At the Movies

It’s been quiet around these parts, we know, we know. But look, we’re all really busy and important (at least one of those things anyway). There has been some moving internationally, some uni assignment completion (and procrastination) and some of us, naming no names, have been playing a lot of Glitch.

On Wednesday the members of SJL, still in the same country (*sob*), went to the cinema. We even managed to get our applicable concession tickets and good seats! Just as an aside, can I just talk about going to the movies? Why is so ridiculously complicated? It’s like one of those mini quests in Glitch which involves a lot of jumping between constantly moving levels and makes me feel intensely anxious because everything just won’t line up and I never played Nintendo as a kid and my fine motor skills suffered.

This complaint should probably be accompanied by the world’s tiniest violin because I don’t think they even have concession tickets in the US? (Presumably because it’s socialism). Anyway, SJL are still in the process of completing Uni, doing unpaid internships and being un/under-employed. Basically it’s like Girls but with slightly more POC and better sex. [1. Rest of SJL: not happy with this comparison]. Also we get some money from the government for being students because, socialism. Basically, we aren’t going to pay $5 extra for movie tickets if we don’t have to, so we must all assemble [2. Who is thinking about The Avengers now?] with correct student cards at the allotted time even though we are all, invariably running late or early. But we totally nailed buying the correct tickets to the correct movie because we are motherfucking adults! [3. Eds note: perhaps writing a whole paragraph about this undermines your point?]

And what movie were we going to see? [4. Further eds note: Are you planning to get to the action any time soon? This is a blogpost not a Tolkien novel, no one wants to know the songs you sang on the way to the cinema, OK. ] We were going to see The Sapphires a movie you have probably heard about if you are Australian and almost certainly haven’t if you aren’t.

Things that are almost always true of Australian movies:

1. There are about 100 credits as the movie starts because it takes a lot of people and a lot of effort to get a movie made in Australia. I know this is also true of American indie releases because it’s hard out there for a pimp/movie maker, but for Aussie movies at least a few of the “this is a [BlahBlah Production]” credits are for government government funded bodies (again with the communism!).

2. It is nice to hear Australian accents on film. It just is, OK? We aren’t in many movies and when we are often we are played by English people or, even worse, New Zealanders. There is a joke in the movie where Chris O’Dowd’s character, speaking in his Irish accent, says “As you can probably tell from my accent I’m not from around these parts, I’m from Melbourne!” Which SJL laughed uproariously at, hopefully foreign audiences also get this.

3. It is exciting to see Australian life/places on screen. Maybe it is condescending for me to say this but I really don’t think many Americans get this. Until I went to America I thought the following things only existed in movies: those red plastic cups at parties , yellow school buses [5. I’d like to make it clear that we do have busses in Australia, even school buses, they just don’t look so yellow and story-bookish (I make this point because when I exclaimed about school buses in the US my American friend looked at me with horror and said “You don’t have buses in Australia?” and as much as I tried to reassure her I don’t think she ever really believed me).] , NYPD cars, people calling their friend’s parents by their last names, prom, high school cheerleaders, high school sport being SRS BSNS,  college sport being SRS BSNS etc. I also have a completely mangled view of the legal system of my own country because I’ve watched a lot of US court dramas. I am forever this close to thinking 911 is the emergency number I should call, whatever country I am in. Which is not to say that American Cultural Imperialism Is Ruining Everything. Because, I really like a lot of American popular culture, but it’s a nice change to see a movie set in outback Australia and the city in which I live (and also Vietnam, a place I have briefly lived. Basically, they made this movie for me).

4. You recognise most of the actors from a combination of the following: being in every other Australian movie you’ve ever watched, being the Australian actor who made it big overseas and is now back to prove their Aussie-ness and “give back”, your twitter feed and that time you once saw them at the shops and thought you recognised them but weren’t sure.

5. They are not very good. I know, I am bringing dishonour to my country but it’s true! Usually Australian movies are cheap and either:
a) so incredibly arty that you know you should be appreciating the art but you find yourself thinking in deep shame about how much fun Magic Mike was,
b) so incredibly broad you feel yourself at once wanting to dive under the cinema seat and suffering deep shame at your cultural cringe or,
c) Animal Kingdom, which I hear is great and all the nerdy movie podcasters/bloggers I follow really liked it but I’m kind of a wimp about violence so I haven’t seen it but I totally pretend to have at parties.

The Sapphires, though, is actually totally great! It’s the story inspired by real life of four Aboriginal women who go to Vietnam in the 60s to sing for the American forces there. It explores issues of race and gender, and there is singing and dancing. I laughed, I cried! (I actually cried a lot, so much so that it caused SJL to rummage through their bags for a napkin).

But I hear this blog is supposed to be a Social Justice blog so let’s try that. I am not going to “spoil” the movie in this section but I will reveal some background information and some plot developments so if you prefer to go into your movies with as little knowledge as possible, stop reading now!

  • Race. Clearly I am no expert on this and I welcome POC to pull me up if I am missing nuance. The film addresses the level of racism in Australia during this time, and the limitations this placed upon what aboriginal people could do and the places they could go. There are a lot of jokes about race in this movie, but none of them are made at the expense of the POC. They are jokes about stereotypes and about the horror and stupidity of racism. I was particularly impressed with the way that the film dealt with the idea of “passing” as white and the complications that causes. This is an issue regularly brought up by unenlightened “commentators” in Australia . Kay, one of the singers is pale enough to be perceived as white. The film at once acknowledges the privilege this confers upon her while also exploring the pain and confusion this causes.
  • Holy female gaze batman. The film delights in treating male, (often) black bodies in the way that movie-makers usually treat (generally) white, female bodies. So when you see that slow upward pan of Kay’s love interest’s rippling abs remember you are doing it for feminism (feminism is a lot of fun guys, lets be honest). Also, I can’t lie, I do enjoy the reverse-Bella they pull on that guy by making his main, characteristic the fact that he is clumsy. While the love interest we learn the most about is white, the black male characters are shown to be at times desirable, funny, clever, enterprising and nuanced.
  • The feisty female character doesn’t have to submit to the male love interest. You know fairly early on, if you’ve ever seen a movie before, who’s going to end up together and from that point I was concerned that the female character was going to have to give in, to tone down her opinions. She never does. Also the way that he asks her to marry him is probably one of the sweetest and most egalitarian proposals of all time (I welcome alternatives in the comments).
  • Body diversity. At SJL we reject the assertion that some women’s bodies are better, or more womanly than others, while at the same time acknowledging problems of representation and the overall thinness of womens bodies in the media. (This is high level feminism folks, and please do try it at home, on the bus and at parties etc). So, it’s really nice to see a movie where the main female lead and part of a romantic pairing is not thin and her weight is never mentioned. Of course it shouldn’t be an issue because women Deborah Mailman’s size are not some kind of niche minority, they are us, our friends, our mothers and our co workers but they are weirdly absent from the screen.

