway. Oh no!

Except then Odie and the others decide to stage a protest. They go to their dorm and refuse to come out until the trustees let them have a say in the school going co-ed. The equestrian girls shoo adults back on their horses, everyone makes signs, Tinka leads a bunch of them in fighting off the security guard with the threat of lacrosse sticks, it’s a grand old time. It gets aggressively feminist at this point, though admittedly in a white 1960s way because it’s about a bunch of white girls in the 1960s, but the intentions are there. The messages are there. And in the end the girls get the decision dropped and their school stays its progressive haven.

Oh, did I mention Lynn Redgrave is the school’s headmistress, too? Rachael Leigh Cook is Abby the snooty hall monitor girl who’s galvanized by the protest and becomes radical and cool. And Vincent Kartheiser is there as Skunk, the most nonsense character in the entire thing (he’s a townie who dates Tinka, photographs roadkill, and speaks like a drunk beatnik poet).

Clearly there are other opportunities for gay in here. The fact that the headmistress wasn’t overtly a lesbian is a severe disappointment in the way that it’s a disappointment that McGonagall isn’t overtly a lesbian. Protesting is gay. Etc. There is a nice bit in the end where it’s showing text about where all the girls end up that says that Tinka eventually comes out, which is good, but even then it struck me as a very “oh, but the ones that are very gay aren’t gay because that’s Subverting Tropes” kind of move. (Have I mentioned I hate that brand of Subverting Tropes? If it looks like a queer and talks like a queer and doesn’t exclusively like men like a queer, it’s probably a queer.)

Nonetheless, it’s charming and I assume it was their 1998 way of trying to help but not being able to do much because… studios? Something? This movie wasn’t even released in theaters, nobody has seen it or heard of it, I assume it did no money anywhere ever. Drift partner got a copy for me for Christmas on DVD, but you have to go to eBay to find one of those. When I first rented it back in the day it was on VHS. But my points still stand: this movie should have been gay. Verena and Odie should have hooked up. Tinka and Momo could have hooked up because opposites attract. Tweety could be the token straight or she could hook up with Abby maybe. Any/all of these things should have happened.

And again. If twelve-year-old presumed-heterosexual me thought this, it must be true.

–your fangirl heroine.

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Film Friday :: 2017 in film

29 Dec

First off, we have already seen The Last Jedi. We saw it opening night. We’ve just been waiting to write about it because A) we’ve been crazy-busy, B) we want to go see it again to pick up more before we write, and C) we figured it would be nice to let the spoilers die down a little. But I will talk about some things about it.

So!

Best Times At The Movies This Year

4. Star Wars: The Last Jedi
So yes, we’re in the camp that quite loved this movie. And our first night crowd was great! They laughed at all the right parts. It was a stressful time that also involved tears and emotions, but it was good and important.

3. Thor: Ragnarok
Good grief. Drift partner and I loved this damn movie, as evidence by the fact that we went to see it a second time in celebration of our anniversary earlier this month. Hela (Cate Blanchett) is a brilliant villain, Valkyrie (Tessa Thompson) is the bisexual warrior goddess icon we all need, Thor (Chris Hemsworth) is a big golden retriever memelord, Bruce (Mark Ruffalo) is a good buddy who needs protected, Heimdall (Idris Elba) is our lord and savior. Etcetera.

2. Wonder Woman
This is cinematic gold. This movie was such a relief and such a celebration. Diana (Gal Gadot) is the other bisexual warrior goddess icon we need and also Etta (Lucy Davis) is absolutely everything.

1. The Fate of the Furious
Admittedly two of the best times we’ve had at the movies involved being able to drink during, but that’s a coincidence. This is a beautiful garbage movie full of a beautiful garbage family and the stupidest most wonderful nonsense ever, and I’m so glad of it.

Biggest Emotion-Grabbers

(Emotions other than intense happiness, since that was covered above.)

4. The Shape of Water
This movie, as we said last weekend, is flipping weird, but it’s beautiful and quiet and touching and just… lovely. It might not be for everyone, but it’s lovely.

