#Joan the disservice cat

[morganbritton132]

2:15AM: Eddie fell asleep mid-live streaming from bed.

4:34AM: Steve stirs. He blinks awake, looks at the ceiling and then at Eddie

4:35AM: Steve turns towards Eddie and the camera, and presses two fingers against Eddie’s neck to feel his pulse. It’s there.

4:36AM: Steve pulls the blanket up around Eddie and snuggles up to him. He tucks his head into the side of Eddie’s neck and sighs.

4:41AM: Steve tilts his head up and whispers in his ear, “Eddie….Eddie, wake up.”

4:41AM: Eddie soft snoring chokes off with a, “Hmh?”

4:42AM: Steve says, “I had a dream you were muppet…you were in Animal’s band.”

4:44AM: “That’s nice,” Eddie replies. Steve says, “Yeah, it was.”

4:46AM: They’re both snoring again.

5:03AM: A tiny dark shadow with a lightning bolt tag on its collar jumps up on the nightstand and bats the phone onto the floor.

[tcm]

Reframing Films of the Past: An Interview with TCM Writers

All month long in March, TCM will be taking a look at a number of beloved classic films that have stood the test of time, but when viewed by contemporary standards, certain aspects of these films are troubling and problematic. During TCM’s Reframed: Classics in the Rearview Mirror programming, all five TCM hosts will appear on the network to discuss these issues, their historical and cultural context and how we can keep the legacy of great films alive for future generations.

Also joining in on this conversation are four TCM writers who were open enough to share their thoughts on their love of classic movies and watching troubling images of the past. Special thanks to Theresa Brown, Constance Cherise, Susan King and Kim Luperi for taking part in this conversation. Continue the conversation over on TCM’s Twitter.

What do you say to people who don’t like classics because they’re racist and sexist? 

KL: There are positive representations in classic Hollywood that I think would blow some peoples’ minds. I always love introducing people to new titles that challenge expectations. 

That said, anyone who broadly slaps a sexist or racist label on a large part of the medium’s history does a disservice to cinema and themselves. That mindset keeps them ignorant not only of some excellent movies and groundbreaking innovation but history itself. 

I think people need to remember that movies are a product of their time and they can reflect the society they were made into a variety of degrees - good, bad, politically, culturally, socially. That’s not to excuse racism or sexism; it needs to be recognized and called out as such for us to contend with it today. But it’s important for people who say they don’t like classics for those reasons to understand the historical context. In particular, we need to acknowledge that society has evolved - and what was deemed socially acceptable at times has, too, even if sexism and racism are always wrong - and we are applying a modern lens to these films that come with the benefit of decades worth of activism, growth and education.

SK: I totally agree K.L. For years I have been encouraging people to watch vintage movies who keep proclaiming they don’t like black-and-white films or silent films. For every Birth of a Nation (1915) there are beautiful dramas, wonderful comedies and delicious mysteries and film noirs. 

 These films that have racist and sexist elements shouldn’t be collectively swept under the rug, because as K.L. stated they shine a light on what society was like – both good and bad. 

CC: First off, fellow writers may I say, I think your work is amazing. I'm continually learning from the talent that is here, and I am humbled to be a part of this particular company. Similar to the prior answers, for every racist/sexist film the opposite exists. Personally, classic musicals attracted me due to their visual assault, creativity and their unmistakable triple-threat performances. While we cannot ignore racist stereotypes and sexism, there are films that simply are "fantasies of art." There is also a review of evolution. In 20 years, what we now deem as acceptable behavior/conversation will be thought of as outdated and will also require being put into "historical context."  What we collectively said/thought/did 20 years ago, we are currently either re-adjusting or reckoning with now, and that is a truth of life that will never change. We will always evolve.

TB: I would say to them they should consider the times the movie was made in. It was a whole different mindset back then. 

Are there movies that you love but are hesitant to recommend to others because of problematic elements in them? If so, which movies? 

TB: Yes, there are movies I’m hesitant to recommend. The big one, off the top of my head, would be Gone With the Wind (1939). The whole slavery thing is a bit of a sticky wicket for people, especially Black folks. Me, I love the movie. It is truly a monumental feat of filmmaking for 1939. I’m not saying I’m happy with the depiction of African Americans in that film. I recognize the issues. But when I look at a classic film, I suppose I find I have to compartmentalize things. I tend to gravitate on the humanity of a character I can relate to. 

KL: Synthetic Sin (1929), a long thought lost film, was found in the 2010s, and I saw it at Cinecon a few years ago. As a Colleen Moore fan, I thoroughly enjoyed most of it, but it contains a scene of her performing in blackface that doesn’t add anything to the plot. That decision brings the movie down in my memory, which is why I have trouble recommending it.

Also Smarty (1934), starring Warren William and Joan Blondell, is another movie I don’t recommend because it’s basically about spousal abuse played for comedy, and it did not age well for that reason.

SK: Breakfast at Tiffany’s (1961): Audrey Hepburn is my favorite actress and I love her Oscar-nominated performance as Holly. I adore Orangy as Cat, as well as George Peppard and Buddy Ebsen, who is wonderfully endearing. And of course, “Moon River” makes me cry whenever I hear it. But then I cringe and am practically nauseous every time Mickey Rooney pops up on screen with his disgusting stereotypical performance as Holly’s Japanese landlord Mr. Yunioshi. What was director Blake Edwards thinking casting him in this part? Perhaps because he’s such a caricature no Japanese actor wanted to play him, so he cast Rooney with whom he had worked within the 1950s. 