The movie, unsurprisingly for a feel-good movie featuring musical numbers, is schmaltzy at times. Often these moments are cut through with jokes (because Australians think feelings are gross [6. A massive generalization! Also many English people think feelings are gross.] ). There is a scene where Kay secures them passage through land held by the Vietcong by giving a speech in an Aboriginal dialect. It’s also worth making the point that it is somewhat reductive to view the Vietnam War along entirely racial lines as this scene appears to. If nothing else the (North) Vietnamese wanted freedom from anyone who tried to deny it of them, including the Chinese, the Japanese, the French and the Americans (and not all the American soldiers were white, as the film itself makes clear) and they would fight them all. As guests of the US Army The Sapphires would surely be viewed as the enemy. The Vietcong were pretty hardcore (understatement) and I’m fairly certain that speaking to them in the Yorta Yorta language would not have worked, but I was crying a lot at that point, and narratively it worked so you know, whatevs.

And finally, I’m pretty sure that “bag of dicks” was not a thing that people said in 1960s Australia, but prove me wrong. OK, now let’s chair dance it out…

 

 


Dear Kat Stratford (I think I love you)

Hopefully I am not the only one who still remembers/watches weekly 10 Things I Hate About You. It is the the story of Kat Stratford, and her younger, more popular sister, Bianca. They are at high school and there are boys and bets and Important Dances. It is, ostensibly, a remake of The Taming of the Shrew (?). Mostly it is important to remember that there are a lot of great lines and a bit where Heath Ledger sings a song and that Kat Stratford Is Really Awesome OMG.

I was going to come up with some tenuous tie in for this post eg. “isn’t it still sad that Heath Ledger is dead?”[1], it is [some random year] since this movie came out[2], “isn’t Joseph Gordon Levitt cute?”[3] etc.    However, I have decided to eschew such fakery in pursuance of my art. My art called for me to write a list of things.

A (not entirely) random number of things I love about Kat Stratford, in a mostly random order.[4]

  1. “I suppose in our society being male and an arsehole makes you worthy of our time.” When I watched this movie I was in early high school and critical and/or feminist approaches to texts were not something with which I was familiar. The scene in English class near the beginning of the film is so perfect. This scene includes Kat informing Heath Ledger’s character (Patrick) that all he has missed is “The oppressive patriarchal values that dictate our education.” I didn’t know what patriarchal values were but gee they sounded bad and I wanted to know more.
  2. Kat is angry about things which are angry-making. So maybe injuring someone to extent that they need a testical retrieval operation because they groped you in the lunchline is somewhat disproportionate but also it’s awesome… Oups?
  3. Banter! So much beautiful banter. When I watched Ten Things the first time my “moves” around boys I liked were mostly a mixture of blushing, sweating and mumbling, sometimes I managed all three moves at once! So that exchange where Heath Ledger’s character says “I know a lot more than you think!” and Kat whips back with “Doubtful, very doubtful” and others like that, were very aspirational. Would I ever be so cool?[5]
  4. According to (unethical!) sleuthing it is found that Kat likes “Thai food, feminist prose and angry girl music of the indie rock persuasion.” Would I still like Pad Thai and The Handmaid’s Tale and Bikini Kill if I hadn’t met Kat Stratford at such a crucial time? A controlled trial is not forthcoming. I do know that I lived pretty far from a shop that sold Riot Grrl, so it certainly helped. (Shortly after watching the movie I used my parents newly acquired dial up internet to download Rebel Girl and it made my life better).
  5. Aside from Bikini Kill, Kat references some other pretty great stuff: Sylvia Plath, Simone de Beauvoir, Charlotte Bronte and the Feminine Mystique[6] for example. Women make great and important cultural works!
  6. The conversation between Kat and Bianca at the party. I was long from attending such events, and of course such events don’t really exist because yay, Hollywood movies![7] But that scene where Bianca refuses to talk to her because she’s not cool enough and Kat looks genuinely hurt? Oh my heart. She’s fierce and badass and has all the best comebacks but she is still a teenager girl capable of feeling hurt in the way that teenage girls are so very skilled at inflicting it.
  7. “You don’t always have to be what they want you to be, you know?” Which is just the best advice and an excellent tattoo idea and great words of wisdom I hope to impart on my future hypothetical sons and daughters. ([2] Of course my hypothetical future children will also no doubt fail to listen to me, just like Bianca).
  8. That bit where she makes out with Heath Ledger while rolling in the hay, covered in paint.[8]
  9. So Kat isn’t great at communicating all the time, but eventually she brings Bianca ‘round and then Bianca hits The Douchebag in the face. Who wouldn’t want to be that much of a positive inspiration in someone’s life???[9]
  10. That she takes him back. So maybe this is counter-intuitive but stay with me OK? You really like this hot guy and he seems to like you but then it turns out it was a bet.[10] So you think a) can I trust this guy again? b) does he even really like me? And then it turns out that yes you can and he does (as far as you can tell) actually like you. Choosing not to be in a relationship with someone should not be about denying someone the gift of your presence/vagina in payback. If you still really want to be with someone and have assessed things as levelly as you can, I say go for it! (Shockingly I may have over-thought this).[11] Also, he bought her an awesome-looking guitar!!!

An aside:  Black “panties” don’t mean you want to have sex some day. Those underpants don’t even fit the stereotype given they look like the type of cotton hipster bikinis you get in a ten pack at Target.[12]  That bit is so weird and I am impressed with Patrick Verona’s skeptical face when delivered with this as evidence that Kat is worth pursuing.


[1] Yes.
[2] It is… twelve years. God, who feels old now? Also why the fuck does this movie only have a 6.9 rating on IMDB?
[3] Yes.
[4] Other keen scholars of the film will note that actually in that (I think we can admit, pretty bad) poem there are actually more than ten things! Scandal! Lied to by Hollywood!
[5] The short answer is no because I don’t have a script writer, or a soundtrack, to my ongoing disappointment.
[6] I read this book when I was 16 mostly because of Kat, but also because of a great sociology teacher I had and the fact my mum already had it sitting on the bookshelf. In short: women are great!
[7] Although I have discovered that American parties do actually feature those ubiquitous red plastic cups.
[8] This was also very aspirational to teenage me.
[9] Disclaimer: violence is not the answer. Most of the time.
[10] Happens all the time, am I right? Oh late 90s/early 00s teen movies, why all the bets?
[11] Note to SJL: possible series idea “Sex Advice for the Protagonists of Teen Movies”???
[12] I suspect they are, in fact, “period panties”.

The Man With the Hero Complex… Tattoo

Spoilers for The Girl with the Dragon Tattoo book and major trigger warnings for rape, both in the review and in the book. I am not a survivor of rape or sexual assault so I would happy to receive any criticism or comments of this post by survivors, either through the comments below or through our contact form.

The two reasons why I wanted to read Girl with the Dragon Tattoo were because of the original title, The Men Who Hate Women, and also because I’d heard that Larsson wrote the book in response to witnessing a rape. I’d been told from a number of (not explicitly feminist, but usually somewhat reliable) sources that the main character, Lisbeth Salander, was one of those Strong Female Characters who was emotionally detached and exhibited sexual desire and agency that was uncommon for female protagonists.

