#terrible but iconic 90s teen movie

[literaryspinster]

If Julia Stiles doesn’t play Andre’s mom then what are we even doing?

[jakesuit0]

Go With Me Review

“Go With Me” manages to give more insight into multiple different character dynamics in the span of 11 minutes. Finn and Bubblegum, Jake and Marceline, Finn and Marceline, and Marcy and PB have series defining moments for their relationships, with even some super insightful Finn and Jake interaction sprinkled in. Not even the 90-minute Stakes miniseries manages to accomplish that. 

Despite Finn’s puppy love for Princess Bubblegum, Finn does not understand romance nor is ready for it. Despite this, Jake pushes Finn to bring a date to couple’s movie night. Jake and Marceline encourage Finn to pursue someone who is too old for him, albeit for different reasons. Jake has a naive view of romance, and has no frame of reference for how to help a (barely) teen human boy deal with his feelings. He views Finn as someone capable of having true romantic feelings, which Finn clearly isn’t yet. Finn immediately shoots down PB’s description of the night as “romantic”. PB declines for whistling practice. I don’t think this was just an excuse to turn down Finn. Bubblegum finds Finn's crush on her cute and harmless in the first two seasons. I think she’d be willing to humor him by attending, not yet knowing the effect that kind of behavior has on Finn. Jake gives more terrible advice, pushing Finn to keep pursuing PB. 

Marcy’s introduction into this episode is great, with the slow split screen reveal of her presence. It’s also the first of many times we see her hiding inside the Treehouse. Jake reveals that he has gotten over his fear of vampires. While Marceline can still easily spook him, it's nice that Jake has finally come around to Marcy like Finn did in “Henchman”. I love how Finn and Jake both get separate mini-arcs throughout a few episodes before they each accept Marceline as a friend. Marceline not being able to go out in the sun (before they got lazy and just started photoshopping sunscreen bottles into title cards) is already enough of a barrier to work her into plots, we don’t need Jake’s fear as another one. They had a funny workaround in “It Came From the Nightosphere”, but I’m glad they retired it. I love how they still address this development. Most shows would have just given up on the running gag without an explanation to make writing episodes easier. 

In order to make Peebles jealous, Finn and Marcy pretend to have a great banter session outside Bubblegum’s window. This leads to our first ever interaction between Princess Bubblegum and Marceline, the second most iconic character duo in the series, and one of the most famous character dynamics in cartoon history. While it takes 103 episodes for Marceline to interact with Ice King, and 170 for Lumpy Space Princess, Marcy gets to interact with a member of the main cast that isn’t Finn and Jake in season two! Even without the context from future episodes, this scene gives a lot of clues to their relationship. There is clear tension between them. It is obvious they have a history, with Marceline calling PB by her first name, something we haven’t even seen Finn do up to this point. It’s satisfying seeing how well this scene works with information provided a decade later in “Obsidian”. Marceline likes to tease PB, and Bubblegum puts up a tough exterior to act like she doesn’t care about Marcy, like she did while Marcy first sang “Woke Up” in the Glass Kingdom. It’s obvious they’ve had multiple interactions similar to this over the hundreds of years since their break up. Finn’s newfound friendship with Marceline would only force these kinds of interactions to become more frequent. This is probably the most drastic example of an episode being impacted by a later installment in the series. And oh yeah, Princess Bubblegum’s first name is Bonnibel! I love how well her first name flows with Bubblegum. It’s nice having a shorter and easier name for her than “Princess Bubblegum” that isn’t just “PB”. I love getting pieces of character biography like names and ages dropped so casually.

Marceline just wants to get back at her ex as well as have fun messing with her impressionable friend like usual. Marceline literally says her reason for wanting to help is that “it'll be funny”. Of course Marcy knows that wrestling and wolves would do nothing but upset PB. She plays these pranks at the expense of Finn, but Marceline knows to not take Finn’s crush seriously in the first place. Her “advice” is as bad as Jake’s but she isn’t stupid like Jake. 

In the process of getting wolves for Marceline’s next plan, we see how much more compatible Finn is with Marcy than PB. They’re both fun, wild animals. Bubblegum reacts appropriately to Finn putting wolves in her room. It's sad seeing her ban Finn from the kingdom. She understands she is dealing with a child and that Finn has a good heart, so she keeps the door open for when Finn starts behaving better. She knows that Finn will come around and it feels more like a parent or teacher disciplining a misbehaving child. I’m sure Bubblegum realized that this was all Marcy’s doing soon enough anyway. On the other hand, the Finn Marceline pairing is a much more fun and refreshing dynamic when compared to PB and Finn. This is purposefully highlighted and something Finn comes to realize. After his latest failure, Marcy tells Finn to forget about Bonnie. I get the feeling that another motivation for Marceline was to sabotage Finn so he wouldn’t keep dealing with the heartache she knows comes with PB.

All of this sets up a fake out that the series would turn to start pushing Finn and Marceline as a romantic pairing. Finn goes to ask Marcy out to the movies instead. Someone getting this close to Marceline makes her uncomfortable. Her reaction is to try to scare Finn away, a tactic she internalized from when she thought she scared her mother away and reinforced in the downfall of her relationship with Princess Bubblegum. Marceline misinterprets Finn’s invitation as a romantic gesture. Marceline and Jake egging Finn on throughout the episode caused this. He is only barely 13, he isn’t ready for that! I like Jake rightfully feeling embarrassed for his actions. Marcy realizes Finn’s intentions and happily goes with Finn as friends. She still can’t give up messing with Finn, with the great “no tongue” comment that went right over his head. I’m very happy the series didn’t go for a Finn, PB, Marceline love triangle. It’s nice for Finn to have a female friend without any baggage. The episode teased Finnceline for the only time in the series, and then immediately shot it down forever. Well, forget about “Bad Little Boy”. I’ll discuss that episode’s implications when we get to it.                  

Finn and Marceline ditch movie night when confronted with the onslaught of make outs. They are truly perfect friends. The episode ends on wolves tearing apart the screen after a couple proclaims that nothing will ever tear them apart. There is a joke in Spongebob that is identical to this, with Plankton instead of the wolves. There is absolutely no way that it’s a coincidence. 

“Go With Me” is the third and sadly last Finn and Marceline duo episode. While I think “It Came From the Nightosphere” is the overall better episode, I think this is the best showcase of their relationship in the series. It's great seeing these character dynamics be explored in a more sitcom-y episode.

Grade: A

[dicmondskies]

☆ & * .   ♡   i n t r o d u c t i o n  …  

⸻  LILY COLLINS. SHE + HER / have you ever heard of LOVE by kid cudi , well, it describes PAYSON HADDAD  to a tee! the twenty nine year old, CEO OF TEEN FASHION MAGAZINE 'YOUR THING MAGAZINE' was spotted browsing through the stalls at portobello road market last sunday, do you know them? would you say SHE is more ungrounded or more DREAMY instead? anyway, they remind me of old 90's teen magazines, 2,000's american fashion , pink everything , and bright red lipstick , maybe you’ll bump into them soon! 

trigger warning: plane crash, financial crimes

          ♡          payson haddad is the ultimate rich auntie. after her sister was tragically killed in a plane crash scandal involving a cover up, payson became the sole provider and guardian of her niece and nephew, who are now grown up and ready to leave her nest, but the three are extremely close. payson would do absolutely anything for them and think the world of them. they are well taken care of thanks to her and can get anything they want if they ask.

         ♡          growing up, payson was born into an upper middle class family. they weren’t filthy rich like some of the old money families in england but they were far more privileged than most. owning several different properties and vacation homes, they were well off but not quite worth millions,  they did however, have a century of roots in nottinghill as one of the most influential law families in the area. what payson would find out in her teenage years, was that her family hadn’t always acquired their wealth and notoriety through moral or legal means. 

        ♡          payson’s father’s side of the family were the ones tied to a law dynasty in the area of nottinghill, the last name haddad tied to her great great great grandfather who started the families law firm in the 18th century as solicitors. 

       ♡          payson’s father was a good conman but in the long run was taken down by his own partners in his law firm. the law firm that once belonged to his ancestors now ceased to exist after uncovering years of payson’s father’s fraudulent financial crimes against his clients and the firm at large. 

         ♡          the scandal of the haddad’s law firm was broadcast all over london and was the most talked about topic for almost two years, all of this going down around the time payson was seventeen. she was just about to graduate from her private school a year early, and the timing came perfect, she graduated and got the hell out of town, studying abroad in paris, france for four years before she ever set foot back in nottinghill. 

       ♡          payson’s father ended up taking a guilty plea to save his family further embarrassment and social isolation. he made sure the public eye and the law knew that his crimes were only a reflection of him and that his family were all innocent bystanders who had no knowledge of the injust acts he was carrying out behind everyone’s backs. 

       ♡          payson’s mother tried her to best to manage the scrutiny and backlash they received from the scandal. she even helped try to keep the whole thing under wraps for her husband until the time came that she could no longer cover things up for him. 

       ♡          payson never fully allowed herself to process all that came with her father’s scandal. the things being spread and said about her online were things she wouldn’t allow herself to read. she knew she’d never get past her fathers mistakes if she allowed them to hinder her from moving forward. 

       ♡          it took her a while but she was determined to make a name for herself, separate from her father’s terrible reputation, and with her dedication and ambition, she did just that. payson spent her time in paris studying fashion and birthing the idea of ‘ your thing magazine ‘ while she was there. ( points if you recognize the name from the bratz rock angels movie lmao ) 

       ♡          payson completely revamped the haddad legacy and name into that of a fashion icon. your thing magazine is extremely popular among the teen and young adult age range. think of it as one of those 90′s magazines with all the posters and polls and latest teen celeb gossip and fashion do’s and don’ts. 

[specialagentartemis]

30 years ago, some of us were born.  Some of us were children.  All of us at least have someone - parents, teachers, or friends - who were alive 30 years ago, who can tell you directly what things were like in the early 90s.  A lot of iconic movies and music were released 30 years ago that are considered fundamental pieces of pop culture now.  30 years ago, the world was not very different at all from how it is now, and neither were people.

300 years ago, snarky teen Benjamin Franklin published anonymous advice and satire letters in the newspaper. The Mapuche rose against the Spanish in Chile for the fifth time in an attempt to take back political control of their people and land, and Popé led the Pueblos in their revolt against the Spanish which drove them out of the Rio Grande region. (The American Revolution was still 50 years away.) Vivaldi and Bach composed concertos, bookmakers in China meticulously printed five-thousand-volume comprehensive encyclopedias of history and culture, and the British signed treaties with the Wabenaki Confederacy and the Mohawk Nation. Isaac Newton described an exciting new theory of physics and a ton of pirates roamed, like, every coast. Jonathan Swift wrote biting, bitter satire of the British colonization of Ireland, and West Africans were captured and brought to the Americas as slaves. The first major public vaccination campaign was held in Boston, which a lot of people were suspicious of and resisted very strongly.

3,000 years ago, Central American farmers had long established maize corn from teosinte and tended fields of corn, selectively breeding it to adapt it to regional climates; farmers in Japan began to cultivate rice.  David became king of Israel, and Pharaohs postured with political propaganda.  The rulers of Egypt and Kush alternately traded and showed off their riches with each other or struggled for power over the lands of the Nile.  People of the Middle East and the Mediterranean wrote prayers to their gods, letters to their siblings, and complaints to their copper merchants on clay tablets.  Chinese poets compiled books of poetry.  The Olmec people in Mexico played ballgames.  One unlucky wood merchant in the Levant sent letters home to Egypt complaining of his Terrible, Horrible, No Good, Very Bad Trip.

30,000 years ago, people in Eastern Europe painted breathtaking scenes of animals and hunting on the walls of caves by firelight; across the world, people in Indonesia did the same.  Hunters chipped spear-points and knives out of stone; cooks ground stone into food-processing tools.  People sailed or paddled boats across the strait from Asia to Australia, and navigated boats across the open ocean to the Solomon Islands.  In Australia and Southeast Asia, fishermen went out to sea on boats to catch sharks and tuna.  South African hunters developed bow and arrow technology, with arrowheads made of carved bone and tipped with poison to take down big game in a series of technological innovations.  In Germany, someone carved an imaginary image of a lion-headed human; in Eastern Europe, figures of women were sculpted from clay.  Hunter-gatherers on the Russian steppes buried important dead bedecked with strings of jewelry.

Humans have been anatomically modern - with the same bones, the same teeth, the same brains as you and me - for 300,000 years.  They had the same intellectual capacity then, felt as deeply and thought as well, wondered as much about the world and had opinions about things and personal preferences and different skills, as any of us.

What was life like for them?

[blind-rats]

The Rise & Fall of Joss Whedon; the Myth of the Hollywood Feminist Hero

By Kelly Faircloth

“I hate ‘feminist.’ Is this a good time to bring that up?” Joss Whedon asked. He paused knowingly, waiting for the laughs he knew would come at the creator of Buffy the Vampire Slayer making such a statement.

It was 2013, and Whedon was onstage at a fundraiser for Equality Now, a human rights organization dedicated to legal equality for women. Though Buffy had been off the air for more than a decade, its legacy still loomed large; Whedon was widely respected as a man with a predilection for making science fiction with strong women for protagonists. Whedon went on to outline why, precisely, he hated the term: “You can’t be born an ‘ist,’” he argued, therefore, “‘feminist’ includes the idea that believing men and women to be equal, believing all people to be people, is not a natural state, that we don’t emerge assuming that everybody in the human race is a human, that the idea of equality is just an idea that’s imposed on us.”

The speech was widely praised and helped cement his pop-cultural reputation as a feminist, in an era that was very keen on celebrity feminists. But it was also, in retrospect, perhaps the high water mark for Whedon’s ability to claim the title, and now, almost a decade later, that reputation is finally in tatters, prompting a reevaluation of not just Whedon’s work, but the narrative he sold about himself. 

In July 2020, actor Ray Fisher accused Whedon of being “gross, abusive, unprofessional, and completely unacceptable” on the Justice League set when Whedon took over for Zach Synder as director to finish the project. Charisma Carpenter then described her own experiences with Whedon in a long post to Twitter, hashtagged #IStandWithRayFisher.

On Buffy the Vampire Slayer and Angel, Carpenter played Cordelia, a popular character who morphed from snob to hero—one of those strong female characters that made Whedon’s feminist reputation—before being unceremoniously written off the show in a plot that saw her thrust into a coma after getting pregnant with a demon. For years, fans have suspected that her disappearance was related to her real-life pregnancy. In her statement, Carpenter appeared to confirm the rumors. “Joss Whedon abused his power on numerous occasions while working on the sets of ‘Buffy the Vampire Slayer’ and ‘Angel,’” she wrote, describing Fisher’s firing as the last straw that inspired her to go public.

Buffy was a landmark of late 1990s popular culture, beloved by many a burgeoning feminist, grad student, gender studies professor, and television critic for the heroine at the heart of the show, the beautiful blonde girl who balanced monster-killing with high school homework alongside ancillary characters like the shy, geeky Willow. Buffy was very nearly one of a kind, an icon of her era who spawned a generation of leather-pants-wearing urban fantasy badasses and women action heroes.

Buffy was so beloved, in fact, that she earned Whedon a similarly privileged place in fans’ hearts and a broader reputation as a man who championed empowered women characters. In the desert of late ’90s and early 2000s popular culture, Whedon was heralded as that rarest of birds—the feminist Hollywood man. For many, he was an example of what more equitable storytelling might look like, a model for how to create compelling women protagonists who were also very, very fun to watch. But Carpenter’s accusations appear to have finally imploded that particular bit of branding, revealing a different reality behind the scenes and prompting a reevaluation of the entire arc of Whedon’s career: who he was and what he was selling all along.

Buffy the Vampire Slayer premiered March 1997, midseason, on The WB, a two-year-old network targeting teens with shows like 7th Heaven. Its beginnings were not necessarily auspicious; it was a reboot of a not-particularly-blockbuster 1992 movie written by third-generation screenwriter Joss Whedon. (His grandfather wrote for The Donna Reed Show; his father wrote for Golden Girls.) The show followed the trials of a stereotypical teenage California girl who moved to a new town and a new school after her parents’ divorce—only, in a deliberate inversion of horror tropes, the entire town sat on top of the entrance to Hell and hence was overrun with demons. Buffy was a slayer, a young woman with the power and immense responsibility to fight them. After the movie turned out very differently than Whedon had originally envisioned, the show was a chance for a do-over, more of a Valley girl comedy than serious horror.