CC: I cannot necessarily state that I am in "love," but, a film that comes to mind would be Anna and the King of Siam (1946). It is an absolutely beautiful visual film. However, Rex Harrison as King Mongkut requires some explanation. 

Holiday Inn (1942), and the Abraham number...why??? Might I also add, there were many jaw-dropping, racist cartoons.

How did you learn to deal with the negative images of the past? 

KL: I often look at it as a learning experience. Negative images can provoke much-needed conversation (internally or with others) and for me, they often prompt my education in an area that I wasn’t well versed in. For instance, blackface is featured in some classic films, and its history is something I never knew much about. That said, seeing its use in movies prompted me to do some research, which led me first to TCM’s short documentary about blackface and Hollywood. I love how TCM strives to provide context and seeks to educate viewers on uncomfortable, contentious subjects so we can appreciate classic films while still acknowledging and understanding the history and the harmful stereotypes some perpetuated.

SK: It’s also been a learning experience for me. Though I started watching movies as a little girl in the late 1950s, thanks to TCM and Warner Archive I realized that a lot of films were taken out of circulation because of racist elements. TCM has not only screened a lot of these films but they have accompanied the movies with conversations exploring the stereotypes in the films.  

CC: As a Black woman, negative images of the past continue to be a lesson on how Blacks, as well as other minorities, were seen (and in some cases still are seen) through an accepted mainstream American lens. On one hand, it's true, during the depiction of these films the majority of Black Americans were truly relegated to servant roles, so it stands to reason that depictions of Black America would be within the same vein. What is triggering to me, are demeaning roles, and the constant exaggeration of the slow-minded stereotype, blackface. When you look at the glass ceiling that minority performers faced from those in power, the need for suppression and domination is transparent because art can be a powerful agent of change. I dealt with the negative images of the past by knowing and understanding that the depiction being given to me was someone else's narrative, of who they thought I was, not who I actually am.

TB: I’m not sure HOW I learned to deal with negative images. Again, I think it might go back to me compartmentalizing.

I don’t know if this is right or wrong…but I’ve always found myself identifying with the leads and their struggles. As a human being, I can certainly identify with losing a romantic partner, money troubles, losing a job…no matter the ethnicity.

In what ways have we evolved from the movies of the classic era?

KL: I think we are more socially and culturally conscious now when it comes to stories, diversity and representation on screen and behind the scenes, which is a step forward. That said, while there's been growth, there's still much work to be done.

SK: I think this year’s crop of awards contenders show how things have evolved with Da 5 Bloods, Soul, One Night in Miami, Minari, Ma Rainey’s Black Bottom, The United States Vs. Billie Holiday, Judas and the Black Messiah and MLK/FBI. 

But we still have a long way to go. I’d love to see more Native American representation in feature films; more Asian-American and Latino stories. 

CC: There are minority artists, writers, producers, directors, actors with the increasing capacity to create through their own authentic voice, thereby affecting the world, and a measurable amount of them are women! Generally speaking, filmmakers (usually male) have held the voice of the minority narrative as well as the female narrative. I agree with both writers above in the thought that it is progress, and I also agree, more stories of diversified races are needed. 

TB: One important way we've evolved from the movies made in the classic era by being more inclusive in casting. 

Are there any deal-breakers for you when watching a movie, regardless of the era, that make it hard to watch? 

KL: Physical violence in romantic relationships that's played as comedy is pretty much a dealbreaker for me. I mentioned above that I don't recommend Smarty (1934) to people, because when I finally watched it recently, it. was. tough. The way their abuse was painted as part of their relationship just didn’t sit well with me.

SK: Extreme racist elements and just as KL states physical violence. 

Regarding extreme racist elements, D.W. Griffith’s Birth of a Nation (1915) is just too horrific to watch. I was sickened when I saw it when I was in grad school at USC 44 years ago and it’s only gotten worse. And then there’s also Wonder Bar (1934), the pre-code Al Jolson movie that features the Busby Berkeley black minstrel number “Goin’ to Heaven on a Mule.” Disgusting.

I also agree with KL about physical violence in comedies and even dramas. I recently revisited Private Lives (1931) with Norma Shearer and Robert Montgomery based on Noel Coward’s hit play. I have fond memories of seeing Maggie Smith in person in the play when I was 20 in the play and less than fond memories of watching Joan Collins destroying Coward’s bon mots.  

But watching the movie again, you realized just how physically violent Amanda and Elyot’s relationship is-they are always talking about committing physical violence-”we were like two violent acids bubbling about in a nasty little matrimonial battle”; “certain women should be struck regularly, like gongs”-or constantly screaming and throwing things.  

There is nothing funny or romantic about this.

KL: I try to put Birth of a Nation out of my mind, but S.K. did remind me of it again, and movies featuring extreme racism at their core like that are also dealbreakers; I totally agree with her assessment. I understand the technological achievements, but I think in the long run, especially in how it helped revive the KKK, the social harm that film brought about outdoes its cinematic innovations.

