#it's like when hollywood made 'strong female characters' they tried to make them not show emotion other than anger

[allofthebeanz]

What I really love about xwp is that Xena and Gabrielle cry countless of times onscreen and that never detracts from their badass skills and respect as warriors. They get to wear a bunch of fun outfits with their bellies showing and not be sexualized by the camera because they're shown as people with complexities and personalities and a driving narrative force. Media should really learn from this. Characters of all genders should have this, where are more of these shows?

[doesnotloveyou]

re-analyzing mcu female characters now that i'm no longer a fan

look. they gave male writers a bucket of manly action figures and a baggie of female characters as accessories. fem chars were written like a list of tropes except with all the "icky sexism" ones crossed out. they were rarely written as, y'know, people (willing to argue that many of the male characters were barely allowed to be anything more than plastic action figures either)

Somehow though, despite being used as a fangirl stand-in (which are often derogatory caricatures imo) Darcy Lewis is an excellently written female character.

She is always herself. She doesn't care what professional men, hot men, authoritative men, extraordinary men, or even what any woman thinks of her. Not in a Hollywood "watch me not care and be so feisty and empowered while I do it" way, but in a chill "that's cool but imma be my own person" way

She is kind but doesn't put up with mistreatment

She is smart but doesn't need men to brag about her intelligence

She is savvy but doesn't need men to point it out

She is beautiful but neither a man nor the camera ever needs to realize it, and she dresses to be comfortable while also perfectly confident that she's gorgeous

She is fearful but she deals with it without needing a man to comfort her

She is firm in her opinions and her decisions without needing a man (or anyone) to approve of them

Best of all she cracks jokes for her own amusement and knows she's funny even if no one laughs

the writers (accidentally???) created a perfect every-woman by deciding to create a woman without making her Love Interest Material. they made her the Attractive Girl's Friend trope, yeah, but at least the friend gets to be herself instead of constantly wondering if the space viking will come back and sweep her off her feet

they made a strong female character in 2010, and when they brought her back in Wandavision she didn't even need a hot girl bestie as an excuse to be on the screen. their continuity reflected that she was now the most experienced person in her field. even the audience trusted her to be reliable in unreliable circumstances the same way a hero is meant to be reliable

every time Marvel tries to make a "strong female character" they do something hyper-stereotypical that bends in the other direction. "We can't be sexist, see? we converted his secretary into his assistant and then we made her the CEO of his company" or "we showed her punching out a misogynist in her first scene" or "canonically she's a maneater but we're afraid of how that will look so we'll make her have no romances instead while also being The Only Girl trope." and on and on and on

meanwhile, Darcy was great, and I give a lot of credit to Kat Dennings, but I would also like to know if there was a female, or even male, writer in the room who kept her all to themself and said "I'll write this character, I know them perfectly."

there must have been because she felt knowable. she also felt like a fun example of what being a normal human might be like in a universe where caped heroes fly around saving the world from aliens

[qqueenofhades]

Keeping my fingers crossed for that Black Widow meta

Aha, okay. As usual, I am ludicrously easy to enable, so let's take a crack at this. The ask obviously contains SPOILERS for the Black Widow film (and is also tagged "black widow spoilers" if you're planning to filter), and discussion/reference to other films/properties in the MCU, though I don't feel like any of those are still a secret.

Anyway, as I said in my earlier post, I can't believe I am actually still trying to critically analyse a Marvel production in the year of our Lord 2021, but then, I feel like we all have a complicated relationship with it. Likewise, the feeling of "oh wow NOW you're giving Natasha a solo movie after you killed her off in a cheap and fairly sexist way in Endgame?" If this film had come out ten or even five years ago, it would have been major, but holding it off until now seems to have left most of us justifiably unimpressed. Plus, as I am absolutely not the first person to point out, it renders Natasha's sacrifice in Endgame "because I don't have a family" even more narratively incoherent. I realize that this film was written after that one by totally different people, there's no point in expecting the MCU to make consistent canonical sense throughout its eighty billion different films/series, we were all stuck with a mess after the Whedonified Age of Ultron Nat, and so forth, but still. Natasha explicitly SAYS that she has two families (her wacky Russian found family of spies and the Avengers) and her decision to leap off the cliff in Endgame to save Clint and his retconned perfect white heterosexual nuclear family.... Hmmmm. To which I say to you, I do not bite my thumb at you, sir, but I do bite my thumb at Male Writers, sir.

Likewise, while I am wildly attracted to Florence Pugh as Yelena and deeply desire to be wrapped between her thighs, the movie felt more like her story than Nat's. Yelena drove most of the plot and the action, while Nat was just kind of along for the ride. As a solo piece, we really didn't learn that much about Natasha aside from the opening scene (which felt like it was straight out of The Americans and probably worked the best of the whole film for the reason) with her childhood in America. But even the infamous "what happened in Budapest" backstory with her and Clint was quickly info-dumped rather than shown, and they could have taken more narrative risks or included more flashbacks or otherwise given us more NATASHA, y'know??? Instead of cramming the film into the small space between Civil War and Infinity War and making it even weirder that Nat seemingly has no memory or reference to these events when she returns to the team at that time. Why not show her looking for Yelena or her actual defection to the Avengers or anything else we might want from a film that purportedly exists entirely to provide backstory for a now-dead character? It felt like even in the film universe, the main quest was being repeated -- she tried to kill Baddie McSoviet once before and it didn't work out, so she has to do it again, something something. Okay.

As for that, good ol' Marvel and its American Superiority TM. The only actual Eastern European actress in this film about Eastern Europeans was Antonia/Taskmaster, played by the Ukrainian Olga Kurylenko (and I was very interested in her?? If she's supposed to be a narrative foil and a ghost of Nat's past and mark of her former sins, etc., why not develop her as an actual character?) Everyone else were Brits and Americans hamming it up with even more chew-the-scenery fake Russian accents than Elizabeth Olsen's "Sokovian" accent as Scarlet Witch. If it's established that they all have perfect American accents at the start of the movie, why is Nat the only American-accented character in the modern day if she had presumably the exact same childhood as Yelena? I know it's another way to set her apart, but that and Baddie McSoviet (the Russians are finding a way to steal free will from people's brains! Zomgz!!! Is this 2021 or 1981?) were straight out of the Cold War in terms of its not-so-veiled American Supremacy Message. Likewise, making modern!Natasha a former KGB agent never really made sense, since she says in Winter Soldier that she was born in 1984, and we see her in this film as an 11-year-old in 1995. But the USSR collapsed in 1991, when she was seven, and the Red Room appears to be an entirely unrelated flying....lab....thingy run by a generic evil Russian (Ray Winstone, likewise Hamming Up Accent). So like. What is she, guys?? Make up your minds!!!

Likewise, Baddie McSoviet/Dreykov as a villain obviously plays into the hoary old Hollywood "All Bad People Are Recognizable As Being Terrible Sexists and Also Probably Russians" trope, but aside from that, he doesn't make sense. He has this entire army of basically unstoppable Widows and he has just been.... waiting around and causing random explosions? Or was just waiting for Nat and company to return so he could Put His Evil Plan Into Motion? Are we really supposed to believe that this guy has just been sitting up in his flying saucer and essentially never doing anything this whole time? He had about a million chances to launch this take-over-the-world plan long before Natasha ever got there. Plus, I.... am.... not sure what to think (aside from /deep sigh/ MARVEL) about the fact that all the Widows we see dying/getting killed on screen are women of color. (Then the Black surgeon who was about to remove Yelena's brain in the Red Room and the only other Black guy being Natasha's errand boy, which just... in context... YIKES.) I think the fact that there are random Black background Widows are supposed to mean that they're inclusive and badass or something? Scarlett Johansson also has her own issues with White Feminism and all the other things we've critiqued her for before, so after TFATWS and the Flag Smashers, Marvel clearly has found its subtly racist sweet spot. As usual?

The end of the film also just basically turns into the standard Marvel empty-spectacle/cool-looking fights/people flying through the air thing, and I wanted a lot more focus on the wacky found-family Russian-spy hijinks (I did love them, for reasons) and character dynamics, rather than all of them separately fighting baddies in different places. I did obviously have feelings about Natasha putting the parachute on Yelena to save her life. But why were we then denied Nat/Gamora parallels/relationships/any character development or interaction at all in Infinity War/Endgame? Both of them are trained assassins adopted into a non-biological family that they have a complicated relationship with, but end up forging a strong bond with their sister (Yelena/Nebula) nonetheless. Of course, that would have required Endgame to put more effort into its female characters than what it did, which was one (1) Epic CGI Charge Scene at the very end, and literally nothing else. Not that I am still salty about this or anything.

Anyway. The movie was genuinely fun in places. The wacky Russian found family of spies was definitely the best part, even if it made Endgame even more nonsensical as a result. But I wanted this movie to be a lot better than it was overall, though I probably would have liked it more if it had actually come out in a timely fashion and wasn't only released after they killed her off. It just feels like there were so many possible threads of potential that could have been done with Natasha if they were actually interested in experimenting and exploring the character and not just coming up with new baddies and ways to go boom, and it unfortunately missed the mark with that.

[alyblacklist]

New interview from Vanity Fair (Italy) with James Spader (in Italian).  Translation via Google translate below (corrections welcome):

Eight years after its debut, the TV series with Megan Boone and James Spader is back on FoxCrime. Already renewed for a ninth season, the show won't provide any representation of the Coronavirus or American politics. "We are an escape from reality and we want to remain so." 

"In eight years, not a single episode has gone far and wide." The voice of James Spader, on the last Friday in the red zone, peeps out from a distant space, from an America in rebirth, whose present enthusiasm has not found any representation in the television series of which he is the protagonist. Spader, The Blacklist's Raymond Reddington, has strenuously opposed the possibility of contaminating one's fictional universe with the dross of the present. "Our show has always existed within a parallel world. Over the years, we have never bothered to plot a plot that had to do with real life, with newspaper headlines and news stories ». The Blacklist, whose eighth season is set to debut on FoxCrime on prime time on February 12, "has defined a universe of its own, to which it has remained faithful." Therefore, no Joe Biden, in the twenty-two new episodes of the television series. No pandemic. 

The Blacklist, on air since 2013, will only find the characters who have made it a cult. Raymond Reddington, a repentant criminal whose decision to cooperate with the police is not the daughter, alone, of a sudden goodness of heart; Elizabeth Keen, special agent responsible for following his confessions; Donald Ressler, Harold Cooper, the set of FBI agents and gangsters whose "Red" is determined to secure a future behind bars. 

Many television series usually set in fictional universes have, however, decided to make an exception and give their own representation of the pandemic. Why this categorical "no"? 

“For a few, but effective reasons. I think one of the strengths of our show has always been its verisimilitude. The Blacklist is a parallel universe, in which credible characters live. This allowed the audience to find an escape from reality in the series. I think many viewers watch The Blacklist because it allows them to detach themselves from the problems related to everyday life, and this has led us to exclude the pandemic over everything ». 

However, you will have had to face the restrictions that the Coronavirus has brought with it. 

"Absolutely. We had to deal with many restrictions, we had to limit the number of people present in a given location. But, net of the difficulties and the productive effort that required us, I think I can say that a magnificent job has been done ». 

Work that will continue: The Blacklist has already been confirmed for a ninth season. What still remains to be told? 

"Much. It may seem absurd, but in eight years we have never found ourselves beating around the bush. No episode, in the eight seasons, was thought of as a filler. I remember one day talking to Jon Bokenkamp, ​​the director. He had a twenty-minute longer bet on his hands. We tried to figure out how to cut it, which unnecessary scenes to eliminate. In the end, it was twenty minutes longer than it should have ”. 

Aren't you bored playing the same character for eight years? 

"No. On the set of The Blacklist, I've never had a mediocre or mundane day. The series has always been very exciting and the very idea of ​​moving forward excites me. There are many surprises in this new season. There are more for the public than for me. The writers and I talked for a long time about what we were going to do, so nothing could surprise me once shooting started ». 

And this would lead us to think of a certain repetitiveness ... 

“It would induce, though. When I play the part of Red I'm not surprised by the story we're telling, but by the world we're making it in. ' 

 Explain. 

"One of the great entertainments of being an actor is being able to be surprised by your reactions: there is amazement in the physical and emotional responses that are given in certain situations. There is some wonder in seeing a location for the first time. There is growth in looking at a problem or a fact from a new perspective. The surprise, when you are an actor, is not about where you get to on the show, it's about the little things, the details, even personal, that we discover as we go on ». 

So what has Raymond Reddington left you over these eight seasons? 

"From the beginning, what I loved most about Red was his irreverence, his sense of humor. I discovered and learned to love his pervasive and profound longing for life ». His character is highly ambivalent. 

Has he really never despised him? 

“I don't usually make judgments about my characters. I have a deep understanding of everything Raymond stands for. Rather, I'd say there are things about Red that Red doesn't like: his brutality and the danger he poses to others, for example. But I think Red is aware of the qualities that make him strong and able to survive the worst circumstances in life. He saw the tremendous price of loss and witnessed it. He feels how bad death does. This led him to strongly desire sweetness, calm, love. He is a dichotomous character, and it is this ambivalence of him that has made him so interesting ».

 He often talks about his collaboration with the writers. What exactly does it consist of? 

«In a real collaboration. Let's talk about everything that has to do with the show. We talk before the writing of the scripts, during the shoot. Let's talk about the new entries and the possible suppression of some characters. We are talking about subplots that can last years, months or days. Let's talk about the tone of the show, the dialogues. We talk during the holidays. This series keeps me awake at night ». 

 And do you think it's a good thing? 

“Let's just say I've always had trouble sleeping. When I wake up, my mind begins to travel fast. I tend to be an obsessive compulsive person, so I often stay up at night shaping ideas about The Blacklist. It happens that I waste hours trying to remember them, so as to put them on paper the following morning ». 

Elizabeth Keen, the special agent played by Megan Boone, is one of the strongest female characters on television. How do you judge the change that Hollywood is aiming for, the progressive abandonment of gender roles? 

«I find it fundamental. For me, as a man and actor, it always has been. I have always felt more comfortable in the company of women. I grew up with a female majority in the house, a terrific mother and two older sisters. I've always been attracted to strong female characters and the ones I've met in my films have been. I've always looked at the world from a female perspective, and I can't imagine doing otherwise. I understand, however, that it took the industry some time to get here. Today, I feel like saying that it is only a matter of time for the real and definitive change to be achieved ». 

 Digital has imposed a decidedly sustained production rate, even on linear television. Do you find such trouble to be good? 

«I state that I, on the other hand, have never felt in competition with digital or Netflix. Netflix aired The Blacklist, creating added value for all of us. Streaming brought us audiences, and it was great. In general, I'm happy to have the huge amount of programs we have now. Competition is a good thing, it leads to excellence, it spurs commitment ". 

 Cinema, television, theater. In his career he has done everything. Which medium did you prefer? 

“On television, I found a greater opportunity for further study. The Blacklist is the second TV show I work on, and has been running for over 150 episodes. My first character I played in The Practice, then in Boston Legal. Either way, I found it fascinating to see how it evolved, not in history, but over time. My TV characters have aged with me, and I with them. I think it's the best thing about working on television ».

Nothing bad then?

“You wake you up in the morning.When I started acting, I found myself working on the stage.It was a night job, and I've always been a night person, not a morning person.So when I found myself making films, I always tried to play characters who lived at night. What, this, that I managed, if you notice. It was television that forced me to turn. TV is a day job, which starts very early in the morning. It was a shock.I haven't gotten used to the sound of the alarm yet. '

[pocket-luv101]

Summary: Mahiru is an actor. To promote his upcoming movie, he must pretend to date his co-star. (KuroMahi, Actor AU)

“This is the most ridiculous marketing tactic I’ve ever heard of! I’m not going to date someone to promote a movie. The movie’s plot should be enough to draw people to watch.” Mahiru argued. He sat across from the movie producer and the man’s expression didn’t change. He turned to his manager for help. “My contract said that I will go on interviews to promote the movie. I won’t date a stranger.”

“The person will be your co-star so he isn’t a stranger.” His manager’s words took Mahiru aback. He didn’t expect him to agree with the producer so quickly. “This will help your career as well, Mahiru. You entered this industry onto a year ago and this will be your first major picture. Fake relationships are more common in Hollywood than you’d think. You’re an actor so this should be easy for you.”

“What if my co-star is in a relationship already? It won’t be fair to them or me.” Mahiru desperately searched for a way to change the producer’s mind. He understood that gossip magazines would draw more attention to the movie than a short trailer could. On the other hand, he couldn’t agree with their plan. “I’m an actor but my job is limited to my time on set.”

“Then we’ll find another person for the lead role.” The producer said coldly and a rock dropped into Mahiru’s stomach. He tightened his hands into fists on his lap. The movie was important to him and he was excited to be the lead. He had only starred in small indie movies and this was the first production where he would be the lead.

Beyond that, the movie was an adoption of the book series, The Stray Cat. His mother loved the books and she would read it to him each night. She had died when he was young and he planned to dedicate the performance to her. Mahiru now felt conflicted about the role because he didn’t want to date his co-star. He bit his lip and debated what he should do.

A knock on the door broke the silence in the room and they turned towards the door. Mahiru was confused to see Kuro enter but this presence calmed him. Kuro walked into the room and he placed a stack of papers onto the table. “Sorry to barge in like this. Hyde wants to make a few changes to his script but he needs the producer’s approval. He asked me to deliver these notes right away. Can’t deal.”

“Hyde considers this a few notes?” The producer sighed and flipped through the binder. “It will take me all night to read through these. He doesn’t have the decency to wait until my meeting ends before he gave this to me. The Servamps may be talented and powerful in the industry but that family is haughty. Are you their new assistant? Tell Hyde that I will email him later tonight.”

Kuro didn’t correct him and tell him that he was Hyde’s brother. His family had various roles in the entertainment business and they were influential. Many people would treat him differently once they learned of his name. Luckily, he was a voice actor and only a few knew his face. “Hyde is already writing revisions to the story so you should go talk to him right away. He said something about changing the setting to the North Pole.”

“Fine.” The producer said and then he turned to Mahiru. “We’ll talk about your decision at tomorrow’s meeting. Think about it carefully.”

“Thank you for your time today.” Mahiru politely bowed to the producer yet his voice was a little stiff. His manager started to speak with him but Mahiru stopped him. “May I have a moment to think about this alone, Takashi?”

His manager nodded and then left the room with the others. Mahiru followed the others outside and he walked down the hall alone. He thought over what he should do. Pretending to date someone as a marketing scheme was outlandish to him. Mahiru was grateful for Kuro’s sudden appearance because it gave him a night to think over his decision. He didn’t know how he was able to save him so many times. The man was the main reason he didn’t want to agree to the producer’s plan.

For the past few years, Kuro and Mahiru had been secretly dating.

He noticed Kuro standing at the end of the hall. Mahiru didn’t know if his thoughts had summoned him or if Kuro had simply waited to speak with him. He was happy to see him after the stressful meeting and his steps quickened as he walked to him. Kuro bought a can of orange juice from the vending machine next to him. As Mahiru stopped next to him, he handed the drink to him.

“Congrats on landing the role. How did the meeting go? You looked tense when I came in.” Kuro whispered to him. While Mahiru tried to hide how uncomfortable he was with the director, he was able to read his expression easily. He subtly took Mahiru’s hand and squeezed it tenderly. “Do you want to drink this outside? The fresh air might help.”

“I don’t think we should. Someone might overhear us.” He answered in a soft voice so Kuro would be the only one to hear him. Mahiru glanced at them and he was glad that they were alone in the hall. He pulled Kuro to an empty office next to them and locked the door. He didn’t want anyone to over hear their conversation and possibly discover their secret.

Mahiru pulled the curtain closed as he thought of how he should tell Kuro about the director’s plan. He turned to face Kuro and leaned back against the cold door. “Misono will be in New York for a week so he gave me the key to his office. He said I could use this room if I need to talk to you while we’re working. No one should be able to overhear us while we’re in here.”

Only a few people knew about their relationship. There were times Mahiru wished he could go out with Kuro without worrying that someone would see them. He met him in high school and they had been close ever since. No matter what challenges they faced, Mahiru was happy with Kuro. He sat in a chair and told him about the meeting.

“I don’t know what we should do. Acting like a couple on a movie set is different than pretending to date someone for a movie.” Mahiru sighed and his gaze fell onto his lap. He felt Kuro’s lips brush over his hair as he stopped in front of him. He placed his hands next to him and his warmth surrounded him. “He says this is normal in Hollywood. Is that true?”

Kuro didn’t know how to respond to him. He had told him how important the movie was to him and he wanted to encourage him. On the other hand, he didn’t like the thought of someone pressuring Mahiru to date another person. A lot of things in the entertainment industry were fake. It was difficult to find honest people like Mahiru. “You already signed the contract so they can’t replace you easily.”

“I’m glad.” He smiled at his reassuring words. Mahiru touched the gold bell that hanged around Kuro’s neck and twirled the string around his finger. He couldn’t help but feel a little worried though. “The producer made it clear that he won’t be happy with me if I keep arguing with him. I don’t know why he’s so fixated on this plan to market the movie.”

“It’s an easy way to draw attention to the movie. The paparazzi are troublesome but using gossip can help us sometimes. A fake relationship is one of the ways to do that. I don’t agree with them.” He had grown up with reporters following his family for a story. “Hyde is the screenwriter for the movie. Maybe he can talk to the studio and ask for a new producer.”

“It’s okay, Kuro. I think I can handle this on my own.” He didn’t want to rely on Kuro and his family. Due to his family’s name, people would pretend to be Kuro’s friend with the expectation he would help them become famous. Mahiru never wanted Kuro to think that he was like the ones who hurt him. He fell in love with him for the kind and strong person he was. “It’s like Licht said, my hard work will shine through and show people that I’m the right one for the role.”

“Licht likes to say crazy things but that one sounds reasonable. Are you sure your uncle didn’t say that instead of Licht?” Kuro joked. He was happy to hear Mahiru giggle lightly and finally smile again. While Mahiru didn’t voice his thoughts out loud, he knew the reason he wanted to face the issue alone. He respected how strong and independent he was but he wished he could do something to help him. “Have they chosen an actress to be the female lead yet?”

“No,” He shook his head. “Hopefully, she’ll disagree with the plan as well and the director will give up on promoting the movie with a fake relationship. If only the character was a man and you could be my co-star. The irony would be funny.”

“Mahiru.” He was surprised by the sadness in Kuro’s voice when he said his name and he looked up at him. There was a mixture of affection and longing in his red eyes. He wondered if the director’s comment bothered him more than he thought. Kuro rested his forehead against Mahiru’s and said, “You don’t want our relationship to be public. I understand but I hate feeling that we have to be a secret like it’s something shameful. You’re the best thing that has ever happened to me.”

“It’s hard to not tell people that we’re dating— especially when someone tries to flirt with you in front of me. You’re mine.” Mahiru wrapped his arms around his neck and pressed a small kiss onto the corner of his lips. “But this is the best way to protect your career. The tabloids will write stories about you if they knew that you’re with a simple man. I heard Hugh discuss it with you the first night I met your family.”

“What?” Kuro’s brows furrowed and he leaned away from Mahiru so he could look into his eyes. “Hugh warned me to not date you but I told him I didn’t care. I love you.”

“I overheard that part too. Honestly, I was hurt when I heard Hugh say you shouldn’t date me but he was only looking out for your career. I want to protect you too, Kuro.” Mahiru had never told him about the night because he knew how important family was to Kuro. “Thinking simply, Hugh won’t have to worry about you dating a ‘simple man’ if I’m also a famous actor.”

“You’re not a simple man to me. Hugh shouldn’t have said that. I don’t care what reporters write about me or what the world thinks. The only thing that matters to me is you.” Kuro cupped his face and kissed his soft lips.

“Good morning, Sir.” Mahiru greeted the producer. He arrived at the meeting early so he could discuss his decision with the man. He didn’t want to waste the meeting with an argument. “Thank you for the opportunity to play the lead. I will do my best to make this movie a success but I can’t agree to a fake relationship with my co-star. Is there something else I can—”

“Oh, there’s no need for that anymore.” The director gave in quicker than Mahiru expected him to. His explanation shocked him further. “Last night, Kuro Sleepy Ash Servamp contacted me and asked if he could audition for the role of the antagonist. He’s a voice actor so he never auditions for live action movies like this. This will draw a lot of attention to our movie. I gave him the role right away.”

A knock on the door interrupted their conversation and he looked over his shoulder to see Kuro and Hyde enter. He sat next to Mahiru while Hyde spoke with the producer. While the others were distracted, Mahiru reached under the table to lightly touch Kuro’s hand. It was obvious that he only auditioned for the movie so he wouldn’t have to pretend to date his co-star or quite the production. “Thank you, Kuro.”

There was a hint of a smile on Kuro’s lips as he said, “This is my first time acting on screen. Maybe we should practise our lines together and you can give me tips. You’re the star of this movie.”

“You’re already a talented voice actor, Mr. Servamp.” They needed to pretend as if they were meeting for the first time. He hoped they could be together more openly now that they were acting in a movie together. Reporters wouldn’t question why they were together. “I look forward to working with you.”

[dicapriho]

Important quotes to take from this article, that sums up perfectly why Daenarys’ treatment in season 8 was so heartbreaking..(long post with bullet points for easy reading):

Game of Thrones is "a world where women are often treated as disposable objects, Daenerys outwitted and overpowered her male enemies. As the sole protagonist in her own storyline, far from the rest of the characters, she was set up to be one of the few unambiguously [female] heroic figures in the series."

"in just a few episodes, she quickly transformed from a woman who has prided herself on saving the downtrodden to one who burns the innocent."

"[Daenerys’] treatment this season from the makeup of the writers’ room: The writers and directors on the show have always been overwhelmingly male, and women were shut out of both writing and directing jobs for every episode in season 8."

"Throughout her life, Daenerys has shown a commitment to justice...She freed the slaves in Meereen... When Drogon burned one child, she chained up her other two dragons, leaving herself more vulnerable...She put her fight for the Iron Throne on pause to fight in Jon’s war against the White Walkers [in the North where she knew she would feel unwelcome]."

"She was called the “Breaker of Chains” for a reason. When she misstepped, we forgave her, as we forgave, say, Tyrion for strangling Shae." [And Jon for killing a child for betraying him!]

“Daenerys has certainly used “Dracarys” to punish plenty of people during her reign... she always gave some compelling reason for doing so.”

She first used her dragon’s fire to kill a warlock who tried to imprison her, and again against a slaver who tried to cheat her...she crucified all the masters in retaliation for them having killed slave children — but they had killed children...She burned all the Khals who were threatening to keep her as a slave or rape her, or both."

Dany’s advisors gave awful advice:

"Daenerys agreed to make Tyrion her hand because Tyrion said he “knew things”...specifically, he claimed to know how to make alliances in Westeros and exploit people’s hate of Cersei in order to put Daenerys on the throne. Except, Tyrion did…none of that."

"...when did Tyrion convince a single lord that if they joined their side, they could get a new title and nice castle and see the land’s most hated woman [Cersei] burned to a crisp? Never."

"...what Tyrion did do: Try to cut a deal with slavers that would have kept slavery legal for a longer period of time, until Daenerys decided to burn their ships instead; convince Dany not to fly to King’s Landing and burn the Red Keep, which would have resulted in far fewer Kings Landing deaths; come up with the horrible plan to capture a wight that almost got Jon killed and lost Daenerys a dragon and still didn’t earn Cersei’s allegiance; convince Daenerys to trust Cersei, who has never proven herself to be trustworthy; forget to remind Daenerys that Euron and the Iron Fleet would almost certainly be waiting near Dragonstone, thus losing Daenerys another dragon; free Jaime from captivity in an effort to help both his brother and Cersei escape death at Daenerys’ hands..."

"Don’t even get me started on Varys, who didn’t write a single letter to a single lord to gain intel against Cersei or an ally for Dany but did find time to spread the word about Jon’s true parentage...”

“Tyrion and Varys were supposed to be her helpers. They failed her. Instead of owning up to this and realizing the part they have both played, Tyrion and Varys begin to worry that Daenerys is a flawed ruler exactly because she’s losing faith in them over their terrible decisions."

On the Sansa v Dany struggle:

"...The writers of the show cited much more petty reasons for their [Sansa and Dany's] conflict: “[Daenerys is] also very pretty, and how much does that factor in? Sansa starts off this season very suspicious and not at all friendly with Dany.”"

Her Isolation:

"In the last few episodes, Daenerys finds herself envying the love that Jon’s people feel for him...it’s destabilizing for her to arrive in Westeros and find that people are not eager to see her. Why, exactly, the Northerners don’t appreciate her dragons — without which they could not have defeated the Army of the Dead...."

"Daenerys rightfully glowers at Jon as his countrymen celebrate the fact that he mounted a dragon a couple of times when Dany has been riding one for years [Not to mention she is the first Targaryen in hundreds of years to have successfully mothered & raised/trained dragons]...In a mission to make Dany feel as isolated as possible, the show killed off her closest advisors, Jorah and Missendei."

"Daario is controlling Slaver’s Bay in her absence. Yara Greyjoy is sworn to her. In theory, the new Prince of Dorne would be allied with her since Daenerys struck a pact with Ellaria Sand. Daenerys could have called on any of these allies when she faced Cersei’s army but didn’t — simply because the show needed her to be alone ."

On Missandei:

"Game of Thrones fridged Missandei. There’s no other way to put it. Her capture and death happens just so Daenerys would feel isolated. The fact that the writers turned the only major black female character on the show into a device to motivate Daenerys feels even more cringeworthy."

"The fairly quick transition from complicated hero to totally mad villain leaned heavily on an oft-repeated line: “every time a Targaryen is born, the gods toss a coin”. But should Daenerys’ Targaryen blood necessarily doom her? After all, Jon is half Targaryen, too. So why does he get to sit comfortably on the other side of the coin?...The show has long been obsessed with various characters’ struggles to shake their family’s legacies. Tyrion killed his own father and joined Team Daenerys, only to betray Daenerys in order to help his family again." 

"Daenerys has long tried to differentiate herself from her father, the Mad King, only to become her father’s daughter."

"...the show’s most recent plotting flaws was Varys’ rushed decision that Daenerys was a terrible enough queen that he would endeavor to poison her — quite a stretch for a man who served under King Joffrey...Remember that Varys once wanted to put Dany’s brother Viserys, a demonstrable megalomaniac, on the Iron Throne."

"...when Varys found out Jon was a Targaryen, he began openly conspiring to undermine and overthrow Daenerys...He accused her of being paranoid while simultaneously conspiring against her, which means she had every right to be suspicious...Again, it’s a failure of the show that the man who was once revered as Master of Whispers walked up to Jon in the middle of a crowded beach and suggested he usurp Daenerys."

"Other rulers we think of as heroes in this story have executed men for less than attempted murder: Robb Stark executed Rickard Karstark for killing the Lannister hostages, against Robb’s orders...Ned Stark executed someone for abandoning the Night’s Watch...Jon Snow executed the men who succeeded in murdering him (before he was resurrected) including Olly, a young boy."

"...Jon betrayed Daenerys’ trust by telling his family, and Tyrion betrayed her — twice. Davos also betrayed her too for totally inexplicable reasons by helping Tyrion smuggle Jaime to Cersei...Her advisor’s lie to her and gaslit her, plain and simple. And yet the way that Daenerys’ destruction of King’s Landing is shot, we are supposed to see her as the irrational one and Tyrion as one of the victims of her terror."

"...either due to time restrictions or lack of source material or just plain lack of creativity, the show took shortcuts this season...And those shortcuts tended to rely on the laziest of sexist stereotypes about crazed, power-hungry women."

"Maureen Ryan at the Hollywood Reporter put it best: “Inescapably, infuriatingly, what we’re left with is apparently the central message of Game of Thrones: Bitches are crazy.” "

"...Had [Dany's] paranoia been seeded many episodes ago and grown over the course of several seasons, it would be an epic Shakespearean tragedy. Instead we must infer this descent based on her frizzy hair."

"Worse, the moment when she seemingly decides to rule with fear, not love, comes after she’s romantically rejected by Jon...” [Suggestible that the lack of requited love is a strong enough reason for a level-minded strong woman to fall into a pit of craziness, despite all the good she has ever done and vows to continue doing..]

"Varys suggested that Jon would be a better ruler exactly because he did not want to rule. Figures in mythology and history ranging from Moses to George Washington to Harry Potter have been heralded as heroes because they came to power reluctantly. Those figures also tend to be male. How do our stories cast women eager for power? As evil queens. And now Daenerys is a cliché."

"There have been a lot of problematic characterizations of women this season, as revealed by the writers’ own commentary surrounding the episodes...Sansa essentially parroted what the writers have been saying for years about her rape by Ramsay Bolton — that it made her stronger...and the showrunners called Cersei, one of the smartest, most vicious characters on Thrones, “just a girl who needs the comfort of a man..”

"...in the end, Daenerys cycled through several tired stereotypes: Another evil, power-hungry queen literally shot with a dragon’s wings behind her; the crazy lady that a noble man has to heroically overcome..."

Like Cersei, Dany was a character introduced in the first episode, who ws incredible meaningful in the narrative of Game of Thrones. Instead of going out with a bang, Daenerys’ death wasn’t a bang like she truly deserved, but a whimper and forgotten to emphasise the man’s conquer and victory.

[villerie]

Where are the films about female geniuses?

Men outnumber women approximately in 89% of the films (1990-2018), so it’s not a surprise that male characters have more room for variety and advancement in terms of personality, capabilities, backstory... pretty much anything.

Growing up, on TV screens I saw tech geniuses who created ahead of its time machines, invented new chemical compounds... I also watched excellent detectives magnificently reading people and the motives behind their actions, and even greater ones - who could see through both humans AND chemical formulas with deadly accuracy… Great examples for a kid/teenager! Role models! Inspirations! And yeah, I used to imitate them. I tried to copy their walking style, manner of speaking, I imagined I had their abilities. But there was always a clear difference, a thick wall, between me and them – it was gender.

I generally used to think that I would fit perfectly to be a non-conformist, completely unpredictable, obsessive, brilliant scientist (pardon my teenage god complex), but all the fictional characters that met this standards were men. ‘Genius’ female characters would usually make badass and resourceful sidekicks, who often lacked some kind of depth.

„Sherlock Holmes gets to be brilliant, solitary, abrasive, Bohemian, whimsical, brave, sad, manipulative, neurotic, vain, untidy, fastidious, artistic, courteous, rude, a polymath genius. Female characters get to be Strong.” 

It made me feel weak in my femininity, because one thought followed me around everywhere I went, a thought that no matter how clever, how unsociable and baffling I will be - eventually, one day there will come a time when I have to give up this complex inspired personality that I have developed. This is because there is no place in the world for clever, unsociable and baffling women. There is no place for women who have complex personality. The stories of the people I modelled myself on could never be mine. That’s what I learned from the films.

At this point, it started to make me furious when someone attributed to me something that reminded me of femininity (e.g. commenting on my appearance, or saying ‘All girls do that’ about something I did). Even when I found out about existence of one brilliant female character, Lisbeth Salander, she was described as "a pale, androgynous young woman who has hair as short as a fuse, and a pierced nose and eyebrows", which strengthened my belief that a genius character cannot be feminine, even if they’re a woman…

I know that we have no right to define what’s exactly feminine and what’s masculine (because it’s all a social construct), but any female genius character I have seen on the screen was always more similar to fictional and real men than fictional and real women I have ever came across. It made me try hard to be societally considered ‘manly enough’ as a woman because I believed that this way I could earn the society’s permission to be clever, unsociable, baffling, complex.

All I needed that would free me from all the worries concerning my femininity back then would be even one complex female genius character, whose entire personality doesn’t revolve around being a ‘strong woman’, and who visibly does not regret being born a woman in the man’s world. Not just tolerate being a genius yet a woman, but somehow show that they thrive in being both.

Not ‘genius, yet a woman’, but ‘genius AND a woman’.

But here another problem arises. Even if this character existed while I was growing up (who knows, maybe they did), I would most likely not even have a chance to discover them as their film/series would not be a part of mainstream media. After all, we need to admit that equal on-screen representation of the genders will change little if still only films portraying genius male characters will be widely promoted and therefore better known by mass.

If the film industry (mainly Hollywood, which unfortunately is the main supplier of visual content to popular culture) has such a problem with writing and portraying female characters, when will it finally be time to see on the screen well-portrayed, for example, non-binary characters?

What we see on the screens has a big cultural impact.

[harryandmeghansussex]

Day 18 of @defendingtheduchesses 's Meghan memories challenge.

Meghan's writing has always been one of my favourite strengths of hers. And I thought I would share one for day 18, so I picked this important one.

'What are you?' A question I get asked every week of my life, often every day. 'Well,' I say, as I begin the verbal dance I know all too well. 'I'm an actress, a writer, the Editor-in-Chief of my lifestyle brand The Tig, a pretty good cook and a firm believer in handwritten notes.' A mouthful, yes, but one that I feel paints a pretty solid picture of who I am. But here's what happens: they smile and nod politely, maybe even chuckle, before getting to their point, 'Right, but what are you? Where are your parents from?' I knew it was coming, I always do. While I could say Pennsylvania and Ohio, and continue this proverbial two-step, I instead give them what they're after: 'My dad is Caucasian and my mom is African American. I'm half black and half white.

To describe something as being black and white means it is clearly defined. Yet when your ethnicity is black and white, the dichotomy is not that clear. In fact, it creates a grey area. Being biracial paints a blurred line that is equal parts staggering and illuminating. When I was asked by ELLE to share my story, I'll be honest, I was scared. It's easy to talk about which make-up I prefer, my favourite scene I've filmed, the rigmarole of 'a day in the life' and how much green juice I consume before a requisite Pilates class. And while I have dipped my toes into this on thetig.com, sharing small vignettes of my experiences as a biracial woman, today I am choosing to be braver, to go a bit deeper, and to share a much larger picture of that with you.

It was the late Seventies when my parents met, my dad was a lighting director for a soap opera and my mom was a temp at the studio. I like to think he was drawn to her sweet eyes and her Afro, plus their shared love of antiques. Whatever it was, they married and had me. They moved into a house in The Valley in LA, to a neighbourhood that was leafy and affordable. What it was not, however, was diverse. And there was my mom, caramel in complexion with her light-skinned baby in tow, being asked where my mother was since they assumed she was the nanny.

I was too young at the time to know what it was like for my parents, but I can tell you what it was like for me – how they crafted the world around me to make me feel like I wasn't different but special. When I was about seven, I had been fawning over a boxed set of Barbie dolls. It was called The Heart Family and included a mom doll, a dad doll, and two children. This perfect nuclear family was only sold in sets of white dolls or black dolls. I don't remember coveting one over the other, I just wanted one. On Christmas morning, swathed in glitter-flecked wrapping paper, there I found my Heart Family: a black mom doll, a white dad doll, and a child in each colour. My dad had taken the sets apart and customised my family.

Fast-forward to the seventh grade and my parents couldn't protect me as much as they could when I was younger. There was a mandatory census I had to complete in my English class – you had to check one of the boxes to indicate your ethnicity: white, black, Hispanic or Asian. There I was (my curly hair, my freckled face, my pale skin, my mixed race) looking down at these boxes, not wanting to mess up, but not knowing what to do. You could only choose one, but that would be to choose one parent over the other – and one half of myself over the other. My teacher told me to check the box for Caucasian. 'Because that's how you look, Meghan,' she said. I put down my pen. Not as an act of defiance, but rather a symptom of my confusion. I couldn't bring myself to do that, to picture the pit-in-her-belly sadness my mother would feel if she were to find out. So, I didn't tick a box. I left my identity blank – a question mark, an absolute incomplete – much like how I felt.

When I went home that night, I told my dad what had happened. He said the words that have always stayed with me: 'If that happens again, you draw your own box.'

I never saw my father angry, but in that moment I could see the blotchiness of his skin crawling from pink to red. It made the green of his eyes pop and his brow was weighted at the thought of his daughter being prey to ignorance. Growing up in a homogeneous community in Pennsylvania, the concept of marrying an African-American woman was not on the cards for my dad. But he saw beyond what was put in front of him in that small-sized (and, perhaps, small-minded) town, and he wanted me to see beyond that census placed in front of me. He wanted me to find my own truth.

And I tried. Navigating closed-mindedness to the tune of a dorm mate I met my first week at university who asked if my parents were still together. 'You said your mom is black and your dad is white, right?' she said. I smiled meekly, waiting for what could possibly come out of her pursed lips next. 'And they're divorced?' I nodded. 'Oh, well that makes sense.' To this day, I still don't fully understand what she meant by that, but I understood the implication. And I drew back: I was scared to open this Pandora's box of discrimination, so I sat stifled, swallowing my voice.

I was home in LA on a college break when my mom was called the 'N' word. We were leaving a concert and she wasn't pulling out of a parking space quickly enough for another driver. My skin rushed with heat as I looked to my mom. Her eyes welling with hateful tears, I could only breathe out a whisper of words, so hushed they were barely audible: 'It's OK, Mommy.' I was trying to temper the rage-filled air permeating our small silver Volvo. Los Angeles had been plagued with the racially charged Rodney King and Reginald Denny cases just years before, when riots had flooded our streets, filling the sky with ash that flaked down like apocalyptic snow; I shared my mom's heartache, but I wanted us to be safe. We drove home in deafening silence, her chocolate knuckles pale from gripping the wheel so tightly.

It's either ironic or apropos that in this world of not fitting in, and of harbouring my emotions so tightly under my ethnically nondescript (and not so thick) skin, that I would decide to become an actress. There couldn't possibly be a more label-driven industry than acting, seeing as every audition comes with a character breakdown: 'Beautiful, sassy, Latina, 20s'; 'African American, urban, pretty, early 30s'; 'Caucasian, blonde, modern girl next door'. Every role has a label; every casting is for something specific. But perhaps it is through this craft that I found my voice.

Being 'ethnically ambiguous', as I was pegged in the industry, meant I could audition for virtually any role. Morphing from Latina when I was dressed in red, to African American when in mustard yellow; my closet filled with fashionable frocks to make me look as racially varied as an Eighties Benetton poster. Sadly, it didn't matter: I wasn't black enough for the black roles and I wasn't white enough for the white ones, leaving me somewhere in the middle as the ethnic chameleon who couldn't book a job.

This is precisely why Suits stole my heart. It's the Goldilocks of my acting career – where finally I was just right. The series was initially conceived as a dramedy about a NY law firm flanked by two partners, one of whom navigates this glitzy world with his fraudulent degree. Enter Rachel Zane, one of the female leads and the dream girl – beautiful and confident with an encyclopedic knowledge of the law. 'Dream girl' in Hollywood terms had always been that quintessential blonde-haired, blue-eyed beauty – that was the face that launched a thousand ships, not the mixed one. But the show's producers weren't looking for someone mixed, nor someone white or black for that matter. They were simply looking for Rachel. In making a choice like that, the Suits producers helped shift the way pop culture defines beauty. The choices made in these rooms trickle into how viewers see the world, whether they're aware of it or not. Some households may never have had a black person in their house as a guest, or someone biracial. Well, now there are a lot of us on your TV and in your home with you. And with Suits, specifically, you have Rachel Zane. I couldn't be prouder of that.

At the end of season two, the producers went a step further and cast the role of Rachel's father as a dark-skinned African-American man, played by the brilliant Wendell Pierce. I remember the tweets when that first episode of the Zane family aired, they ran the gamut from: 'Why would they make her dad black? She's not black' to 'Ew, she's black? I used to think she was hot.' The latter was blocked and reported. The reaction was unexpected, but speaks of the undercurrent of racism that is so prevalent, especially within America. On the heels of the racial unrest in Ferguson and Baltimore, the tensions that have long been percolating under the surface in the US have boiled over in the most deeply saddening way. And as a biracial woman, I watch in horror as both sides of a culture I define as my own become victims of spin in the media, perpetuating stereotypes and reminding us that the States has perhaps only placed bandages over the problems that have never healed at the root.

I, on the other hand, have healed from the base. While my mixed heritage may have created a grey area surrounding my self-identification, keeping me with a foot on both sides of the fence, I have come to embrace that. To say who I am, to share where I'm from, to voice my pride in being a strong, confident mixed-race woman. That when asked to choose my ethnicity in a questionnaire as in my seventh grade class, or these days to check 'Other', I simply say: 'Sorry, world, this is not Lost and I am not one of The Others. I am enough exactly as I am.'

Just as black and white, when mixed, make grey, in many ways that's what it did to my self-identity: it created a murky area of who I was, a haze around howpeople connected with me. I was grey. And who wants to be this indifferent colour, devoid of depth and stuck in the middle? I certainly didn't. So you make a choice: continue living your life feeling muddled in this abyss of self-misunderstanding, or you find your identity independent of it. You push for colour-blind casting, you draw your own box. You introduce yourself as who you are, not what colour your parents happen to be. You cultivate your life with people who don't lead with ethnic descriptions such as, 'that black guy Tom', but rather friends who say: 'You know? Tom, who works at [blah blah] and dates [fill in the blank] girl.' You create the identity you want for yourself, just as my ancestors did when they were given their freedom. Because in 1865 (which is so shatteringly recent), when slavery was abolished in the United States, former slaves had to choose a name. A surname, to be exact.

Perhaps the closest thing to connecting me to my ever-complex family tree, my longing to know where I come from, and the commonality that links me to my bloodline, is the choice that my great-great-great grandfather made to start anew. He chose the last name Wisdom. He drew his own box.

[miamonologues]

Females are strong as hell

Some lessons from Unbreakable Kimmy Schmidt

This is a newly introduced series to me by my own Netflix algorithm and let me tell you, IT'S MY NEW FAVORITE ONE. I finished the series quickly because it was "unputdownable." I had to keep watching because the entertainment it provided served me well (it's practically my kind of humor). Despite being a comedy with a light-hearted ending, I kind of cried when it ended because, well, I had to keep going now with my own life. Back to boring paperwork and non-fiction reading. So instead of moping about it (and yes, I know I can just re-watch it again, but you and I know it'll feel different), I thought, why not list down SOME lessons I learned from its four main characters. I emphasized the word SOME because, believe me, you will learn so much more. Not just from the plot and these four characters but from the other characters that are unmentioned here. So here we go, what Kimmy, Titus, Jacqueline, and Lillian taught me.

What Kimmy taught me:

Kimmy taught me to not let your past define you, and being a late bloomer has a lot of advantages. Intentions are pure, ego untainted, and your presence becomes infectious. Sure, she may have missed a whole big chunk of her life, but she also realized how much she hasn't. The world will continue to evolve with or without us in it, so what's there to miss? We'll bloom just as much.

You will never do the world harm by choosing to be kind. It was always about helping people when it comes to Kimmy, which became one of her callings and ultimate purpose in life as the series escalated. While the people around her taught her that the world can be cruel sometimes, and we become accustomed to it, she chose to kill the cruelty with her unconditional kindness.

You can be tough without compromising your sweet and loving self. Kimmy had to learn the ins and outs of life's cycle. She may have suppressed her feelings and emotions at some point, but she knew that we're all entitled to all feelings. Which made her character very likable. Eventually, she learned anger, frustration, rage, and sadness. It wasn't always love and happiness, but she knew it was just part of our functioning.

Face your demons, but move forward while doing it. Trauma is not to be ignored by a person's past experiences. Even though Kimmy had trouble facing her past, she still did. But instead of staying in the past, she met it by saying, "yep, that's all that is. The past". It's not likely for someone like Kimmy to be at peace with her terrifying bunker past. Still, she is as the title says, unbreakable.

What Titus taught me:

He gave me a new light on how to view gay characters in a series. He is NOT your gay best friend, but an entire character and heroine that completes this show. An openly gay role in American entertainment is like a Hollywood Archetype for "sidekick/best friend to make serious and dark topics seem lighter and funny." Uhm, no. Titus is different. He is known for how unapologetic and opinionated he is. Making him a strong character that you should not be messing with.

He taught me to be expressive and passionate. It's not easy to in New York, a place to live your dreams and other people who chose it to live their dreams. Titus taught me to never compromise doing what you love for the sake of fortune and stability. Rent should've been taking notes.

He taught me to stay true and continue to pursue your ultimate dream. Despite his self-centered and lethargic temperament, he is authentic and resilient. His character improves in the series without compromising his beliefs and goals. Eventually, he got what he's always dreamed of. Along with Mikee, which btw, I STAN their relationship and I’ve been rooting for them since their first conversation.

What Jacqueline taught me:

She taught me to never forget to look back at where I came from. Like Kimmy, Jacqueline tried to forget and abandon her past. Although it wasn't because of trauma and suppressed emotions, Jacqueline became neglectful of her roots. After massive shifts in her life, she eventually decided to go back and embrace her family roots. Which provided not only her peace of mind but also to fulfill a purpose that is anchored towards her family's heritage. Throughout the rest of the series, we also see how she kept in touch with her family and how they have been supportive of her as she rebuilds her life.

She taught me that's it's okay to start again.  After several mishaps in her lavish lifestyle, Jacqueline realizes that she has much more worth than a trophy wife. Her character developed as much as well in the series. Dealing with divorce, being broke, and having no experience to start a career. She killed it anyways.

She taught me to learn how to unlearn. Coming from a wealthy and obnoxious lifestyle, Jacqueline had to keep up with her change of status, which made her humble herself and put others first. Whether it was for Kimmy or a random stranger. Even with how she tackled love and dating. In season 3, she fell in love with a man because of his compassion and care for the better (which she broke off eventually when that man became a narcissistic, self-serving being). Towards the end of the series, she questioned a man who was attracted to her. Pointing out that he should like her for who she is and not just for her looks. Kudos to Jacqueline for being able to do an easy job in starting all over again—and—being able to do it in style.

What Lillian taught me:

She taught me how to fight for what I believe in. With her unconventional ways and dispositions, Lillian was the more badass gal in the group with her continuous fight for anti-gentrification and preserving the neighborhood. Including its crime-filled community, kind-of-unhygienic but vintage establishments, and torn down structures and buildings (give it a break, it's an absurd comedy). Even though some of her character's dispositions are impractical, Lillian taught me to always fight for what I believe in. Even if our beliefs sound impractical, we have a voice. What better way to use that than to speak them out and who knows, maybe someone will listen and take action with you.

She taught me to not care about what others think of me. Like Titus, this is what Lillian has been throughout the series. True to herself. Even when she started dating a rich man, and Jacqueline insisted she had a makeover when she was about to meet his family, Lillian didn't comply. She liked who she is doesn't care what people think of her. In this new age of selfies and personal branding, caring what other people think has been mainstream since we got introduced to social media. We can't blame those who do care because the internet says so. So next time I find myself overthinking what others have to say about me, I'll think of Lillian.

Final thoughts:

First, to say that the series is relatable is a downplay. This series attacks topics through its characters about modern and mainstream problems about society. They tackle it absurdly and funnily, but still quite agreeable.

Second, you can learn a lot from these four characters, and it's unlikely that there is a character from these four that you will hate. Because once you watch it, you will admit to yourself that, at some point, you may have been like a Kimmy, Titus, Jacqueline, or Lillian in your life. And I don't just mean on their mistakes and blunders. Just the entirety of how they represent what their character stands for. Especially with how their characters develop as the series profressed. This series stays true because we are only humans who make mistakes just as much as we will make successes from these mistakes. It's the circle of life.

And lastly, it's pure comedic genius work that is woke and hella funny. Kudos to the creators of this show. It sucks that it only lasted 4 seasons. You will love joining these four people in their adventure through life. And I agree 1000% to the series' theme: Females are strong as hell.

P.S. I'm re-watching it again. Feel free to judge. And I love you, Tina Fey

[vintagegeekculture]

What are some actually GOOD Sword and Sandal movies?

One of the bigger genres in Italy who’s popularity came and went in waves from the silent era to the present, Sword and Sandal (or Peplum) films are Italian movies about gladiators, musclemen, Ancient Greece and Rome, and who’s main characters include Hercules, Spartacus, Ursus, Maciste (a homegrown, semi-Marxist Hercules who fights the rich and decadent who is purely a creation of Italian cinema).

The genre started in 1912, with Cabiria, an ultra-early Italian feature that predated D.W. Griffith, featuring a muscular African slave named Maciste, and due to his muscles and screen presence, Bartolomeo Pagano may have been the first true movie star, making dozens of sequels. The popularity of these movies went into hibernation in Italy until 1959, when it got a huge resurgence when Steve Reeves starred as Hercules, and consequently became the highest paid star in Europe. Hercules (1959) caused literally hundreds of movies to be made, assembly line, in a burst of about 5 years. The genre burned itself out through repetition in only a half decade, only to be replaced by the Italian horror/slasher film and the Spaghetti Western. It was down for good, only to have something of a resurgence of popularity in Italy in the wake of the popularity of John Milius’s Conan the Barbarian in the early 1980s.

Sword and Sandal seems to be a genre where any given film picked at random could be a Mystery Science Theater 3000 episode. For the most part, Sword and Sandal movies are mostly known for being the training ground of people who showed their skills in other genres, like how Mario Bava became a horror director, or how Sergio Leone, a second unit director on a few, was best known later for Spaghetti Westerns. And there is certainly some truth to the idea that, if you have seen one, you’ve seen them all. But there are certainly some good examples of the genre that are worth seeing.

Goliath and the Dragon (1960)

Don’t be fooled, this is a Hercules movie, but they renamed it because of some begobbled distribution rights issue.

If you were a Greek mythology kid (and most nerdy kids went through a phase they were into sharks, dinosaurs, Greek mythology, AV/Radio, writing in Dwarf runes under your desk after reading Tolkien for the first time, and lego) you might remember reading about Hercules’s semi-tragic end, poisoned and killed by his own wife and a centaur. It was the most fascinating story, where Hercules’s great strength and courage was defeated by jealous and anxious little people who tore him down. Americans don’t have much of a taste for tragedy, so it’s very seldom been adapted for American audiences.

Goliath and the Dragon is that story. It literally starts with Hercules finishing his hardest heroic Labor, and retiring. However, his younger brother is jealous of him, and a conspiracy of schemers work to get rid of Hercules by manipulating envy. Along the way, Hercules feels abandoned by the gods and he turns against them in anguish after a lifetime of service. It has a dragon, and quests into the underworld, yes, but it is primarily not an adventure film, which is what makes it interesting.

It also stars Mark Forest, who might be the only one of the bodybuilders to play Hercules to have a legit screen presence. He later left movies to become an opera singer and voice coach. 

Eric the Conqueror (1961)

This is one by Italian horror titan Mario Bava, and because it’s kind of a well known film, it actually has a half-decent transfer, including availability in the original language instead of a shoddy 70s dub - this is utterly, absolutely unheard of in this genre, where the copies of these movies on streaming (even on Amazon Prime!) are sometimes literally off VHS and have “snow lines” and other phenomenally half-assed signs of VHS transfer, like the original FBI WARNING stickers.

The film is about two Viking brothers, one of who is raised by Christians as a knight, the other of whom grows up the son of a pagan Viking warlord. It’s a film about the contrast between Christian and Pagan, and the one thing about it people remember is that it stars a pair of Playboy Playmate twins. Stylish and action-oriented with lots of red blood, it’s like a cool version of Disney’s “The Island at the Top of the World.”

Hercules in the Haunted World (1961)

Hercules vs. Christopher Lee –need I say more? Christopher Lee is a vampire who took over a kingdom and hypnotized Hercules’s true love, shrouding the land in eerie darkness…and so Hercules has to descend into the underworld. This is a case where the screenshots really tell the story, they get across the eerie, surreal Gothic ambiance of the film. It doesn’t actually feature Castle Greyskull, but it would perfectly fit in with the décor.

As far as I know, Hercules never actually encountered vampires in Greek folklore, but in Italian cinema, they seem to feel that the supreme challenge for the Son of Zeus is the undead (see also, Kobrak in Goliath and the Sins of Babylon).

I feel guilty having two Mario Bava movies on here. But of the two, this one feels the more…Mario Bava, in lighting, design, and ambiance, which is really the reason to see it. Essentially, it’s Hercules Goes to Hell, and it’s treated as more of a truly eerie horror movie, with weird lighting. The presence of Christopher Lee makes it feel like a bodybuilder accidentally wandered onto the set of a Hammer Horror film, with crumbling castles and she-vampires in negligees.

Maciste in Hell (1925)

Speaking of the essential plot of a muscleman going to hell, you wouldn’t think a movie of that kind would be whimsical, charming, imaginative, and creative, but it is. Satan tries to tempt Maciste, a pure in heart muscleman who represents the pure, incorruptible goodness and strength of the working class. Maciste movies, distinct from Hercules films, always had a strong Marxist undertone, with villains who were super-rich and decadent, all the while Maciste resisted their temptations and hung out with the lower classes and sponsored a revolution. The movie is full in intertitles like “the Dragon – Hell’s Aeroplane!” And the quest by female devils to turn Maciste into a demon himself with a kiss. Essentially, it’s a movie where if you’re pure in heart and have biceps of steel, there’s no problem you can’t bench press, grip, or grapple, even Satan. 

According to his memoirs, this was the movie that made Fellini want to become a director.

Hercules and the Princess of Troy (1965)

Made at the absolute dying gasp of the genre, this one is essentially the “Enter the Dragon” of Sword and Sandal movies, in that it was a Hollywood/Italian co-production, much like how “Enter the Dragon” was the first Hollywood/Hong Kong co-production. It wasn’t a movie at all, but a pilot episode for a television show that never went to series…to everyone’s shame, because if it had been made, it would have been a crowd pleaser, if the pilot was anything to go by. I all but guarantee it would be a syndication favorite that would have turned everyone in it into a star, the kind that would be on Nick at Nite forever, or the earliest incarnation of F/X, where it was just a scrappy rerun network with a pre-Survivor Jeff Probst (I still remember the F/X house all the VJ like hosts lived in).

This one has Hercules (played by Tarzan Gordon Scott) as a sea captain and leader of a Greek ship named the Olympia, who is accompanied by two sidekicks, Ulysses (a young, clever Ulysses as Herc’s sidekick was also a trait of Paul Levine’s Hercules and Hercules Unchained), and Diogenes, Hercules’s smart friend, a medical doctor and proto-scientist who comes off as the project’s most interesting character, a Dr. McCoy like curmudgeon who adventures to stay away from his awful wife, who creates a chemical that burns on water and who uses the Socratic Method to solve a murder mystery. If this had gone to series, I can see him overshadowing the theoretical leading man in a similar way to Jonathan Harris as Dr. Smith overshadowing the Robinsons. 

The pilot was great fun. It had mythological creatures like invulnerable horses and a terrifyingly unique sea monster, that was some of the earliest work by the now legendary Carlo Rambaldi (creator of E.T. and the Alien) that is light years ahead of the shag carpet dragons musclemen pretend to wrestle in movies like this. Not to mention a mystery, and Hercules facing intrigue that, as a trustworthy and direct man of action, he is incapable of dealing with (a trait of nearly every single interesting Hercules movie).

[faakeid]

I see you watched 2gether? Did you like it? Have u watched tharntype ?

Thank you anon for this ask.

I waited the finale to comment on it and talk about my impressions.

First of all, I need to say that was my first BL and I thank the anon who mentioned it to me. It was a fun watch overall.

So, my considerations: this show is a portrait of cliches. That being told, if you are an avid reader of high school aus, the plot twists will be ratherly predictive. Same with the character traits and some pairings trophes. BUT, it doesn’t mean that a story is bad simply because it’s chiche. For that tho, they need to give uniqueness or simpathy/charisma to the characters so people won’t simply give up in the middle and watch something else.

2gether is strong in terms of characters. Maybe not in sense of uniqueness because, again, most of their profiles are similar with what we can read in fanfics and other stories in general. But they’re charismatic and pleasing to watch. There’s a lot of humor especially in the first episodes that keeps the viewer hooked and makes you care for those people. I liked how they had the main storyline of Tine and Sarawat but slowly introduced other romantic archs and made them relevant or at least made you feel for their develop.

I also enjoyed the background as an university instead of a typical high school. In some occasions, it added up to the characters (although their degrees don’t matter that much) and mostly didn’t give that Hollywood cliche of adults getting high schooler roles and being stupid.

About Tine and Sarawat: the main plot of the BL is the development of a fake relationship caused because Tine wanted to get rid of an obsessive crush and thought Sarawat was the perfect guy for it. Their moments are hilarious at the beginning and I like the fact that, when plot twists happen, they explain them to the viewer and made me want to rewatch the first episodes. They are cute, have chemistry and are appealing overall. The bad part of the drama, at least for me, was that when the fake dating drama was solved (in an anticlimatic way I need to say), the production felt the need to create more episodes where they basically create a different obstacle for the main couple and their goal is to dismisse it and stop it from being a threat for their relationship. I really thought the drama would end at episode eight and, if it was the case, it would be satisfactory in terms of the message and plot they first promised. Fortunately, again, the cast is nice and has charisma and you end up watching more because of them than because of plot development.

So, overall: when everything finished I couldn’t let the smile from leaving my face. It was a nice experience and entertaining and I’ll miss watching new episodes every week.

Negative points for me:

where is the girlxgirl love?!?!?!?;

Tine crying (really bad, I laughed a lot);

How eyebrows dude fell in love with Tine to make a weird and unfair love triangle (less credible than Green’s inflatuation);

The fact the drama suggested they getting closer physically but they barely kissed (and I don’t say this in a fanfic way that they need to rate the show +18 or make they do fanservice all the time, but like at the scene in the end they meet after everything and Sarawat simply ruff Tine’s hair when if it was a straight drama they would kiss the hell of each other. But it’s just me);

How they could have made their degrees matter in terms of personality but it barely happened (it’s just me being silly, don’t mind this topic).

Positive points

SARAWAT and everything related to him. Just too cute;

Man’s character was the most hilarious for me;

The music teacher too;

The female characters were too cute as well:

the soundtrack is EVERYTHING SHSHEGWJWNAJA;

Tine’s brother and his bitch face is everything I wanted but never knew before I saw it;

How they had points and tried to connect everyth until the end.

[allthefilmsiveseenforfree]

Charlie’s Angels (2019)

You may have heard some kerfuffle about this movie grossly underperforming at the box office, and writer/director/actor Elizabeth Banks blaming this on men not going to see female-led action movies and then men who DO go see female-led action movies firing back by saying this just didn’t look like a very GOOD female-led action movie. Blah blah blah outrage news cycle. I was already on board to see this from the moment I saw Kristen Stewart just like, existing (what? She’s like the patron saint of my people. I’m only a human queer woman, guys, I can’t help it). So was this an unfortunate “get woke, go broke” mess or an unfairly maligned feminist wave that we should all be riding? Well...

Eh, somewhere in the middle. There are certainly glimmers of brilliance that I appreciated and didn’t feel pandering, but felt more like moments that only happen in movies or television when someone new gets a seat at the table and is allowed to share their perspective. But this is no feminist war cry, a la Mad Max: Fury Road, and will go down in history as a fairly forgettable rehash of a story we’ve seen before.

Plot summary (not that you really need one) - Jane (Ella Balinska) and Sabina (Kristen Stewart) are both agents working for the Townsend Agency, a private group of lady spies who have all been brought together by the mysterious Charlie and who have handlers designated Bosley. One of the Bosleys, Patrick Stewart, is retiring, but is pulled back into the fold when a mole in the operation tries to sabotage the latest mission - protecting Elena (Naomi Scott), a whistleblower at a prominent energy company whose latest invention has the potential to be weaponized. Jane and Sabina are tasked with stealing the invention, protecting Elena, and figuring out who the mole is before it’s too late!  This is all basically an excuse for them to travel to exotic locales, wear lots of fabulous clothes and less fabulous wigs, and for queer women to lust after KStew being a winking club girl, a jockey, a tennis instructor, and an all-around disaster gay. 

Some thoughts:

I never saw the early 2000s movies (part 1 or 2) but they were very formative for me because I did a school presentation in 8th grade that was a song about the rock cycle set to the tune of Destiny’s Child’s “Independent Women Part 1″ so. That’s about as deep as my relationship to Charlie’s Angels goes. 

Maybe this is extremely petty of me, but Elena’s shitty boss, Peter Fleming, (Nat Faxon) has some of the worst teeth I’ve ever seen in a Hollywood movie. And I’m not saying that to be mean, just - I took a look at his IMDB, and he’s a character actor who’s done a lot of TV work, lots of comedy, lots of voice stuff. It looks like he’s been working steadily since 2002 at least, and I just...fix your teeth dude! I cannot even IMAGINE a world in which a woman in Hollywood could hope to get consistent, steady work with teeth like that. And that’s how you know the patriarchy is real, y’all.

Elena is so brave to be a whistleblower. The world needs more whistleblowers.

Everything KStew wears is the hottest thing I’ve ever seen. I think watching this movie might be the gayest 2 hours of my life, and I’m including the day I literally got married to a woman.

I can honestly say it made me emotional to see international deals being brokered not for guns or money, but for birth control pills and tampons. Just showing the importance of access to reproductive health care for women (and trans men and nb folks) is a detail I would never expect in a big budget action movie, and it was one of those moments that would never have occurred onscreen if this movie wasn’t written, produced, directed, and all around made by and for women. 

Jane having an emotional breakdown is so important. So frequently, women of color, especially black women, are portrayed as hard, unfeeling, and incapable of feeling pain in order to be perceived as Strong Female CharactersTM. But that feeds into a long and racist history of minimizing black people’s pain in order to excuse abusing and oppressing them. It’s not often that you get to see a black female character like Jane who is competent, smart, physically strong and intimidating, who is also allowed to be emotionally vulnerable and show real sadness and fear and intimacy. This moment honestly shocked me in the best way and was one of the biggest highlights of the film (and it’s another one I’m not sure would have existed without being a film created and executed by women). 

One of the highlights of the movie is the villains - each of them that get revealed are having a great deal of fun and brining a lot of life to their characters in different, unique ways. I have to say this is the most fun I’ve had watching bad guys be bad guys in recent memory.

In spite of the catastrophic Macguffin at the center of all the action, the final act feels underwhelming and like the stakes are very small. The script does everything it can to make the conflict feel personal, but I dunno, the entire final showdown just left me feeling a bit cold and distracted. 

Did I Cry? No, there’s not quite enough heart at the core of this to really tug on my easily activated cry reflex.

Overall, I’ve seen better and I’ve seen worse. The characters are fun and distinct, and the three main Angels are certainly having a rollicking good time, so that’s always fun to watch. But the script is kinda weak, and the jet-setting all feels rather ho-hum. If you prefer your badass lady spies WITHOUT a heaping helping of gross male gaze, this is certainly the right film for you! But when it comes to actually destroying the patriarchy, it all feels a little bubblegum to me. 

If you liked this review, please consider reblogging or subscribing to my Patreon! For as low as $1, you can access bonus content and movie reviews, or even request that I review any movie of your choice.

[timeless-hollywood-classics]

Mae West (born Mary Jane West; August 17, 1893 – November 22, 1980) was an American actress, singer, playwright, screenwriter, comedian and sex symbol whose entertainment career spanned seven decades. She was known for her lighthearted, bawdy double entendres and breezy sexual independence, and often used a husky contralto voice. She was active in vaudeville and on stage in New York City before moving to Los Angeles to pursue a career in the film industry.

West was one of the most controversial movie stars of her day; she encountered many problems, especially censorship. She once quipped, "I believe in censorship. I made a fortune out of it." She bucked the system by making comedy out of conventional mores, and the Depression-era audience admired her for it. When her film career ended, she wrote books and plays, and continued to perform in Las Vegas and the United Kingdom, on radio and television, and recorded rock 'n roll albums. In 1999, the American Film Institute posthumously voted West the 15th greatest female screen legend of classic American cinema.

Mary Jane West was born on August 17, 1893, in Brooklyn (either Greenpoint or Bushwick, before New York City was consolidated in 1898). She was delivered at home by an aunt who was a midwife. She was the eldest surviving child of John Patrick West and Mathilde "Tillie" (later Matilda) Delker (originally Doelger; later Americanized to "Delker" or "Dilker"). Tillie and her five siblings emigrated with their parents, Jakob (1835–1902) and Christiana (1838–1901; née Brüning) Doelger from Bavaria in 1886. West's parents married on January 18, 1889, in Brooklyn, to the pleasure of the groom's parents and the displeasure of the bride's parents and raised their children as Protestants, although John West was of mixed Catholic–Protestant descent.

West's father was a prizefighter known as "Battlin' Jack West" who later worked as a "special policeman" and later had his own private investigations agency. Her mother was a former corset and fashion model. Her paternal grandmother, Mary Jane (née Copley), for whom she was named, was of Irish Catholic descent and West's paternal grandfather, John Edwin West, was of English–Scots descent and a ship's rigger.

Her eldest sibling, Katie, died in infancy. Her other siblings were Mildred Katherine West, later known as Beverly (December 8, 1898 – March 12, 1982), and John Edwin West II (sometimes inaccurately called "John Edwin West, Jr."; February 11, 1900 – October 12, 1964). During her childhood, West's family moved to various parts of Woodhaven, as well as the Williamsburg and Greenpoint neighborhoods of Brooklyn. In Woodhaven, at Neir's Social Hall (which opened in 1829 and is still extant), West supposedly first performed professionally.

West was five when she first entertained a crowd at a church social, and she started appearing in amateur shows at the age of seven. She often won prizes at local talent contests. She began performing professionally in vaudeville in the Hal Clarendon Stock Company in 1907 at the age of 14. West first performed under the stage name "Baby Mae", and tried various personas, including a male impersonator.

She used the alias "Jane Mast" early in her career. Her trademark walk was said to have been inspired or influenced by female impersonators Bert Savoy and Julian Eltinge, who were famous during the Pansy Craze. Her first appearance in a Broadway show was in a 1911 revue A La Broadway put on by her former dancing teacher, Ned Wayburn. The show folded after eight performances, but at age 18, West was singled out and discovered by The New York Times. The Times reviewer wrote that a "girl named Mae West, hitherto unknown, pleased by her grotesquerie and snappy way of singing and dancing". West next appeared in a show called Vera Violetta, whose cast featured Al Jolson. In 1912, she appeared in the opening performance of A Winsome Widow as a "baby vamp" named La Petite Daffy.

She was encouraged as a performer by her mother, who, according to West, always thought that anything Mae did was fantastic. Other family members were less encouraging, including an aunt and her paternal grandmother. They are all reported as having disapproved of her career and her choices. In 1918, after exiting several high-profile revues, West finally got her break in the Shubert Brothers revue Sometime, opposite Ed Wynn. Her character Mayme danced the shimmy and her photograph appeared on an edition of the sheet music for the popular number "Ev'rybody Shimmies Now".

Eventually, she began writing her own risqué plays using the pen name Jane Mast. Her first starring role on Broadway was in a 1926 play she entitled Sex, which she wrote, produced, and directed. Although conservative critics panned the show, ticket sales were strong. The production did not go over well with city officials, who had received complaints from some religious groups, and the theater was raided, with West arrested along with the cast. She was taken to the Jefferson Market Court House, (now Jefferson Market Library), where she was prosecuted on morals charges, and on April 19, 1927, was sentenced to 10 days for "corrupting the morals of youth". Though West could have paid a fine and been let off, she chose the jail sentence for the publicity it would garner. While incarcerated on Welfare Island (now known as Roosevelt Island), she dined with the warden and his wife; she told reporters that she had worn her silk panties while serving time, in lieu of the "burlap" the other girls had to wear. West got great mileage from this jail stint. She served eight days with two days off for "good behavior". Media attention surrounding the incident enhanced her career, by crowning her the darling "bad girl" who "had climbed the ladder of success wrong by wrong".

Her next play, The Drag, dealt with homosexuality, and was what West called one of her "comedy-dramas of life". After a series of try-outs in Connecticut and New Jersey, West announced she would open the play in New York. However, The Drag never opened on Broadway due to efforts by the New York Society for the Suppression of Vice to ban any attempt by West to stage it. West explained, "The city fathers begged me not to bring the show to New York because they were not equipped to handle the commotion it would cause." West was an early supporter of the women's liberation movement, but said she was not a "burn your bra" type feminist. Since the 1920s, she was also an early supporter of gay rights, and publicly declared against police brutality that gay men experienced. She adopted a then "modern" psychological explanation that gay men were women's souls in men's bodies, and hitting a gay man was akin to hitting a woman. In her 1959 autobiography, Goodness Had Nothing to Do With It, West strongly objected to hypocrisy while, for surprising and unexplained reasons, also disparaging homosexuality: "In many ways homosexuality is a danger to the entire social system of Western civilization. Certainly a nation should be made aware of its presence — without moral mottoes — and its effects on children recruited to it in their innocence. I had no objection to it as a cult of jaded inverts... involved only with themselves. It was its secret, anti-social aspects I wanted to bring into the sun. As a private pressure group it could, and has, infected whole nations." This perspective, never elaborated upon by Mae West in other books or interviews seems inconsistent with the Mae West persona. In her 1975 book Sex, Health, and ESP, Mae West writes on page 43, "I believe that the world owes male and female homosexuals more understanding than we've given them. Live and let live is my philosophy on the subject, and I believe everybody has the right to do his or her own thing or somebody else's -- as long as they do it all in private!"

West continued to write plays, including The Wicked Age, Pleasure Man and The Constant Sinner. Her productions aroused controversy, which ensured that she stayed in the news, which also often resulted in packed houses at her performances. Her 1928 play, Diamond Lil, about a racy, easygoing, and ultimately very smart lady of the 1890s, became a Broadway hit and cemented West's image in the public's eye. This show had an enduring popularity and West successfully revived it many times throughout the course of her career. With Diamond Lil being a hit show, Hollywood naturally came courting.

In 1932, West was offered a contract by Paramount Pictures despite being close to 40. This was an unusually late age to begin a film career, especially for women, but she was not playing an ingénue. She nonetheless managed to keep her age ambiguous for some time. She made her film debut in Night After Night (1932) starring George Raft, who suggested West for the role. At first she did not like her small role in Night After Night, but was appeased when she was allowed to rewrite her scenes.[45] In West's first scene, a hat-check girl exclaims, "Goodness, what beautiful diamonds", and West replies, "Goodness had nothing to do with it, dearie." Reflecting on the overall result of her rewritten scenes, Raft is said to have remarked, "She stole everything but the cameras."

She brought her Diamond Lil character, now renamed "Lady Lou", to the screen in She Done Him Wrong (1933). The film was one of Cary Grant's first major roles, which boosted his career. West claimed she spotted Grant at the studio and insisted that he be cast as the male lead. She claimed to have told a Paramount director, "If he can talk, I'll take him!". The film was a box office hit and earned an Academy Award nomination for Best Picture. The success of the film saved Paramount from bankruptcy, grossing over $2 million, the equivalent of $140 million today. Paramount recognizes that debt of gratitude today, with a building on the lot named after West.

Her next release, I'm No Angel (1933), teamed her with Grant again. I'm No Angel was also a box office hit and was the most successful of her entire film career. In the months that followed the release of this film, reference to West could be found almost anywhere, from the song lyrics of Cole Porter, to a Works Progress Administration (WPA) mural of San Francisco's newly built Coit Tower, to She Done Him Right, a Betty Boop cartoon, to "My Dress Hangs There", a painting by Mexican artist Frida Kahlo. Kahlo's husband, Diego Rivera, paid his own tribute: "West is the most wonderful machine for living I have ever known – unfortunately on the screen only." To F. Scott Fitzgerald, West was especially unique: "The only Hollywood actress with both an ironic edge and a comic spark." As Variety put it, "Mae West's films have made her the biggest conversation-provoker, free-space grabber, and all-around box office bet in the country. She's as hot an issue as Hitler."

By 1933, West was one of the largest box office draws in the United States and, by 1935, West was also the highest paid woman and the second-highest paid person in the United States (after William Randolph Hearst). Hearst invited West to San Simeon, California. "I could'a married him", West explained, "but I got no time for parties. I don't like those big crowds." On July 1, 1934, the censorship of the film Production Code began to be seriously and meticulously enforced, and West's scripts were heavily edited. She would intentionally place extremely risqué lines in her scripts, knowing they would be cut by the censors. She hoped they would then not object as much to her other less suggestive lines. Her next film was Belle of the Nineties (1934). The original title, It Ain't No Sin, was changed due to the censors' objections. Despite Paramount's early objections regarding costs, West insisted the studio to hire Duke Ellington and his orchestra to accompany her in the film's musical numbers. Their collaboration was a success; the classic "My Old Flame" (recorded by Duke Ellington) was introduced in this film. Her next film, Goin' to Town (1935), received mixed reviews, as censorship continued to take its toll in eroding West's best lines.

Her following effort, Klondike Annie (1936) dealt, as best it could given the heavy censorship, with religion and hypocrisy. Some critics called the film her magnum opus, but not everyone felt the same way. