#most unfairly maligned woman

[thewarmestplacetohide]

With gore and such in horror movies, particularly where the victims are women, where do you typically draw the line between genuine horror and just torture porn? I've seen a lot of debate about the Terrifier franchise in light of the new one - I've not seen any of the movies, and I'm also not super well-versed in horror film in general. What do you consider gore/slashers done well?

this is going to be long and a tangent. apologies ahead of time.

1 - i rarely, if ever, use the term "torture porn." i think it's a means of classifying movies that needs to be retired.

this is not a criticism of you, just to be clear. it's just that:

i have seen people apply it to fantastic movies solely because they disapprove of/dislike gore. this unfairly maligns films while perpetuating the idea that violence is always cheap, tasteless, and without purpose or meaning.

i have also seen it used to frame horror fans as twisted "degenerates," which is very ugly when you consider horror is often used to challenge societal norms, and many horror fans are marginalized people. additionally, liking gory movies =/= approving of real violence or being turned on by it.

on the flip side, using it as a classification can also lead people to overlook issues present in many horror movies. calling Cannibal Holocaust, for example, "torture porn" is reductive in its own way. it ends the conversation. it says, "this was bad because it was shallow violence," when, in reality, it is so much worse than that as a deeply racist and misogynistic piece of media that exploited indigenous people and facilitated real animal abuse.

2 - i can't really draw any kind of universal line. the necessity of gore is a film-by-film issue. rather than asking, "is this movie too violent," i typically ask "why does this movie feature graphic violence? what does it do with it?"

graphic violence can be:

used to portray horrific historical events honestly (ex: Come and See),

used to drive home points about violence, those who perform it, and/or those who endure it (ex: Pan's Labyrinth, Lady Vengeance)

used to evoke strong emotions from shock and disgust to grief and rage in audiences (ex: Oldboy, The Sadness)

exaggerated for comedic effect (ex: Evil Dead II)

and/or implemented solely to show off impressive effects work and artistry (ex: Terrifier 2).

3 - women being victims of violence in horror movies is not inherently misogynistic. i'm not saying you're implying this, just pointing out that this is a fact worth keeping in mind. i've seen people act like violence is inherently anti-woman solely because it's happening to a female character, which is ridiculous.

i can also personally watch movies with problematic elements, like misogyny, if i enjoy other aspects of them. what matters is that i consume them critically.

4 - i do want to clarify that i dislike Terrifier. i find its plot shallow and most of the performances bad. it's just a vehicle for violence that, imo, is far too directed at women. it left a bad taste in my mouth.

at the same time, i enjoyed Terrifier 2, which i thought was flawed but sincerely funny with a great villain and some awesome special effects. (even then, there is an overly-long torture scene that i found weirdly mean-spirited and uncomfortable to watch as a woman).

5 - i'm not the best person to ask about slashers! i like some but it's far from my favorite sub-genre. off the top of my head, some good proto-slashers are:

The Virgin Spring (1960)

Psycho (1960)

Blood and Black Lace (1964)

and some good slashers are:

Straw Dogs (1971)

The Texas Chainsaw Massacre (1974)

Deep Red (1975)

Alice, Sweet Alice (1976)

Halloween (1978)

Opera (1987)

Scream (1996)

Inside (2007)

Sweeney Todd (2007)

Eden Lake (2008)

Midnight Meat Train (2008)

The Loved Ones (2009)

Dream Home (2010)

The Woman (2011)

Green Room (2015)

Don't Breathe (2016)

Hush (2016)

Revenge (2017)

Halloween (2018)

Darlin' (2019)

Pearl (2022)

as always, i recommend checking for trigger warnings before watching films.

[rhetoricandlogic]

The Book of Gothel Reimagines Rapunzel’s Witch As the Hero of Her Own Story

By Lacy Baugher Milas  |  July 26, 2022 | 1:15pm

Usually, Rapunzel retellings tend to focus on the princess in the tower, the sad and lonely girl imprisoned by an evil sorceress who uses her stolen daughter’s golden hair as a ladder. But in Mary McMyne’s debut novel The Book of Gothel, there are more references to rapunzel the plant than Rapunzel the person, and that’s just the first of the many surprises in this exceptionally original, propulsive fairytale reimagining that feels a bit more like a reclamation than anything else.

A retelling of Rapunzel that centers its story around the witch who held the princess prisoner, The Book of Gothel will delight fans who have reveled in publishing’s recent trend of giving the often unfairly maligned and supposedly evil women from folklore and mythology their voices back. (And, not for nothing, a story about a woman who secretly helps other women deal with unwanted, problematic, or troubled pregnancies from her mist-shrouded magic tower feels especially welcome right now. Just saying!)

The story follows Haelewise, daughter of Hedda, a sickly young woman who has been plagued by mysterious fainting spells for as long as she can remember. Her mother is their village’s midwife and has done her best to teach her daughter her craft, though their neighbors are occasionally leery (read: wildly superstitious) about taking assistance from a girl with black eyes and a strangely inexplicable lingering physical malady. That Haelewise is branded a witch soon after her mother’s death probably won’t surprise anyone, but instead reminds us of a sad fact of human society throughout the ages—-when a woman is different, that difference all too often makes her a target. And that goes double if that woman has any sort of power of her own.

Left penniless by her father—who’s preparing to marry a rich widow, because of course he is—Haelewise is forced to sell the last of her mother’s handmade poppets to survive, even as she clings to the hope that her childhood friend Matteus will decide to defy his father’s social climbing dreams and marry her. (Spoiler alert: He doesn’t, another twist I don’t think anyone reading this will be surprised by.) Forced to flee into the forest after being pursued by an angry mob threatening physical violence, Haelwise discovers the mysterious tower called Gothel and the magical wise woman who lives within its walls.