3. Professor Marston and the Wonder Women
For joy but also heartwrenching…ness both because it’s inspiring to watch Wonder Woman come to be and because a movie about bisexual polyamory that’s not only committed and tender and loving and emotionally intense but real is something that never happens and should always.

2. Get Out
This emotion, on the other hand, is some cross between anxiety, dread, and disgust at the world. This is such a fascinating movie, and while I don’t feel it’s my place to get into all of the details I feel it is my place to say it’s expertly done.

1. Hidden Figures
This emotion is pride, mostly. I am proud of these real people and the people who made this and the fact that this is a story we can tell and that it’s true and that it just rocks. Also Janelle Monae, Taraji P. Henson, and Octavia Spencer are goddesses.

Some Standout Ladies

10. All of the women of Star Wars
Leia (Carrie Fisher) always. Bless you space mom, thank you for sending us your bees and love. Rey (Daisy Ridley) always. We love our daughter. Rose Tico (Kelly Marie Tran) is a beautiful delight and we also love the hell out of her. Amilyn Holdo (Laura Dern) is, surprise, also a bisexual goddess. I want more Maz (Lupita Nyong’o) in Episode IX, dammit. I’m glad Kaydel (Billie Lourd) got more to do and I dibsed her on principle.

9. Lady Bird McPherson (Saoirse Ronan, Lady Bird)
As drift partner said, Saoirse deserves her damn Oscar for this emotional and compelling performance. Period.

8. (As mentioned,) Hela and Valkyrie
These two are opposites, enemies, and wonders. Hela is the most extra character, from the horns to the cape to the necroswords to the dramatic magic, and Cate Blanchett was clearly having the time of her life. Val is a tragic babe with a happy outcome, a pegasus-riding sword-wielder, and the kind of character women rarely get to be. They both make a great movie even greater.

7. Harley Quinn (Melissa Rauch, Batman and Harley Quinn)
I’m counting it! We watched this on-demand one night and then immediately ran out to buy it because it is a perfect movie. It exists in the same continuity as Batman: The Animated Series, but it’s rated significantly more PG-13, and Harley is done perfectly. She’s a big bisexual nerd trying to make good, flirting and punching and punning and singing and literally saving the world with her love for Ivy (Paget Brewster). Especially after Suicide Squad, this movie is a breath of fresh air and so is this incarnation of our best clown princess weirdo.

6. Elizabeth Marston (Rebecca Hall, Professor Marston…)
Like, I’ve always loved Rebecca Hall, but this performance is transcendent. Not because it’s flashy or particularly weird, but because it’s heartfelt and honest and, yes, quite h-o-t. It’s the best kind of movie about queer women, which is to say one that actually comes through a queer female gaze and not a straight male one, and Rebecca Hall shines as a fully realized person with fully real desires and appeal.

5. Michelle “MJ” Jones (Zendaya Coleman, Spider-Man: Homecoming)
She is just what we need in everything, namely a snarky black girl who takes no shit from anyone but isn’t afraid to give it. She’s so deadpan and perfect and such a great addition to the universe and the story and I’m excite to see how she ends up being properly MJ.

4. Mantis (Pom Klementieff, Guardians of the Galaxy, Vol. 2)
These movies are definitely hit and miss in a lot of ways, but there are some universal truths, among them that space is very beautiful to look at and that Mantis is an adorable sincere autistic baby who needs to be protected. She’s so utterly charming and her need to be loved and be helpful is, uh, #relatable.

3. Cipher (Charlize Theron, The Fate of the Furious)
This is a garbage film, but she is the garbage queen. All of ur cars are belong to me.

2. Laura Kinney (Dafne Keen, Logan)
This kid. Just her performance in the final act of the movie nearly put this movie on the emotion-grabbing list, too, because she’s heartwrenching. She’s a little badass through the film, but she’s also so little and good and I’m proud of her and would like to make her cookies.

1. All of the women of The Lego Batman Movie
Obviously Barbara (Rosario Dawson) is the main female character in this movie, and she kicks so much ass and is just so delightful. I’m also talking about my favorite thing, the (potential) Gotham City Sirens triumvirate of Harley (Jenny Slate), Catwoman (Zoe Kravitz), and Poison Ivy (Riki Lindholme). That’s the perfect film right there. Get on it.