CC: Like S.K., Wonder Bar immediately came to mind. Excessive acts of violence, such as in the film Natural Born Killers (1994). I walked out of the theatre while the film was still playing. I expected violence, but the gratuitousness was just too much for me. I also have an issue with physical abuse, towards women and children. This is not to say I would not feel the same way about a man. However, when males are involved, it tends to be a fight, an exchange of physical energy, generally speaking, when we see physical abuse it is perpetuated towards women and children.

TB: I have a couple of moments that pinch my heart when I watch a movie. It doesn’t mean I won’t watch the movie. It just means I roll my eyes…verrrrry hard.

-Blackface…that’s a little rough; especially when the time period OF the movie is the ‘30s or ‘40s film.

-Not giving the Black actors a real name to be called by in the film (Snowflake…Belvedere…Lightnin’). I mean, can’t they have a regular name like Debbie or Bob?

-When the actor can’t do the simplest of tasks, i.e. Butterfly McQueen answering the phone in Mildred Pierce (1945) and not knowing which end to speak into. What up with that?

Are there elements they got right that we still haven’t caught up to? 

KL: I don't know if the pre-Code era got sex right (and sensationalism was definitely something studios were going for) but in some ways, I feel that subject was treated as somewhat more accepted and natural back then. Of course, what was shown onscreen in the classic era was nowhere near the extent it is today, but the way the Production Code put a lid on sex (in addition to many other factors) once again made it into more of a taboo topic than it is or should be.

One thing I particularly hate in modern movies is gratuitous violence, and it perplexes and angers me how America weighs violence vs. sex in general through the modern ratings system: films are more likely to get a pass with violence, mostly landing in PG-13 territory and thus making them more socially acceptable, while sex, something natural, is shunned with strictly R ratings. Obviously, there are limits for both, but I think the general thinking there is backwards today.

CC: The elegance, the sophistication, the precision, the dialogue, the intelligence, the wit. The fashion! The layering of craftsmanship. We aren't fans of these films for fleeting reasons, we are fans because of their timeless qualities.

I'm going to sound like a sentimental sap here, ladies get ready. I think they got the institution of family right. Yes, I do lean towards MGM films, so I am coloring my opinion from that perspective. Even if a person hasn't experienced what would have been considered a "traditional family" there is something to be said about witnessing that example. Perhaps not so much of a father and a mother, but to witness a balanced, functioning, loving relationship. What it "looks like" when a father/mother/brother/sister etc. genuinely loves another family member.

I was part of the latch-key generation, and although my parents remained together, many of my friends' parents were divorced. Most won't admit it, but by the reaction to the documentary [Won't You Be My Neighbor?, 2018], the bulk of them went home, sat in front of the TV and watched Mr. Rogers tell them how special they were because their parents certainly were not. We don't know what can "be" unless we see it.

[dreamcatcherfication]

The Queens of London Part 1 - You Are Cordially Invited

So seeing as I’ve got a ton of free time, I’ve got this multi-chapter fic planned out. Depending on how it’s received, we’ll see how often the chapters will come out. Requests are always open and comments are gladly accepted. This is vaguely reminiscent of Ocean’s 11, even though I’ve never seen the movie. Unedited, I apologize for any grammatical errors. Kat-centric fic.

Writing Masterpost

Summary: When Katherine Howard received a strange invitation from a group of women known as “The Queens”, she had no idea what to think. The last thing she expected was to be thrown into the center of a dangerous conspiracy against some douchebag named Henry. But by now Kat’s learned that she really has no idea what to expect��anymore.

Trigger Warnings: Mentions of Sexual Harrassment

To say it started out as a normal day would be an accurate, if boring, way to start her story. But if Kat was honest, that’s exactly how it began. The sky was slightly overcast, typical for London weather, and people were out and about on their daily strolls. As for Kat, she was sitting on her stool on the side of the cobblestone street with an old worn guitar in her lap and an open case in front of her. A few stray pounds were in the case, but not nearly as much as Kat was hoping for.

She knew what to expect after almost a year of live music. On a normal day, she would make about 50 pounds, give or take ten if it was a good or bad day. Not the best profession, but for a barely high school grad student, she had learned not to complain. Besides, she got to see plenty of interesting faces everyday, sometimes even familiar ones. 

One of the faces she would see everyday was Jane Seymour, wealthy millionaire known for being one of those most charitable people in London. She even had a hospital in construction currently to be named the Seymour hospital. Every person in London knew her name, but oftentimes they wouldn’t notice her when she was out in public wearing some discount Urban Outfitters clothes. Jane never noticed Kat and her guitar, she was far too busy on a phone call with someone or frantically texting her employees every morning. But Kat always noticed her walking by at the same time - 7: 55 AM.

It was a shame really, that the millionaire never noticed Kat. The musician had always looked up to Jane as a role model, and soon enough seeing her every morning became the highlight of Kat’s day. It was much easier to put on a bright face after spotting her idol. It helped her get through the harder parts of the day, especially with the men who would come around.

Those were some of the worst days when Kat had to pack up and leave early. It was usually the same man, Francis, who would cat-call her and make lewd comments. Sometimes a passerby would tell him off, but he always came back. To be honest, he frightened Kat, especially when it came to her history with guys like him. But she couldn’t afford to give up street performing because of one sleazy guy. She needed the money, and that was that.