Through her subsequent lessons with Kunegunde, Haelwise slowly begins to learn more about her supposed sickness, her own abilities, and the hidden side of her mother she never knew. She learns how to project her soul into animal familiars and how the strange plants known as alrune can enhance her gifts. In the process, she begins not just to better understand her place in the world, and since The Book of Gothel is told by a Haelewise looking back over the course of her own life, she’s also a woman who’s well aware of the ways her story has been warped and altered in the frequent retellings of it. This nuanced layering is perhaps most interesting in the ways we see her refer to her own choices, as well as the often selfish reasons that drive her to make them.

As a heroine, Haelewise is both brave and infuriating, a woman whose determination is as admirable as her stubbornness is annoying. McMyne doesn’t shy away from the fact this purported villain is actually a complex figure who makes plenty of bad choices, and who rightfully deserves some of the criticism that’s leveled at her. Her Haelewise is simultaneously a brave young woman who (rightly) refuses to settle for the life she’s told is all she can ever expect to have and a frequently stubborn child who (repeatedly) refuses to deny her own wants.

Her insistence on having her own way and her refusal to admit that anyone else could have a valid point about why the things she wants are…if not outright wrong, at least extremely questionable, feels beyond frustrating at various points in this novel. (Particularly when terrible things could so easily be avoided had Haelwise simply chosen not to lie to the people trying to help her or accepted that perhaps someone other than herself might know best.)

In addition to being a fairly groundbreaking reimagining of the Rapunzel story, The Book of Gothel is also an excellent piece of historical fiction, weaving a complex tale that both reflects medieval society’s discomfort with female power and features real-life examples of the extraordinary women who nevertheless rose to wield significant influence during this time period. (Hildegard of Bingen, Walburga, to name just a few.) The book’s depiction of life in twelfth-century Germany is rich and thorough, and its blending of familiar elements from fairytales and legends into the real-life reign of King Frederick is deftly handled.

The honesty with which the book treats unpleasant realities—that merchant’s son Matteus would never have been allowed to wed Haelewise, that even queens and princesses are generally powerless in the face of their royal spouse’s desires, that antisemitism was both real and generally widespread—is refreshing as well.

And though your mileage may vary when it comes to the wildly convenient way that the issues of Matteus and Haelewise’s love story are ultimately resolved, the deft way McMyne sets the pieces in motion that lead to (at least part of) the story we’re familiar with—Rapunzel, Mother Gothel, a magical tower that can only be found by those who know where it is—is simply delightful to watch unfold.

[warningsine]

With the release of Kevin Can F—k Himself on AMC, a genre-bending dark comedy drama that takes deliberate aim at the misogyny that sits at the heart of our most popular and enduring pieces of pop culture, it seems that perhaps the time has finally come to publicly reckon with the way we view wives—sitcom and otherwise—on the television shows we watch. Even the show’s name is a play on the CBS sitcom title Kevin Can Wait, whose narrative storytelling was so lazy that they killed off Kevin’s wife Donna between its first and second seasons because they were “literally just running out of ideas,” and then barely mentioned her death onscreen.

Kevin Can F—k Himself openly acknowledges that the advantages Kevin McRoberts receives—constant adulation, an almost preternatural ability to luck his way out of ridiculous situations, a devoted wife whose hard work and constant presence he simply accepts as his due—only exist because the rules of the show he stars in require it. In the gritty prestige drama half of the series, which presents his wife as a character with interiority and her own necessary point of view, Allison realizes that she deserves better than a life cheerfully accepting uncomfortable period jokes as her lot. And her rage feels like a revelation.

It’s worth noting that AMC has something of a history with unfairly-hated TV wives. While Breaking Bad is frequently hailed as one of the best television series ever produced, the series is also memorable for something far less laudable. On the one hand, its complicated tale of a cancer-stricken chemistry teacher turned vicious drug kingpin is a harrowing watch, as Walter White descends into the worst sort of darkness and drags viewers right along with him. Its scale was somehow both grand and immediate, a morality play that carefully tears apart its characters’ lives on the way to an ending that still stands as one of the few examples of a prestige drama really sticking its landing.

And yet, for all the areas in which it excelled, Breaking Bad was never a show that really knew what to do with its female characters, and Skyler White—Walt’s put-upon wife who spent multiple seasons living in ignorance of his illicit and illegal extracurricular activities before being forced to become a co-conspirator whether she wanted to be or not—often seemed to exist solely as an object for viewers to despise.

Given that Breaking Bad is a story full of generally vile, reprehensible people doing everything from committing petty theft to engaging in torture and murder, it’s never really made a ton of sense that Skyler somehow emerged as the series’ most hated character. Unfairly maligned by many viewers for what essentially boils down to harshing Walt’s buzz, Skyler was constantly labeled a nagging killjoy for simply having the nerve to dislike the fact that her husband repeatedly lied to her about the most basic facts of their lives.

Narratively speaking, Skyler is meant to serve as Breaking Bad’s moral compass, a figure whose presence tarnishes Walt’s ambitions by reminding him that, actually, cooking crystal meth is both bad and illegal. Her unique point of view as the woman who has known Walt at his most normal and average helps puncture the fantasy he creates of Heisenberg, the badass one who knocks. Instead, she reveals him as he is: a delusional, ultimately pathetic man whose good intentions became monstrous in the end.     

That she ultimately becomes complicit in Walt’s crimes is another layer of tragedy in a show that already has multiple layers of heartbreak, but even at her worst, Skyler’s primary goal—ensuring the safety of her children—is generally a selfless one. (Walt’s, on the other hand…) Perhaps Skyler is judged harshly because she is both a woman and a mother, roles we have been culturally conditioned to see as both necessarily good and moral, therefore we just expect her to both know and do better than her reprobate spouse. After all, men are allegedly more susceptible to temptation and are always easily more forgiven when they fall short of the people they’re supposed to be, right?