It was layered, it was campy, it was ironic and self-aware. It looked like it belonged on the WB rather than one of the bigger broadcast networks, unlike the slickly produced prestige TV that would follow a few years later. Buffy didn’t fixate on the gory glory of killing vampires—really, the monsters were metaphors for the entire experience of adolescence, in all its complicated misery. Almost immediately, a broad cross-section of viewers responded enthusiastically. Critics loved it, and it would be hugely influential on Whedon’s colleagues in television; many argue that it broke ground in terms of what you could do with a television show in terms of serialized storytelling, setting the stage for the modern TV era. Academics took it up, with the show attracting a tremendous amount of attention and discussion.

In 2002, the New York Times covered the first academic conference dedicated to the show. The organizer called Buffy “a tremendously rich text,” hence the flood of papers with titles like “Pain as Bright as Steel: The Monomyth and Light in ‘Buffy the Vampire Slayer,’” which only gathered speed as the years passed. And while it was never the highest-rated show on television, it attracted an ardent core of fans.

But what stood out the most was the show’s protagonist: a young woman who stereotypically would have been a monster movie victim, with the script flipped: instead of screaming and swooning, she staked the vampires. This was deliberate, the core conceit of the concept, as Whedon said in many, many interviews. The helpless horror movie girl killed in the dark alley instead walks out victorious. He told Time in 1997 that the concept was born from the thought, “I would love to see a movie in which a blond wanders into a dark alley, takes care of herself and deploys her powers.” In Whedon’s framing, it was particularly important that it was a woman who walked out of that alley. He told another publication in 2002 that “the very first mission statement of the show” was “the joy of female power: having it, using it, sharing it.”

In 2021, when seemingly every new streaming property with a woman as its central character makes some half-baked claim to feminism, it’s easy to forget just how much Buffy stood out among its against its contemporaries. Action movies—with exceptions like Alien’s Ripley and Terminator 2's Sarah Conner—were ruled by hulking tough guys with macho swagger. When women appeared on screen opposite vampires, their primary job was to expose long, lovely, vulnerable necks. Stories and characters that bucked these larger currents inspired intense devotion, from Angela Chase of My So-Called Life to Dana Scully of The X-Files.

The broader landscape, too, was dismal. It was the conflicted era of girl power, a concept that sprang up in the wake of the successes of the second-wave feminist movement and the backlash that followed. Young women were constantly exposed to you-can-do-it messaging that juxtaposed uneasily with the reality of the world around them. This was the era of shitty, sexist jokes about every woman who came into Bill Clinton’s orbit and the leering response to the arrival of Britney Spears; Rush Limbaugh was a fairly mainstream figure.

At one point, Buffy competed against Ally McBeal, a show that dedicated an entire episode to a dancing computer-generated baby following around its lawyer main character, her biological clock made zanily literal. Consider this line from a New York Times review of the Buffy’s 1997 premiere: “Given to hot pants and boots that should guarantee the close attention of Humbert Humberts all over America, Buffy is just your average teen-ager, poutily obsessed with clothes and boys.”

Against that background, Buffy was a landmark. Besides the simple fact of its woman protagonist, there were unique plots, like the coming-out story for her friend Willow. An ambivalent 1999 piece in Bitch magazine, even as it explored the show’s tank-top heavy marketing, ultimately concluded, “In the end, it’s precisely this contextual conflict that sets Buffy apart from the rest and makes her an appealing icon. Frustrating as her contradictions may be, annoying as her babe quotient may be, Buffy still offers up a prime-time heroine like no other.”

A 2016 Atlantic piece, adapted from a book excerpt, makes the case that Buffy is perhaps best understood as an icon of third-wave feminism: “In its examination of individual and collective empowerment, its ambiguous politics of racial representation and its willing embrace of contradiction, Buffy is a quintessentially third-wave cultural production.” The show was vested with all the era’s longing for something better than what was available, something different, a champion for a conflicted “post-feminist” era—even if she was an imperfect or somewhat incongruous vessel. It wasn’t just Sunnydale that needed a chosen Slayer, it was an entire generation of women. That fact became intricately intertwined with Whedon himself.

Seemingly every interview involved a discussion of his fondness for stories about strong women. “I’ve always found strong women interesting, because they are not overly represented in the cinema,” he told New York for a 1997 piece that notes he studied both film and “gender and feminist issues” at Wesleyan; “I seem to be the guy for strong action women,’’ he told the New York Times in 1997 with an aw-shucks sort of shrug. ‘’A lot of writers are just terrible when it comes to writing female characters. They forget that they are people.’’ He often cited the influence of his strong, “hardcore feminist” mother, and even suggested that his protagonists served feminist ends in and of themselves: “If I can make teenage boys comfortable with a girl who takes charge of a situation without their knowing that’s what’s happening, it’s better than sitting down and selling them on feminism,” he told Time in 1997.

When he was honored by the organization Equality Now in 2006 for his “outstanding contribution to equality in film and television,” Whedon made his speech an extended riff on the fact that people just kept asking him about it, concluding with the ultimate answer: “Because you’re still asking me that question.” He presented strong women as a simple no-brainer, and he was seemingly always happy to say so, at a time when the entertainment business still seemed ruled by unapologetic misogynists. The internet of the mid-2010s only intensified Whedon’s anointment as a prototypical Hollywood ally, with reporters asking him things like how men could best support the feminist movement. 

Whedon’s response: “A guy who goes around saying ‘I’m a feminist’ usually has an agenda that is not feminist. A guy who behaves like one, who actually becomes involved in the movement, generally speaking, you can trust that. And it doesn’t just apply to the action that is activist. It applies to the way they treat the women they work with and they live with and they see on the street.” This remark takes on a great deal of irony in light of Carpenter’s statement.

In recent years, Whedon’s reputation as an ally began to wane. Partly, it was because of the work itself, which revealed more and more cracks as Buffy receded in the rearview mirror. Maybe it all started to sour with Dollhouse, a TV show that imagined Eliza Dushku as a young woman rented out to the rich and powerful, her mind wiped after every assignment, a concept that sat poorly with fans. (Though Whedon, while he was publicly unhappy with how the show had turned out after much push-and-pull with the corporate bosses at Fox, still argued the conceit was “the most pure feminist and empowering statement I’d ever made—somebody building themselves from nothing,” in a 2012 interview with Wired.)

After years of loud disappointment with the TV bosses at Fox on Firefly and Dollhouse, Whedon moved into big-budget Hollywood blockbusters. He helped birth the Marvel-dominated era of movies with his work as director of The Avengers. But his second Avengers movie, Age of Ultron, was heavily criticized for a moment in which Black Widow laid out her personal reproductive history for the Hulk, suggesting her sterilization somehow made her a “monster.” In June 2017, his un-filmed script for a Wonder Woman adaptation leaked, to widespread mockery. The script’s introduction of Diana was almost leering: “To say she is beautiful is almost to miss the point. She is elemental, as natural and wild as the luminous flora surrounding. Her dark hair waterfalls to her shoulders in soft arcs and curls. Her body is curvaceous, but taut as a drawn bow.”

But Whedon’s real fall from grace began in 2017, right before MeToo spurred a cultural reckoning. His ex-wife, Kai Cole, published a piece in The Wrap accusing him of cheating off and on throughout their relationship and calling him a hypocrite:

“Despite understanding, on some level, that what he was doing was wrong, he never conceded the hypocrisy of being out in the world preaching feminist ideals, while at the same time, taking away my right to make choices for my life and my body based on the truth. He deceived me for 15 years, so he could have everything he wanted. I believed, everyone believed, that he was one of the good guys, committed to fighting for women’s rights, committed to our marriage, and to the women he worked with. But I now see how he used his relationship with me as a shield, both during and after our marriage, so no one would question his relationships with other women or scrutinize his writing as anything other than feminist.”

But his reputation was just too strong; the accusation that he didn’t practice what he preached didn’t quite stick. A spokesperson for Whedon told the Wrap: “While this account includes inaccuracies and misrepresentations which can be harmful to their family, Joss is not commenting, out of concern for his children and out of respect for his ex-wife. Many minimized the essay on the basis that adultery doesn’t necessarily make you a bad feminist or erase a legacy. Whedon similarly seemed to shrug off Ray Fisher’s accusations of creating a toxic workplace; instead, Warner Media fired Fisher.

But Carpenter’s statement—which struck right at the heart of his Buffy-based legacy for progressivism—may finally change things. Even at the time, the plotline in which Charisma Carpenter was written off Angel—carrying a demon child that turned her into “Evil Cordelia,” ending the season in a coma, and quite simply never reappearing—was unpopular. Asked about what had happened in a 2009 panel at DragonCon, she said that “my relationship with Joss became strained,” continuing: “We all go through our stuff in general [behind the scenes], and I was going through my stuff, and then I became pregnant. And I guess in his mind, he had a different way of seeing the season go… in the fourth season.”

“I think Joss was, honestly, mad. I think he was mad at me and I say that in a loving way, which is—it’s a very complicated dynamic working for somebody for so many years, and expectations, and also being on a show for eight years, you gotta live your life. And sometimes living your life gets in the way of maybe the creator’s vision for the future. And that becomes conflict, and that was my experience.”

In her statement on Twitter, Carpenter alleged that after Whedon was informed of her pregnancy, he called her into a closed-door meeting and “asked me if I was ‘going to keep it,’ and manipulatively weaponized my womanhood and faith against me.” She added that “he proceeded to attack my character, mock my religious beliefs, accuse me of sabotaging the show, and then unceremoniously fired me following the season once I gave birth.” Carpenter said that he called her fat while she was four months pregnant and scheduled her to work at 1 a.m. while six months pregnant after her doctor had recommended shortening her hours, a move she describes as retaliatory. What Carpenter describes, in other words, is an absolutely textbook case of pregnancy discrimination in the workplace, the type of bullshit the feminist movement exists to fight—at the hands of the man who was for years lauded as a Hollywood feminist for his work on Buffy the Vampire Slayer and Angel.

Many of Carpenter’s colleagues from Buffy and Angel spoke out in support, including Buffy herself, Sarah Michelle Gellar. “While I am proud to have my name associated with Buffy Summers, I don’t want to be forever associated with the name Joss Whedon,” she said in a statement. Just shy of a decade after that 2013 speech, many of the cast members on the show that put him on that stage are cutting ties.

Whedon garnered a reputation as pop culture’s ultimate feminist man because Buffy did stand out so much, an oasis in a wasteland. But in 2021, the idea of a lone man being responsible for creating women’s stories—one who told the New York Times, “I seem to be the guy for strong action women”—seems like a relic. It’s depressing to consider how many years Hollywood’s first instinct for “strong action women” wasn’t a woman, and to think about what other people could have done with those resources. When Wonder Woman finally reached the screen, to great acclaim, it was with a woman as director.

Besides, Whedon didn’t make Buffy all by himself—many, many women contributed, from the actresses to the writers to the stunt workers, and his reputation grew so large it eclipsed their part in the show’s creation. Even as he preached feminism, Whedon benefitted from one of the oldest, most sexist stereotypes: the man who’s a benevolent, creative genius. And Buffy, too, overshadowed all the other contributors who redefined who could be a hero on television and in speculative fiction, from individual actors like Gillian Anderson to the determined, creative women who wrote science fiction and fantasy over the last several decades to—perhaps most of all—the fans who craved different, better stories. Buffy helped change what you could put on TV, but it didn’t create the desire to see a character like her. It was that desire, as much as Whedon himself, that gave Buffy the Vampire Slayer her power.

[babygirlizz]

izzie’s favorite movies and tv shows of 2020 (aka the worst year ever)

another year, another movie and tv show review. this year has, to put it simply, sucked. 2020 has been so terribly awful that sometimes the only light you can see are the absolute bangers of movies and tv shows that came out this year. with that being said, some of the movies and tv shows didn't come out in 2020. if the are mentioned in this post it is because they either: had a season come out this year, i found them this year, or they became popular this year.

SPOILERS: it may not come as a surprise but just in case you didn't realize, there will be many spoilers ahead, read at your own risk.

tw // death, suicide, drug use, mild adult language. if any of these things might trigger you, i strongly urge you not to read this post.

there is no specific order of these shows and movies, i'm just writing as they come to mind. if you enjoy any of these movies or tv shows, or if you have any suggestions for me, please let me know!

TV SHOWS

1) Santa Clarita Diet

Okay, so I know this show doesn't have anything to do with 2020. But, I found this show in 2020. I put it off for a while, thinking it wasn't my style of a show, but boy was I wrong. I loved this show. Sheila Hammond (Drew Barrymore) is a normal suburban wife and mom. She is a real estate agent with her husband Joel (Timothy Olyphant). She struggles with the fact that she isn't very adventurous. This all changes when she throws up an insane amount at a house showing. She then finds herself craving adventure, and craving human flesh. Yeah, she's a zombie. Not only is this show super hilarious, but it also shows the growth that they have with their characters and their family. I'm also team Abby (Liv Hewson) and Eric (Skyler Gisondo).

2) Outer Banks

So, I'm from NC. And, watching this show at first bothered me because I can very obviously tell this show isn't actually filmed in the obx, and the geography isn't exact, but once I got past that, I loved it. John B (Chase Stokes) is a teenager that lives in the poor side of the outer banks. He has a friend group called the Pogues which consists of JJ (Rudy Pankow), Pope (Jonathan Daviss), and Kie (Madison Bailey). They absolutely hate the Kooks, which are the rich kids. A while after John B's dad gets lost at sea, presumed dead, the group finds some evidence that may solve the mystery, and make them rich. In the process, John B falls in love with a Kook names Sarah (Madelyn Cline) whose father Ward (Charles Esten) may have a little more to do with the mystery than he let on. Through friendship, murder, and secrets, the gang may just figure out what happened to John B's dad.

3) Love, Victor

Alright. I loved loved loved Love, Simon. I also really loved the book "Simon vs. the Homosapien Agenda." So, when I heard about this show, I was so excited. Victor (Michael Cimino) is a teenage boy that moved to Creekwood with his family. He meets Felix (Anthony Turpel) who lives in his building. He also meets Mia (Rachel Hilson) and they begin dating. But, he also meets Benji (George Sear). While trying to get used to a new school, new friends, and a new relationship, Victor finds himself questioning his sexuality. With the help of Simon (Nick Robinson) and his friends, Victor finds it in himself to finally come out, and he admits his feelings, for Benji. This is such a good show, but I was so upset when season 1 ended on a cliff-hanger.

4) The Haunting of Bly Manor

The sequel to The Haunting of Hill House. Now listen, haunting of hill house was an absolute banger. When I saw that Bly came out I nearly died. I was so excited. But, I was alone in my apartment and also a lil bitch. So, I had to wait a week until I was home with my family to watch it. Now, I was so excited to be scared, and there were a few jump scares and ominous moments, but this season was more centered around the story line of Dani Clayton (Victoria Pedretti) and her new life in a foreign country. When seeing an ad for a live in job as an au pair. When she gets there, she meets the two young children she’ll be looking out for and the other workers of the house, including the gardener, Jamie (Amelia Eve). Throughout her stay at Bly she begins to notice weird behaviors from both children and by the end of the series she sacrifices herself for the children. Sadly, this story is being told by Jamie who Dani had fallen in love with during her stay at Bly. Now I was somewhat upset about the lack of horror, but was still very intrigued and drawn in by this series.

5) Julie and the Phantoms

Alright, at first I was not gonna watch this show. I thought it looked a little too young and childish for me, but everyone was talking about it on twitter so I had to. I. Love. This. Show. This show centers around Julie (Madison Reyes). Julie is a teenage girl who, sadly, lost her mother. The one major thing she shared with her mom, was their love for music. Since her mothers passing, she gave up music. This is until, dead musicians from the 90′s show up in her garage. Luke (Charlie Gillespie), Alex (Owen Joyner), and Reggie (Jeremy Shada) all tragically passed away in the 90′s after eating bad street hotdogs. When Julie finds their CD in her garage, she decides to play it and they come back in ghost form. But, only she can see them. With their help, she finds her confidence to play music again. Also, she has to find away for them to stay because they’re slowly disappearing. 

6) Derry Girls

Bitch. I love this show. And yeah it didn’t come out in 2020. Shut up. I found this show recently after watching the cast on the holiday special of the Great British Baking Show. I loved the actors so I had to watch the show. This show focuses on Erin (Saoirse-Monica Jackson) a 16 year old girl that lives in Derry, Northern Ireland in the 90′s. Alongside her is her cousin Orla (Louisa Harland), her two friends Clare (Nicola Coughlan) and Michelle (Jamie-Lee O’Donnell), and Michelle’s English cousin James (Dylan Llewellyn). During these years, a lot of people in Ireland struggled, especially because it was during wartime. Even thought this show isn’t focused heavily around the war, it’s amazing to see these teens live a fulfilling life while struggling with the state of their country, and the lack of money that their families have. 