On the other hand I’d also heard the book was a rape victim’s revenge fantasy – and that was something we should be critical about, and I wasn’t sure what to think of that. So curiosity overcame my natural suspicion of popular books dealing with complex feminist issues.

After slogging my way to the final page, I closed the book and immediately thought of Kate Beaton’s comic (again). At best, the book is unspectacular and deals clumsily with the issues of rape, misogyny and abuse of power. Here is a man who witnessed a rape take place, felt shaken enough to write a book about it, yet still did the most superficial and cursory research into the subject. At worst, the book is downright offensive.

While Salander’s general detachment is refreshing – it is implied she is aneurotypical and that she’s probably autistic, perhaps the lone point of feminist interest – the book merely ends up retreading age-old hero and damsel in distress tropes. Contrary to my impressions before reading, the male journalist, Mikael Blomkist, is actually the protagonist who gets the most page-time and his character is significantly more developed than Lisbeth. Lisbeth really acts as a sidekick to his detective work and like many Strong Female Characters (TM), while she is smart and resourceful, her internal motivations for helping Blomkist are unclear and difficult to believe.

What’s more is that Salander falls in the love with the protagonist for no particular reason at all. The passages from her point of view are all tell, no show, and reading Salander wax poetic about how Blomkist doesn’t interfere with her life is utterly perplexing because this is apparently the reason why she falls for him. A man who doesn’t interfere with a woman’s life and her choices is, at most, neutral, since men don’t get cookies for meeting the basic standards of morality, even if those men are few and far between. There is absolutely no reason for her to show such an interest in him at all.

What’s made even more disturbing is that Salander is named after the victim whose rape he witnessed. And considering that Larsson and Blomkist share the same occupation, that Blomkist is the fictional representation of Larsson seems extremely likely, and then it becomes extremely disturbing that Larsson has written a fantasy where the representation of a real victim of rape falls in love with him.

As for the rape victim revenge fantasy, I’m going to completely blunt: Salander rapes her rapist to punish him. Yeah. Like, I don’t even know where to go with that. Rape culture is not solved with more rape culture. Just like sexual assault in prisons is not justice and merely contributes to rape culture, this fantasy also contributes to rape culture. Even if this were a frequent desire or reaction of rape survivors, Larsson himself was not a rape survivor (that we know of) or even someone who frequently worked with survivors of sexual assault and rape. While I can appreciate that witnessing a rape would have a deep impact on a person, to forward the narrative of a survivor raping their attacking seems pretty fucking appropriative of survivor experiences and feelings.

And if Larsson were considered a survivor, the narrative in the book is still highly irresponsible because it condones Salander’s actions as justifiable because society’s systems have failed her. Yes, it is disgusting and awful for society’s to regularly fail to protect women, but presenting society as having forced Salander’s actions as justified vigilantism ignores the organisations and activism that do exist to help women who have been victims of violence. Maybe witnessing a rape opened Larsson’s eyes to the systematic victimisation of women, but many of us have had our eyes open for years and some of us have done something about it. Rape aside, not every woman is able to physically fight  their attackers like Salander or extract themselves from financially-dependent relationships. Once again, Strong Female Character is being interpreted as physical “strength” without much regard to the mental or emotional resilience that I would characterise of many survivors of sexual assault. (Of course, I definitely do not consider “strength” or lack of it to be a moral judgement.)

The book also engages in victim-blaming and fails in any complex consideration of the psychology of rapists. On one level I understand this is meant to be a crime/thriller novel where the crime needs to be sensational in some way, but I am so sick of rapists being painted as psychopaths who kidnap women and set up basement torture chambers. That happens in a tiny minority of cases and then it becomes easy to dismiss rapists as “monsters” without humanity, and also for Salander’s acts of vigilantism to be more easily accepted (ie. it is acceptable to rape “monsters” if they have no humanity left). Furthermore, Salander is shown having no compassion for her fellow female survivors (I think it would be far more realistic for her to experience strong feelings here than with Blomkist) and in fact blames one of the victims for not speaking up earlier. Blomkist is then the one who mansplains a rape survivor’s psychology to her, another rape survivor, and at this point I decided that someone should give me an award for continuing to turn the pages of this book.

What’s also disturbing is how the acts of rape are described in detail and in a way that made the scenes feel like spectacles rather than crimes that are deeply scarring and emotionally damaging. The women who are the victims of the crimes are, on the whole, faceless, and described as prostitutes, immigrants and generally marginalised people in society whose bodies have been tossed into the oceans. We have no emotional connection with them. Salander is an emotionally detached character and remains so regarding her rape, and another character’s rapes occurred 30 years ago so she’s not about to recount it all. Because there’s no real focus on the impact on victims/survivors the focus becomes the acts of the violence, the rapes themselves. When Salander gets her revenge on her rapist, I have the feeling that this is the end of the matter for Larsson because justice has been served. Even if her actions constituted justice, the reason why rape is such a heinous crime is because the psychological and emotion scars it leaves on its victims. It’s very convenient that Larsson wrote a protagonist who just so happens to be completely detached from the world.

I can imagine that this would have been a very cathartic novel for Larsson to write, and obviously because it was published posthumously he had no say in the matter of its publication. But honestly, this should have never been published. We really did not need another white dude’s account of horrible things done to women, even if his heart was in the right place. None of the narrative, characters, mystery, ANYTHING provided anything that was particularly helpful in forwarding the feminist message. The fact this was labelled feminist in the first place has me worried. The most “feminist” part the novel I could find is how each part opens with a statistic about violence against women in Sweden. Old hat to hardened feminists, but might be why the mainstream seems to think it’s so revolutionary.

In a completely unrelated area of criticism, I found the writing quality to be abysmal and almost unreadable. I’ve been told that the writing is equally pretty bad in Swedish and it wasn’t just the translation that made everything painful to read. For the first few hundred pages I was so distracted by the writing that I couldn’t stop myself from mentally editing everything and the last time I did that was with a Laurell K. Hamilton book.

I would not recommend this book to anyone. It is a bit of a page-turner in the sense that I wanted to know what happened next when I didn’t want to throw it across the room, but that’s about it. Unfortunately I’ve bought the whole series already so I suppose you’ll have to look forward to more long ranting book reviews from me.


Vagina Dialogues

OK, let’s get some comedy nerdery happening on this blog. Australian comedy nerdery, that’s right, niche. (Some of the things I’m nerdy about are stuff you literally probably haven’t heard about unless you’re Australian and like comedy).

This week Corinne Grant wrote an opinion piece  about gay male comedians making sexist comments about women. Her main contention was that:

Gay male comics can declare how disgusting they find women’s bodies, how ugly older women are, how women are hags, nags, sluts, bitches and whores and the audience will laugh.