Despite the fact that he is a criminal several times over, Walt is never blamed for putting his wife in an untenable and impossible position. Instead, it is Skyler who is disparaged as a grating, shrewish ball and chain who somehow just keeps getting in her amoral husband’s way and preventing him from doing crimes exactly the way he wants to. And Breaking Bad sadly does precious little to push back against that perception; the show is deeply uninterested in Skyler’s point of view, and rarely allows her character any sort of depth or nuance that might help viewers better grasp the difficult choices she’s facing.

Unfortunately, Skyler is hardly the only prestige TV leading lady—or even the only woman on an AMC network drama!—who is judged and found wanting for the crime of not being deferential enough to the man she married. Betty Draper Francis over on Mad Men certainly seemed to attract more than her fair share of criticism for simply having the nerve to divorce a man who cheated on her all the time. (How very dare!) And AMC’s The Walking Dead isn’t just famous for its array of grotesque monsters: Just say the name Lori Grimes to any longtime fan and you’ll learn pretty quickly that sexist double standards did indeed survive the zombie apocalypse. These women, like them or not, deserved better then and now—and they deserve to be remembered as more than flashpoints for fan vitriol.

In Kevin Can F—k Himself, Allison is given what Skyler, Betty, and Lori all lacked—a storytelling framework that makes the audience complicit in their own response. The sitcom segments of Kevin try to gaslight viewers into thinking that the often abusive way Kevin and his world treat his wife is not only acceptable, but it’s also hilarious. Except it isn’t, not even a little bit, and the drama half of the show refuses to let the folks watching it look away from that fact. It encourages us not just to sympathize with Allison’s anger, but to share it, and to hold ourselves at least partially responsible for all the years we spent laughing at women like her.

Perhaps if there had only been a Walt Can F—k Himself, we might have gotten to see Skyler in the same light.

[bitch-butter]

I joked that I was going to make a Lifetime movies rec list a while ago and Truly being bored at work has given birth to worse ideas, so this is one for my fellow cinephiles lol

My Highest Recommended Lifetime Movies in the Order in which they Changed my Life

Small Sacrifices (1989)

I'm honestly unclear whether this was intended originally to be a Lifetime movie because they showed it on a few different networks, but this was the first one that I ever remembered seeing and it Rocked my world. It's a true story about a woman named Diane Downs who attempted to murder her children and my mother and her friends lived for this film in a way that like is actually bonechilling. But I was spellbound by Farrah Fawcett in this movie, I thought she was the greatest actress I'd ever seen, and the story was really dark and scary and felt disgustingly salacious. So everything I'd come to like about Lifetime movies lol.

No One Would Tell (1996)

All my mom loved in the world was to wake up hungover on a Sunday and turn Lifetime on and proceed to fall asleep again while my tiny child peepers beheld Truly heinous shit. This one is one that I continue to make people watch because I can't be alone with the memories, but basically Candace Cameron is in a horribly abusive relationship with her boyfriend, Fred Savage, and he ends up murdering her and it is Incredibly sad and traumatic. There's a historic scene where she's taking a shower and her entire body is just littered with bruises and I will Never forget it!!!!!!!!! Very, very dark. But....iconic.

Odd Girl Out (2005)

This was the point in time where Uncle Television was very much concerned with telling young girls about bullying (for a different and just as good interp of this theme see ABC Family's Cyberbully starring Emily Osmont). But this one was the first and best to me, I related to it very much as an ostracized teen. It stars Alexa Vega, and she's a teen that has her whole popular friend group turn against her and she gets bullied bad lol It gets dark but only for like 20 minutes and then her redemption arc is nice. I loved this movie to death until I discovered Thirteen (2003), which is Way darker and had girls kissing in it for a few seconds.

Fab Five: The Texas Cheerleader Scandal (2008)

This movie was my identity. This movie was my child. Every time it was on TV I stopped whatever I was doing and watched it. I have no idea why, because I have been told people mainly find this one boring, but I think it's mostly due to the fact that I really do love movies where teenagers behave badly with impunity. This was a Ripped From the Headlines Lifetime movie about a roving band of cheerleaders that terrorize everyone in their wake at a Texas high school and basically get away with it because one of their mom's is the principal. I think it is a lol and a half, it's actually pretty competent, and there's like Good performances in it from actual actors. Highest rec possible.

Liz & Dick (2012)

Lindsay Lohan gets so unfairly maligned for her performance in this, it's sick. My most cherished memories of my last year of High School are watching this movie late at night and reading all of Lindsay's blind items and every article that was being written about her failed comeback. Again, I think she's actually okay in this, but for a lot of people it was insulting to cast Lindsay Lohan as Elizabeth Taylor and to those people I say haters get thee behind me. It's fun, it's campy, it's not too long, everybody watch it and relax for a while.

Flowers in the Attic (2014)

DARK DARK DARK but also STUPID STUPID STUPID. Seriously this movie has no business being as funny as it is given the subject matter. Basically a bunch of kids are uprooted by the death of their father and their mother forces them to live in the attic of her wealthy parents home under false pretenses, and incest ensues. Which, again, sounds really upsetting but is actually pretty funny a lot of the time lol. Their evil god-fearing grandma is played by Ellen Burstyn and she's So over the top, and their mom is my queen Heather Graham who is actually pretty chilling. The other movies in the saga are Also pretty dark, stupid, and fun, but this one was a legit phenomenon. Me and my college roommate would host viewings of it in our dorm room, it's really fun to watch in a crowd of people that don't get darked out by poorly handled incest.

Harry and Meghan: A Royal Romance (2018)

This is part one of a trilogy, but it's probably the best one even though the third is pretty fun. Honestly, you guys, this one is just Nice. Truly dgaf about the irl Harry and Meghan but this movie is actually a very fun love story, and it's sweet and has a few legitimately compelling twists and turns, and ultimately has a really satisfying ending. The actors playing Meghan and Harry are stellar, it's funny, it's cute, another highly recced film.