7) Elite

HA. This show did have a season in 2020 so leave me alone. But bro, I love this show. At first, I didn’t watch it because I thought I could only watch the dubbed version in English, which I hate. I hate dubbed shows they look so weird. But, once I found out I could watch this show in Spanish, I fell in love. But, sadly, theres too damn much to talk about in one little post. It’s crazy. But basically it just follows the lives of teens in high school that are trying to survive. And no, not in the “I’m surviving high school,” sense. No, people be getting murdered. 

MOVIES (tbh i didn’t find a lot of movies good this year lmk which movies u liked this year and maybe i’ll like them!)

1) All the Bright Places

After the death of her sister, Violet (Elle Fanning) is devastated. She closes herself off, and has her parents get her out of doing school work that involves working with others. But, as time goes on, they realize she may need to start to move on. Violet then meets Finch (Justice Smith) who is enamored by Violet. He suggests they do a project together. While finding and visiting some of the smallest wonders of their state, they begin to fall for each other. While you are focusing on Violet and her mental health, you tend to miss some of the signs that Finch’s mental health isn’t great either, but by the time you do, it could be too late. 

2) Dangerous Lies

Hmm. This was weird for me. I had only ever seen Camila Mendes in Riverdale, and honestly, not a fan. So, Katie (Camila Mendes) and her husband Adam (Jessie T. Usher) are struggling with money. Katie decides to take a job working for an elderly man, and eventually gets her husband hired there as well. Unfortunately, he dies, but for some odd reason, leaves the house and all of his fortune, to Katie. As they get comfortable in the house, they begin to uncover some very weird and dangerous lies. 

3) The Devil All the Time

Ok. Iconic. You got so many hot men in this movie. Bill Skarsgård, Sebastian Stan, Tom Holland, Robert Pattinson. C’mon now. That’s crazy. But, this story is so long and in depth that I wouldn’t even know where to begin. This movie is a bit disturbing. It involves murder, sexual assault, killing of animals, and so much more so if that’s an issue for you please do not watch this movie. It was also quite long, but it was still good.

4) After We Collided

Okay just listen. I was that teenager. I read wattpad stories and was, embarrassingly, addicted to After. This was not a great movie per say, but it was After. This is a sequel to the movie After. This movie centers around Tessa (Josephine Langford) and her recovery after her breakup with Hardin (Hero Fiennes Tiffin). Theres sex, alcohol, bad acting. The whole nine-yards. But c’mon, they’re so cute together.

5) To All the Boys p.s. I Still Love You

Okay it was a good movie. I enjoyed it. This movie focuses on Lara Jean (Lana Condor) and her boyfriend Peter (Noah Centineo) and their relationship post the first movie. But of course relationships aren’t super steady, and John Ambrose McClaren (Jordan Fisher) shows up. Yeah, John Ambrose, from her letter. They become closer and Lara Jean has to decide who she wants to be with. Spoiler, it’s Peter. BOOOOOOO justice for John Ambrose McClaren, he deserved better. 

[sailormoonandme]

My thoughts regarding the Usagi/Mamoru age gap

I am writing this in response to this thread.

To be clear as crystal here, this is just my take on the situation.

With all that said, for the sake of argument let's say we are in total agreement that in real life a 14 year old middle schooler and a 17 year old college student shouldn't be dating.*

But that is the key phrase here: 'Real life'.

The thing is...there is no end of fairy tales or media aimed at children that at best start to fall apart or at worst become extremely creepy when you apply a realistic lens to it.

That is the joke about the majority of Disney's canon in fact. For instance, Aladdin was 18 whilst Jasmine was 16. I'm British and over here 16 is the legal age of consent for sex but even so I'm at least iffy on a 16 year old dating an 18 year old. And to trade off some of the comments elsewhere in the above linked thread, you could absolutely argue there was a 'mental gap' between Al and Jas given how she was a sheltered and somewhat naive princess who'd never left the palace and he was a streetwise older guy who'd obviously flirted and charmed his way out of trouble before.

But let's consider a different Disney classic, perhaps their most famous movie, the Lion King.

The Lion King is a beloved and rightly iconic movie but if you take it at face value and realistically (albeit ignoring the fact that animals can talk, sing and are capable of human emotions and cultural references) it's guilty of:

Promoting incest because Simba and Nala would have at best been first cousins (Nala being Scar's daughter) at worst brother and sister. Because that is how lions work. Male lions murder the cubs of other males with the possible exceptions of their brother's cubs where they co-rule a pride. Even with the best case scenario, deleted scenes had Scar try to make Nala his queen and those scenes were reinserted for the hit Broadway musical. So either a brother and sister hook up or two first cousins hook up and a Dad tried to have sex with his daughter.

Promoting racial/class segregation: The Hyenas are from the 'dark shadowy' place and are given traits you can easily interpret as associated with black, Hispanic, Latinex or mentally disabled people. They are also framed with Nazi imagery and it is Scar's decision to let them roam freely that causes famine. Simba beats them, they are forced back to 'where they came from' and all is well.

Promoting authoritarian absolute monarchies. That's the whole movie's plot. Simba must embrace his destiny as the 'rightful ruler' of the pridelands whereby all other animals bow down to him. It's not even like the lions are the ruling class and they are at least democratic amongst themselves, it's literally this ONE specific bloodline that is not only in charge but is SUPPOSED to be in charge. Even if the wrong person from that bloodline is in charge the entire land suffers until the 'right' person takes the throne. That's a pretty terrible and pretty anti-democratic message isn't it, and that's coming from someone who lives in a country WITH a monarchy.

And, I admit this one is a serious stretch, but you could even argue that it's saying two men raising a child is a detriment to said child. Because Timon and Pumba raise Simba into an adult and the movie is very clear that he's grown up wrong, he is not the person he should be because he's embraced Timon and Pumba's upbringing.

So you see...the Lion King is mega terrible.

Except it isn't.

Because we all have the cognitive ability and understanding to grasp that you are not SUPPOSED to take it that realistically nor at face value. Even as children we grasped that, hence the generation that grew up with the Lion King (by and large) obviously don't think incest is okay, don't oppose same sex couples raising children, don't think segregation is a good idea and clearly do not think monarchies are the bee's knees.

Maybe as kids people couldn't put it into words, but material like this essentially exists in this realm of symbolism, psychological shorthand if you will.

In fact all fairy tales do that.

And Sailor Moon IS a fairy tale, or at the very least it borrows a whole lot from fairy tales.

In addition to being a fairy tale though Sailor Moon is a wish fulfillment fantasy story intended for a female audience (or at least a predominantly female audience).

Now of course what one woman's wish fulfillment fantasy might be may not be another's and I wouldn't be so presumptuous as to argue that Sailor Moon even clicks with the wish fulfillment fantasies of MOST female audience members. But I think it's fair to say from the cultural impact it has had, and how it's fanbase is clearly mostly made up of women, that the wish fulfillment fantasy it offers clicks with a sizeable enough number of women.

The reverse is true of something intended as a male wish fulfillment fantasy. James Bond was obviously intended as a male wish fulfillment fantasy, and it's success speaks to how it clearly clicked with a sizable enough number of people. And I don't think I'm being overly presumptuous here when i say MOST of those people were male.**

Both SM and 007 are wish fulfillment power fantasies but they are also romantic/sexual fantasies too.***

I don't think it's unreasonable to argue that for a sizable number (but not necessarily the majority) of women, including the tween/teen girls SM was aimed at, having an OLDER lover is a romantic wish fulfillment fantasy. On the flipside I don't think it's unreasonable to argue that for a sizable number of men and boys having an endless string of casual and completely consequence free sexual encounters with (traditionally speaking) gorgeous women who find you incredibly attractive is a sexual wish fulfillment fantasy.

And the thing is BOTH those things can become bad when you apply a realistic lens to either of them.

James Bond's sex life realistically would involve at least a few sexually transmitted diseases, unintended pregnancies (one of which occurs in the novels) and at least a few callously broken hearts. Even when you look at it strictly from Bond's POV that life only seems glamorous at first glance. Perhaps it is a fun fantasy, but only when it remains in the realm of fantasy. Because in real life that kind of life if lived long term is ultimately incredibly empty and unfulfilling. Even James Bond media has acknowledged this because there have been occasions in the novels and films where he has at least attempted to settle down with a stable partner. Many Bond fans (understandably) decry this as undermining part of the appeal of the character hence Bond inevitably defaults back to being single because that is a baked in part of the wish fulfillment fantasy the character offers.

Let's consider some other ways the Sailor Moon anime offers a wish fulfillment fantasy, namely the future of Crystal Tokyo.

At first glance it seems wonderfully utopic right. It is a beautiful crystalline world where everyone lives in peace and harmony, hunger disease and even aging having been functionally eliminated.

Well, that isn’t the case if you apply a realistic lens to it.

It's an absolute monarchy wherein everyone is functionally immortal and children don't reach maturity even after 900 years. Chibi-Usa clearly chafes at this reality so how do you imagine other children (who aren't royalty) might feel? How might their parents feel having to raise their children and be responsible for them for centuries as opposed to around twentysomething years? What if you became immortal in your 80s, you might be a very healthy 80 year old but you aren't in the prime of your life and you are stuck that way for what is essentially forever. Not to mention what if you don't like or do not agree with Neo-Queen Serenity's policies? What if they are actively detrimental to you, your family, your livelihood, etc? You can't vote her out of power and you can't even hope for things to change because everyone is healthy, provided for and lives forever. The chances of someone else coming to power are at best very, very, very slim.

Then you have the fact that it’s surely a society that would’ve stagnated because everyone is provided for. That’s the whole point of a utopia. It is perfection. But what if you are someone who defined your live by striving for improvement? What if you were a doctor and now found yourself redundant. Sure, you might acknowledge that’s for the greater good but you are still yourself left completely without purpose in this world.

And that’s not even considering the inevitable monotony of existing for hundreds of years. Modern medicine and science has allowed human beings to extend their life spans FAR beyond how long we’d live if we were still just cave people. As biological organisms are concerned we never evolved to live for 80-90 years. Even if your body isn’t breaking down across the centuries the human mind would never realistically be able to cope with centuries worth of memories and life experiences. Mental illnesses and conditions would be rife. If nothing else living in that world would sooner or later become utterly BORING!

Hate to say it and obviously it doesn’t justify their methods, but the Black Moon Clan kind of have some valid points against the world of Crystal Tokyo. At least they do when you break things down REALISTICALLY.

And that’s my thesis here. Sailor Moon isn’t supposed to be dissected realistically, at least not to THAT degree. It is a wish fulfilment fairy tale fantasy and demands a certain amount of suspension of disbelief and understanding of what the fantasy is offering.

And for the record I can 100% assure that no teenager in real life has, or could, ever get into a harmful relationship with someone older than them BECAUSE they watched Usagi and Mamoru’s relationship in the anime.

The human mind is a very complex and very powerful thing. At a younger age it’s impressionable and can therefore be influenced. But it’s not so susceptible that the romantic relationships in a cartoon about schoolgirl super heroes is going to influence a viewer into making any major life decisions that OTHER factors weren’t also influencing them to do.

In other words if a real life 14 year old girl began dating a 17 year old college guy it would’ve happened regardless of whether they watched Sailor Moon as a child or not.

Indeed, one of my frustrations with the podcast Sailor Business is how many guests on the show cite how they liked Usagi and Mamoru as children but now think their relationship is bad and creepy. I disagree with them for the reasons I cited above, but the fact that those panellists nigh universally give that same narrative proves how nobody was ever going to be prompted to do anything potentially harmful to themselves in real life by the show.

*Personally speaking that is certainly my own off the cuff attitude.

**Not to dismiss the fans who aren't, same goes for the non-female SM fans.

***Although I think you could argue SM is more on the romance side of things and 007 on the sexual side of things.

[theonethatwatchesalotofshows]

Ranking every Teen Drama I have ever watched

(Updated)

The Secret Life of the American Teenager

+ young Shailene Woodley and Molly Ringwald I guess

- everything else. Even Shailene Woodley's and Molly Ringwald's performances weren't that great because the writing is just oh so bad. The background music is bland and repetative and it sounds like out of some teenager's YouTube chanel. The plotlines are ridiculous and convoluted, which isn't neccessarily such a bad thing, because it is a teen drama show after all, the problem is the show seems to take itself too seriously. Other entries on this list also have ridiculously convoluted plotlines, but I'm ranking them highed because they don't take themselves too seriously and don't claim to be realistic like this show does. Seriously, from the title it suggests like this was going to be a real, uncensored look into high school but it's the furthest thing from it. Not to mention how problematic it is- God forbid someone suggests that a 14-year-old pregnant girl gets an abortion or gives the baby up for adoption without being seen as a terrible and despicable person.

Otp: Marc Molina x a job somewhere far, far away from these kids

Notps: every single pairing on this show

Best moment: literally none

Weirdest moment: "I'm such a whore!" "Well, you're my whore." What were the writers thinking??? Was this supposed to be romantic??

We Children From Zoo Station

+the aesthetic, the casting of Christiane, Detlef and Axel

-this was such a letdown. Honestly I was so hyped for it after seeing the trailer since I've read the book and didn't particularly like the movie- I feel like it's hard to fit all of Christiane's story into 90 minutes. That's why I was so excited about this show. Christiane's story covers so much, so it's easier to make it into a TV show when you don't want to ommit anything and butcher the story. But they somehow managed to do it anyway. They changed so much for no reason and completely erased Christiane's childhood trauma, which was important in the book. Now, I know you can say that it's just a loose adaptation, so it doesn't have to follow the book word for word. But I feel like if you already decided to tell her- a real person's story- you should at least do it authentically. Imo they shouldn't have tried to make the setting vague. It worked with Sex Education because the story of Sex Education is timeless. However, Christiane's story is not timeless. It's a true story set in the 1970s. If they were making a new show from scratch, I would have liked it. But this is an already existing story and they’re supposed to be just retelling it. My last issue is a nit pick but I wish the actresses playing Stella and Babsi were reversed. It just would've fit better.

Otps: all those kids x sobriety

Notp: Christiane x Detlef

Best moment: Christiane's first time in Sound was pretty true to the book

Weirdest moment: when Detlef became a gigolo because he needed money for his dog. Who tf thought of that?

Pretty Little Liars

+ makeup, style, the theme song, the drama and mystery that always kept me guessing, the cliffhangers at the end of each episode that made it so addictive, Emily's coming out story, Hanna and Spencer had some good lines

- the mishandling of some serious issues (namely eating disorders), romantization of student-teacher relationship, the timeline not making much sense, these writers seem to put more thought into the characters' outfits than the storylines

Otps: Emily x Maya, Hanna x Caleb

Notp: Ezria

Best moment: Hanna and Caleb in the shower (the sexual tension was cuttable with a knife)

Weirdest moments: Aria asking Ezra out in the middle of a make-up test (it was supposed to be cute but it was just cringy), Spencer trying to block A's text messages on a laptop, in the middle of a park (what? Spencer, you were supposed to be the smart one!)

One Tree Hill

+ Brooke, the theme song, Chad Michael Murray

- the casual drinking and driving (I mean seriously these kids play a drinking game at a party and then casually hop into a car and drive home??), too much basketball and cheerleading (that's not a bad thing per se but I just don't really care about neither of these things), it just seems too stereotypical and kinda bland?? I couldn't really get into it

Otp: Naley

Notp: Peyton x Nathan

Best moment: Naley by the dock

Weirdest moment: "I guess I'm just a riddle, wrapped in a mystery inside a bitch." It's not really a bad moment but a cringy line. I guess the writers though they were being clever but it just sounded bad.

Dawson's Creek

+ the clothes, the 90s aesthetic, the 90s soundtrack, many movie references, Pacey is a sweetheart, Jen is a feminist icon, dealing with mental health issues through Andie (it's rare to see in shows as old as this)

- the slutshaming of Jen really hasn't aged well, the storyline of Pacey being statury raped by his much older teacher was mishandled (it was either treated as scandalous, cool or in Andie’s case somehow shameful), same goes for Jen’s backstory- it was mentioned she was raped at 12 by an older man and then never brought up again, Dawson is the most unlikable protagonist ever and his friendship/relationship with Joey is codependent and possessive, the dialogue is sometimes pretentious and unrealistic, the timeline doesn't really add up- I can never tell what time of the year it's supposed to be, because it looks like it's always fall for some reason. And how did they sophomore year have two homecomings?

Otps: Pacey x Andie, Pacey x Joey (yes, both at the same time)

Notp: Dawson x Joey

Best moments: Jen helping Joey when that jerk was spreading rumours about her and then Jen and Joey locking Abby in the closet together (I love it when they stick together instead of tearing each other down), Pacey and Joey bickering

Weirdest moments: when Joey was upset because Dawson didn’t want to tell her how often he “walks his dog”, when Jen was about to have a treesome at a party and Dawson walked into the room and carried her out despite her kicking and screaming

Glee

+ funny, Sue Sylvester's iconic, great covers and a way to find new songs, the performances are aesthetically pleasing, lgbtq+ representation, tackling of serious issues, coming out story, a father who’s accepting of his son’s sexuality right away despite not really understanding it (it’s so rare to see, that’s why it’s so refreshing), the plotlines are ridiculous but at least the show doesn't take itself too seriously

-as I already said the 1st season was great but after that it just seemed like the writers made up a checklist of hard issues they should tackle and tried to tackle every single one of them while covering every single song and it just fell flat. Prime example- Quinn ending up in a wheelchair getting into a car crash to warn us from drinking and driving, singing I’m Still Standing and then suddenly being able to walk normally after. a few episodes Rachel and Finn got almost all songs, while other characters were criminally underrated and underused (Tina, Quinn, Mercedes). The teachers are questionable to put it mildly. Cringy moments- Finn singing You're Having My Baby to Quinn in front of her parents when it wasn't even his baby! Also no one except of Kurt looks like they could be in high school. And why are these cheerleaders wearing their uniforms 24/7??

Otps: Brittana, Sam x Quinn, Tina x Artie (unpopular opinion, I know), Mr Schue x unemployment

Notp: Quinn x Finn

Best moments: Quinn giving birth to Bohemian Rhapsody

Weirdest moment: Rachel's gross and painfully awkward crush on Mr Schue, Mr Schue joining the Glee club on the stage for a performance of Toxic and girls in the audience cat calling him (Ewww)

Euphoria

+ Zendaya's and Jacob Elordi's performances, tackling of serious issues such as drug addiction and overdose, anxiety and depression, abusive relationships and abortion in a better manner than most (if not all) teen dramas, the aesthetics, makeup and wardrobe, the musical number in the finale, the special episodes giving us insight into the characters' psychology, toxic relationships not being romanticized (which is sadly rare), teenagers sounding like actual real life teens (no "I reject reality" crap)

- lack of comic relief (why so serious all the time), sexualization of teen characters (I know this is something many teen dramas are guilty of but it's the most evident here), too much nudity (I know some of you are going to come at me with: "But it's realistic!" So what? It is realitic that teenagers get naked when they go into shower but does it mean we have to see it?? It seems to me like this show is trying too hard to be "boundary pushing" at times and ends up being scandalous just for the sake of being scandalous), these characters just aren't believable as high school juniors to me (they sound like high schoolers but they certainly don’t act, look or dress that way). There's no reason this show couldn't have been set in college.

Otps: Rue x sobriety, Nate x prison

Notps: Nate x Maddy, Cassie x McKay

Best moments: "You did this to me!" and the musical number in the season 1 finale

Weirdest moment: the fact that Maddy lost her virginity at 14 to a 40-year-old man being mentioned so casually because apparently she was "totally in control". Excuse me what??

Skins

+ style and makeup- each character has a signature trademark (Sid and his beanie, Effy's eyeliner, Cassie's soft eyeshadow), their British accents, I'm pretty sure this is the only teen drama that follows multiple classes, teenage characters being played by actual teen actors, the characters looking like average people you meet in high school and not as if they just walked off the runway, dealing with serious issues such as drug abuse, eating disorder, parental abandonment etc (yes, some people claim the show romanticized it, but I disagree. It's not the show that romanticized it- it's the fans. The show tried to portray the dangers of drugs as well as possible. Think about it- every time characters used drugs it ended in a disaster. In the pilot they thought that Cassie overdosed and ended up crashing a car while rushing into the hospital. In later season Effy hit her friend in the head with a rock because she was having a bad trip. That's not romanticizing drugs.), Effy is iconic and honestly the first episode was enough to get me hooked

- every single teacher being a creep and having a thing for a student at some point, the show can get too dark and unncessarily dramatic at times. Did that many people have to die? Did Chris's death really have to be this graphic? Timeline doesn't really add up- are 8 episodes supposed to cover the whole year? It would've made more sense if there were more episodes in a season.

Otps: Chris x Jal, Emily x Naomi

Notps: Sid x Michelle

Best moment: ooh baby it's a wild world

Weirdest moment: Chris's graphic death

The OC

+ more grounded in reality than many others on this list, the theme song, the love stories, Seth and Summer are funny, the friendships are believable and the whole group has great chemistry

- too many unneccessary fights, Luke is the worst, everyone is way too casual about drunk driving, these parents are WAAAY too chill (I know this can be said about many teen dramas but it's the most obvious here. How did the Roberts and the Coopers let two 16-year-old girls go to Mexico alone?? With no supervision?? What?)

Otps: Seth x Summer, Ryan x Marissa

Notp: Luke x Marissa

Best moments: the “oh no, there’s only one bed” in the Mexico episode, Seth and Summer's first kiss and that kiss at the yacht, Ryan and Marissa's first date by the pool

Weirdest moment: these parents letting their teenage kids go to Mexico alone. It's irresponsible when they're 16 but apparently they let them go there and party every year. What?

Gossip Girl

+ every episode having a clever title, the style, the makeup, the 00s soundtrack, the glamour of it all (it feels like reading a very gossipy magazine!), all the scandals, this show never pretends to portray the realitic teenage experience so it can pretty much be as far-fetched as it wants to and you can’t question it, it gives you a chance to live the fantasy of being super rich, living with a penthouse, riding a limo to school and going to parties in New York City every night

- the final reveal doesn't make any sense, just like with PLL these writers seemed to have put more thought into the outfits and makeup than into the plotlines, romantization of a toxic relationship, having every two straight characters date or hook up at some point, which just felt forced, mishandling of serious issues (Blair's eating disorder, Eric's suicide attempt and Serena and Jenny's sexual assault from the pilot being brought up when it's convenient but not really dealt with and brushed off at other times), sexualization of teen characters

Otps: Dan x Blair, Serena x Nate

Notps: Chuck x Blair

Best moments: the Thanksgiving flashbacks, Blair and Serena running around New York and taking selfies in stolen dresses, Nate and Serena’s first time (although it was better in the books) and then their kiss at the white party, the sheer scandal of "I killed someone", Dan giving Blair a plastic tiara to make her feel like a princess

Weirdest moments: Chuck's father returning from the death and then dying again, by yeeting himself off the roof

Freaks and Geeks

+ probably the most realistic teen drama there is, the characters dress the way I can see actual teens dressing, funny, but also heatbreaking at times, probably the only teen show that included an intersex character, the characters being a little stereotypical but self-aware at least, young James Franco and Jason Segel

- the bullying being a bit too much at times and it's a bit unrealistic that the teachers would do literally nothing about it, too short- I will never understand why this got cancelled

Otps: Daniel x Kim, Lindsay x Nick, Amy x Ken

Notps: Sam x Cindy

Best moments: Sam breaking down at the end of Garage Door, Daniel and Kim getting back together in the rain

Weirdest moment: Cindy doing a 180 and becoming super mean when she started dating Sam.

Gilmore Girls

+ so many movie, literary and music references, the quotable lines (what a great way to learn about new movies, books and bands! It’s so unique for a TV show to make you smarter), the witty banter, the comfort of the first few seasons (it really feels like wrapping a warm blanket around yourself while holding a hot cup of coffee, I can’t explain why, but it’s such a comfort show), the quirky small town with many unique festivals, many entertaining and snappy fights where everyone has a point, characters dealing with real world problems (seriously, how often do you see a storyline about termites? Or a teenager with zit cream on a teen drama show?), this is also one of the few shows where teenagers are shown to have rules and restrictions and curfews (finally some kids growing up with strict parents representation) and doing homework and studying and not just partying and drinking and having sex all the time and that’s so refreshing

- but while it is refreshing to see teenagers waiting to have sex and not doing it behind every corner, the show is kind of sex negative. Every single time a (female) character loses her virginity it ends in a disaster. Even when she loses it after she’s married! It doesn’t make any sense, unless the writers just really hated women. Also slutshaming (”I got the good kid!”) ewww. The money and budget doesn’t make much sense on the show either and the girls seem immune to calories. I know some people might come at me for this with: “But it’s just a show!” but I think it’s harmful to show beautiful, thin women eat nothing but tons of junkfood all the time and never excersize and then fatshame people who do excersize but aren’t fortunate enough to be blessed with amazing Gilmore genes, and then throw around tactless references to eating disorders.

Otps: Lane x Dave, Jess x Rory

Notps: Lane x Zach, Rory x Dean, Lorelai x Christopher

Best moments: Then She Appeared, Rory’s valedictorian speech, Lorelai’s graduation

Weirdest moment: Lorelai and Christopher getting married in Paris at 4am. That’s not how it works in Europe. Do Americans think every single Europian country works like Las Vegas, where you can just get married whenever you decide??

[tigerlilyhasablog]

Life During the Apocalypse

Hello darlings! Hope everyone is doing well… Hope you all are safe, healthy and not going too crazy if you are in self isolation. Since I’m stuck in the house with quite a bit of extra time, I’d like to try to blog a bit more than usual. I thought it would be kind of fun to share with you what I have been up to at home, so enjoy: The Day in the Life of a Quarantined Teen.🙃

Remote school

First for the dull stuff. My university moved to remote learning the week of March 6th, and while they originally said it would be “until further notice”, they have since announced that it will be like this for the rest of the semester. It’s definitely more boring than going to class, and I miss going to school and seeing people, but I don’t mind it that much. It’s kinda funny, ’cause I was homeschooled for most of my life, up until college, so doing this is like going back to the old days of being homeschooled. 🙂 Right now I’m actually on Spring Break, so this week I’m mainly just chillin’.

What I’ve been watching

I’ve been meaning to get Disney+ for eons now, but never got around to it. My sister and I decided that hey, what better time than now? The very first thing that we watched was High School Musical… Don’t judge me.😂 Somehow I had gone through life never having watched this iconic piece of pop culture, but I decided it was time to amend that. What can I say: it is equal amounts completely terrible and utterly amazing.

Finally watched The Mandalorian as well, which is really, genuinely good. I feel so-so about most Star Wars stuff – I don’t dislike it, but I don’t love it – but damn, I got into this show immediately. The way that they’ve made it like a Western? So good. The characters, the visuals, the storyline… 👌🏻 And yes, I would die for Baby Yoda.

Once we finished that season, we began on Agent Carter, and we just finished the first season last night. I felt so-so about it for like, the first two episodes, but after that I got really into it and like, damn, it’s really good! Two thumbs up from me.

Other than Disney, the only other thing that I’ve watched recently is The Miseducation of Cameron Post. It’s been on my want-to-watch list for a while now, and the other day my school gave me access to a site with a bunch of free films on it, one of which was this movie, which I was really excited about. Fuck, it was good. Really hit hard, Chloe Grace Moretz was incredible, as was the rest of the cast, just a really powerful story of course. I liked the indie feel of the whole thing… Sometimes you can just tell, you know? The 90s aesthetic was also great.

What I’ve been listening to

Being stuck in the house has giving me lots of opportunity to listen to music basically all of the time, so let me share some of the stuff I have been loving right now:

Conan Gray’s Kid Krow – I am really loving this album. It is packed with bops, as well as some fantastic sad-boi songs. I’ve liked Conan’s stuff for a bit now, but in a rather passive way… Now I would say that my fan-ness (not a word, I know) has been solidified.

Ed Sheeran – let me introduce you to the little underground indie artist I’ve recently discovered. Haha. It’s kinda funny that I’ve gotten so into Ed lately, cuz I mean, of course I’ve listened to his stuff for a while now. But like, I guess I’ve never delved very deep into his discography? But lately I’ve been listening to the entirety of each of his albums, and I’m a little obsessed. Guess I should have believed the hype sooner, huh?

Alec Benjamin – someone else who I’ve been into for quite a while, but who I’ve been listening to even more lately. His songs have made their way onto “Music of the Month” a couple times already, and I’ll tell you right now that he’s on there this month, too. 🙂 I don’t think he has a single bad song. I have tickets to see him in May, provided corona doesn’t fuck that up, and I’m really excited!

Lauv’s Modern Loneliness – bops. bops. bops. What else can I say? Bops.

Foster the People – ok, this band has such nostalgia for me. Torches was like, all that I listened to in like 2012/13. I hadn’t really listened to them lately, and hadn’t really explored their more recent stuff. But the other day I put on their Spotify playlist and had a dance party to them all afternoon and it made me so fucking happy.

What else I’ve been up to

Spending way too much time on the internet – gotta go ahead and get this one out of the way. I’d love to say that I’ve been super productive and learned a ton of new things and been really creative, but if I’m entirely honest, what I’ve really done is wasted a ton of time on YouTube/Tumblr/TikTok.😬

Drawing – I have gotten some stuff done though! I haven’t used this time for art as much as I’d like, but I’ve been sketching some, and also been playing around with a drawing app… I’ve always been a pencil-and-paper person, but doing it digitally is kinda fun!

My latest project? A vine compilation, of course.😂 Here is the beginnings of it:

Making music – again, not as much as I should be, but I’ve been playing the guitar and singing quite a bit. I’ve been doing it in a very relaxed, just-singing-what-i-want-to kind of way, which is nice. I guess I’ll use this opportunity to plug my Soundcloud (which I rarely post on, oops.)

Working out – I always exercise pretty regularly, but I’ve decided that this is the perfect opportunity to ramp it up a bit. My family and I have been going on walks every day, since that’s the only way we can get out, and I’ve been doing the Chloe Ting 2 Week Shred Challenge. It’s fucking tough, but I’m very excited about getting in shape.

Texting for the Bernie Sanders team – this has been fun! It’s a super-easy way to get involved in a campaign… I’d love to say I could make calls, and I hope to eventually, but it makes me really nervous. But texting is something anyone can do! Basically all campaigns have moved online, so if you have some extra time on your hands, get involved from home, either in a political campaign or something on the activism side of things! You can text, call, do stuff with social media… do it!

Catching up with friends – this one is smaller in terms of how much I’ve been doing it, but I’d just like to remind you that this is a great time to text or call someone you haven’t spoken to in a while. I know I often feel weird about just contacting someone out of the blue, but in a strange time such as this I think it is the perfect opportunity to check in with someone and see how they are holding up. Even though we can’t see each other in person, we’ve got to stick together in this tough time and keep up our relationships in a long-distance fashion.

Final thoughts

Okay, that’s all for now! It’s looking like this whole situation is gonna last for a while, so maybe I’ll make another one of these in a few weeks and let you know what else I’ve been up to! I’d just like to end with a little thought:  if you are stuck at home and bored and going a little stir-crazy, please remember that we are privileged to be in this situation. There are some people for whom this means that they are out of work, desperate, scared. There are others who are older or immunocompromised who know that getting the virus could be a matter of life or death. Others are not able to work from home and have no choice but to go out every day and risk getting infected. And others have been forced to go home and be quarantined with abusive family members. Even though this is tough for everyone, if your main problem is that you are bored, make sure you put it into perspective and be grateful that that is your biggest worry.

I hope that didn’t sound preachy, but I just think we have to remember that it could be a lot worse. Now, stay safe, stay healthy, and for fuck sake, don’t go out unless you have to. ❤️

[wings-of-indigo]

So, Waitress is closing and Why I am Happy about that: An Exceedingly long essay Rant about Broadway

Look. Nobody's gonna read this, most likely, but it's 2 in the morning and my brain's been obsessing over Broadway (more than usual, anyway) since communing with my people at intensive this week. So, in the interest of getting some sleep before 8 hrs of dance and shitty high notes tomorrow, here goes.

I love classic, high-school-and-community standard musicals. I love new and experimental musicals. I love Disney film-to-stage musicals. I love institution musicals like Chorus Line, Cats, and Wicked; I even have a soft spot for Phantom. I am eagerly anticipating West Side Story next Christmas (seriously, I have a calander).

BUT.

As I said to one of my fellow dancers during post-class stretch (after noting his insane flexibilty and making yet another resolution to stretch more) I am Sick to GoDAMnEd DEATH of revivals, franchise adaptions, and restagings taking up the Broadway and greater theater markets.

I get why it's happening; I do. Musical theater, even shows that never make it out of Regional productions (Be More Chill, btw, I'm so proud of you bby :'-D ) are REALLY FREAKING EXPENSIVE, not just to stage, but also to develop. Broadway productions nowadays regularly go upwards of TENS OF MILLIONS OF DOLLARS in costs.