–your fangirl heroine.

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Film Friday :: a couple of rage-induced BvS cocktails

29 Jul

Earlier this week, drift partner and I hamsters-watched Batman V Superman. She had not done in theaters because she has better sense than I do, but it is a perfect film for hamsters. Here I present the two cocktails I invented for the occasion!

do20you20bleed20you20will

Do You Bleed? YOU WILL
1 shot tequila
1 shot creme de cassis
Cranberry ginger ale

This is red and this is ANGRY. Tequila is so angry. This drink is so angry and also bloody. Except it’s not actually angry at all. It put me in a very good mood.

where20the20fuck20is20aquaman

Where the Fuck is Aquaman?
1 shot peach schnapps
1 shot orange curacao
1 shot blue curacao
Orange juice

I was trying to make this ocean-colored. I failed miserably. It tastes pretty good, though.

–your fangirl heroine.

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Film Friday :: 5 movies that could be improved with ladygay

15 Apr

This is exactly as it sounds.  This is a list of films we enjoy very much that would be significantly improved by the addition of explicit queer behavior between ladies.  There will be more of this, because most films would be improved by this.

5. Hansel & Gretel: Witch Hunters
This, of course, implies that there is a way you could improve upon this masterpiece, but hear me out. So the movie happens as it happens, but instead of Hansel having the romance subplot with Mina, Gretel does. Gretel and Mina have the same conversation about witches, but Gretel is even more adamant that there are no good witches. More screentime is spent on her coming around to Mina’s point of view, and when Hansel gets dragged into the woods Gretel is the one who finds Mina there. They have sex not in the gross pond because ew no and from there the movie continues as normal. Maybe Mina doesn’t die, I don’t know. Maybe Hansel and Ben have a thing. Also probably the evil witches are lesbians too? All witches are lesbians now, except Hansel and Gretel’s mother I guess.  Or she still liked girls but reproduced for… plot? I KNOW that’s why Famke Janssen was so mad, because they were lovers and then the mother left her. There I fixed it.

4. Maleficent
Alright, this is gonna get a little weird, I’m sorry. So in this movie Maleficent’s character arc is centered around her hatred of her old friend turned enemy Stefan and his daughter Aurora. She spends Aurora’s entire life hanging around in the background, occasionally keeping her from falling to her death over cliffs, and then brings her to her fairy kingdom once Aurora is a teenager. The point of the film is that Maleficent overcomes her unjust hatred of this girl and remembers what it’s like to love again. The novelization does explicitly say she feels “a mother’s love” for Aurora but, um, I’m sorry, I know it’s a little creepy but they’re a much more convincing love story than Philip and Aurora. The movie literally ends in a coronation scene where Aurora becomes queen of both the fairy and human kingdoms and it looks like a goddamn wedding. They also sell dolls from this scene in a set. I’m just saying.

3. Miss Congeniality
This was my favorite movie when I was ten.  I thought it was amazing and hilarious.  I understand now that it is both of those things, but would be even better if it subverted the “sexy banter heteros” business. Sure!  Miss New York, whatever her name was I forget, was gay.  Why not make everyone?  This is one of my less favorite things, the “butch girl exists but she definitely isn’t gay because that would be a stereotype, butch girls can be hetero too” thing.  Yes, they can, but when there’s not enough gay in general, there’s nothing wrong with tomboys being gay, and this movie would be great because you’d have the tomboy lesbian and the chirpy happy femme lesbian.  And they’d fall in much more convincing love and lessons would be learned and probably at the end when Grace was crowned Miss Congeniality there would be kissing. Also I seem to recall the sequel was subpar, but gave her a female partner, so that was another opportunity wasted. (This would get rid of Benjamin Bratt, whose character is kind of the worst.)