Who Killed Jonbenet? (2016)

An unhinged Eion Bailey performance for the ages with added child murder. Sarah and I are Definitely recording an episode about this one in the future, but truly it's almost too bleak to be chic and gets saved at the last minute by how inadvertently goofy it is. Eion's character develops a psycho-sexual (to me) fixation on an older detective who comes in and basically upends his investigation, and everything about it gives "but daddy please" and I love it and hate it at the same time.

Death of a Cheerleader (1994/2019)

Both versions of this movie are elite, the original is truly iconic and the remake is actually deluxe and makes some changes that I think make it an actually interesting movie. In Lifetime fashion it is Based On a True Story (fun fact: in my younger years I listened to My Favorite Murder and this story gets mentioned in one of their first episodes and they offhandedly mention that the murder weapon was like 8 inches long and That is a fact that has stuck with me in the middle of the night). I'd say watch them both, because the OG has a Tori Spelling performance that cannot be missed and is just a basic mean girls comeuppance story, but the redux is a lot more thoughtful and actually reflects some humanity on all characters which (if you haven't noticed) Lifetime isn't always great at lol.

Too Young to Be a Dad (2002)

UGH. Me and my girlfriend Just watched this and honestly that's a shame because I wish I'd had this movie my entire life. Paul Dano is a teenager that loses his virginity and impregnates his friend in one fell swoop and he has to Step Up and become a Man as like a fifteen year old, which sounds crazy and is but is legitimately a captivating movie. And Paul Dano is sooo fucking good in, it's not even a joke, watch it for his performance alone. I laughed, I cried, a perfect film (even though they never address abortion as a viable option lol Lifetime can only go so far ig).

This was Purely just for me but if you read this and watch these movies please lmk what you thought ~

[finitefall]

Hot Take: all the nonsense uttered by the HotD team about Daemon only getting love "because he is hot and a badass with dragons" and not a "bad person doing bad things we should have seen fom the start" is transparent copy/paste of all the vile crap the GoT team tried to push to justify Daenerys' S8 arc. Looks like HBO, Condal and Hess are secretly big fans of D&D's writing style and see them as unfairly maligned tbh. It's not hard to guess what the writers' concept of Daemon's arc will be.

It's very similar, yes, but Condal didn't exactly criticize D&D when he said "The first thing is always the hardest…When that work is cleverly done in the first go, as it was by David and Dan…the work of the person who follows becomes that much easier." (source) So I don't think they're "secret" fans of their writing. And I can see them doing this: “don’t worry, it’s not the woman this time, it’s the man so you can’t say the writing is misogynistic”.

What bothers me the most though with the similarity between what people said about Daenerys and what they say about Daemon is that they're completely different characters. Even if both shows sucked at writing both characters, Daenerys is a heroine while Daemon is a morally grey character. Making Daemon more of a villain and chosing similar words to compare him to Daenerys really just seems like a way to justify Dany's ending in the show. I'm not okay with their characterization of Daemon, but Dany's characterization in GOT was a whole other level of awful writing.

[thefabelmans2022]

i find it so fascinating how the actual persecuted people during the salem witch trials (and most other witch trials) were overwhelmingly women but the most popular uses of the 'witch hunt' metaphor refer to men being falsely accused or unfairly prosecuted like the crucible is a great example it's literally all about a teenage girl who's been taken advantage of and ruined by an older man who she believed loved her and she's framed as vindictive bitch for wanting revenge, the clinton impeachment was compared to a witch hunt but again the unfairly maligned party was the older man sleeping with a much younger woman, and how many men now have called the me too movement a witch hunt? much to think about.

[natequarter]

"most unfairly maligned tudor woman" is a fascinating question bc it's not just asking "who has been treated the worst?" but also the very stupid question "who deserved that treatment the least?" which is, i don't know, ridiculous

[sothischickshe]

Please rank Buffy seasons from most favorite to least favorite and elaborate whyyyyyyy

Oh thank you sweetie, I love this question!!! 😍😍😍😍😍😍😍

So I think it goes:

Season 3: I do like the later seasons too but the high school era is my fave. And this is the best of those seasons for me! Edges out s2 bc FAITH, & also the wishverse

Season 2: also a great season! Spike!!! Points deducted for juliet landau's earscraping accent, and also how on the nose some of the angel/us stuff is

Season 6: THE BIG BAD IS LIFE!!!!! Musical ep! Angsty smutty spuffy! The payoff to a lot of willow/magic/power stuff which had built over several seasons!!!! Def my fave season of the post-high school era, I think you can tell the show was being run by a woman at this point, unfairly maligned, extremely iconic.

Season 1: unfairly maligned! A pretty decent intro season, yes there are some eps which aren't great but that's probs true of every season and w/e it also has bangers like nightmares. Points added for being a short punchy season tbh.

Season 4: what a mixed bag! Several of my fave high concept eps but overall as a season it does flounder. Riley is a very boring character, and the initiative plot wasn't particularly well handled, and the fact the show clearly didn't have enough of a budget to do it well makes it seem an odd choice. Chipped spike was a v fun addition to the gang though!

Season 7: it's OK, overall I like it/s finale as a cap to the show & the first is a pretty engaging big bad. But the eps feel very undifferentiated & a lot of the potential slayers are downright annoying.