It was like any other day, not particularly good or bad. Francis hadn’t shown up, which was a plus, but there weren’t too many pounds she had racked up with her singing. Sighing, Kat realized she’d have to make packaged ramen for dinner again.

Finishing her final song, Kat watched as a woman with sunglasses dropped something into her case. “Thank you,” Kat said softly and smiled at the woman, but the woman had already turned around and started walking away. Kat frowned but didn’t think much of it, going into her case to count up her pounds. She was shocked to see a white envelope sitting on top of the pounds, bright and perfectly sealed. It hit Kat that the woman who has just been there probably dropped it by accident, so she stood up frantically and called, “Miss?” Unfortunately, the woman was long gone, nowhere in sight.

Something on the note caught Kat’s eye causing her to freeze in place. The letter had written in cursive at the top Katherine with a thin pen. The ink looked almost fake with how perfect it was on the page. Reaching her hand in to grab the envelope, Kat jerked her hand back before she could grab it. It didn’t make sense to her. Why would this woman drop a letter for her but not stick around to make sure she read it?

A shadow fell over her and Kat jumped up, afraid it might be Francis. Instead, it was just a cloud covering the Sun, reminding her that it was almost evening. Packing her guitar into its case, Kat hurriedly made her way back to her studio. It was a small studio on the edge of London, and Kat was pretty sure her landlord was a drug dealer, but after avoiding him for long enough, he had given up on her. The studio was tiny, the size of one room with a wall split down the middle. The bathroom was next to the bedroom (if it could be classified as one) where they were split from the living room/kitchen by half of a wall. The bathroom had only a shower curtain concealing it from the bedroom, and the kitchen could only be defined as separate from the living room because of the tiny, moldy couch placed in the center.

Setting the guitar case down on the floor of her bedroom, Kat opened it up and took out her guitar. She pocketed all the pounds to be counted later until all that was left was the envelope. Shakily pulling it out, Kat held her breath. Opening it felt like a disservice, ruining the perfectly sealed letter, but Kat found herself tearing it open as curiosity bit its icy jaws into her.

The note was folded into three sections, although it seemed relatively short in itself.

Katherine,

We hope this note finds you in good health and that your music work has been treating you well. We hate to skip so quickly past to pleasantries, but we must ask for your assistance. While we can’t say much in this letter, we know about your connections. And right now, we can really use them. Henry has wronged all of us, and you… we can’t even imagine. 

We can’t say much more but we’re having a meeting. Great Newport Street, the building with the under construction sign, tonight at 11 PM sharp. All of us will be there, and we hope to see you too. If everything goes to plan, this will be more than beneficial to you, we’re sure. After all, Henry’s been making sure we’re all barely scraping by. With him gone, you’ll be richer than you ever thought. We know that’s why you’re in all of this.

We won’t blame you if you don’t show up, but we could use someone like you. 

Best of luck with business,

The Queens

Dropping the letter to the ground, Katherine suddenly felt as if she had just been targeted by the mafia. Was that what was happening? It was too outlandish to be a business offer, that was for sure. And it sounded awfully shady, whatever the “Queens” were offering her. And why her? Why Katherine Howard, the nobody, the invisible girl?

So many questions sped through Kat’s mind as she tried to process the letter. How did they even know who she was? The one thing that kept coming back to her was the name Henry. Kat had never met anyone named Henry, yet the note referred to him as if Kat would know exactly who they were talking about. 

The most worrying part of it all, Kat realized, was that she had already made up her mind. Without realizing it, Kat knew she would be going to that meeting and figuring out what was going on. Maybe it was her unbridled curiosity, or maybe it was her desperate need for the promised money so she could finally eat something other than old ramen, but Kat was sure. Silently, she prayed that these mysterious “Queens” were serial killers targeting her as she jotted down the address on her arm. 

It was a serious risk, going to some random location, but Kat kept murmuring to herself, “It’s either this, or another pack of ramen.” It was that reassurance that got her to push through in the cold night air. She was bundled up in her definition of winter clothes even though it was the middle of fall. The night air was much colder than she wanted to admit, but Kat didn’t own much more than a coat and a scarf to keep her warm. The streets were practically empty, the occasional sound of a car rumbling by reminding Kat that she was still in London.

Reaching her destination, Kat checked her watch to make sure she was on time. 11:02 PM it read. “It’s probably fine, right?” The building in question looked like a theatre, but the windows were covered up with wood and masking tape. A sign on the front door read Under Construction, confirming that Kat was in the right place.

Slowly pushing open the door, Kat stepped inside the foyer, the door giving a light jingle as it moved. “You’re late,” came a voice from the dark, startling Kat. She jumped and whirled around to find whoever had just spoken.

A few paces away stood a tall, well dressed woman with blonde hair. She looked serious, but not angry, as she glanced Kat up and down. “No matter, at least you’re here.” She ushered Kat forward and led her toward the back of the building. There was a flight of stairs leading downwards into the basement, and Kat couldn’t help the knot of anxiety that built up in her stomach as she walked to what very well could be her death. She suddenly felt stupid for thinking this could possibly turn out well.