2. Bring It On
I also loved this movie a lot as a young child, in no small part because I was in love with Eliza Dushku, but upon reflection I see that a key opportunity was wasted.  Eliza Dushku’s character Missy was never in a relationship and I don’t remember if her being alt actually led to her being called a lesbian but I think I always intuited that that was possible even before I thought to intuit that? And wouldn’t that be great: disheartened Kirsten Dunst, whose name being Torrance when their mascot was the Toros still angers me, anyway, breaks up with her boyfriend the douche and instead of awkwardly flirting while brushing teeth with some dude brother, she could get into bed with her new friend Missy and oops!  Kissing!  Character growth!  Learning!  Also, the mean supporting cheerleaders would be girlfriends (were they not already? I’m pretty sure they were) and the small one could be dating the one with an overly large vocabulary.  And then sexy flirting rivalry with the Clovers!  Even though they would all be quite gay together, too.  A lot of weird antagonistic banter eventually resolved with “okay let’s all be gay best friends.”

1. Pitch Perfect
So, funny story, I hate a good 95% of male love interests, but I actually like Jesse pretty well. I’ve seen people saying he pushes Beca into a relationship, which I don’t agree with? But I guess it’s a matter of opinion. Anyway, I find him charming, but he also didn’t need to be there in the first movie and he really didn’t need to be there in the second. By movie #2, it became obvious that the studio was like “fucking shit this is too gay QUICK THROW IN THE BOY SEE WE’RE NOT GAY please like our movie middle America and international markets.” Because if you watch the first movie, Chloe’s interactions with Beca are actually way more come-on than Jesse’s. The excuse is that she’s courting her for the Bellas, but c’mon. (Chloe is also clearly whipped for Aubrey, and if we had gone the gay route, it could’ve been a great scene where Chloe tells her off for being a controlling asshole and says they’re broken up. But no.) The second one did it all over again, with Hailee Steinfeld’s character Emily, who is at various turns probably crushing on Beca and Beca and Chloe’s surrogate daughter. This ending song, there is straight up a point where they stare into each others’ eyes. The whole movie would make way more sense if it were about how how Chloe got jealous because Beca had her internship and wasn’t paying attention to her or the Bellas, and meanwhile tiny Emily transfers her idolization of the Bellas onto Beca. (I like Benji too, but seriously, that was an unnecessary romantic subplot.) Oh, and Beca’s probably canonically bi, from the way she was acting toward Kommissar. I love these movies, but they are teetering right into queerbaiting and they gotta cut that shit out. It’s an easy fix in the third movie.

–your fangirl heroines.

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Film Friday :: and it’s time to talk about Fury Road a little.

15 Jan

Even though the Oscars are largely bigoted bullshit, I’m still really excited about Mad Max: Fury Road getting the second-largest amount of nominations.  I’m really excited about the fact that people took this movie seriously and the fact that people are continuing, apparently, to take it seriously.

And in a sad way, that’s almost funny: in most contexts, a movie about a woman helping other women escape sex slavery would at least look like “Oscar bait.”  So serious, so dark.  But the fact that this was a movie about a woman helping other women escape sex slavery that contained highly saturated colors and flaming car chases made it look like, well, an action movie.  It is an action movie.  And it’s a lot of fun, even with the heavy themes.  But part of the fun comes from the fact that it’s a triumphant movie that never shies away from what it is and never tries to condescend and while there may be a cartoonish element to some of the situations and characters, it’s one of the most relatable films I’ve seen in years.  Not in the sense of I’ve experienced analogous situations, but in the sense of

we are not things.

This is the film’s message, ultimately.  It’s about Furiosa (Charlize Theron), taken from her matriarchal, powerful tribe of women who nurture and fight back and brought unwillingly into a world defined by, as so many others have said before, “toxic masculinity,” by the deification of false machismo that rather literally kills, brought into this world and seen to have risen up through it in spite of her femaleness, her disability (I know I’ve geeked out over Furiosa’s robot arm before, because robot arms are seriously cool, but let’s also not forget that it makes her badass on a whole other level), who’s now using her position to do something important, “steal away” these damaged young girls living a life so far from their choosing.  And – herm, unhh – Max (Tom Hardy) is along for the ride, because toxic masculinity is also dangerous to men.