It was quite a provocative piece and in the latter part she speaks with Tom Ballard, a gay male comedian who is kind of a big deal, used to date one of the other best known Aussie gay male comedians (it’s a small country OK) and now does the youth radio station breakfast here. Ballard later wrote his own response blog.

I think the politics of this issue (in the social justice sense) are murky and ripe for getting into a oppression-Olympics showdown so lets try and avoid that. I can see the political validity in gay male comedians challenging heteronormativity, of course. Masculinity is often defined as being intrinsically related to being attracted to women. So getting onstage and saying “I am a man and I find lady bits gross” can be seen as a radical move.

However, the paradox of the way women’s bodies are viewed in society is that while women’s bodies are constantly arranged and displayed in a way that is pleasing to men and stresses the desirability of “womanliness”, so too women’s bodies are constantly attacked for failing to reach those standards. An almost impossible criteria of attractiveness are expected for women. Not too fat but not too thin, curvy but not too curvy (because then you’re tacky), enough makeup to appear with perfect skin but not so much you look “cheap”; women’s bodies have to be just right and they are regularly judged to be lacking. And let’s be honest, constructions of female sexiness are usually not about how great vaginas are. Framed in this context, a man on stage talking shit about women’s bodies seems less than politically-pure.

Now let’s get real here, I think that we can all agree that jokes about how old women are gross and people with penises are the only ones worth talking to are not OK. We’re all humourless feminists here, right? But seriously, if that’s the point of your routine, you should really be trying harder. I spend enough time putting up with sexist bullshit in my life, and that stuff makes me want to cry not laugh. Constantly calling women by nasty names is just not cool. Here I am talking about a context where it’s on-stage and public, and the women in question aren’t OK with it. I mean if all your female friends love being referred to as sluts face-to-face I would first triple check and then go for it (because there IS a difference to what you say when performing for the public and what you say to our friends, and there should be). Tom Ballard’s response blog is actually pretty on board with this, and I really admire how both he and Grant have managed to have an actually civil and respectful conversation. I’m also glad that both of them are coming from a standpoint that “political correctness” is worth considering and if you are going to comment on this post this will also be expected as a baseline.

So the real issue here is vagina (and isn’t it always, amirite? Urgh. I don’t even know what that means).  That’s right, we’re going to have an in-depth conversation about what is OK to say about vaginas, PC police/Social Justice League, suit up! I suppose the question is “can you hate vaginas and love women?” There are plenty of women (I have even met some of them!) who would say yes, because that is them. It is really problematic to tell a group of people how their experience of being part of being a member of that group can be, especially if that group is marginalised. (I say “can be” because as is sadly, but not surprisingly, missing from this debate is that not all women have vaginas and not all men don’t, but urgh, society).

I think an interesting corollary to this is that my friends and I went to see Josh Thomas (Tom Ballard’s ex, as mentioned above) a couple of years ago, after he had just recently come out. He talked about how terrifying gay sex was and how you should really avoid it if at all possible. (He also made a particular comment about how great and useful vaginas were.) One of my (straight, female) friends thought that this was a homophobic attitude for Thomas to hold. I vehemently disagreed and then attempted to get into a discussion about the mechanics of anal sex (something it should be pointed out, that is not reserved to gay men), in a quiet cafe, you guys should all be very jealous we aren’t friends IRL. (Sadly my friend was not keen to discuss lubrication right then.)

I suppose my point here is that just because you’re gay you don’t have to be overjoyed about every aspect of the experience of being a gay man, and if you have a vagina you don’t have to be delighted by all its functions. I mean, let’s talk about periods here. There are women for whom menstruating is a beautiful and natural cycle of life (apparently). I mostly find that it hurts, makes me cranky and is kind of gory (yeah that’s right, so much for the fairer sex, blood GUSHES out of my body once a month). I feel pretty silenced by the whole ‘it’s all beautiful and natural’ approach.

On Twitter I saw someone (actually another one of Josh Thomas’ exes, lolz Australia) suggest that unless Grant loved everything about vaginas she was being a hypocrite (see Grant’s pretty hilarious response). I don’t really think women expressing negative opinions about their genitalia and not being happy to hear this as a punchline from men is “hypocritical”. Just like there are words which are acceptable if used by African Americans and not if used by white people, this is not a level playing field situation. You know why? Because it was NEVER a level playing field to begin with. See: privilege. Of course there is overlap here, and maybe gay male comedians would argue that being grossed out by lady parts is an intrinsic part of being gay and by telling them not to I am silencing them.

Tom Ballard in his response to Grant talks about the special relationship that women and gay men share. I certainly think there is merit to this argument, often there is a different dynamic to this kind of a relationship, although obviously its not a get out of jail free card. I thought it was particularly interesting that he referenced the relationship that female comedians have with their gay fanbases. He mentions Kathy Griffen and I was reminded of this clip from her (seriously great, omg I love her) show where she objects to being called “fish” by members of her gay male fanbase. So the relationship is clearly far from perfect.

In the end, I have failed to come up with some kind of grand unified theory for comedians talking about vaginas on stage. I think there probably isn’t one to be found, because there are a lot subtleties, statements like “I think vaginas are gross” “We all know vaginas are gross” and “Every time I hear the word vagina I want to gag” are different levels of problematic to me, and I think there is an argument that the first one is acceptable but you can argue with me in the comments (respectfully! And I don’t promise to answer. I have important things to Tumblr work on, OK).


Stilettos, Catwoman and The Dark Knight Rises

WARNING: Discussion of The Dark Knight Rises. Don’t think that there are any serious spoilers but the purists may want to give this a miss. There are also serious spoilers for The Dark Knight discussed.

The costumes of female superheroes are often the objects of intense scrutiny from various corners of fandom for various reasons. Anne Hathaway, who will be playing Catwoman in the latest incarnation of the Nolanverse Batman films, stated that “I love the costume because everything has a purpose, nothing is in place for fantasy’s sake, and that’s the case with everything in Christopher Nolan’s Gotham City.” The Hero Complex (spoilers at the source) has stated that in a scene they viewed, Catwoman was ‘navigating the steps with stiletto heels that, on closer inspection, turn out to have serrated edges capable of leaving nasty claw marks in a fight.’

Now, Catwoman is a thief. Whether she is a thief in the Nolanverse isn’t entirely clear, though I see no reason for her not to be. Barring the Batman Returns interpretation, her whole aesthetic relies upon the cat burglar motif and as a thief, what she relies upon most is stealth. By the time she’s been seen or heard, it’s too late. Anybody who has ever worn stiletto heels knows that they are really fucking loud.

And that’s without even talking about how hard it is to run in heels, how easy it is to turn (or even break) an ankle, how hard it would be to land from a jump of any height in heels. Anybody who has seen a Batman film or read a Batman comic book knows that they spend a lot of time running and parkour-ing across rooftops.