At the bottom of the steps was a door, and the woman leading Kat opened it and pushed her through. On the other side sat eight women at a round table, all of them turning their heads to see who had entered. “Ah Joan, looks like our guest has finally arrived,” spoke one of the women. Katherine whipped her head to look at the speaker and had to restrain herself from gasping. On the left side of the table sat Jane Seymour, her eyes tuned on Kat and a small smile on her face. She was dressed in more formal wear than Kat usually saw her with, but it was still the same woman.

Finally, recognition set in as Kat surveyed the room. Next to Jane was Catherine de Aragon, the CEO of Aragon News, one of the most successful news outlets in London. On Aragon’s left was Catherine Parr, a world renowned journalist and author, and an associate of Aragon News. Continuing from there was Anne Boleyn, one of the most wealthy bar owners in London. Every bar Kat had ever passed almost always had a Boleyn sign, marking that it belonged to the wealthy entrepreneur. On the other side of Anne was a famous face, Anna von Cleves, a famous fashion designer from Germany who came to London and revolutionized the fashion industry. Completing the circle were three other women Kat had never seen before, similar to the woman Jane referred to as Joan. The first woman had darker skin and was clearly of Spanish descent, with her curly locks framing her face. The next one looked young, only a couple years older than Kat herself, but her fingers were nimble and her eyes looked experienced. The final woman was wearing a smirk, her hair pulled back into a slick ponytail to show off her smooth, well made up face.

It took all of Kat’s willpower not to openly gasp and start freaking out. These women acted as if they knew her, so all she could do was attempt to play it cool. Joan nodded to Jane’s statement and turned back to Kat. “Queens, meet Katherine Brandon. Brandon, meet the Queens. I think we all have a lot to discuss.”

Kat’s eyes went wide. Brandon? Her brain yelled in confusion. Brandon? Unintentionally, Kat murmured under her breath, “Oh snickerdoodles,” as she was led to a seat surrounded by nine powerful and influential women. This was definitely not how she was expecting her day to turn out.

[wagsandwhiskerspetrescue]

Ms. Joans

Ms. Joans…oh my my my this little lass will surely capture your heart. Joans is a combination seal point and snowshoe siamese. She has soft creamy white fur with seal point markings and a hint of snowshoes on her perfect paws. Her lean exotic looks are captivating! Joans has jaw-dropping baby blue eyes that reflect her warm and jovial personality. Joans loves to play wriggling her jazzy booty before pouncing on her toy with Joans infectious enthusiasm. Joans is a jubilant feline getting along well with others. Her loyalty to her friends is immeasurable. Joans loves to curl up on your lap in a ball of seal point fur batting her bog baby blues at you. Joans snuggles close to you while her perpetual purr sings Joans joy for life melting your heart. A special thanks to Joans namesake for her contribution to Wags and Whiskers. xoxo The human is as beautiful as the feline! To adopt Ms. Joans complete an application by following the link below.

Cat Adoption Application

We cannot hold kittens. Adoptions are to the approved applicant who pays the adoption contribution fee first. People have not shown up for adoptions which is a disservice to the kittens. The kittens adoption fee includes de-worming, vaccinaions, Fiv test and spay/neuter.

The petfinder “inquiry” link is NOT an application….please follow the link below for the application and a faster response. If you have a pet already and want to avoid a delay please provide vet docs with application.

Wags and Whiskers takes get pride in committing their pets to the highest standards of health and socialization. Many of our pets are fostered in loving homes, developing and bettering social and emotional skills. A healthy pet makes a happy home.

Please note should you not be the first approved applicant we welcome the opportunity to help you find the perfect kitten/cat for you. http://wwpetrescue.org/adoption/cat-adoption-application/ Call Lisa (904) 377-1133

Learn more »

#StAugustine #Florida #AdoptablePets #CatAdoption #DogAdoption

[raceandspeculation]

Race and Gender in Alien

Kayla Dalton

Professor Smalls

English 3690

22 February 2017

The beginning of noticeably substantial liberation began with the freeing of the white woman—the least oppressed faction of the “minority”. While the Alien series does a reasonable job at initiating the conversation surrounding freedom from oppression, the conversation that is created is mainly due to the incomplete picture of womanhood. In other words, the white men directing and writing the story most likely thought they were doing a service to women by writing a “strong” female lead, but ended up perpetuating every stereotype surrounding the female person, in addition to disregarding entirely the issues of every other minority presented throughout the series. This raises the question: if you “mean well” are you still racist, sexist and oppressive? While you may believe that their intentions of inclusion point to otherwise, the answer will still clearly be “yes”.