It’s about The Splendid Angharad (Rosie Huntington-Whiteley), favored among Immortan Joe’s human menagerie, who’s heavy with child and bears the most obvious physical marks of her suffering (the spiderwebby scars on her face), who inspires a revolution and preaches agency to the other sister-wives, who may not see the dream realized but is nonetheless pivotal to its realization.

It’s about Capable (Riley Keough), who fixes and thinks and helps, who offers a shoulder to lean on and calm, thoughtful words, who holds her sisters together even when they’re breaking and she wants nothing more who preaches Angharad’s words devotedly, who believes in the ultimate potential for goodness in even someone she oughtn’t to trust.

(That is to say Nux (Nicholas Hoult) who also exists because toxic masculinity is also dangerous to men and achieves the glory he’s been chasing because he casts off the pursuit of it.)

It’s about Toast the Knowing (Zoe Kravitz), quiet and solemn, who hardly cracks a smile, who can handle a gun and drive a car and fight to survive this hellish world, who’s been worn down but refuses to let herself diminish, who sticks close to Furiosa and does what’s needed of her to achieve the best thing for all of them.

It’s about Cheedo the Fragile (Courtney Eaton), young and pure and showing the clearest signs of psychological damage, who runs and cries and hides and clings (to one of her sister wives especially, but more to that in a moment), who seems willing to give up and in the end plays her weakness as a strength, who represents an innocence lost, who represents a tragedy that refuses to end unhappily.

It’s about the Dag (Abbey Lee), wild-eyed and a bit off, hence the nickname, but intuitive and gutsy and even abrasive when she needs to be, who lets Cheedo cling to her and clings in equal measure, who provides strength to Cheedo and to the others but to Cheedo the very most (theirs, one of the most softly intimate subtle physical relationships between women in film that I can recall in recent years), who carries something horrible inside her but learns how to grow something more beautiful, too.

(It’s about the interesting thing I realized, that one of Charlize Theron’s biggest critical successes was for playing a rape victim, that she and every single one of the wives are at least to some extent fashion models as well as being actresses, several of them even being Victoria’s Secret models, which is to say models of a type notorious for being under the male gaze, that Rosie Huntington-Whiteley and Zoe Kravitz have both taken part in male fantasy film franchises that did them wrong, that hell, Riley Keough was in Magic Mike and it did her character no favors, that hell, Tom Hardy and Nicholas Hoult have even participated in male fantasy film franchises.  Casting them all was either intentional or a very happy accidental coincidence.)

It’s about all of these women and their couple of decent men and the way they intertwine.  It’s about the way that Immortan Joe looks like a cartoon villain, but how many women can say they’ve been made at some point in their lives to feel at least some part a thing like he tried to make his wives feel?  It’s about the way that important stories don’t have to end badly or be cast in grimdark greys or revel in horrors, but how they can be triumphant and uplifting and, yes, fun and sometimes a bit ridiculous, but in the end reach countless people in a way that other stories cannot.

–your fangirl heroine.

say20it20to20my20face

Film Friday :: :: in-depth Halloween 2014 cosplay adventures, part three.

7 Nov

I should mention that there were two others in our group on Halloween proper that my mom and I had little to no part in assembling.  My drift partner used her Sif costume (there are pictures of Sif and Lorelei scrapping, which were hilarious) and then my everything friend was a steampunk version of Ramona Flowers (she is planning on refining this for Emerald City in the spring, so I’ll show you then).

The final costume that we did have a part in was my Margaery friend’s, and this year she wanted to be… Elsa from Frozen.  One of these things is not like the other, but Elsa is royalty, and Elsa could be a frost giant baby, and Elsa could be the winter that is coming?  So we made it work.

So when we went pattern shopping this summer, we first looked at the sanctioned Elsa dress patterns.  They just… were not what my friend wanted.  They were child-friendly versions of the costumes accordingly sized up, and my friend wanted the va-va-voom “Let it Go” Elsa, with the slit up the side and all that fabulous whatnot.  So we decided to improvise, sort of.  Originally, this was a pattern for a Kate Middleton-esque wedding dress; Mom changed the neckline and added a slit, put boning in the dress top, and more or less made up a pattern for the cape.  The pattern also had the top over the bodice, not under, so that required some doing.  And when the dress was made in this fabric, voila.  She also corset-laced the back of the dress.