The ability to cut somebody when you kick them (something which seems a ridiculous idea to me in the first place) is surely secondary to all that. The fact of the matter is that Christopher Nolan seems to care about gritty realism with regard to his male characters but not his female ones. Catwoman is the first female member of Batman’s rogues gallery introduced in the Nolanverse, the first woman in the Nolanverse who could be considered to be a “superhero” or “supervillian” in the same vein as Batman himself.*

This is significant, particularly in a series that is severely lacking in women. Rachel Dawes and Martha Wayne are almost literally the only named women in the first two films and between Batman Begins and The Dark Knight Rachel Dawes receives a rather unfortunate personality transplant. This of course is not actually the case and the problem lies with the source material as well as with the films. Anyone who has watched The Dark Knight with more than a passing knowledge of the extended Batfamily and any investment in Barbara Gordon was more than likely appalled at the final sequence of the film with Two-Face and Jim Gordon, which focused not on Barbara, a significant person in the Batman mythos, but on Jim Gordon’s rarely-mentioned son.

When a number of photos were released, some bloggers were endorsing a ‘wait and see’ approach with regards to The Dark Knight Rises, implying that Christopher Nolan is someone who can be trusted with female characters, something which I don’t believe to be true. With regards to Batman’s white, male characters I have faith that Christopher Nolan will treat them well and with the respect they deserve.**

With regards to his female characters however, I have little expectation or belief that they will be treated with the respect they deserve. I would very much like to be surprised! But in general, Christopher Nolan seems to work best with female character when they are dead or about to be dead, serving as motivation for his male characters.^ This means that the issue of Catwoman’s costume takes on more significance than it might otherwise, indicating that she may well be being treated with the same level of respect that Nolan often treats his female characters. In a universe where “gritty realism” is paramount, Catwoman’s costume and its practicality becomes an even greater issue than it is in the hyper-real world that the comic books inhabit.

*I’m not counting Nolan’s horrifying attempt to character assassinate Renee Montoya in The Dark Knight. This actually works in his favour! The character ‘Ramirez’ was originally supposed to be Renee Montoya and DC refused to allow him to use the name.

**Both Ra’s Al Ghul and Bane have been white-washed in the casting department and the only POC in the films that has been treated with any kind of respect is Morgan Freeman’s Lucius Fox. Admittedly Lucuis Fox had been treated with utmost respect but in light of the way in which other POC characters have been treated this seems a bitter trade-off.

^Rachel Dawes in The Dark Knight, Mal in Inception, Julia and Sarah in The Prestige.


Girls are not like apples and other hard facts about the world.

Oh fuck off!

The above quote keeps doing  the rounds on Tumblr (by which I mean, keeps appearing on my Pete Wentz tracked tag. Um…). From my attempt at investigation (otherwise known as “googling it”) it seems that Pete Wentz never actually said it. I hope Pete didn’t say it, because I think he’s kind of awesome and he named his kid BRONX MOWGLI, come on (which is to say he and Ashlee Simpson named THEIR kid that and I’m sure she’s also awesome). ANYWAY, the point is that while an idle google search will not throw up the authorship of the quote it does present enough hits to suggest that this is a popular sentiment (even just searching for “girl apples” gets you this quote). Not to mention every time someone updates their facebook status to something about how unfair it is that guys always like the slutty, easy girls and not them – there is currently no search capability for this but I confidently state it’s probably happened a bajillion times.

Let’s get out of the way how heterosexist this quote is, it is hopefully pretty obvious, but I’m going to say it anyway. Not all girls are interested in boys. Boys aren’t the only ones who get to do the “apple picking” (urgh, gross). A girl’s role is not to sit around being awesome and complicated/hard (the antonyms of easy) waiting for a big brave boy to like her. Most importantly: male attention is not a gauge of anyone’s worth. This is slut-shaming. Slut shaming aims perpetuate the control of the patriarchy over female sexuality. This quote isn’t even being coy about the slut shaming, I mean, easy?! FFS I wish we were past this bullshit.

I don’t think that it’s a coincidence that the quotes references “girls” and not women. Beyond annoying paternalism, I think that quotes like this have particular resonance for teenage girls. High school (for many people) is all about hierarchy, hierarchy decided by some pretty arbitratry criteria. So of course it’s comforting to get told that not only is the hierarchy sorted all wrong but that you’re actually at the top. That’s a pretty easy sell, whether Pete Wentz said it or not.

Let’s not forget that it IS shit being a teenage girl (of course, your mileage may vary). If you desperately want a boyfriend and no one is interested and society is telling you that teenage school girls look like this, and you have to take fucking French even though you don’t want to, and that guy you thought liked you was only talking to you because he likes your hotter friend and HORMONES. Yeah, globally, statistically speaking if those are your big problems, you are pretty damn lucky, but that doesn’t stop it feeling pretty shitty. It’s also difficult to have a whole heap of perspective, because being in school limits your exposure to other people who don’t buy into hierarchical bullshit. So I do get why this quote is totally appealing.

The only message I would salvage from this quote is that if boys don’t like you it’s not because there is something wrong with you — I am totally with you on that, Pete (allegedly). Although it is worth noting that no one owes you their affections, so let’s just try and remove all guilt/blame/value judgement from the equation. It is true that lots of people are kind of a mess in high school and there is a whole lot of macro and peer pressure on guys (and girls) to be attracted to prescribed beauty norms. That’s shit, but metaphors about apples aren’t the answer.

The thing is, internalizing that rubbish about “good girls” and “bad girls” is only going to make you feel better in the short term. That kind of message is in no way elevating, it doesn’t make you genuinely feel better about yourself, all it does is give you a whole lot of bitterness and hate directed at those girls, the easy apples, you know (just typing that makes me feel gross).

This quote really does “objectify”, in a very literal sense. Girls are not apples or anything else (I welcome further examples of objectifying metaphors in the comments!). Inverting the stereotype doesn’t make it go away. In fact you are really just enforcing the idea that there is some kind of hierarchy of worth, and that it applies just to women. Just as with the “those thin models aren’t even attractive to MEN” argument you are enforcing men as the arbiters of what makes a “good” girl and at the same time separating women from each other.

And now for a real world example and a demonstration of why my friends are awesome: The other day I was hanging out with my friends and a male friend, let’s call him Tom, made a comment about the kind of girls who have one night stands. I quickly got on my Social Justice League leotard (it has sparkles!) and spoke up. Obviously what I said was awesome, but what my friend did was even better. She said, looking around at the two girls in the room, “you know, at various points, we have been the kind of girls who have one night stands. Do you mean us?” and it was a kind of beautiful moment because Tom didn’t know what to say. It was also just the kind of thing I would never would have had the guts or awareness to do in high school (and that’s the first step, evicting the patriarchal police in your brain that reinforce these ideas).

I encourage you to pull this “I am Spartacus” shit the next time someone talks to you about “kinds” of girls. I’m sorry to sound preachy, but we have to stop letting the patriarchy divide and conquer us on this issue. So I encourage you to put on your sparkly Feminist Activist leotard, pump some Bikini Kill (or other music of your choosing) and stand up for all women: sluts, skanks, virgins, frigid girls and the ones in-between. Because we are all fucking awesome and none of us can be contained by RIDICULOUS METAPHORS ABOUT APPLES!


Iron Man and the problem of Pepper Potts

Note: this post will discuss the first Iron Man movie but contains spoilers for both this and the sequel. The sequel will be discussed in a post coming to an SJL blog near you very soon.

Iron Man is, without a doubt, an immensely entertaining movie. RDJ gives a very charming and entertaining portrayal of a man who is basically unlikeable. He coasts along on genius and family money and seems to avoid anything even vaguely like hard work and responsibility and is basically a man at the beginning of his very own redemption arc. (Not, I would argue, a traditional heroic narrative, as seen in the more recent Captain America movie.)

Marvel has, generally, done a very good job with their adaptations (for an analysis of Thor as a feminist movie, click here!). Iron Man, unfortunately, falls on its face with regard to its main female character, Pepper Potts. Not assisted by an unremarkable performance by Gwyneth Paltrow, the narrative has nothing positive to offer us with regards to Pepper that is not directly connected to Tony Stark. She is Tony Stark’s assistant, a job that she seems to be quite good at, but unfortunately reinforces the distinct impression given to the audience that Pepper has no life and no personhood at all outside of her job and her job itself is all about Tony. Her only role in the movie, and it seems, in her life, is to help Tony be Tony.

There is absolutely nothing wrong with being an assistant, in life or on screen. Many assistants in many films and tv shows are amazing characters, filled with agency and interiority and power all their own. For instance, Donna from Suits, Mrs. Landingham from The West Wing, Patti from Eli Stone, Leonardo from Fairly Legal. However, considering the lack of overall agency and interiority that Pepper is afforded within the narrative it would be nice if they would have at least indulged in the pretense of having given her half a thought when developing the movie.

Early on in the movie, not long after he returns from captivity in Afghanistan, Tony tells Pepper than she is ‘all [he] has’. This is a rather bizarre statement, considering what else the movie has shown about him—for one, he has Rhodes (in a wonderful, layered performance by Terrance Howard, who was bafflingly and insultingly recast in Iron Man 2) and his work, which he seems to find fulfilling. For another, at least some members of the audience are going to be aware of the friendship that develops between Tony and Steve Rogers (Captain America) and that he ultimately joins the Avengers. She is most assuredly not all he has. She is, potentially, all the (created, non-related) family that he has, though this is never outright stated in the text.

Later in the movie, Pepper tells Tony that he too is all she has, a statement that, sadly, seems far more literal than Tony’s. At the Tony Stark Benefit for Firefighters Family Fund* she appears not to have a date (which is, without context, fine) and no friends or family are mentioned throughout the movie, except for some non-specific plans that she has on her birthday. Not only does Tony not remember her birthday but he actually states that he ‘doesn’t like it’ when she has plans. These aforementioned plans could be anything. Is she going out for dinner? If so, with who? By herself? (Also fine! I do this!) Does she have a date with takeout food and her television? I don’t care what she’s doing; I would just like to have some idea of what it is.

There is no indication that when she isn’t on screen, that she’s doing anything, which is the death knell of any character. Her job is Tony. She is not really his assistant, in my opinion. She is his nanny. Literally, her entire life as presented by the film is Tony Stark. More than that, it seems to be presented that she has worked for Tony for years and the question of why she hasn’t quit is never explained, beyond her being in love with Tony. There is nothing wrong with any of these things in isolation. There isn’t anything wrong with any of these things even not in isolation. If she did all these things and they made sense because of the way in which she, as a character, was constructed that would be fine. But they don’t, because she isn’t presented as a character; she is presented as an object to be desired.

This perhaps can be best summed up as the fate of so many women in film and television, that of the Love Interest. She has no life or existence beyond that. Every choice that she makes ultimately comes back to her being in love with Tony, which is pretty sad considering that Tony is a pretty terrible human being.** Not only that, but she doesn’t function into his choices at all. Even if Tony himself hadn’t noticed that she was in love with him, somebody, sometime, surely would have pointed it out. Yet he still leaves her to dry clean his one night stands clothes and escort them out in the morning.

Last, but surely not least, is the scene in which she literally refers to a woman that Tony has casual sex with as ‘trash’. It’s rather ironic, that the text and Leslie Bibb’s performance do not at all support this rather horrific instance of slut shaming. The woman is a reporter named Christine Everhart, a woman who is portrayed as being driven, smart, funny and has all the agency and interiority that Pepper lacked. We unfortunately don’t get a reaction shot from her after Pepper’s  ‘trash’ comment. (When a character who has about four scenes^ and five minutes of screen time—tops—has more interiority and agency than your female lead, you have a problem.)

There were some truly great things about the first Iron Man movie—RDJ and Terrance Howard’s performances, the display of Tony’s wit, the rather interesting story of a fairly terrible person who chooses to use an horrific experience to work towards his own redemption—but, unfortunately, Pepper is not one of them.

Coming soon: A discussion of the mess that was Iron Man 2, in which Rhodes was the only person recast, Tony is accidentally George W Bush, Pepper has a brief brush with agency and I ended up rooting for the villain.^^

*I don’t know it’s something like that okay?
**Yes, yes, beyond being rich, charming and handsome. She’s spent years with him. Those three things would have gotten old by the time the movie starts.
^One of them the most awkward sex scene I have ever seen on screen.
^^Not actually relevant. True nonetheless!


A Letter to Cobra Starship

Disclaimer: If you think pop music isn’t worth analyzing… well, you’re wrong. Pop music reflects and reinforces our cultural norms. Therefore it’s a completely valid form to examine when we discuss social justice issues. If you don’t wanna analyze the feminist credentials of pop music you probably don’t want to read this post. Definitely don’t comment saying “it’s just pop music, it doesn’t mean anything.” Seriously. An Arts student dies every time you do that and no one wants to be responsible for that, do they? (This is a rhetorical question, just to be clear).

Cobra Starship – Good Girls Go Bad 

Dear Cobra Starship,

Firstly I’d like to compliment you on making awesome boppy pop music for people who still want to feel indie. I explained your music to a friend as Fair Trade Pop Music, an analogy which you don’t want to over-think, but it made me laugh. Vicky T, I’d particularly like to commend you on being totally kick-ass and also hot (call me!).

So, Cobra Starship, what I really want to talk to you about is Good Girls(TM) and Bad Girls(TM).  You know that song where you mostly just say “I make them good girls go bad” over and over again accompanied by loud noises and the video clip has Leighton Meester in it for some reason? That song? It’s a problem. Don’t feel too bad! If I didn’t enjoy the repetition and the loud noises and the inexplicable!Leighton I wouldn’t even have to write to you. It’s really a compliment. (You wont be getting any nasty letters from me, Katy Perry, take that!)

I hate to be the one to break this to you Cobra Starship, but, the thing is… Good Girls and Bad Girls don’t exist. Turns out that girls are just a lot more complicated than that. You say “I know your type, You’re daddy’s little girl” Which is just kind of… creepy? Sadly, Gabe Saporta (I assume he is to praise/blame for this song), offers no further commentary about what indicates this type. I really tried to do a close reading of the music clip for clues but I always get distracted and bored before that clip ends so I never really get the Narrative Arc. So let’s just wildly speculate instead!

If we were going to divide all women up into these two arbitrary categories, we have to decide how to do it. Should we use skirt length? Number of dudes banged? What do we do about those girls who kiss girls, and not just for fun? It gets real complicated real quick. There are girls who wear “revealing” clothes, bright red lipstick and insert other “trashy” marker here who aren’t interested in sleeping with anyone. There are nerdy girls in the corner with thick glasses, unshaven body hair and no interest in sexy lingerie who will fuck your brains out. Girls, they contain multitudes, man. Multitudes of fashion decisions and desires and interests and it’s not your job (or anyone else’s, regardless of gender) to categorize them as good or bad.

Now let’s get onto the whole, sex makes you bad business. Your song implies that a man is able to change this good/bad girl distinction, presumably with his penis, or tongue or whatever? To quote: “Let me shake up your world/’Cause just one night couldn’t be so wrong” I don’t like that because a man being in control of whether a girl is “good” or “bad” is a pretty blatantly misogynist idea. It’s not difficult to see the power over women’s sexuality that this gives men.The contention that we can divide half the world’s population into the good and the bad is pretty fucked.

You know that saying about dividing and conquering? Yeah, the patriarchy is totally on top of that shit. So why are you making music that reinforces they idea that such a dichotomy exists? People who believe this shit use it to decide how seriously a woman should be taken as an individual. I’m into this hot new thing where the worth of women isn’t determined by their personal sexual appetites. It’s pretty new, you’ve probably never heard of it.

(Now that I’ve finally paid attention to the end of that video clip, I find myself with more questions than answers; what the fuck is happening?? Why are there undercover police….? Oh I get it, it’s a “douchey white framed glasses” raid, right?)

In practice I’m giving you the benefit of the doubt that you mean “bad” in the fun sexy way and not the slut shaming way. But would it have been too hard to get someone to switch that chorus up to “I make the good boys go bad” at least a few times? It would have made me so happy!!! On that note, and in a vague attempt to add some kind of binding theme to this post, let me end by pointing to this cover for its fucking with the something something male gaze something patriarchy qualities. After all, I love you really Cobra Starship.

XOXO

 


Is Thor a feminist movie? (Yes)

There’s no easy way for me to break this to you, so make sure you’re sitting down: Kenneth Branagh’s Thor (2011) is a feminist movie. Okay, I admit that on the surface a movie about an uber-masculine hammer-wielding thunder god doesn’t exactly seem like fertile ground for a feminist reading. But it’s surprisingly subversive of the genre of action movies and an extremely sensitive portrayal of a group of human beings who are dealing with their own crap and other people’s crap and not doing very well with either.

Now, Thor is still vulnerable to the critique that applies to most movies in our culture: it focuses too much on the men’s stories and not enough on the women’s stories. I don’t deny that this is a problem. But where it does focus on women, the film portrays them as real, whole people with internal motivations, emotions and agency. This portrayal is virtually unique in the genre. Consider Jane, the physicist who, er, “stumbles” across Thor in the first scene and becomes his major love interest. Already, this is a departure from mainstream portrayals of women: she is a physicist, a profession that is socially-coded male, and she seems to be dedicated, passionate, and good at her job.

Not only that, but Jane is not your typical leading lady, who might mention her job once and then focus entirely on the leading man for the rest of the movie. No, Jane is obsessed with research and very focused on her career. Several times, she literally risks her own life and the lives of others to get data (I didn’t say she had her priorities straight!). In fact, she repeatedly says that her work is her “whole life”.

Basically, Jane is a highly intelligent workaholic – a kind of female character that is rarely portrayed at all, let alone as a person with emotions and agency. Even better than that, when she meets Thor, this doesn’t change. Jane is never punished in the narrative for being a workaholic – she never has the cliched epiphany that her career-obsessed ways were or are making her miserable, and she does not need to compromise on her workaholism to keep Thor’s interest (indeed, Thor even helps her get her data back).

Yes, Jane is Thor’s love interest, but even in that context she is portrayed as a whole, interesting person, to whom Thor is attracted because she is curious, bright, compassionate, and self-possessed. She is not just a McGuffin to make Thor want to defend Earth. We, the audience, see all of Jane and this implies that Thor sees all of Jane, not just her beauty. Consider by contrast the portrayal of Rachel Dawes in Nolan’s otherwise excellent Batman films, who exists mainly to look pretty, deliver moral lessons to Bruce, and get threatened by bad guys. Superman Returns even butchered Lois “ambition is my middle name” Lane, turning her into a character entirely defined by her relationships with the men in the narrative.

Jane’s assistant Darcy also deserves a mention here, because this kind of wise-cracking, jokester bit-role is rarely given to women in big budget films. The dynamic between Jane and Darcy feels very real, and again, the two play off one another and interact in almost a buddy-comedy-esque manner (ambitious career-girl and sarcastic sidekick have adventures!).  It is their interaction that ensures Thor even passes the freaking Bechdel test in the first scene, which I’m not sure any other superhero movie has ever done (please comment if you can think of another).

Sif is another prime example of how to do female characters right. A super competent female warrior, who is neither hypersexualised nor the butt of jokes? Fuck yes! Even better, Sif refuses to let jerkwad!Thor take any credit for her achievements – he wants kudos for supporting her in her career as a badass warrior, but she shuts him down, and so she should. Believing that women can reach goals that society says are for men only, and supporting women’s right to agency and self-determination, is literally the minimum standard of human decency. No cookies for you, Thor. But refreshingly, Thor’s comment is supposed to be read as arrogant and egocentric – the narrative supports Sif, not Thor, who shortly afterwards gets himself banished from Asgard for being arrogant and egocentric in general.

Not only does the narrative treat Jane, Darcy and Sif with the respect they deserve, but so does the cinematography. In most mainstream action films, the camera often pans up women’s bodies or lingers on their most “attractive” features – not only when a male character is looking at them, but just generally, by way of presentation of these characters to the audience. This may also be accompanied by ridiculously context-inappropriate wardrobe choices such as high heels, tight shirts and short skirts worn regardless of what the female character has to do in a scene (see: every James Bond film ever). Thor does neither of these things! Sif, Jane and Darcy are never panned over by male characters, nor presented for the audience’s visual consumption.

In fact, it is Thor’s body that is panned over to show to the audience that Darcy and Jane are very attracted to him. For the first time in a mainstream superhero movie, ladies and gentlemen, I give you: the heterosexual female gaze! This is a huge deal! Of course it was terribly confusing for some straight men, who apparently began to feel, well, a little bit “gay” (their words). This is a really wonderful subversion of the heteromale gaze, and it shows straight men what it’s like to go to the movies and see bodies not exclusively packaged for their consumption. Now, we can disagree on the extent to which people should ever be sexualised like that, but clearly when this is virtually always done to women and almost never to men, we have at the very least an inequality problem. Correcting this imbalance is one way to start making our culture better for women. And in this context, it is downright subversive. Bra-fucking-vo.

The female characters also wear clothing that is realistic and appropriate! Jane is shown as having very basic personal style, wearing jeans, t-shirts, and baggy checked shirts over the top. Darcy has a more funky style, which expresses her wise-cracking, off-beat charm – again her wardrobe meshes coherently with her characterisation. Sif’s outfit is perhaps the biggest achievement in this department: her armor looks both functional and fucking awesome! Her hair is up and out of the way for fighting! She looks badass, intimidating and strong, in the same manner that Thor, Loki, and the Warriors Three do.  A+, costume department. Even her movie poster is in the exact same style as the men’s posters!

Another way in which Thor breaks down sexist narratives is by challenging the traditional hypermasculinity of the superhero. Thor is built like a tank and possesses strength, courage and supernatural power. But his character is achingly vulnerable: he tears up when Loki visits him on Earth, asking plaintively if he may please return home (it broke my fucking heart, you guys, you don’t even know). And his vulnerability does not make him weak! Indeed, it is Thor’s transition from arrogance and bravado to humility and vulnerability that permits him to regain his powers and wield Mjolnir again. Loki, too, is presented as emotional and vulnerable – but again his expressions of anguish make him no less dangerous, intelligent, devious, and threatening. Indeed, it seems to me that Loki is perhaps the first truly convincing and serious supervillain who has cried on screen.

Branagh’s Thor is more feminist than I thought a movie about a male superhero could ever be. Of course, it occurs to me that most of the things I am praising here are things that all films should be doing. They aren’t doing them, though. Thor is. Still, maybe I shouldn’t be giving Kenneth Branagh kudos for not being as outright misogynistic as Michael Bay or as obliviously sexist as Chris Nolan.

Nevertheless, Thor is one superhero movie that I can watch without wanting to reach into the screen and throttle someone. In fact, it is the first superhero movie that has made the social justice part of me very happy. As a fan of the superhero genre and as someone who cares about geek culture, that means something to me.


Nudity and the heterosexual male gaze in Game of Thrones

Note: Contains spoilers for all aired episodes of the TV series but none for the books.

 

Perhaps unsurprisingly for a show that contained as much nudity as Game of Thrones (something not unusual for a show produced by HBO and something which also featured heavily in the books), a great deal of discussion has addressed the use of “sexposition” on the show. Though in many ways I feel this goes unsaid, I’m going to say it anyway: nudity, whether male or female, is not inherently exploitative. It can be used in order to make significant character or thematic points, a process which Game of Thrones uses very effectively in many cases.

For instance, in the case of the character Daenerys in the episode “Winter is Coming”, nudity is used to indicate vulnerability and her own lack of agency—she has nothing that protects from the world and, perhaps more importantly, it is used to show that those who you would expect to protect her (first her brother and then husband) are in fact the people she has the most to fear from. Her discovering her sexual agency—in taking charge of her sex life with her husband—is used to indicate her increasing overall agency in her own life. At the very end of the first season, in the episode “Fire and Blood”, Daenerys’ nudity is meant to indicate emancipation and rebirth. There is certainly nothing exploitative about any of that nor do any of the scenes seem to me to pander to the heterosexual male gaze.

Ros, a sex worker who worked in both Winterfell and Kings Landing, is a wonderful character, liberated and funny and comfortable in both her own skin and in her profession. (In case it isn’t clear: no, there isn’t anything inherently exploitative in sex work.)* In a scene between her and Theon in the episode “The Wolf and the Lion”, they have had sex and are discussing Theon’s position in the household. She is funny and confident and deals with Theon’s ridiculousness very effectively. This is certainly a case of “sexposition” and it works fine. The camera does not pan over Ros’ body or linger on her nakedness in any obvious way and her sexuality is her own.

There are many other instances in which nudity is used in a way that is neither exploitative nor offensive, such as in the scene in “Cripples, Bastards and Broken Things” between Viserys and Doreth in which they are in a bath, relating information while having sex. The scene ends jarringly, knocking the viewer (and Doreth) out of the sexy way the scene had gone those far and nailing home the difference between the situation of Doreth (a slave) and Ros (who isn’t a slave). The scene also emphasizes how horrific a person Viserys is, as later in the episode he drags Doreth violently into a scene by her hair.

The instances in which the heterosexual male gaze is used strongly—unavoidably—is in the two lesbian scenes in the series. One is between Daenerys and Doreth, who is teaching Daenerys about the best ways to have sex. The scene is heavily charged with sexual tension, as one would expect such scene to be. However, the scene does not appear to be between two women with same-sex attraction. These are not queer women or, at the very least, they do not appear to be to this queer woman. They are straight women, one teaching and the other learning, not how to please another woman but how to please a man.

This scene is relatively mild, especially in comparison with the lesbian scene that follows in  the episode “You Win or You Die”. This scene has a very strong connection with lesbian porn aimed at straight men. Like the scene between Daenerys and Doreth, these are not queer women. No doubt this time, these are straight women (when the other woman in the scene is going down on Ros, and Ros is moaning, it is implied that she is faking it for her imagined audience) who are performing for a literal male audience, in this case Petyr/Littlefinger. There are many problems with this scene and I’m going to start with the least egregious: Aidan Gillan, who plays Littlefinger, isn’t great in this scene. I wouldn’t go as far as saying he’s terrible but he can’t carry what is basically a monologue.

This, however, is hardly the worst thing about the scene.  As mentioned above, it has a very strong connection with lesbian porn aimed at straight men. Unlike in the previous “sexposition” scenes, one of the participants—Littlefinger—remains fully clothed. He instructs the women in what they’re doing and, in an aggravating show of heterosexism, declares Ros should this time “be the man”. The majority of the scene is designed to mimic sex between a cisgendered man and a cisgendered woman. In the other scenes described the camera lingers on faces and eyes and you certainly don’t get the types of shots you get in the scene with Littlefinger, which occasionally lingers on bodies without heads and the camera panning down the woman’s bodies.

Game of Thrones actually manages to be quite progressive in general in terms of how it deals with nudity—female nudity in particular—and the use of the male gaze. However, in the way it deals with nominally lesbian scenes and sexuality is extremely problematic. I would love more queer ladies on my television. Funnily enough though, I actually want them to be queer, not there for the enjoyment of men who happen to like girl-on-girl.

 


* Though as she is the only sex worker mentioned in relation to Winterfell it could lead one to believe that it is a town with only the one person employed in sex work or, as a friend of mine assumed while watching, that “Ros” was just the standard name given out by sex workers in Winterfell.

 

Disclaimer: The treatment of queer sexuality is not the only problem Game of Thrones has, merely the one I wanted to discuss right now. In particular, the treatment of race and people of colour in the narrative is extremely problematic, and I hope future posts can deal with this.