           In understanding the problematic attempt at liberation in the Alien series, we must first understand what it means to be a “strong” female character. By definition, it is the opposite of the damsel in distress—one who can physically, mentally, emotionally take care of her own well-being. Ellen Ripley, the “strong” female at hand, shows an extreme character arc over the course of the series; that is, a huge growth in liberation. In the first installment of the franchise, Alien, Ripley ends up being the only character that has the ability to survive the alien attack. The men in charge disregard her suggestions, assuming they know better—how dare anyone, a woman at that, undermine their authority. And they all end up dead. Ripley 1, men 0. By Alien: Resurrection, while her knowledge is still greatly neglected, instead of sitting back and letting the men in charge take control, she has more of an ability to fight back and not take ‘no’ for an answer. So why is this picture of a “strong” woman who clearly outsmarted and outfought every man and alien still problematic? First, while Ripley is very clearly an able woman, it is also evident that she is unusual, an outlier of her kind, because of the juxtaposition of Ripley and Lambert. Lambert is regarded as the “normative”, a stereotypical woman, whereas Ripley is seen as a radical hero. On one end of the spectrum we have a woman that is emotionally unstable and is the epitome of  “damsel in distress” in Lambert, and on the other we see a woman that can take care of herself, but also feels the need to go back for the cat time after time in Ripley. Despite her physical strength and levelheaded reactions, she was still depicted as sexy, inherently more sensitive and “maternal”. Of course, this maternal instinct is what sets her up to be the perfect alien mother in Alien: Resurrection, but this was clearly not the initial intention as the series was never meant to be made into a 4+ movie franchise. Therefore, the creators of her character failed immensely in the sense that it is easy to depict a leading woman physically and emotionally strong, but it is impossible to imagine a woman who can keep her clothes on and only takes care of herself, as the men tend to do.

The focus on maternal qualities throughout the series is what brings us deeper into the problematic nature of the attempt at inclusion. As discussed by Barbara Creed, in The Monstrous- Feminine: Film, Feminism, Psychoanalysis, the female body and reproduction are represented in gruesome, undesirable ways. She states, “The Alien is not only a killing machine but also a relentless reproductive machine…Inevitably, then, an Alien narrative engages a wide range of female body narratives…bringing the Otherness of the otherwise repressed and denied female body to the fore…As males are [also] penetrated, impregnated, and give birth, the distinction between the male body and the female body, upon which our entire culture is based, begins to blur. This is the site of the Alien horror: faced with the Alien, we are all feminized” (Creed 7). The idea presented is that it is undesirable for a man to in any way accept any level of what is perceived to be “femininity”. This is also supported in Caroline Joan Picart’s Ripley as Interstitial Character: White Woman as Monster and Hero in Alien Resurrection when she says, “it is the body of the archaic mother, rather than the parthenogenetic father, that is the site of desire and revulsion. The films visually emphasize dark, slimy passages and teeth dripping blood, acid and saliva. They rivet our attention by focusing on exploding stomachs and devouring   wombs”(Picart 1). This perpetuates the stereotype of men shuddering at the idea of reproduction in any way. From periods to birth it seems that this is a taboo concept and a representation of such in a particularly gory manner only preserves this mentality.

While Ripley grows in her liberation through the series, “the rebirth of the new Ripley—Clone Eight of Alien Resurrection—had Weaver, as always completely identified with this character, as proactive midwife” (Gibson 39). Weaver shared her own ideas on this new Ripley in an interview stating, “When you come back from the dead, you don’t take very much seriously—especially people trying to stay alive. She certainly wasn’t concerned with saving people. She has been set free from what I would call human obligations” (Nathan 1997: 124). If this new level of apathy is present, how is it that she is still imagined as motherly? Another idea is presented that the only way Ripley can become stronger is if she is no longer fully human, and therefore, no longer what our society knows and accepts as “woman”. While the now part-alien Ripley was no longer concerned with saving people, the maternal instincts were simply transferred from human life forms to the alien because it is utterly impossible to imagine a female character without such feminine qualities.

The final failure that the many creators, writers and directors of this series face is their incredible misrepresentations of other minorities throughout the films. From the token black character in Alien to Winona Ryder, a Jewish woman, portraying a stereotypical Latina woman, the supporting characters of the film and the groups of people they represented were done a huge disservice. It must have been quite revolutionary for the time that these characters were not the first to expire; however the fact that Parker sacrificed himself for white characters is an aspect of the series that is just slightly irksome. He died a somewhat “noble” death, but not before not being taken seriously the entirety of the film. Another questionable feature is of Call’s character: the fact that she is discovered to be an Auton after sacrificing herself to defeat the Xenomorphs—therefore, not human. Once again, like Ripley, the only way a female character can be as strong as she appears to be is if she is something other than human, but unlike Ripley, because she is also Latina, she is entirely not human.

From Alien to Alien: Resurrection the racism and sexism becomes slightly less apparent (something I personally attribute to the appearance of Joss Whedon as a writer because of the continuous examples of how cognizant he is of inequalities in our society), but is never completely absent. While I can appreciate the conversation that the series starts, the way in which it presents these issues leaves much to be desired. I am hoping for another installment in the series in the near future—one that addresses these issues I’ve presented and eliminates them entirely.

Works Cited

Creed, Barbara. The Monstrous-feminine: Film, Feminism, Psychoanalysis. London:

Routledge, 2015. Print.

Nathan, I. (1997) “Alien Reincarnation,” Empire (December) 102: 124-136

Picart, Caroline Joan. "Ripley as Interstitial Character: White Woman as Monster and Hero

in Alien Resurrection." Ripley as Interstitial Character: White Woman as Monster and

Hero in Alien Resurrection. N.p., Dec. 2003. Web. 20 Feb. 2017.

Tinkcom, Matthew, and Amy Villarejo. Keyframes: Popular Cinema and Cultural Studies.

London: Routledge, 2001. Print.

Word count: 1341

[morganbritton132]

Someone posts on their Twitter account, “I walked pass this restaurant on my lunch break and there was this gay couple on the patio, oohing and awing into a phone about seeing their little girl. When I walked past them, they were FaceTiming a cat.”

Jonathan replies to this tweet with a picture of Steve and Eddie at a restaurant and he asks, “Was it these idiots or is someone else in the same layer of hell as me?”

They reply, “Yeah, that was them.”

[morganbritton132]

Eddie, to his Tiktok audience: Stevie accidentally took our cat with him to work last week and she was not a fan of the public school system.

Eddie: Now when Steve leaves for work, she does this.

Eddie: *flips camera around to show Steve putting his shoes on to leave*

Joan, the disservice cat: *emitting a loud drawn out meow of distaste in Steve’s face*

[morganbritton132]

Eddie, holding the phone too close to his face: Hey guys, I just got a text from my husband and now I’m on my way to his school be- he’s a teacher!

Eddie: He’s a teacher. Not a student.

Eddje: I’m driving to his school right now because he accidentally brought our cat to work with him

[morganbritton132]

Eddie, posting a Tiktok: I thought I had sleep apnea or something but turns out-

*moves to the side of the screen to reveal a picture of Joan sleeping on Eddie’s face*

Eddie: My cat is trying to suffocate me!

[morganbritton132]

Eddie, posting to Tiktok: I take back everything I said about Steve’s jock friends staying at our house-

Steve: You didn’t say anything! I said Tommy was going to stay with us for a bit and you said “leave me alone, I’m in my process.”

Eddie: As I was saying, I take back- *Joan explodes out of the kitchen cabinet that they keep cans in*

Tommy: Jesus Christ!

Steve: No, that’s Joan.

[morganbritton132]

It be so funny if they took Joan to soccer game and put her either in the team colour or a cheerleading outfit.

Great minds think alike because I was just thinking that we having checked in with Joan in a while so this problem is perfect.

Every Saturday for over a month now, Joan has watched the humans and Ozzy leave the house in the morning and come back hours later loud, smelly, and energized. She does not have a problem with this per se but if she had eyebrows, she’d raise one of them. She would raise the other when they’re all too tired to play with her for too long after they come back.

So, Joan makes a decision.

When the next Saturday rolls around and Steve is digging around in the drier for his jersey, she makes her case known. She whines. She meows. She gets in the way of every step. She commits a drive-by biting. She even gets in the storage closet in the hallway and knocks over the dreaded cat stroller so it falls into the hallway.

She makes it very clear. She wants to go.

Eddie coos at her, “Awe, baby, she feels left out. Let’s take her.”

“Ed, it’s hot outside,” Steve replies, gesturing to Joan. She rubs her head against his leg. “She’s gray.”

“Steve, don’t be racist.”

“I’m not being – how is that –“ Steve sputters and then rambles on about tiny bodies, and fur, and overheating in the sun, but Joan already knows she got her way. Steve can’t say no to Eddie and he can’t say no to her either. Plus, she always gets her way.

Her way is the right way.

Steve sighs and gives in, “But if she gets too hot, you have to take her home.”

As a reward for Steve and Eddie’s good decision-making, Joan helps them get ready to leave. She wiggles her way into the cabinet with the first-aid kit and pulls out bandaids. She leaves them inside Steve’s cleats. He says thank you when he finds them.

Ozzy huffs from where he’s laying in his dog bed.

Joan purrs when Steve pets her head.

Since Eddie disappeared down into his studio the moment Steve agreed to let her come, Joan continues ‘helping Steve.’ Mainly, she cleans up (eats) all the scraps of lunchmeat he drops when making sandwiches for him, Eddie, Robin, and Nancy.

Eddie immerges from the studio ten minutes before they’re supposed to leave with a hastily sewed shirt made for a cat. It’s made out of the soft material of the cheer squad t-shirts he made for the other team members’ partners. He presents it first to Steve and then holds it out to Joan like, “Ta-dah.”

Joan sniffs the fabric – it smells like Eddie – and Steve is just like, “Why did you make that?”

“Because Joan’s got to represent, Stevie. We’re a jock family now and jocks wear their team colors,” Eddie insists, grin getting bigger when Steve rolls his eyes at him. “Everybody else is wearing team colors. Even Ozzy. See.”

He gestures to the pin attached to his yellow service dog vest that says ‘#1 Steve Harrington Defender.’ It’s right next to a patch that says ‘If You Pet Me, You Are A Part Of The Problem’ which is… “That’s new.”

“Yeah, I’m solving all the world’s problems today, baby,” He grins. “Isn’t that right, Joan?”

She hisses at the shirt.

[morganbritton132]

I was reading old posts AGAIN!11 cause I love your posts and all I could imagine is if Eddie got mad at Joan she would run tight to Steve and start pulling the whole I didn’t do anything why is he yelling at me act and that Steve would absolutely side with Joan.

Steve is in the kitchen eating peanut butter on toast when he hears the phrase “Joan, goddamn-“ followed by the sound of glass breaking, followed by said cat clawing her way up his leg to be held. Steve sits his toast aside and cuddles her, “Poor baby, did you get scared by the noise?”