A note on the fabric: the solid fabric that was used for the dress was apparently just fine to work with, but the sheer stuff, which I forget the name of but I’m pretty sure Amanda made something out of it on this last season of Project Runway and she complained about it, was apparently horrible.  It had no give to it at all, so once my friend had the dress on she basically couldn’t lift her arms at all; it frayed so horribly that my mother and I had to go over the edges with iridescent blue nail polish or fray-guard just so it wouldn’t fall apart.  But it worked.

We take no credit for the beading, though.  That was all my friend’s doing herself.  And deserves to be shown off.

–your fangirl heroine.

don't be silly

Film Friday :: the essential me filmography

24 Oct

So I realized last night that while there are a lot of key elements to understanding “the essential me” the medium that I rely on most heavily for casual referencing purposes is film.  These are not necessarily my favorite movies (though lots of those are on this list) but they’re the movies that I (and my friendgroup) would be most likely to reference in casual conversation.  Please don’t judge me for this list, incidentally.  I judge myself enough for everyone as far as some of it is concerned.

The majority of these date back to high school/early college, because that was when our primary cultural reference was apparently created and cemented.  There are inside jokes and horrible “remember when we watched the thing” stories.

  1. The Rocky Horror Picture Show
  2. The Room
  3. Sleepaway Camp
  4. Grindhouse
  5. Repo! The Genetic Opera
  6. Almost Famous
  7. Kill Bill
  8. The Phantom of the Opera
  9. Serenity
  10. and… okay, so Spring Awakening is not a movie (and gods willing never will be) but I can’t think of anything else more appropriate to round out this list, all considered.

–your fangirl heroine.

you don't say

Film Friday :: 2013 in film (5 award-type movies, 5 action-type movies)

27 Dec

I’ve come to the conclusion that the big trends with what I see are award-buzzy sorts of things and action-related sorts of things; of course, there are others, but those are the big categories.  So here is me ranking some of those that I saw this year.

Award-type movies
I had feelings about all of these to an extent and they either deserve nominations for some things or deserved them.  Linking to past discussions thereof.

  1. Beasts of the Southern Wild
  2. Much Ado About Nothing
  3. Short Term 12
  4. 12 Years a Slave
  5. Gravity

Plus bonus for all of these movies: two of the five feature nonwhite protagonists and four of the five feature female protagonists, and all of these handle such things with nuance, sympathy, and respect.  That’s awesome.  Beasts of the Southern Wild made me way more emotional than most films have the ability to and managed to feel both realistic and magical.  12 Years a Slave made me emotional, too, albeit in a different and admittedly more uncomfortable but necessarily so way.  Gravity is almost entirely comprised of Sandra Bullock, by herself, which is amazing (I can’t actually think of another film that does that with a female character), and Short Term 12, in addition to handling the subjects of foster care and familial abuse with care and respect and featuring a romantic relationship that was acknowledged as being flawed but also not destroyed just for the sake of narrative angst, featured a realistic and multilayered relationship between two female characters (Brie Larson and Kaitlyn Dever, respectively).  And, well, the last of them is Joss Whedon doing Shakespeare, which is just greatness.

Action-type movies
Same goes.

  1. Pacific Rim
  2. Thor: The Dark World
  3. Iron Man 3
  4. Hansel and Gretel: Witch Hunters
  5. Machete Kills

Yeah, okay, all of these have flaws.  I could have done without Machete Kills‘ multiple trips to the fridge, and Hansel and Gretel was cheesy as hell (but it made me smile, and Gemma Arterton was there, so it can stay).  The MCU (and really most all movies) could stand to up its diversity quota for sure.  But the thing that all of these movies have in common is that they made me smile.  I saw a lot of movies this year that did not make me smile in the slightest, so this is something special.  But again: two of these featuring nonwhite protagonists, and between two and four of them featuring female protagonists (depending on if you class the MCU ladies as main or supporting characters, I guess, though I’d tend toward the former). 