Those costs are more and more frequently being met through funding by large groups of wealthy investors, who can expect basically little to no return on that investment. Only a select few shows that make it to the Great White Way do well enough to turn a profit (let alone the kinds of numbers that Hamilton, DEH, and Wicked continue to make), and more and more shows are closing in defict or once they break even. (Coincidentally, this is probably why we're seeing more and more straight plays on Broadway, especially in limited engagements. They're quicker, cheaper, and still have the same level of prestige.)

It makes sense then to assume that a show linked to an already successful property has a better chance of reaching that break-even mark, or perhaps generating a small return, than a more original idea. It's a surer bet, and we've seen it a lot these past few seasons. Anastasia, Beetlejuice, Pretty Woman, Moulin Rouge, Mean Girls... we get it. We promise. Investors want some security in an extremely and notoriously insecure market before they're willing to lay out the dough.

I get it. Everybody gets it.

And, to be fair, some of those shows are and continue to be GOOD. Tony nominees and award winners, even. But here's the problem: it's boring.

And not because I know how Act 2 ends without getting spoilers on tumblr. Unless they're younger than ten, the population of Broadway-and-musicals fans generally has a good handle on where a show's relevant plotlines are going. It's really not the wanting to know the end that keeps your butt in your overpriced red velvet seat and your eyes on the stage. It's the score, the words, occasionally the choreography, and most importantly the magicians on, off, and backstage bringing those things to life in a new and interesting way.

The antithesis of this, then, is having to watch slavish recreation of iconic scenes, lines, and characters from iconic films, presented Onstage! (TM), now with Bonus Songs! for your reconsumption. (Yes, Pretty Woman, I'm looking at you.)

Hey, I love Pretty Woman the Movie, slightly dodgy messages about feminity aside. I love it as a movie, and I really don't need to watch the knock off version of it, even if it comes in a shiny Broadway package.

Anastasia, and Beetlejuice, on the other hand, work extrodinarily well as musicals because they are NOT carbon copies of the original, somehow miraculously transplanted onto the stage.

Ironically, musicals based on original ideas are actually some of the most successful and well reviewed recent productions. Hamilton, Dear Evan Hansen, Come From Away, and Hadestown this season are all original works, and well, look at them. (Fishy, huh? Coincidence, I think the fuck not.)

Recently I got to see The Prom on Broadway, the day after I saw Pretty Woman. The contrast between shows and my enjoyment of them was well defined. I couldn't look away from The Prom, despite many of the major story beats being as obvious as our Cheeto-in-Chief's spray tan. I and the entire rest of the theater were completely engaged by what was going on onstage, both comedically and dramatically. At Pretty Woman, I found myself checking the Playbill to see how many songs were left for me to make it through and anxiously comparing the size of my thighs to the dancers onstage to pass the time (ah, pre pro Body Issues, welcome back! We all thought you'd retired!)

Three guesses which show I'd choose to see again.

When I read that Waitress was closing, the first thing I did was panic and start marking pre January weekends where I would both be free and possibly have disposable income (I've never gotten to see the show, and frankly I would like too). My second reaction was, yes, to mourn the closure of a wonderful show, but it was mixed with hopeful anticipation. Waitress had a good long time in the sun, and just like a well lived life, eventually it must and should end. It's better, in my humble student opinion, to live with memories and cast albums (and regional productions) than the stodgy life of a show that's jealously clung to its Broadway berth through the tourist-and-date-night trade (*cough*Phantom*cough*). It's sort of like your 40 something mother taking selfies in booty shorts in an effort to prove she's still 'hip' and in her twenties. Cringe.

Ephemera is the nature of live performance, and probably part of its allure. And just like in the natural world, old things have to end so that new things can become. Waitress closing is a vital part of this cycle.

Broadway has a limited number of theaters. That's a hard and absolute fact. Maybe a quarter of them are effectively taken off the market for new shows by productions apparently cursed with immortality. Waitress has just opened up another spot both physically and creatively for a new project- hopefully something we haven't seen before- and I hope to God, Satan, and Sondheim that it doesn't get filled with another franchise spinoff, celebrity jukebox musical, or -Lin Miranda forbid - yet another revival.

Why the revival hate, though? Aren't revivals an major way to revisit the landmark and important musicals of the past and bring them to a new audience?

Well, yes. They are, especially when they're staged and presented with the emphasis on letting the music and words speak for themselves and giving the actors leeway to work with the material, without the typical levels of Broadway Extra (TM) and creative meddling from the producers. (The recent Lincoln Center staging of A Chorus Line is a good example of the stripped down style I'm talking about.) But even if they have their place, once again, revivals (while valuable and cool and all that) are Something We've Already Seen.

Let's take Newsies for example. A show with a huge fan base (mostly teen, mostly girls) who I frequently see wishing for a revival.

Now, I am a raging Newsies fan. Newsies is the show that got me started on attempting to make a profession out of dance and theater. I can sing both the OBC and Live albums back to front. I may or may not have had embarrassing crushes on certain cast and characters that I will take to my grave (I'll never tell and you'll never know, mwahhaha). So, do I love and worship ever iteration of this show? Yes. Do I wish I had been able to see either the Natl Tour or Broadway productions? Hell yes, with all my heart. Do I wish the Gatelli choreography was in any way accessible for me to learn? More than I want Broadway tickets to cost less than my soul, kidney, and hypothetical but unlikely first born combined.

But do I want a Broadway revival? Hell FUCKING No.

It's over, it's done, and it lives on in reinterpretation in regional and junior productions. Good. That, to be quite honest, is where it should belong.

It doesn't need to be rehashed on the biggest stages, and to be frank, neither do most of the ultra popular revivals that have been happening. (Yes, Ali Stoker is awesome and deserves the world, but Broadway does not need Oklahoma. If you need to see it that bad, go find a high school production somewhere. I recommend the midwest.) Broadway does not need 1776 (even though I am looking forward to it). Broadway does not need a Sweeney Todd revival (even though I want one like I want ice cream after suffering through jazz class in an un-air-conditioned studio on a 90 degree afternoon with no breeze. Seriously, I might be making sacrifices at my altar to this cause in the back of my closet).

Broadway needs musicals that are at least nominally original, and if not, come from something obscure enough (Kinky Boots, Waitress, Newsies) that they can make their own way. Barring that, investors, writers, and directors, please have the courage and decency to take established content in a new direction. Please, I'm begging you. I'd honestly-and-truly much rather sit through something that didn't try to shove the better version of itself down my throat even as it bored and annoyed me to tears. If I'm going to pay $80+ to sit through two hours of something terrible (and less engaging than my dancer body image issues) at least let me get my money's worth in unique horribleness.

[aion-rsa]

How Ginger Snaps Explored the Subversive Horror of Womanhood

https://ift.tt/30jSLcc

In 2000 Mission: Impossible 2 topped the box office, Gladiator triumphed at the Oscars, and the first X-Men movie ushered in a new era of superhero movies. Meanwhile in Canada, while no one was watching, a new hero was emerging. Her name was Ginger, she was a 16-year-old girl, and ok, she might have turned into a monster and killed a few people but, wow, was she a ferocious figurehead for females everywhere. 

“That’s what she’s about. She’s about fuck you, fuck the patriarchy, fuck the standard, fuck society, fuck the norm. And to me, that’s a hero,” says Katharine Isabelle, speaking with Den of Geek via Zoom from her home in Vancouver, 20 years after the film’s debut. Isabelle was just 17 when she stepped into Ginger’s very cool boots and she had no idea it would become a massive cult hit.

“When it first came out, no one fucking watched it. It did well with some critics at a few festivals, but no one cared. No one went to see it,” she recalls. “It wasn’t until it hit the VHS circuit in small town Canada that people were like, ‘Oh, Ginger!.’ Emily [Perkins, who plays Ginger’s sister Brigitte] and I thought we’d be the only people that liked it because we were weird and dark. We had no idea that through the generations it would continue to have an effect on people.”

Watching 20 years on and Ginger Snaps absolutely holds up. More than that, in fact, it looks positively progressive and even transgressive in a year where we were onto our third Scream, our second Urban Legend, and our first Final Destination. Glossy teen slashers were the thing, which didn’t often make for great parts. 

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“In the ’90s, as a 17-year-old girl it was ‘be hot, get murdered’,” says Isabelle. “There weren’t a lot of really interesting characters coming out of that, especially in my small Vancouver, Canada acting world. So to see this and be like, ‘Holy shit, this really speaks to me, I am this dark, insecure, troubled, deep, dark humored girl who feels outcast and misunderstood by everybody,’ I was just like, ‘Yes. 100%.’”

Written by Karen Walton who would go on to write for Queer as Folk and Orphan Black, and directed by John Fawcett (one of Orphan Black’s co-creators), Ginger Snaps was a fresh take on the werewolf subgenre and a brand new slant on teen horror. This was about girls for a start – sisters Ginger and Brigitte who are weird outsiders fascinated with death. Though there’s sex in the movie it’s really a love story between the two females while the only male character who we have any sympathy for is a drug dealer who has no sexual interest in either. There are dog maulings along the way, and as we head towards the climax with Ginger becoming more and more monstrous, there’s plenty of gore.

But the most scandalous splash of blood is Ginger’s own first period.

Period piece

“You never see that. The visual of bloody panties is so shocking,” says Isabelle. 

“It’s what, 2020 and we’re just seeing feminine hygiene products using red dye instead of this fucking blue shit? We’re always so mortified by this human experience that half of the people on the planet go through. And you know what? At the same time you should be, because being female is a fairly horrific fucking experience in itself. So guess what? Why don’t you fucking look at it once in a while? For it to be labeled as shocking is just so boring to me.”

It would be bold even in 2020. That color matching company Pantone only last month released a new shade of red inspired by periods as part of a campaign to end menstruation stigma shows it very much still exists. So to be this open in discussing it in 2000 in a horror movie – traditionally assumed to be the playground of young men – was a brave move.

“I remember a friend of mine, his older brother had taken his friends to see it and he was like, [Isabelle does impression of bro-tastic young man] ‘Oh yeah, we were all screaming and throwing shit at the fucking screen and then we walked out. All this fucking women shit.’ I was like, ‘Cool. Thanks, buddy. Awesome.’ Fuck you! They thought they were going to see hot girl tits and werewolf stuff and they weren’t prepared for an actual look into what the female experience is like. And they couldn’t handle it. Pussies.”

Suddenly it’s like I’m talking to wolf-Ginger, fierce, articulate, full of fire, the Ginger that punches the mean girl in the face for hurting her sister, the Ginger that isn’t going to stand for any of your shit any longer, the Ginger that could tear the flesh from your bones if she wanted to. 

The metaphor of werewolf transformation and puberty is a no brainer to Isabelle.

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“You’re going along your life perfectly fine, something happens to you, boom. In one day, you have all these strange urges, you have all these weird thoughts. Your body is completely abandoning you and morphing into something else that you are not comfortable with,” she says. “It’s a complete betrayal of everything you know and how you feel. And it creates this monster in you that you have to reckon with and deal with. It’s a brilliant allegory.”

Ginger Snaps is body horror. It’s a movie about a woman’s own body destroying her from the inside out. Before she knows what’s really going on Ginger is bleeding, weak, crippled with cramps. Weird hair starts sprouting – a shaving scene really hammers home the horror of teenagers taking razors to their legs.

But with this pain comes power. Ginger is suddenly confident, beautiful, strong, the boys at the school all desire her and she knows it. She will take who she wants and do what she wants – there’s some serious wish fulfillment going on at the same time as the trauma of her transformation.

Being Ginger

It’s not really surprising that Isabelle is so like this iconic character. She says she had an immediate affinity to Ginger – both sides of Ginger, the troubled outsider as well as the she-wolf.

“At that time, I wasn’t a good enough actor to have acted it. I just had to be myself,” she laughs, “They showed a pieced-together trailer halfway through to the cast and crew and I had a complete panic attack. It was my first panic attack, and I was like, ‘I’m fucking this up.’ This is the best character in the best movie and I clearly have no idea what I’m doing. I’m obviously the worst, this is terrible. I’m ruining this, I should just die. So all of the insecurity and the manicness…”

This just in: it’s shit being a teenage girl. Even more so when you’re 17, on location without your mother for the first time and working 18 hour days. 

“I nearly fucking died!” she says. “Towards the end, it’s like a seven hour prosthetic piece when I’m full blown werewolf. I was living off of Oreos, McCain Deep Delicious Chocolate Cake, cigarettes, and Coca Cola. It was not good. And honestly, I wasn’t a good actor. So everything in that was just me being manic and sleep deprived and upset and insecure.”

Whatever was driving it Isabelle is excellent, flitting from difficult outsider with an undercurrent of fury to a whirlwind of teenage angst, sex, hunger, and violence that feels absolutely authentic.

Becoming the wolf

The effects are practical rather than CGI, which helps Ginger Snaps not to look dated on a rewatch. Ginger transforms gradually from woman to full blown wolf over days – she’s not a traditional werewolf who only becomes a wolf during the night of a full moon, instead once she turns fully she’s not coming back. Her different looks in the movie are cool and iconic – unsurprisingly Ginger Snaps cosplay is a ‘thing’ – which pleases Isabelle. The prosthetics procedure was somewhat less pleasing, however.

“I didn’t understand what the process was,” she says. “You see it in your head like you do when you read a book or whatever, or how the movie is going to be. You don’t think of the six hours on top of your 18 hour shooting day that you’re going to be inhaling alcohol-based paint until you’re high out of your fucking mind.”

The transformation came with other obstacles too.

“The process of losing my senses was a first for me. By the time I’m in the very late stage werewolf with the hair, the contacts and the claws, I can’t see anything, I can’t hear anything, I can’t smell anything, I can’t talk. I have fangs. I had to ADR most of the movie when I have fangs in. Because I had a lisp, so I’d be like, ‘Ask Tham. He’th the exthpert.’” She says, mimicking a line from the movie. 

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“It’s just terrible. I couldn’t touch anything and there is blood all over me, and it’s drying and I was trapped in my own body nightmare. You don’t really realize that when you go into it. So now when I read scripts, ever since then, I’m very like, ‘What does that exactly mean for the physical torture I will be experiencing through the duration of this?’ Let’s take a step back and just really look at this more closely,” she laughs. 

Pain and gain

Isabelle is funny – like Ginger, she has a dark sense of humor and though we genuinely get the sense that the shoot was traumatic (“We were all fucking ill and we were shooting nights for about three weeks in a row, so you do not see daylight. You lose your mind. It wasn’t quite Apocalypse Now, but it felt like that to me when I was 17.”), she’s got great stories. Like the time she gave herself a concussion… 

“There’s a scene where I slam my head on a desk and I was like, ‘Ginger probably really slammed her head on the desk.’ So I really did it a bunch of times and then woke up the next day with a fucking full on concussion headache. They had a doctor come in because I was fucked. He gave me Tylenol T3s and I took them on an empty stomach. I’m vomiting on set and they’re holding the roll, and I’ve got a bucket I’m puking into. And then immediately I had to do the slow motion walk down the hall scene. I was so fucked they had to put tape on the floor. I couldn’t walk in a straight line. I’m so mad every time I see that. I’m like ‘Fuck, you only get so many slow motion walking down the hallway looking cool and hot in your whole career, and you really fucked this one.’” 

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Of course, it doesn’t play that way on screen. It’s a key moment in the movie and even 20 years on, Ginger’s look still stands out. Costume designer Lea Carlson put together her outfits from thrift stores to create a kind of indie/goth cool with spot on accessories for an aesthetic that matched Ginger’s newly awakened give-no-fucks vibe.

“When that infection hits and she’s got that fucking attitude, it’s like, don’t we all wish we could just walk around with that attitude like a hero?” says Isabelle.

She says she can watch the movie now and enjoy it, though she couldn’t for a while.

”I haven’t seen it in 15 years because I tend to not revisit my most awkward moments on film as a teenager,” she laughs. But she now speaks fondly of this “wonderful sisterly love story.” 

Ginger and B

She and co-star Perkins had known each other “forever” before filming began, having even been born in the same hospital and gone to the same elementary school so they auditioned for Ginger Snaps together. Perkins as the younger Brigitte (even though Isabelle is actually four years younger than Perkins) is sympathetic, awkward, vulnerable, and eventually heroic and there’s an obvious chemistry between the two. Isabelle recalls how between one of the auditions and the first time director John Fawcett came out to meet them Emily had shaved her head.

”I was like, ‘What are you doing? You’ve fucked this for us!’, I didn’t even recognize her in the room. And then thank God, we got the part. And that’s why she’s wearing this wig, this very offensive wig throughout the film…”

Why did she shave her head during casting for this movie? We can’t not ask…

“I don’t know. I don’t know. She was having a moment. She’s a very smart, progressive woman, and she was feeling her oats,” Isabelle laughs.

Despite the traumas of the prosthetics and the shoot, Isabelle has clear affection for the movie and a character who rings incredibly true even 20 years later, largely because of her authentic performance  “It connects still to this day with people who weren’t even born when it came out. And that’s always shocking to me,” she says.

So what would today’s Katharine Isabelle tell her 17 year old self, 20 years ago?

“Oh, God. Fucking suck it up, you whiny bitch.” she says, all wolf-Ginger before swapping back to pre-transformation Ginger. “No, I would be like, ‘Yo, this is good, and you’re going to be okay. You’re gonna be good, and you’re not going to hate yourself as much as you think you do. And eventually, in 17 years, you’ll be able to watch this without having a total meltdown about how obviously terrible and insecure you are.”

She pauses.

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“Isn’t that what everyone says to themselves 20 years ago? ‘You’ll be okay, don’t be so insecure, believe in yourself, you got this?’ I think that’s what everyone would say to their younger self. Also, ask for more money.”

The post How Ginger Snaps Explored the Subversive Horror of Womanhood appeared first on Den of Geek.

from Den of Geek https://ift.tt/2ENE6yo

[andyridgeley]

me looking at tom everett scott’s filmography that includes iconic 90s movies, terrible rom coms, zombie shows, teen drama/horror shows, and hallmark christmas movies 

[angelofberlin2000]

Photo: Emily Denniston/Vulture and photos courtesy of the studios 

Keanu Reeves has been a movie star for more than 30 years, but it seems like only recently that journalists and critics have come to acknowledge the significance of his onscreen achievements. He’s had hits throughout his career, ranging from teen comedies (Bill & Ted’s) to action franchises (The Matrix, John Wick), yet a large part of the press has always treated these successes as bizarre anomalies. And that’s because we as a society have never  been able to understand fully what Reeves does that makes his films so special.

In part, this disconnect is the lingering cultural memory of Reeves as Theodore Logan. No matter if he’s in Speed or Bram Stoker’s Dracula or Something’s Gotta Give, he still possesses the fresh-faced openness that was forever personified by Ted’s favorite expression: “Whoa!” That wide-eyed exclamation has been Reeves’s official trademark ever since, and its eternal adolescent naïveté has kept him from being properly judged on the merits of his work.

Some of that critical reassessment has been provided, quite eloquently, by Vulture’s own Angelica Jade Bastién, who has argued for Reeves’s greatness as an action star and his importance to The Matrix (and 21st-century blockbusters in general). Two of her observations are worth quoting in full, and they both have to do with how he has reshaped big-screen machismo. In 2017, she wrote, “What makes Reeves different from other action stars is this vulnerable, open relationship with the camera — it adds a through-line of loneliness that shapes all his greatest action-movie characters, from naïve hotshots like Johnny Utah to exuberant ‘chosen ones’ like Neo to weathered professionals like John Wick.” In the same piece, Bastién noted: “By and large, Hollywood action heroes revere a troubling brand of American masculinity that leaves no room for displays of authentic emotion. Throughout Reeves’s career, he has shied away from this. His characters are often led into new worlds by women of far greater skill and experience … There is a sincerity he brings to his characters that make them human, even when their prowess makes them seem nearly supernatural.”

In other words, the femininity of his beauty — not to mention his slightly odd cadence when delivering dialogue, as if he’s an alien still learning how Earthlings speak — has made him seem bizarre to audiences who have come to expect their leading men to act and carry themselves in a particular way. Critics have had a difficult time taking him seriously because it was never quite clear if what he was doing — or what was seemingly “missing” from his acting approach — was intentional or a failing.

This is not to say that Reeves hasn’t made mistakes. While putting together this ranking of his every film role, we noticed that there was an alarmingly copious number of duds — either because he chose bad material or the filmmakers didn’t quite know what to do with him. But as we prepare for the release of the third John Wick installment, it’s clear that his many memorable performances weren’t all just flukes. From Dangerous Liaisons to Man of Tai Chi — or River’s Edge to Knock Knock — he’s been on a journey to grow as an actor while not losing that elemental intimacy he has with the viewer. Below, we revisit those performances, from worst to best.

   45. Johnny Mnemonic (1995)

The nadir of the ’90s cyberpunk genre, and a movie so bad, with Reeves so stranded, that it’s actually a bit of a surprise the Wachowskis were able to forget about it and still cast him as Neo. Dumber than a box of rocks, it’s a movie about technology and the internet — based on a William Gibson story! — that seems to have been made by people who had never turned on a computer before. Seriously, watch this shit:

44. The Watcher (2000) This movie exists in many ways because of its stunt casting: James Spader as a dogged detective and Keanu as the serial killer obsessed with him. Wait, shouldn’t those roles be switched? Get it? There would come a time in his career when Keanu could have maybe handled this character, but here, still with his floppy Ted Logan hair, he just looks ridiculous. The hackneyed screenplay does him no favors, either. Disturbingly, Reeves claims that he was forced to do this movie because his assistant forged his signature on a contract. He received the fifth of his seven Razzie nominations for this film. (He has yet to win and hasn’t been nominated in 17 years. In fact, it’s another sign of how lame the Razzies are that he got a “Redeemer” award in 2015, as if he needed to “redeem” anything to those people.)

43. Sweet November (2001) It’s a testament to how cloying and clunky Sweet November is that its two leads (Reeves and Charlize Theron) are, today, the pinnacle of action-movie cool — thanks to the same filmmaker, Atomic Blonde and John Wick’s David Leitch — yet so inert and waxen here. This is a career low point for both actors, preying on their weak spots. Watching it now, you can see there’s an undeniable discomfort on their faces: If being a movie star means doing junk like this, what’s the point? They’d eventually figure it all out.

42. Chain Reaction (1996) As far as premises for thrillers go, this isn’t the worst idea: A team of scientists are wiped out — with their murder pinned on poor Keanu — because they’ve figured out how to transform water into fuel. (Hey, Science, it has been 23 years. Why haven’t you solved this yet?) Sadly, this turns into a by-the-numbers chase flick with Reeves as Richard Kimble, trying to prove his innocence while on the run. He hadn’t quite figured out how to give a project like this much oomph yet, so it just mostly lies around, making you wish you were watching The Fugitive instead.

41. 47 Ronin (2013) In 2013, Reeves made his directorial debut with a Hong Kong–style action film. We’ll get into that one later, because it’s a ton better than this jumbled mess, a mishmash of fantasy and swordplay that mostly just gives viewers a headache. Also: This has to be the worst wig of Keanu’s career, yes?

40. Even Cowgirls Get the Blues (1993)

Gus Van Sant’s famously terrible adaptation of Tom Robbins’s novel never gets the tone even close to right, and all sorts of amazing actors are stranded and flailing around. Reeves gets some of the worst of it: Why cast one of the most famously chill actors on the planet and have him keep hyperventilating?

39. Replicas (2019) In the wake of John Wick’s success, Keanu has had the opportunity to sleepwalk through some lesser sci-fi actioners, and this one is particularly sleepy. The idea of a neuroscientist (Reeves) who tries to clone his family after they die in an accident could have been a Pet Sematary update, but the movie insists on an Evil Corporation plot that we’ve seen a million times before. John Wick has allowed Reeves to cash more random checks than he might have ten years ago. Here’s one of them.

38. Feeling Minnesota (1996) As far as we know, the only movie taken directly from a Soundgarden lyric — unless we’re missing a superhero named “Spoonman” — is this pseudo-romantic comedy that attempts to be cut from the Tarantino cloth but ends up making you think everyone onscreen desperately needs a haircut and a shave. Reeves can tap into that slacker vibe if asked to, but he requires much better material than this.

37. Little Buddha (1994)

To state the obvious, it would not fly today for Keanu Reeves to play Prince Siddhartha, a monk who would become the Buddha. But questions of cultural appropriation aside, you can understand what drew The Last Emperor director Bernardo Bertolucci to cast this supremely placid man as an iconic noble figure. Unfortunately, Little Buddha never rises above a well-meaning, simplistic depiction of the roots of a worldwide religion, and the effects have aged even more poorly. Nonetheless, Reeves is quite accomplished at being very still.

36. Much Ado About Nothing (1993) Quick anecdote: We saw this Kenneth Branagh adaptation of the Bard during its original theatrical run, and when Reeves’s villainous Don John came onscreen and declared, “I am not of many words,” the audience clapped sarcastically. That memory stuck because it encapsulates viewers’ inability in the early ’90s to see him as anything other than a dim SoCal kid. Unfortunately, his performance in Much Ado About Nothing doesn’t do much to prove his haters wrong. As an actor, he simply didn’t have the gravitas yet to pull off this fiendish role, and so this version is more radiant and alive when he’s not onscreen. It is probably just as well his character doesn’t have many words.

35. Bram Stoker’s Dracula (1992) GIFs are a cheap way to critique a performance. After all, acting is a complicated, arduous discipline that shouldn’t be reduced to easy laughs drawn from a few seconds of film played on a loop. Then again …

This really does sum up Reeves’s unsubstantial performance as Jonathan Harker, whose new client is definitely up to no good. Bram Stoker’s Dracula is a wonder of old-school special effects and operatic passion — and it is also a movie in which Reeves seems wholly ill at ease, never quite latching onto the story’s macabre period vibe. We suspect if he could revisit this role now, he’d be far more commanding and engaged. But in 1992, he was still too much Ted and not enough anything else. And Reeves knew it: A couple years later, when asked to name his most difficult role to that point, he said, “My failure in Dracula. Totally. Completely. The accent wasn’t that bad, though.” Well …

34. The Neon Demon (2016)

One of the perks of being a superstar is that you can sometimes just phone in an amusing cameo in some bizarro art-house offering. How else to explain Reeves’s appearance in this stylish, empty, increasingly surreal psychological thriller from Drive director Nicolas Winding Refn? He plays Hank, a scumbag motel manager whose main job is to add some local color to this portrait of the cutthroat L.A. fashion scene. If you’ve been waiting to hear Keanu deliver skeezy lines like “Why, did she send you out for tampons, too?!” and “Real Lolita shit … real Lolita shit,” The Neon Demon is the film for you. He’s barely in it, and we wouldn’t blame him if he doesn’t even remember it.

33. The Lake House (2006) Reeves reunites with his Speed co-star for a movie that features a lot fewer out-of-control buses. In The Lake House, Sandra Bullock plays a doctor who owns a lake house with the strangest magical power: She can send and receive letters from the house’s owner from two years prior, a dashing architect (Reeves). This American remake of the South Korean drama Il Mare is romantic goo that’s relatively easy to resist, and its ruminations on fate, love, destiny, and luck are all pretty standard for the genre. As for those hoping to enjoy the actors’ rekindled chemistry, spoiler alert: They’re not onscreen that much together.

32. Henry’s Crime (2011) You have to be careful not to cast Reeves as too passive a character; he’s so naturally calm that if he just sits and reacts to everything, and never steps up, your movie never really gets going. That’s the case in this heist movie about an innocent man (Reeves) who goes to jail for a crime he didn’t commit and then plans a scam with an inmate he meets there (James Caan). The movie wants to be a little quirkier than it is, and Reeves never quite snaps to. The film just idles on the runway.

31. The Bad Batch (2017) Following her acclaimed A Girl Walks Home Alone at Night, filmmaker Ana Lily Amirpour plops us in the middle of a desert hellscape in which a young woman (Suki Waterhouse) must battle to stay alive. The Bad Batch is less accomplished than A Girl, in large part because style outpaces substance — it’s a movie in which clever flourishes and indulgent choices rule all. Look no further than Reeves’s performance as the Dream, a cult leader who oversees the only semblance of civilization in this post-apocalyptic world. It’s less a character than an attitude, and Reeves struggles to make the shtick fly. He’s too goofy a villain for us to really feel the full measure of his monstrousness.

30. Hardball (2001)

Reeves isn’t the first guy you’d think of to head up a Bad News Bears–style inspirational sports movie, and he doesn’t pull it off, playing a gambler who becomes the coach of an inner-city baseball team and learns to love, or something. It’s as straightforward and predictable an underdog sports movie as you’ll find, and it serves as a reminder that Reeves’s specific set of skills can’t be applied to just any old generic leading-man role. The best part about the film? A 14-year-old Michael B. Jordan.

29. Street Kings (2008) Filmmaker David Ayer has made smart, tough L.A. thrillers like Training Day (which he wrote) and End of Watch (which he wrote and directed). Unfortunately, this effort with Reeves never stops being a mélange of cop-drama clichés, casting the actor as Ludlow, an LAPD detective who’s starting to lose his moral compass. This requires Reeves to be a hard-ass, which never feels particularly convincing. Street Kings is bland, forgettable pulp — Reeves doesn’t enliven it, getting buried along with the rest of a fine ensemble that includes Forest Whitaker, Hugh Laurie, and a pre-Captain America Chris Evans.

28. Constantine (2005) In post-Matrix mode, Reeves tries to launch another franchise in a DC Comics adaptation about a man who can see spirits on Earth and is doomed to atone for a suicide attempt by straddling the divide twixt Heaven and Hell. That’s not the worst idea, and at times Constantine looks terrific, but the movie doesn’t have enough wit or charm to play with Reeves’s persona the way the Wachowskis did.

27. The Day the Earth Stood Still (2008) Reeves’s alienlike beauty and off-kilter line readings made him an obvious choice to play Klaatu, an extraterrestrial who assumes human form when he arrives on our planet. This remake of the 1950s sci-fi classic doesn’t have a particularly urgent reason to exist — its pro-environment message is timely but awkwardly fashioned atop an action-blockbuster template — and the actor alone can’t make this Day particularly memorable. Still, there are signs of the confident post-Matrix star he had become, which would be rewarded in a few years with John Wick.

26. Knock Knock (2015) Reeves flirts with Michael Douglas territory in this Eli Roth erotic thriller that’s not especially good but is interesting as an acting exercise. He plays Evan, a contented family man with the house to himself while his wife and kids are out of town. Conveniently, two beautiful young strangers (Ana de Armas, Lorenza Izzo) come by late one stormy night, inviting themselves in and quickly seducing him. Is this his wildest sexual fantasy come to life? Or something far more ominous? It’s fun to watch Reeves be a basic married suburban dude who slowly realizes that he’s entered Hell, but Knock Knock’s knowing trashiness only takes this cautionary tale so far.

25. The Devil’s Advocate (1997)

Very few people bought tickets in 1997 for The Devil’s Advocate to see Keanu Reeves: Hotshot Attorney. Obviously, this horror thriller’s chief appeal was witnessing Al Pacino go over the top as Satan himself, who just so happens to be a New York lawyer. Nonetheless, it’s Reeves’s Kevin Lomax who’s actually the film’s main character; recently moved to Manhattan with his wife (Reeves’s future Sweet November co-star, Charlize Theron), he’s the new hire at a prestigious law firm who only later learns what nefarious motives have brought him there. Reeves is forced to play the wunderkind who gets in over his head, and it’s not entirely convincing — and that goes double for his southern accent.

24. The Prince of Pennsylvania (1988) “You are like some stray dog I never should have fed.” That’s how Rupert’s older hippie pal, Carla (Amy Madigan), affectionately refers to him, and because this teen dropout is played by Keanu Reeves, you understand what she means. In this forgotten early chapter in Reeves’s career, Rupert and Carla decide to ditch their going-nowhere Rust Belt existence by taking his dad (Fred Ward) hostage and collecting a handsome ransom. The Prince of Pennsylvania is a thoroughly contrived and mediocre comedy, featuring Reeves with an incredibly unfortunate haircut. (Squint and he looks like the front man for the Red Hot Chili Peppers.) Still, you can see signs of the soulfulness and vulnerability he’d later harness in better projects. He’s very much a big puppy looking for a home.

23. The Last Time I Committed Suicide (1997) Every hip young ’90s actor had to get his Jack Kerouac on at some point, so it would seem churlish to deny Reeves his opportunity. He plays the best pal/drinking buddy of Thomas Jane’s Neal Cassady, and he looks like he’s enjoying doing the Kerouac pose. Other actors have done so more indulgently. And even though he’s heavier than he’s ever been in a movie, he looks great.

22. A Walk in the Clouds (1995) Keanu isn’t quite as bad in this as it seemed at the time. He’s miscast as a tortured war veteran who finds love by posing as the husband of a pregnant woman, but he doesn’t overdo it either: If someone’s not right for a part, you’d rather them not push it, and Keanu doesn’t. Plus, come on, this movie looks fantastic: Who doesn’t want to hang around these vineyards? Not necessarily worth a rewatch, but not the disaster many consider it.