Season 5: definitely my least fave season. First of all Dawn is an extremely annoying character, I know she does get better in the later seasons but never enough to justify the sudden inclusion of a young character in a show that was pleasantly becoming one about adults imo (the parallel of conor in Angel probs quadruples my irritation lol). But also suddenly throwing us into ~an au version of the show that we just remain in is SUCH a weird writing choice?? AND riley's still there for a good chunk of the season?? 🙄 bleugh! plus I find glory to be quite an annoying villain, she's a god from some other realm who kinda speaks like a valley girl bc... why? Feels like it was written by Mike schur (derogatory). Ben is such a wet blanket boring love interest too 🙄 and the ~madness stuff is downright offensive. I will add that s5 was v confusing the first time I watched it cos it aired pre watershed on the BBC and they just cut loads of stuff out sdftdfg eg the 'bater' side of the master/bater jokes, or Ben's death 😅 & like i do appreciate that last part isn't exactly the show's fault but maybe that did poison me against it a little extra 😂

Pls tell me yours loopz? 👀

[xtruss]

How To Eat To 100

Dan Buettner’s book explores America’s healthiest cuisines

— Jan 25th 2023 | Culture | World in a dish

Nearly 70% of American adults are overweight; over a third are obese. Grocery shops contain aisle after aisle of salty crisps, sugary drinks and processed snacks. Cues to eat unhealthily abound. But if this is your archetypal American diet, argues Dan Buettner in “The Blue Zones American Kitchen”, a work of anthropological reporting posing as a cookbook, you are looking in the wrong places.

Mr Buettner studies and writes about “Blue Zones”, areas where people tend to live long, healthy lives, with unusually high numbers of centenarians and long life expectancy in middle age. In this book, he finds the principles of Blue Zone diets—very little meat and processed foods, with most calories coming from whole grains, greens, tubers, nuts and beans—in the cuisines of four demographic groups: Native Americans, African-Americans, Latinos and Asian-Americans.

The recipes that Mr Buettner presents do not necessarily represent what most people in these groups actually eat. For a variety of reasons, for instance, Native Americans and Latinos suffer higher obesity rates than non-Hispanic whites—which would probably not be the case if they all ate as this book recommends. But, historically, each of these groups had healthy cuisines, and Mr Buettner talks to people trying to revive them.

African-American cuisine is often unfairly maligned for over-relying on fried and processed foods. Mr Buettner says this aspect of it is an artefact of the Great Migration, when black people left bountiful gardens in the South, which provided greens, beans and root vegetables, for industrial northern cities. And so the recipes in this part of the book feature crops such as okra, collard greens and Carolina Gold rice, a delicious west African strain. All these played crucial roles in African-American diets for centuries.

Diverse as the recipes collected here are, most rely on seasonal, fresh produce, often home-grown. Mr Buettner recounts his confusion when following his gps directions to meet a Hmong woman in her garden, and ending up in the car park of Target, a department store. Behind a row of trees, he found a five-acre garden bought by Hmong refugees in the 1970s that, he says, “looked like Cambodia in the morning, [with] fields of bitter melon and zucchini, and people walking around with wicker baskets.”

He says the encounter left him convinced that “there’s so much culinary genius in America that also lines up perfectly with the dietary patterns that produced the longest-lived humans in history. It’s so easy if you look for it.” The truth is a bit more complicated. For urbanites without a garden, these recipes may prove expensive and time-consuming. And as Mr Buettner’s other work on Blue Zones attests, food is just one part of the longevity puzzle. Centenarians tend to live active, purposeful lives centred on family and community.

So this book is not a shortcut to a 100th birthday. But anyone who wants a shot at a century should probably eat less meat and munch more legumes and whole grains. ■

— This article appeared in the Culture section of the print edition under the headline "Eating To 100"

[bethanydelleman]

Mrs. Churchill: The Most Unfairly Maligned Woman in Jane Austen

We never meet Mrs. Churchill in Jane Austen’s Emma, everything we know about her is second- (Frank) or third- (Mr. Weston) hand. But once you read the book a second or tenth time, it becomes clear that Mrs. Churchill was getting progressively worse, ending in her death and Frank knew this. 

Mrs. Churchill is far more sick than Frank ever admits. He often uses her as an excuse to neglect visiting his father.  Everyone in Highbury thinks Mrs. Churchill is faking because it's so convenient that she's sick when Frank is supposed to visit. But we know the truth, he doesn't visit until Jane comes to Highbury, he is staying away on purpose.

But she does decline during the course of the novel

Evidence of her decline: 

We know that the Churchills go to London yearly with Frank, “He saw his son every year in London” and yet, Frank says to Emma, “and if my uncle and aunt go to town this spring—but I am afraid—they did not stir last spring—I am afraid it is a custom gone for ever.” This custom has happened every year of Frank’s life and now is suddenly ended. Sounds like Mrs. Churchill was too sick to go the year prior and Frank does not expect her to get better.

According to Mr. Weston, Frank can come if the Churchills do not visit a family called the Braithwaites, “But I know they will, because it is a family that a certain lady, of some consequence, at Enscombe, has a particular dislike to: and though it is thought necessary to invite them once in two or three years, they always are put off when it comes to the point.” But the Churchills do actually go for the visit. As if they are saying goodbye and seeing people for the last time.

Mrs. Churchill does allow Frank to stay in Highbury for the ball, and then suddenly withdraws consent, “A letter arrived from Mr. Churchill to urge his nephew’s instant return. Mrs. Churchill was unwell—far too unwell to do without him; she had been in a very suffering state (so said her husband) when writing to her nephew two days before, though from her usual unwillingness to give pain, and constant habit of never thinking of herself, she had not mentioned it; but now she was too ill to trifle, and must entreat him to set off for Enscombe without delay.” This seems like a petty power play until we remember that she does actually die at the end of the book. Several close calls are normal for a person experiencing hospice care or a sudden decline in health.

Then Mrs. Churchill suddenly decides to go to London, which makes sense if she’s been getting much worse and wants to consult the London physicians:

“The evil of the distance from Enscombe,” said Mr. Weston, “is, that Mrs. Churchill, as we understand (in italics in the text), has not been able to leave the sofa for a week together. In Frank’s last letter she complained, he said, of being too weak to get into her conservatory without having both his arm and his uncle’s! This, you know, speaks a great degree of weakness—but now she is so impatient to be in town, that she means to sleep only two nights on the road.—So Frank writes word. Certainly, delicate ladies have very extraordinary constitutions, Mrs. Elton. You must grant me that.”

Frank actually stays away from Jane against his inclination when Mrs. Churchill is in Richmond. Mrs. Churchill is actually getting worse and he's not a complete dick, he stays with her:

This was the only visit from Frank Churchill in the course of ten days. He was often hoping, intending to come—but was always prevented. His aunt could not bear to have him leave her. Such was his own account at Randall’s. If he were quite sincere, if he really tried to come, it was to be inferred that Mrs. Churchill’s removal to London had been of no service to the wilful or nervous part of her disorder. That she was really ill was very certain; he had declared himself convinced of it, at Randalls. Though much might be fancy, he could not doubt, when he looked back, that she was in a weaker state of health than she had been half a year ago. He did not believe it to proceed from any thing that care and medicine might not remove, or at least that she might not have many years of existence before her; but he could not be prevailed on, by all his father’s doubts, to say that her complaints were merely imaginary, or that she was as strong as ever.

and later: The black mare was blameless; they were right who had named Mrs. Churchill as the cause. He had been detained by a temporary increase of illness in her; a nervous seizure, which had lasted some hours—and he had quite given up every thought of coming,

Also, let us consider how much hatred is directed at Mrs. Churchill for wanting her adopted nephew to stay by her while she is dying, whilst Mr. Woodhouse, who basically imprisons his daughter with all his fancies of ill health, is widely loved. Mrs. Churchill is the alleged hypochondriac who is actually sick, while Mr. Woodhouse worries about his health, but has no recorded illness through the entire book.

To sum up, Mrs. Churchill was getting progressively worse over the course of the novel. She very reasonably wanted her adopted child to be near her. Frank does actually do his duty to his aunt, indicating that he is well aware of how sick she has become. Mrs. Churchill’s death was not sudden, it happens at the end of a decline lasting about a year, or a bit longer.

[rocket-candy-heart]

Sometimes I just think about how much of an impact the media circus around Anna Nicole Smith in the late 90s-2000s had on US culture and its bad

[hellsbellschime]

Yes, Rhaenyra trying to put bastards on the throne is the wider political issue that’s most pertinent to the war. Legitimacy of heirs is literally the foundational deception that kicks off the entirety of Game of Thrones with the War of the Five Kings. The stigma of bastardy is the foundation of Jon Snow’s character! This is the point where Rhaenyra turns from ‘unfairly maligned woman opposed just because she’s a woman’ to ‘complete liability’. Skipping over the ramifications of that fuck up and the violence she and Viserys were capable of dishing out to those who spoke truth removes virtually all nuance from the Green vs Black claim, because if the rest of the realm in the show doesn’t care about the bastards then the Greens aren’t justified in caring. They even removed the fact that Rhaenyra had to engage her boys to Laena’s girls very early on to stop Corlys kicking off about the obvious, just so they could have the scene where Rhaenyra looks reasonable in trying to marry Helaena and Jace. It’s a big mistake IMO in the world building to have made those adaptational choices, because it reduces Westerosi politics to the depth of a puddle.

Yes exactly, again it's bizarre that people are so anti-Greens when the Blacks were constantly doing shit that guaranteed a war was imminent no matter WHO their adversary was going to be. I definitely don't think Alicent or the Hightowers are above reproach or perfect, but FFS in a situation like this they'd have to be borderline lobotomized to not have enough sense to gain as many advantages for themselves as possible before shit inevitably hit the fan.

[vestigiallegs]

And more specifics: 37 Sam, 22 Ike, 36 Ancha, 41 Mira, 14 Stranger, 1 Terry, 44 Chris

THIS IS A BIG ONE!!

37: Do people have justified grudges against your character?

Oh, certainly. Another way in which Sam is a Shrek recolor is that she is not merely unfairly maligned for circumstances out of her control, she also creates problems for herself and makes situations worse than they need to be.

There are a  few ways in which she contributes to this problem, in general:

1. If someone thinks she is scary and it annoys her enough she will lean into it, “for fun.”

2. She interprets a lot of conflict as fun and games because she is kind of a dick and she does just... enjoy fighting. Since she shrugs off this fighting as fun and games, she often misjudges how much her opponent might forgive because she’s using her own skewed metric as reference.

But those are general statements. You’re probably looking for specifics, and I’m afraid I must let you know I do not really have them at this time. Despite Sam having a variety pack of enemies, I’ve developed Sam’s relationships with the people SHE has grudges against (ie Lance, Page) more than I’ve developed the specifics for anyone who has a running grudge against HER. It’s more of a nebulous crowd of people whose toes she has trampled, some from her shitty younger days, some fresh new enemies...

(I do have one specific Person With A Justified Grudge On Sam that I keep contemplating but I’m not sure if he/she/they/??? will ever make it out of the development phase and become a real character/story element.)

22: What is the worst thing your character has ever done? 

My idea was that I was going to answer this disincluding things Isaac has done to himself because that’s a rock bottom that he keeps digging deeper, but even when he does bad stuff to other people it tends to be in tandem with bad things he is doing to himself...

Isaac has plenty capacity for being a dick, and spent a good portion of his life not considering other peoples’ feelings very hard. But, at the same time, he's naturally reserved and at the time where he was the most empathy deficit he also was in the habit of minding his own business. So he was more of a jerk in passing to people than out there doing real heinous shit...

I don’t want to say “cheating with Mira and everything that happened for years after is the worst thing he has ever done” because that feels like a cop out even if it’s probably technically true...

Lying to everyone with his “ah yeah, that’s me, Able-Bodied Man” LARP is bad but in the end he’s doing more damage to himself than anyone else with that one... not that the emotional damages it does to the people who care about him don’t matter because they do...

I guess he doesn’t have a whole lot of Big Worst Moments, just a long resume of being kind of a shithead, letting himself get worse by putting himself in the company of other shithead(s) and taking their shithead advice, and then course-correcting his behavior in a way that makes him also kind of a shithead in a different way.