Another thing these films all have in common is that each one features ladies kicking ass prominently.  Rinko Kikuchi’s Mako is, bar none, the hero of Pacific Rim and a wonderful badass with a classic character arc refreshingly applied to a character who’s not a white guy; the charming white guy of the film, Charlie Hunnam’s Raleigh, could have gone down a journey of manpain, but instead dealt with it and proceeded to cheerlead like nothing for her (without their relationship ever being forced down an explicitly romantic route, although they were totally in love).  Oh, and her relationship with her non-blood father (Idris Elba’s Stacker) was also beautiful and much more heartwrenching than something in a movie about robots punching sea aliens usually would be.  Thor 2 gave moments in the sun to all of its ladies (Natalie Portman’s Jane, Kat Dennings’ Darcy, Jaimie Alexander’s Sif, and Rene Russo’s Frigga) and valued their respective strengths equally, Iron Man 3 featured both an excellent morally gray lady scientist (Rebecca Hall’s Maya — also, I’m tentatively mentioning a belatedly started Maya Hansen Lives campaign, because of reasons) and an excellent CEO temporarily gone physical fighter emerging from the flames (Gwyneth Paltrow’s Pepper).

The other two movies on this list were decidedly and more openly silly, and I do not deny this at all.  But, again, they made me smile.  And that counts for something.

–your fangirl heroine.

smirky face

Film Friday :: 5 of my film ladies

8 Mar

These are all ladies who are on that infamous still-not-made chart of all of my ladies.  But I think I should maybe make a list of a few of them, because it’s International Women’s Day and also I don’t think I’ve talked enough about most of them.

5. Shosanna Dreyfus (Melanie Laurent, Inglorious Basterds)
This list is in no real order, but she gets listed first because I’ve already talked about this.  She is a beautiful goddess of vengeance and fire and intelligence and many other things.

4. Dana Polk (Kristen Connolly, The Cabin in the Woods)
I kind of latched onto Dana by default (I mean, I adore Jules too, but not in the same way; her fake archetype isn’t me, and her proposed real persona isn’t really me either).  But she is a sweet, good, flawed person, and she is worth rooting for.  (She is also beautiful in a blue-eyed ginger Tully kind of way that I really love.)  She is imperfect and the situation she is in forces her to act imperfectly, but I love her imperfections because despite the situation’s ridiculousness, they feel fairly reasonable.

3. Magdalene “Blind Mag” DeFoe (Sarah Brightman, Repo! The Genetic Opera)
To this day, I still don’t know why I dibsed Mag as my own entirely.   A lot of the boxes of mine that she ticks are ones that Shilo could have ticked too, really (I just really love caged bird types that I want to hug okay).  I think it might have initially been the corsets that did me in.  It sure wasn’t the vocal range or something (on days when I can sing, which are few and far between, Shilo’s stuff is the closest I can get and even only parts of that, though I do pride myself on being able to do all but the hologram Marni opera parts of “Chase the Morning” by myself and accurately).  It might have been the lack of romantic subplot, too.  But whatever it is, I go with it.

2. Dr. Dakota Block (Marley Shelton, Grindhouse: Planet Terror)
Actually, I’ve talked about this too.  I will go and add that in addition to all that, I love how completely precise and detail-oriented she can be, and I love her drippy eyeliner, and I love her syringe holster/gun thing even though I normally loathe needles.

1. Kim Pine (Alison Pill, Scott Pilgrim Vs. the World)
I can’t believe I’ve never really gotten into my Kim Pine feelings before.  I’ve mentioned that I love her, of course, but I’ve never given all of the whys in one coherent place.  So, short list: yes, Gothic Lolita, yes, ginger with a cute nose, yes, snark snark snark.  Yes, I love her lack of romantic plotline (I mean, she’s still semi-defined by her former relationship with Scott, but it’s not present tense, and she instead gets to live in a lovely world of being platonic buddies with a bunch of guys and also to some extent Ramona and occasionally Knives and probably Julie or something).  I love that she’s the drummer because I’ve had a drummer thing since Josie and the Pussycats and my weird Mel affection.  I am repeating how much I love her snark snark snark.

–your fangirl heroine.

overly dramatic reaction to dramatic situation