“She didn’t get scared,” Eddie hisses as he enters the room, glaring at the cat. She doesn’t get scared is echoed in his loud steps to the broom closet. “She’s not a baby, Steve.”

“Then why is she baby-shaped?”

“Why are you baby-shaped?” Eddie mocks.

“Cause I’m your baby,” Steve answers. “She’s just a little girl, Ed. She didn’t mean it.”

“She broke my American Music Award.”

“I’ll glue it back together for you,” He says like that would even be possible. “Seriously, though. Are you hurt? Is she hurt?”

“No.”

“Can’t you just call them and have them replace it?”

“Probably.”

“Then come here,” Steve told him, waving him over and not stopping until Eddie is close enough for him to kiss him on the cheek. He holds Joan out to him and she curls up in Eddie’s arms when he takes her. “Awe, she wants to say she’s sorry.”

Joan rubs her head against Eddie’s cheek and he sighs, “That’s actually pretty swe – Oh, no. She just wanted my earring. Ow.”

[morganbritton132]

Since your post about Eddie and Steve’s cat’s name coming from Joan Jett I’ve been thinking of those video compilations of cats doing the most insane things but instead it’s Joan and supercuts of her cuddling up to Steve vs being a complete menace elsewhere. Edited to bad reputation of course.

I love this so much! It’s so freaking cute. Eddie spends weeks painstakingly recording their cat for the perfect compilation. It’s filmed like one of those videos that plays fun music over a happy scene and then cut to something ominous with scary music but it’s like,

*happy fun music* Joan balancing on Steve’s shoulder while he’s cooking. Steve keeps holding up stuff for her to smell

Cut to *Bad Reputation* Joan tripped every single one of their friends on the stairs

Cut to *happy fun music* Joan curled up on Steve’s shoulder while they both slept

Cut to *Bad Reputation* Joan laying in Ozzy’s bed while the dog just stares at her

Cut to *Happy fun music* Joan batting at Steve until he picks her up and then she rubs her face against his

Cut to *Bad Reputation* Joan sneaking up behind Eddie and slapping him in the head. She runs away and knocks over three different guitars and somehow hits a cymbal. The video ends with Eddie says, “Joooan.”

Also, side thought. Eddie buys a yellow vest like Ozzy’s service dog vest and has ‘Disservice Cat’ written on it. When he puts it on Joan, she just flops over and doesn’t move for like a hour. When Steve puts it on her, she’s fine.

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[morganbritton132]

Eddie posts a Tiktok like, “I regret to inform you guys that I’m dying. I’m going to die. Look at this. *Eddie pans camera down to show Joan asleep in his lap* She’s been nice to me all day.”

Steve, in the background: She’s nice! She’s nice all the time. It doesn’t mean anything!

Eddie: Steve, we adopted the Max Mayfield of cats. She is nice only after she’s unnecessarily mean to me. And, how do you explain this? *Pans camera over to Ozzy sitting right next to Eddie on the couch, staring eye to eye with him*

Steve: It means you have a sandwich

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[morganbritton132]

How would Ozzy and Joan react to Bandit?

Joan straight up looks like a Halloween decoration for a good thirty minutes after seeing Bandit.

Her first interaction with him, after some godawful mewling, is to bat the shit out of him when he comes over to investigate her. Eddie waves his hand at her to get her to back off and she bats at him too, with claws.

She does not bat at Steve when he picks her up and coos at her comfortingly, “I know, baby. I know.”

She sits outside of Bandit’s cage after Eddie puts him back inside of it and just watches the ferret. Once he’s no longer a threat, she is curious of him and they spend the rest of the day darting back and forth from one side of the cage to the other and sniffing at each other.

The next day when Eddie tries introducing her to Bandit again, she is much more friendly. She doesn’t react with violence at least. He still keeps an eye on the two of them when they’re playing but they do seem to get on just fine.

Ozzy reacts to Bandit pretty much the same way that he reacted to Joan.

The loud shouty one brought a small creature into the house and now Steve’s heart rate is up. Once Steve is calmed down enough that Ozzy doesn’t need to worry about him having a panic attack or a seizure, he investigates the ferret himself.

Bandit is actually more wary of Ozzy than he is of him, so Ozzy lays down and makes himself less of a threat. Bandit comes over to him and sniffs at him then runs away a few times before he climbs on Ozzy’s back.

Ozzy doesn’t mind being used as a jungle gym when he naps, but he doesn’t like Bandit nibbing on his ears and has no problem throwing the ferret off him. He also laid directly on top of Bandit when he wouldn’t leave Ozzy alone while he was trying to eat, but Eddie made him get off of him.

The only time Ozzy reacts aggressively towards Bandit was when Steve was about to have a seizure and he wouldn’t leave him alone. Even then, Ozzy just barked at him until he ran away.  

If Joan smacked Bandit on the head when he went to her, who’s to say it’s because of the seizure too.

[morganbritton132]

Eddie doesn’t post much over Parents Weekend, just a picture of Wayne on Twitter and a TikTok the morning after everybody stays the night.

The video is of Jonathan asleep on the floor. Joan is sitting patiently near his head, just watching him. And waiting.

The moment Jonathan opens his eyes, she bites him and runs off.