21. The Replacements (2000) The other movie where Keanu Reeves plays a former quarterback, The Replacements is an adequate Sunday-afternoon-on-cable sports comedy. He plays Shane, the stereotypical next-big-thing whose career capsized after a disastrous bowl game — but fear not, because he’s going to get a second chance at gridiron glory once the pros go on strike and the greedy owners decide to hire scabs to replace them. Reeves has never been particularly great at playing regular guys — his talent is that he seems different, more special, than you or me — but he ably portrays a good man who���s had to live with disappointment. The Replacements pushes all the predictable buttons, but Reeves makes it a little more enjoyable than it would be otherwise.

20. Tune in Tomorrow (1990) A very minor but sporadically charming bauble about a radio soap-opera scriptwriter (Peter Falk) who begins chronicling an affair between a woman (Barbara Hershey) and her not-related-by-blood nephew on his show — and ultimately begins manipulating it. Tune in Tomorrow is light and silly and harmless, and Reeves shows up on time to set and looks extremely eager to impress. He blends into the background quietly, which is probably enough.

19. I Love You to Death (1990)

This Lawrence Kasdan comedy — the first film after an incredible four-picture run of Body Heat, The Big Chill, Silverado, and The Accidental Tourist — is mostly forgotten today, and for good reason: It’s a farce that mostly features actors screaming at each other and calling it “comedy.” But Reeves hits the right notes as a stoned hit man, and it’s amusing just to watch him share the screen with partner William Hurt. This could have been the world’s strangest comedy team!

18. Youngblood (1986)

This Rob Lowe hockey comedy is … well, a Rob Lowe hockey comedy, but we had to include it because a 21-year-old Reeves plays a dim-bulb, good-hearted hockey player with a French Canadian accent that’s so incredible that you really just have to see it. Imagine if this were the only role Keanu Reeves ever had? It’s sort of amazing. “AH-NEE-MAL!”

17. Destination Wedding (2018) An oddly curdled comedy about two wedding guests (Reeves and Winona Ryder) who have terrible attitudes about everything but end up bonding over their universal disdain for the planet and everyone on it. That sounds like a chore to watch, and at times it is, but the pairing of Reeves and Ryder has enough nostalgic Gen-X spark to it that you go along with them anyway. With almost any other actors you might run screaming away, but somehow, in spite of everything, you find them both likable.

16. Thumbsucker (2005)

The first film from 20th Century Women and Beginners’ Mike Mills, this mild but clever coming-of-age comedy adaptation of a Walter Kirn novel has Mills’s trademark good cheer and emotional honesty. Reeves plays the eponymous thumbsucker’s dentist — it’s funny to see Keanu play someone named “Dr. Perry Lyman” — who has the exact right attitude about both orthodontics and life. It’s a lived-in, funny performance, and a sign that Keanu, with the right director, could be a more than capable supporting character actor.

15. Something’s Gotta Give (2003) This Nancy Meyers romantic comedy was well timed in Reeves’s career. A month after the final Matrix film hit theaters, Something’s Gotta Give arrived, offering us a very different Keanu — not the intense, sci-fi action hero but rather a charming, low-key love interest who’s just the supporting player. He plays Julian Mercer, a doctor administering to shameless womanizer Harry Sanborn (Jack Nicholson), who’s dating a much younger woman (Amanda Peet), who just so happens to be the daughter of a celebrated playwright, Erica (Diane Keaton). We know who will eventually end up with whom in Something’s Gotta Give, but Reeves proves to be a great romantic foil, wooing Erica with a grown-up sexiness the actor didn’t possess in his younger years. We’re still not sure Meyers got the ending right: Erica should have stuck with him instead of Harry.

14. Man of Tai Chi (2013) This is the only movie that Reeves has directed, and what does it tell us about him? Well, it tells us he has watched a ton of Hong Kong action movies and always wanted to make one himself. And it’s pretty good! It’s technically proficient, it has a straightforward narrative, it has some excellent long-take action sequences (as we see in John Wick, Keanu isn’t a quick-cut guy; he likes to show his work), and it has a perfectly decent Keanu performance. We wouldn’t call him a visionary director by any stretch of the imagination. But we’d watch another one of these, definitely.

13. Dangerous Liaisons (1988)

Le Chevalier Raphael Danceny is merely a pawn in a cruel game being played by Marquise de Merteuil and Vicomte de Valmont, and so it makes some sense that the young man who played him, Keanu Reeves, is himself a little outclassed by the actors around him. This Oscar-winning drama is led by Glenn Close and John Malkovich, who have the wit and bite to give this 18th-century tale of thwarted love and bruised pride some real zest. By comparison, Danceny is practically a boy, unschooled in the art of manipulation, and Reeves provides the character with the appropriate youthful naïveté. He’s not a standout in Dangerous Liaisons, but he acquits himself well — especially near the end, when his blade fells Valmont, leaving him as one of the unlikely survivors in the film’s ruthless battle.

12. The Private Lives of Pippa Lee (2009) In this incredible showcase for Robin Wright, who plays a woman navigating a constrictive, difficult life with more grace and intelligence than anyone realizes, Reeves shows up late in a role that he’s played before: the younger guy who’s the perfect fit for an older woman figuring herself out. He hits the right notes and never overstays his welcome. As a romantic lead, less is more for Reeves.

11. Parenthood (1989) If you were an uptight suburban dad, like Steve Martin is in Ron Howard’s ensemble comedy, your nightmare would be that your beloved daughter gets involved with a doofus like Tod. Nicely played by Keanu Reeves, the character is the embodiment of every slacker screwup who’s going to just stumble through life, knocking over everything and everyone in his path. But as it turns out, he’s a lot kinder and mature than at first glance. Released six months after Bill & Ted’s Excellent Adventure, Parenthood showed mainstream audiences a more grown-up Reeves, and he’s enormously appealing — never more so than when advising a young kid that it’s okay to masturbate: “I told him that’s what little dudes do.”

10. Permanent Record (1988) A very lovely and sad movie that’s nearly forgotten today, Permanent Record, directed by novelist Marisa Silver, features Reeves as the best friend of a teenager who commits suicide and, along with the rest of their friends, has to pick up the pieces. For all of Reeves’s trademark reserve, there is very little restraint here: His character is devastated, and Reeves, impressively, hits every note of that grief convincingly. You see this guy and you understand why everyone wanted to make him a star. This is a very different Reeves from now, but it’s not necessarily a worse one.

9. Point Break (1991)

Just as Reeves’s reputation has grown over time, so too has the reputation of this loopy, philosophical crime thriller. Do people love Point Break ironically now, enjoying its over-the-top depiction of men seeking a spiritual connection with the world around them? Or do they genuinely appreciate the seriousness that director Kathryn Bigelow brought to her study of lonely souls looking for that next big rush — whether through surfing or robbing banks? The power of Reeves’s performance is that it works both ways. If you want to snicker at his melodramatic turn, fine — but if you want to marvel at the rapport his Johnny Utah forms with Patrick Swayze (Bodhi), who only feels alive when he’s living life to the extreme, then Point Break has room for you on the bandwagon.

8. Bill and Ted’s Excellent Adventure (1989) and Bill and Ted’s Bogus Journey (1991) Before there was Beavis and Butt-Head, before there was Wayne and Garth, there were these guys: two Valley bozos who loved to shred and goof off. As Theodore Logan, Keanu Reeves found the perfect vessel for his serene silliness, playing well off Alex Winter’s equally clueless Bill. But note that Bill and Ted aren’t jerks — watch Excellent Adventure now and you’ll be struck by how incredibly sunny its humor is. Later in his career, Reeves would show off a darker, more brooding side, but here in Excellent Adventure (and its less-great sequel Bogus Journey) he makes blissful stupidity endearing.

7. The Gift (2000) This Sam Raimi film, with a Billy Bob Thornton script inspired by his mother, fizzled at the box office, despite a top-shelf cast: It’s probably not even the first film called The Gift you think of when we bring it up. But, gotta say, Reeves is outstanding in it, playing an abusive husband and all-around sonuvabitch who, nevertheless, might be unfairly accused of murder, a fact only a psychic (Cate Blanchett) understands. Reeves is full-on trailer trash here, but he brings something new and unexpected to it: a sort of bewildered malevolence, as if he’s moved by forces outside of his control. More of this, please.

6. My Own Private Idaho (1991)

Gus Van Sant’s landmark drama is chiefly remembered for River Phoenix’s nakedly anguished performance as Mike, a spiritually adrift gay hustler. (Phoenix’s death two years after My Own Private Idaho’s release only makes the portrayal more heartbreaking.) But his performance doesn’t work without a doubles partner, which is where Reeves comes in. Playing Scott, a fellow hustler and Mike’s best friend, Reeves adeptly encapsulates the mind-set of a young man content to just float through life. Unlike Mike, he knows he has a fat inheritance in his future — and also unlike Mike, he’s not gay, unable to share his buddy’s romantic feelings. Phoenix deservedly earned most of the accolades, but Reeves is terrific as an unobtainable object of affection — inviting, enticing, but also unknowable.

5. Speed (1994)

Years later, we still contend that Speed is a stupid idea for a movie that, despite all logic (or maybe because of the utter insanity of its premise), ended up being a total hoot. What’s clear is that the film simply couldn’t have worked if Reeves hadn’t approached the story with straight-faced sincerity: His L.A. cop Jack Traven is a ramrod-serious lawman who is going to do whatever it takes to save those bus passengers. Part of the pleasure of Speed is how it constantly juxtaposes the life-or-death stakes with the high-concept inanity — Stay above 50 mph or the bus will explode! — and that internal tension is expressed wonderfully by Reeves, who invests so intently in the ludicrousness that the movie is equally thrilling and knowingly goofy. And it goes without saying that he has dynamite chemistry with Sandra Bullock. Strictly speaking, you probably shouldn’t flirt this much when you’re sitting on top of a bomb — but it’s awfully appealing when they get their happy ending.

4. River’s Edge (1987) This film’s casting director said she cast Reeves as one of the dead-end kids who learn about a murder and do nothing “because of the way he held his body … his shoes were untied, and what he was wearing looked like a young person growing into being a man.” This was very much who the early Reeves was, and River’s Edge might be his darkest film. His vacancy here is not Zen cool … it’s just vacant, intellectually, ethically, morally, emotionally. Only in that void could Reeves be this terrifying. This is definitely a performance, but it never feels like acting. His magnetism was almost mystical.

3. John Wick (2014), John Wick: Chapter Two (2017), and John Wick: Chapter 3 — Parabellum (2019)

If they hadn’t killed his dog, none of this would have happened. Firmly part of the “middle-aged movie stars playing mournful badasses” subgenre that’s sprung up since Taken, the John Wick saga provides Reeves with an opportunity to be stripped-down but not serene. He’s a lethal assassin who swore to his dead wife that he’d put down his arms — but, lucky for us, he reneges on that promise after he’s pushed too far. Whereas in his previous hits there was something detached about Reeves, here’s he locked in in such a way that it’s both delightful and a little unnerving. The 2014 original was gleefully over-the-top already, and the sequels have only amped up the spectacle, but his genuine fury and weariness felt new, exciting, a revelation. Turns out Keanu Reeves is frighteningly convincing as a guy who can kill many, many people.

2. A Scanner Darkly (2006)

In hindsight, it seems odd that Keanu Reeves and Richard Linklater have only worked together once — their laid-back vibes would seemingly make them well suited for one another. But it makes sense that the one film they’ve made together is this Philip K. Dick adaptation, which utilizes interpolated rotoscoping to tell the story of a drug cop (Reeves) who’s hiding his own addiction while living in a nightmarish police state. That wavy, floating style of animation nicely complements A Scanner Darkly’s sense of jittery paranoia, but it also deftly mimics Reeves’s performance, which seems to be drifting along on its own wavelength. If in the Matrix films, he manages to defeat the dark forces, in this film they’re too powerful, leading to a pretty mournful finale.

1. The Matrix (1999), The Matrix Reloaded (2003), and The Matrix Revolutions (2003)

“They had written something that I had never seen, but in a way, something that I’d always hoped for — as an actor, as a fan of science fiction.” That’s how Reeves described the sensation of reading the screenplay for The Matrix, which had been dreamed up by two up-and-coming filmmakers, Lana and Lilly Wachowski. Five years after Speed, he found his next great project, which would become the defining role of his career. Neo is the missing link between Ted’s Zen-like stillness and John Wick’s lethal efficiency, giving us a hero’s journey for the 21st century that took from Luke Skywalker and anime with equal aplomb. Never before had the actor been such a formidable onscreen presence — deadly serious but still loose and limber. Even when the sequels succumbed to philosophical ramblings and overblown CGI, Reeves commanded the frame. We always knew that he seemed like a cool, left-of-center guy. The Matrix films gave him an opportunity to flex those muscles in a true blockbuster.

[allthefilmsiveseenforfree]

Cruel Intentions

Cruel Intentions was the most forbidden movie my 11-year-old brain could possibly imagine. 1) it was all about sex 2) it starred teenagers and 3) those teenagers’ motivations were just right there in the title. I didn’t see it in full until I was 25 years old. It was re-released for its 20-year-anniversary and I was curious to see how well it held up, both as an artifact of the 90s and as relevant to today. Does it live up to the dark, sticky legacy my 11-year-old self could have imagined? Well...

I hate to say it but...no? The half that has aged fine has aged fine. No real additional layers of meaning or transformative commentary in the past 20 years have been added. But the half that has aged poorly has aged really fucking poorly. While there are moments of truly inspiring cinema to be found here, this sordid tale of high school seniors betraying and fucking each other has no real central hero or villain to root for or against, which makes it kind of a convoluted mess.

Quick plot summary for the uninitiated. It’s summertime for rich assholes in New York City, and Sebastian (Ryan Phillipe) makes a bet with his stepsister Kathryn (Sarah Michelle Gellar, relishing every minute) that he can get the new student starting at school, self-avowed virgin and all around good person Annette (Reese Witherspoon), to sleep with him before the semester starts. But uh-oh, over the course of his deception, he falls in love with Annette for real and can’t deflower her. Until he does anyway? But it’s for love. And he’s still kind of an asshole and terrible person. And then he dies and everyone finds out what a bitch Kathryn is and The Verve makes $20 million because everyone’s new favorite song is “Bittersweet Symphony.”

Some thoughts:

As an artifact of the 90s, you can’t get much better than this. The tiniest sunglasses that do NOTHING! The pastels! The sheer blouses over spaghetti strap tank tops! Even this font in the credits looks 90s. The nostalgia is THICK with this one.

And this soundtrack is excellent through and through. *puts on repeat on Spotify*

What happened to Sean Patrick Thomas? Between this and Save the Last Dance, he was my ultimate ~artistic~ dreamboat guy of 1999. I just saw him in The Curse of La Llorona where he was woefully underused. I need a Sean Patrick Thomas renaissance, stat.

Oh shit, and Tara Reid! Oh what a terrible crier she is here. But I suppose that’s to be expected with her awful mother who is a psychologist and slut-shaming her own daughter when she knows what an asshole Sebastian is.

Sebastian is so insufferably full of himself that it’s frankly nauseating BUT I will say, watching him make fun of Christine Baranski is pretty funny.

Sarah Michelle Gellar is honestly the most flawless and iconic part of this movie because it’s clear she’s having so. much. fun.

It’s confusing when every film and tv show uses 20-something actors to play teens but if they’re starting school in the fall that means Sebastian and Katherine both are maximum 17? And he’s meant to have slept with this many girls already? Bullshit. Have you met 17-year-olds? Especially before Instagram and YouTube were a thing? Give me a break. 

Way to throw around a shitton of gay slurs, wowie wow 1999 how I did not miss that. Plus the whole “closeted gay guy has Barbara Streisand cds” thing...god I’m glad we’ve moved past that, not because the joke is offensive, but because it’s just about as funny as saying “Women like cats.” It’s not even a punchline, that’s just you saying a sentence.

I literally can’t believe we’re supposed to root for Sebastian at any point in this movie when he made a bet in order to buttfuck his stepsister.

Selma Blair is overacting like hell in every scene she’s in, but she’s having nearly as much fun as SMG, so I’ll allow it.

And even though I’m obviously so into the #iconic scene giffed above, the way two girls kissing is filmed makes it seem like THE most voyeuristic, salacious thing which is pretty gross. 

Why would you put perfume on before you get into a pool, Annette??

SMG’s monologue about unfair pressure for girls is LEGIT. This is probably the only scene in the movie, where she describes how much pressure she’s under to be the perfect little lady even though she’s smart and driven and actually likes sex, that has aged really well and feels very relevant to today.

Um...did Sebastian just get a girl drunk and commit sexual assault? Yeah, that really cancels out SMG’s female empowerment monologue up above like what the snail-sucking FUCK.

The line “But I have theater tickets!!” is the funniest goddamn thing in this movie.

Can we talk about how it makes no sense that Annette likes Sebastian at all? They have nothing in common, and he treats her like an idiot most of the time when he’s not gaslighting her SO HARD. Is it the mystery? Girl, buy yourself a Nancy Drew book, because he’s not fucking worth it.

Ok but “Colorblind” is still an amazing song, damn. And the lighting in this love scene between Annette and Sebastian is incredible. But why are they so sweaty when they’re doing it? And again, why is she into him in the first place???

I can’t believe Sebastian thinks giving Annette the journal will solve things. Who reads this and says “yeah this guy gets a pass”???

Who is this person inciting a riot at a funeral?

I love that we realize what everyone is reading when people start looking at Kathryn and doing the slow head shakes. And why should we be happy about Kathryn’s comeuppance when Sebastian never really proved that he had changed and did all this fucked up stuff too?

I don’t think I realized how nonsensical this movie was in its goal of being ~scandalous~. I feel like I have whiplash between one scene and the next. You hate Sebastian, then he’s kinda dreamy, then he’s a rapist, then we’re meant to sympathize with him because he laughed ONE TIME? Each individual scene is good, but all together they make no real sense. Still a banging soundtrack tho.

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[jmsa1287]

Best Films of 2018

This list may seem a few months late but I consider the movie season to stretch from January through February of the following year — or until after the Academy Awards ceremony is held. This usually overlaps with the slate of new films debuting at Sundance and other early festivals but that's just the way Hollywood works; awards season is truly never over.

Though movie studios are still focusing on superhero blockbusters and films based on existing intellectual property, 2018 offered a number of original gems among some bona fide hits. Films like the atmospheric sci-fi thriller "Annihilation" and Maggie Gyllenhaal's tour de force of a performance in "The Kindergarten Teacher" just missed my top 10 of 2018. While most of the movies in my list didn't make much of a splash at the box office, they each have a distinct point of view, tone and push the boundaries of what moviemaking can be. From a film shot entirely on an iPhone to a touching story about queer friendship, 2018 was a diverse and solid year for film.

Below are my top 20 favorite movies of 2018.

20. “Burning,” Lee Chang-dong

19. “Happy as Lazzaro,” Alice Rohrwacher

18. “The House that Jack Built,” Lars von Trier

17. “Juliet, Naked,” Jesse Peretz

16. “BlacKkKlansman,” Spike Lee

15. “Shoplifters,” Hirokazu Kore-eda

14. “If Beale Street Could Talk,” Barry Jenkins 

13. “First Man,” Damien Chazelle 

12. “The Kindergarten Teacher,” Sara Colangelo

11. “Annihilation,” Alex Garland

10. “Unsane,” Steven Soderbergh

"Unsane" is Steven Soderbergh's first iPhone movie. He followed this psychological thriller with "High Flying Bird" on Netflix earlier this month, a snappy basketball movie about the behind the scenes action starring Andre Holland ("Moonlight, "The Knick"). For "Unsane," Soderbergh sets his iPhone 7 Plus on "The Crown" star Claire Foy, who plays Sawyer, a troubled woman who is involuntarily institutionalized. Soderbergh makes the best use of the iPhone, making "Unsane" feel claustrophobic and disorienting to match Sawyer's state of mind. Foy gives a great performance of a woman on the edge, making this little-seen flick so much better than it ought to be.

09. “Vox Lux," Brady Corbet

"Vox Lux" is not a good movie. It's a fascinatingly bizarre one, though. It's the kind of strange concoction that has stuck with me since seeing it a few months ago. It's a twisted version of "A Star is Born" when a young singer Celest (played by Raffey Casssidy as a teen and Natalie Portman as an adult) survives a school shooting and is transformed into a mega pop star a la Lady Gaga. Every choice here is so strange — from a Willem Deafoe narration to having Cassidy play Celest's daughter. And then there's Portman's mind-boggling performance (The New York Times' film critic Manohla Dargis put it best, writing that Portman has an "accent that sounds like it's been lifted from a New York cabby in an old Hollywood comedy." The last musical number is terrible and the pop songs that we're to believe propelled Celest into stardom are quite bad (they were written by Sia but sound like tracks she never planned to release). Director Brady Corbet (an actor best known for his role in "Mysterious Skin" and his directorial debut "The Childhood of a Leader") makes a huge swing with "Vox Lux" and attempts to say something grand about our culture, pop music and tragedy but it's ultimately a can't-look-away-misfire. The kind of disaster I'll happily re-watch again and again.

08. "Suspiria," by Luca Guadagnino

Like "Vox Lux," Luca Guadagnino's take on the cult classic "Suspiria" aims high. But unlike Bradly Corbet's film, Guadagnino's remix of Dario Argento iconic 1977 giallo horror film is successful. With a running time of 153 minutes, the 2018 "Suspiria" is only spiritually connected to the original, expanding on Argento's "Three Mothers" trilogy. Guadagnino smartly ignores the original's Technicolor gore and its iconic soundtrack from Goblin, making his version of the movie dull grey and enlists Radiohead front man Thom Yorke for its spooky music. "Suspiria" also also features Dakota Johnson's best performance ever and another stellar turn from Tilda Swinton. Guadagnino channels Rainer Werner Fassbinder, adding texture to why "Suspiria" is set in 70s Germany and making great use of the political climate at the time and a coven of witches.

07. "Lean on Pete," Andrew Haigh

Out filmmaker Andrew Haigh's follow up to "45 Years" is a quiet road trip movie about a boy and his horse. Charlie Plummer gives one of the best performances of the year as Charley — a dirt poor teen who finds solace in taking care of an aging racehorse named Lean on Pete. The film shifts major gears after Charley is hit with tragedy in the first third of the film, sparking him to run away with his new animal friend in search of his aunt across the country. "Lean on Pete" isn't as sentimental as one may assume; it's a dark film that rests on Plummer's shoulders, proving he's one of the strongest young actors of his generation.

06. "Eighth Grade," Bo Burnham

Comedian and YouTube star Bo Burnham's directorial debut "Eighth Grade" is a horror movie. Starring the sensational Elsie Fisher as middle school student Kayla, "Eighth Grade" puts the experience of a young teen under a magnifying class, amplifying every awkward moment and pump those tense scenes with the kind of intense energy one would feel while watching slasher flick. But "Eighth Grade" is ultimately beautiful movie that tracks 13-year-old Kayla as she navigates her last year before entering high school. Burnham captures the essence of being a middle schooler and not for once plays Kayla's experience for cheap laughs. The things she's interested in — especially vlogging — are treated with respect and dignity, making "Eighth Grade" a lovely and felt experience.

05. "A Star is Born," Bradley Cooper

Bradley Cooper's remake of a "A Star is Born" was one of the most exciting cultural moments of 2018. From the memes to the actual film — when the moment hits that Cooper is actually pulling it off — this tragic Hollywood story, starring a marvelous Lady Gaga, was one of the best movies to think and talk about. It also happens to be very good.

04. "Roma," Alfonso Cuarón

For how technically impressive "Roma" is (that cinematography! The sound!) Alfonso Cuarón's memory piece packs an emotional punch. Cuarón focuses on Cleo (breakout star Yalitza Aparicio), a nanny for a family in 70s Mexico City. Based on Cuarón's real life nanny from that time, the filmmaker puts Cleo's experience and story on a huge scale. Her small story is treated like a war epic. "Roma" is why movies exist, an achievement in storytelling and cinematic scope.

03. "The Favourite," Yorgos Lanthimos

Yorgos Lanthimos pulls of a feat with "The Favourite" a wickedly funny movie about power, women and sex. Its three stars Olivia Colman, Emma Stone and Rachel Weisz give incredible performances each on a different wavelength. Lanthimos's touch makes "The Favourite" slightly off kilter, thanks to fisheye lenses, modern music and dance. There hasn't been such a twisted period piece since Sofia Coppola's 2006 masterpiece "Marie Antoinette."

02. "Can You Ever Forgive Me?" Marielle Heller

"Can You Ever Forgive Me?" probably has one of the worst trailers of 2018. It suggests is a run-of-the-mill Oscar bait movie with comedic genius Melissa McCarthy making a blatant attempt to Get Serious. But Marielle Heller's film is anything but that, considering it earned just three Academy Award nominations (McCarthy for Best Actress, Richard E. Grant for Best Supporting Actor and Nicole Holofcener and Jeff Whitty for Best Adapted Screenplay) and isn't expected to take home any. Nevertheless, the story about biographer-turned-scammer Lee Israel turns out to be a touching story about queer friendship. It's a specific New York City 90s story that's heartfelt and beautiful. Indeed, McCarthy as Israel is wonderful as is Grant, who plays gay British smooth talker Jack Hock. "Can You Ever Forgive Me?" is the kind of movie that is currently overlooked but will go on to become a cult favorite.

01. "Hereditary," Ari Aster

"Hereditary" is hands down the scariest movie of 2018. It's hardly a horror movie, although it's classified as such since supernatural moments occur. But it's the most stressful, intense and twisted family drama in some time. At the center of this film is Toni Collette's masterful performance as Annie Graham, a mother dealing with the loss of her own mother and how that sets off a chain of events that uproots her reality. The rabbit hole she goes down is — well there's really no other way to put this — extremely fucked up. She's put through the ringer and Collette is fully committed here as "Heredity" explores what it's like to be a mother, deals with loss, grief, tragedy and familial bounds that we've been taught to be unbreakable. "Heredity" asks what if those bonds somehow did snap? The answer is that all hell breaks loose.

[giriduck]

As a young teen in the mid-90s, I got bit by the Pern bug hard and I quickly consumed all the books published by that point. I was pulled in by one of the iconic Michael Whelan covers, picked up one of the young adult books from the school library, got sucked into the world-building, found the societal structure fascinating, loved the reveal that it was sci fi all along, cheered for and up to the conclusion of the major story arc across 8 books, and legit went into mourning when my favorite character died.

Excited about all of this, I launched AOL and took five to ten minutes to dial into the internet, found some stunning fanart and some more online roleplay chat logs (the proto-Discord), and learned about everything the OP described about how Anne McCaffrey would mail out cease-and-desists to fans who wanted to play in her world. It was surprising and disappointing to see, because unlike the thriving online X-Files community I also lurked in around at the time, there wasn’t a Pern fan base to attach to. The Pern fandom had to fly their dragons under the radar to talk to each other and share their theories, fanart, and stories, all the while fearful of getting caught.

I agree with the OP that how Anne McCaffrey discouraged her fans from using Pern as a sandbox for their imagination inhibited her works from thriving all these years later. But there are many other things to consider with regard to expansion of an IP that are completely unrelated to its fandom, such as licensing, market, and technology, which were particularly fraught in the 1970s and 1980s. The OP noted that Blade Runner is a lasting remnant of a Philip K Dick short story, but Blade Runner is a very loose translation of the original story (like unrecognizably so), and that adaptations to film that hit such notoriety were extraordinarily rare.

Other authors of that era had big budget movies (2001: A Space Odyssey by Arthur C Clark, etc.), but they were sci fi, not fantasy. Fantasy movies of that era were limited or downright terrible, and dragons would have been extremely expensive to fabricate in practical effects. Pern would need to be high budget right out the gate to do well at all.

Do note too, that all those authors with successful movie adaptions were male. Anne McCaffrey was one of the few female sci fi / fantasy authors who did really well at that time, and the genre of all her books were also romance; a niche that hasn’t been embraced in mainstream visual media with a female gaze until the last couple decades (Twilight, Bridgerton).

As far as her protectiveness online, she wasn’t the only one. Mercedes Lackey also protected her work by outlawing the distribution of fanfiction... with a similar result. Authors did this in the early days of the Internet because they were encouraged to, and they believed that they were protecting their property. It’s like Disney extending copyright laws to protect Mickey Mouse from entering the public domain. The Internet was a whole new thing that content creators did not know how to navigate other then attempt to retain control.

Now, after 30 years of global online access, the internet is ubiquitous in literally everything we do: marketing, commerce, communication, etc. The vast majority of the folks who will ever see this post likely never knew a world before the Internet existed. So assigning blame of a lack of foresight or charity to someone—living on the precipice of a potentially scary new global jump in technology—who was unwilling to embrace the online culture and viral communities we know today doesn’t feel entirely fair.

Especially with the age gap here. Anne McCaffrey was born in 1926. She was in her mid-60s by 1990, when non-academic civilian access to the Internet with the first web browser was only just beginning. Up until to that decade, books and publications only existed in printed form, were meant to be enjoyed by readers, and then maybe discussed in-person in book clubs or eventually fan conventions. So, of course it would be uncomfortable when people could suddenly start engaging with the content in a new way: writing stories where their original characters were interacting with her characters and then post / pseudo publish them for free for the world to see. That had never been possible at that scale before. She'd made a whole career out of being an author, and then there is this sudden, world-changing shift in communication, and with it a growing evolution in the perception and definition of ownership and intellectual property. To content creators in the 90s—especially since it was before the Internet was leveraged as a tool for marketing—it probably felt like the threat of losing control of your livelihood. If I were in her shoes, I’d be freaked out about it, too.

As a fan though, I personally would have loved more opportunity to find safe places to interact with fellow fans online in those days. As we know, fandom is a form of community that often extends and take liberties with a creator’s vision, but we are ultimately consumers of their product and thus support them. Although it can get toxic, it (usually) is not an antagonistic relationship, and it’s sad that some older-school or territorial folks might have assumed the worst and didn’t accept that earlier. I totally agree with the OP that if Anne McCaffrey had been open to it, her fan base—much like Star Trek and Doctor Who—would have ensured the legacy of Pern had remained stronger and ideally evolved in much more diverse and inclusive ways.

But that said, I’m very glad she didn’t sign the rights away to have some shitty B-grade movie made in the 80s, or even the early 2000s. (It was already embarrassing that the Pern video game wasn’t great.) Sci fi, fantasy, and video game adaptations to film have seen far too many flops until very recently. It wasn’t until the wild successes of Peter Jackson’s take on Lord of the Rings and the first Harry Potter movie (both came out in 2001) that studios were even willing to start investing in big budget epic fantasy and sci fi adaptations of adult and young adult book series to film. Game of Thrones made epic fantasy a whole prestige TV genre in 2011 (the same year McCaffrey died), and really moved the needle on making these kinds of previously labeled “geeky / nerdy” stories mainstream.

Attempting a Pern movie or show before then could have been a bad gamble, and likely a costly mistake. She and her family were smart not to jump in too early.

But the market is there now, as is the CGI. It feels like only in the last 5 or so years that HBO or similar streaming services could fund and effectively bring Pern to the little screen at a high quality, and like the new Dune movie, introduce a whole new generation to a series that was first written in the mid-1960s.

Also—quick note on the content of the books—McCaffrey’s writing was somewhat progressive for the day. A strong female protagonist was unheard of in 70's fantasy and sci fi, but she had several. That said, I haven’t gone near the books since the late 1990s and I am scared to, because I’ve been told they do not age well and absolutely believe it. There were definitely some big yikes moments I can recall, and Pern—as with everything—would be 1000% better with more diversity and representation, but these books were also of an regrettable era when inclusivity was far more limited.

But all-in-all—now that there is a ripe market for it—a well-made and updated Pern show could do extremely well, given that it is sexy sci-fi / fantasy dragon romance. One could only hope that it actually happens someday. *shrug*

An Outside Look on Dragon Riders of Pern (and why it amounted to nothing)

My initial contact with the Dragon Riders of Pern were the dogeared paperback books that lined the shelves my roommate’s father coveted so lavishly. With their aged covers, their traditionally drawn scenes of drama, I knew they were old and I found myself automatically turned off by them by that alone (I know, I know, I shouldn’t judge a cover). I wouldn’t find out till months later that this series by Anne McCaffrey was one that had been well beloved for decades; not just a few weird looking Goodwill books. That it had been the source of numerous old roleplay MUDs (basically, fancy chatrooms). And, unsurprisingly with its age, that its author was one of the many at that time who despised fanworks and issued DMCAs against people, often with threats to sue.

And I can’t help but wonder if that was why this supposedly long lived and adored series… has never amounted to more than a handful of contentious fantasy sci-fi novels on gen-X and baby boomers’ shelves. 

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