36: Does anyone want to harm your character?

Oh, probably. Ancha is good at making enemies for a gentle pacifist.

In her youth, participating in politics games routinely earned her all manner of dangerous enemies. Of course, she’s long since outlived anyone who wanted to assassinate her, considering that she’s outlived politics and Atlantean society in general.

Considering there are other (undeveloped at this time) immortals out there, she probably still has SOME enemies...

At the very least, Lucas would probably take a shot at her if he thought he could get away with it!

41: Would your character want to have any children?

“No” with exceptions. Mira is not a nurturing person, nor does she particularly like children, and doesn’t put any value on ideas of “continuing the bloodline” or “making the next generation better” or anything like that. She doesn’t dream of having a family. She’s very much a career woman to the exclusion of other things in life. It’s an easy cut and dried “she shouldn’t raise children which is okay because she doesn’t want them anyway” situation until it isn’t.

You see, all logical reasoning points to “Mira doesn’t want and therefore wouldn’t have children,” but she’s also not immune to the allure of dramatic projections of the future. I could see her keeping an accidental pregnancy, or procreating on purpose if her partner framed it in a romantic, ego-buffing way.

The reality would remain unappealing to her though. Best case scenario she is one of those overbearing achievement hyper-focused parents who is extremely invested in and proud of their child’s talents and accomplishments but emotionally not there.

14: What is the cutest thing your character has ever done? 

You come to my own home and ask me to write a hit piece on my own character. How dare you.

I suppose Stranger’s #1 “cute” behavior is how they behave when they fail to find an excuse to hate someone or be rude to them. Stranger doesn’t need a big reason to dislike someone, and will often pick out little things to justify being a prickly son of a bitch. But there is a method to their misanthropy, a sort of equation/assessment they run in their head in order to determine that they are Right to be a bitter and rude in a given situation. Despite the fact that this assessment is extremely rigged, occasionally they run into someone they just cannot justify being an asshole to (example: Nikki).

When this happens, they have no choice but to try feign being normal despite the agony trying not to be a freak to people brings them. They make small talk like it’s actively killing them, hissed and grunted through gritted teeth.

It’s like aw. They’re trying. Not doing a good job, but trying.

1: What is your character's biggest fear? 

Terry doesn’t have a lot of big, conscious fears. If you asked him his biggest fear he’d probably say something like, Santa Claus, or a specific Five Nights At Freddy’s jumpscare, shit in that ballpark. He’s not terribly in touch with the concept of fear, same as he’s not super in touch with the concept of mortality.

He does worry about some things that are actually real, but not very deeply and not very often. None of those worries are centered on himself either, he’s confident that he can bounce back from anything and more or less sees himself as endlessly smart, talented, evasive of consequence, and unkillable. Instead he worries about things he knows to be more fragile than himself, like Nugget with her fragile avian bones and respiratory system, or Ike with his fragile human feelings.

44: What is your character proud of? 

Chris is not proud of much, and she undermines her few real accomplishments as incomplete or not counting. During her youth as an ELF WIZARD competing in the championship challenges, she was quite accomplished. She withdrew from the tournament, though, and never made it to her televised match. She’s got one of those “if you aren’t first you’re last” sort of attitudes, so as far as she’s concerned, it’s failure all the way down.

THAT SAID she can do a sweet kickflip. She’s proud of that. She has a SWEET GAMER COLLECTION of VIDEOGAME, and she’s proud of that. And she makes for a great, reliable mafia goon! She’s really proud of that one.

[donmarcojuande]

Some women of Batwoman. Ruby Rose, Meagan Tandy, Nicole Kang, Rachel Skarsten, Christina Wolfe, Ruby again (x2) HOT TAKE: this series is unfairly maligned. I’m three episodes from the end, and the show has gradually tightened its grip on me. Sure, there are things wrong with it (how many series are perfect right away?), but Rachel Skarsten is fantastic as Alice, I’ve enjoyed Nicole Kang’s Mary more and more as the season has progressed, and the scene illustrated in the final three pics (between Ava Sleeth and Gracyn Shinyei) is the most affecting scene I can recall from a superhero show. IMDb ratings nearly always skew towards the male POV, given its user base. The overall rating for Batwoman is 3.6, but the rating from women 18-29 is 6.2. Quite a contrast. Not difficult to figure out, given that there’s no Batman TV series and this one features A Woman on His turf, why there should be nearly fifty percent of users voting 1... YMMV, of course. But I’ve enjoyed this season - it picked up strength as it went along - and I think it’s told a powerful and affecting story about abuse and family. She should suit up a bit more, though! (Perhaps Ruby’s successor will.)

[normadeathmond]

the spanish princess ep 2 thoughts

I’ve been enjoying all the reaction posts so here’s mine (spoilers included):

- I’ve had kind of a revelation this week regarding The Spanish Princess. This show is basically the modern day version of those dubiously accurate medieval historical chronicles.  Not only do we have extra supernatural elements (the cuuuuurse, prophetic dreams), but we also have the contemporary authors’ personal biases inserted all over the place, and the addition of mythical stories about the heroes (Catherine fighting at Flodden this week). For some reason, this has made me a lot more forgiving towards the show. (it probably also helps that my fave Maggie B is dead now, so I don’t have to worry about them shitting all over her anymore, and I don’t have a particularly strong attachment to any of the other historical figures depicted)

- erm wtf, did anyone else catch that scene with Maggie and Edmund de la Pole in the previously on that we’ve never seen before?? I guess this plotline was supposed to be included in episode one as well, which probably would’ve helped it feel a bit more developed and less like something they suddenly remembered had to be tied up from last year. The whole sequence of Edmund being reintroduced and killed off in less than five minutes was very rushed.

- I’m glad baby Henry’s death hasn’t been totally forgotten, but do we really need so many grief-stricken sex scenes between these two? These are supposed to be the years they’re deeply in love, let them have some happier sex

- ehh I’m not sure that Catherine’s big reveal to the council actually changes much. A very early pregnancy, possibly with a girl, doesn’t really make the line secure. I think the focus should have been on Henry’s own desire to prove himself in battle, which would also have added to the humiliation when Catherine successfully defeats the Scots while his military exploits fizzle out.

- I really like General Howard, Peter Egan is fantastic (albeit a bit too polished for a grouchy, uncouth soldier type)

- “and now this book is closed” - god I hope so, bc I hate Maggie’s plotline from last year. It was interminable watching her whinge about how unfair it was that the Tudors suspected her of plotting against them because she had always been the most loyal person ever, as though she was suffering from some kind of selective memory loss about literally being a spy for the Yorkist rebellion in The White Princess. ffs Maggie can be either a completely innocent woman unfairly maligned by the Tudors or she can be a badass Yorkist rebel, not both. 

- it seems her memory problems are back this episode because she goes storming off to complain to Catherine about Edmund de la Pole getting his head chopped off, conveniently forgetting than she was also heavily involved in his plot and her family is only out of the Tower thanks to Catherine interceding for her with Henry. Catherine was 100% in the right here, Edward of Warwick was innocent whereas Edmund de la Pole was a fully cognisant adult who spearheaded a revolt to take the throne (and likely would’ve had both Henry VII and Henry VIII killed if he had succeeded), so the idea that she’s suddenly heartless because she apologised for the former’s death but not the latter’s is ridiculous. The whole scene, including Maggie’s kids’ ‘whoomp here she goes again’ reactions, unintentionally have her coming off as rather hysterical.

- hopefully the rest of her story this season focuses on her mending her relationship with her sad silent son instead and possibly getting her leg over Thomas More

- ahhh Lina’s face when Catherine bitchily says she’ll be having a girl. Catherine’s not going to be able to stop herself from lashing out at her now that she has twin boys.

- first the clothes comment last episode, now they have Ursula saying Charles may not be good-looking but he’s rich as fuck. I guess she’s being set up as a gold-digger.

- is it just me or does the Anne Boleyn’s actress look a little bit like Charlotte Hope? The dress they had her in when Henry returns even looks like something Catherine would’ve worn in season one. I’ve no idea why they’ve brought the Boleyn girls in this early though – are they going to be sent to France then come back later? Henry still has to make his way through Anne Hastings, Bessie Blount and Mary Boleyn before he gets to Anne. The episode summaries make it look like his infidelities won’t start until episode four so he’s going to have to have a new girl every episode to get through them all.

- I’ve kind of come around on the whole Catherine-in-armour thing. Frock Flicks wrote an interesting article this week where they pointed out that while historically battle armour for women did not exist and women very rarely wore armour, depictions of women in armour have been around for a long time and would have existed in the Tudor period. In this pseudo-historical retelling of Catherine’s story mythologizing her as a warrior queen, it does make sense to carry on that visual tradition and have her armoured up.

- Unfortunately I think they did kind of undermine the visual impact of the armour on screen by focusing on it so heavily in the promos for the season. Possibly it wouldn’t have affected a casual viewer so much, but anyone who’s followed the show’s promo cycle has been seeing pictures and clips of Catherine in the armour for weeks now, and when she entered stomping down the corridor in her full battle gear it didn’t blow me away like the first look at that outfit should have done.

- I know this series is never going to have the budget of Game of Thrones, but Flodden was a disappointment, from the rousing speech (“mothers are warriors too, amirite ladies?”) to the battle itself. You can tell they really wanted this to be their big epic action sequence and unfortunately it felt underwhelming. I remember the battles in TWQ/TWP being much more impressive, for what was probably a similar budget.

- as soon as I saw how heavily pregnant Lina was this episode, I knew a  birth/battle juxtaposition was coming. I get what they were trying to do with the whole ‘childbirth is women’s battlefield’ theme, but the attempt to fake-out Lina’s death fell flat - there’s no way they were killing her off. (I’m not sure why she was giving birth in the hallway, with apparently no midwives, but it was inadvertently hilarious watching Maggie - the only one with any childbirth experience - try and talk her through it while the other three were basically no help at all.)

- also everyone being like “omg Princess Mary you can’t possibly be at the birth” felt so out of place given that Meg and Catherine were both hanging around a battlefield at the same time

- on the one hand I did like that Catherine didn’t end up being some amazing warrior just off instinct; she’s almost immediately pulled off her horse, staggers around looking confused as fuck and then is shocked when she actually kills someone. But on the other, what was the point of all the warrior queen build up if she barely even does anything useful on the battlefield? (also why did they have her kill someone who looked so much like James?? I’ve seen several people think she killed James herself and I thought that too until he was shown being taken down afterwards - it was needlessly confusing)

- JAAAAMES. I’m so sad he’s gone. Georgie Henley knocked it out the park this episode, especially in her big mourning scene. Although given how sweet he and Meg were this episode, and her comment about him being her best friend, it just makes the punch last episode seem even stranger.

- I’m so sad we were robbed of seeing Catherine try to send James’ corpse to Henry as a victory gift and have to be talked into sending just the coat. If you’re going to make her ride out in armour let her keep her savage penchant for gruesome war trophies!

- oop, Catherine absolutely fails to sell the lie that she’s pleased about Lina’s two boys, and Lina can definitely tell.

- with Maggie B gone, Wolsey is the new evil religious cockblocker in town!

- I would like twenty more scenes of Lina and Oviedo being cute and bitching about their work days thanks

- I like Catherine defending Howard to Henry. It would have been nice if there was more time to show the development of a begrudging respect between those two.

- overall I found this episode disappointing. The big sequences weren’t impressive in the way last week’s were and there weren’t enough character moments to make up for that. I’m still looking forward to the rest of the season though, especially Meg, Mary and Maggie’s storylines.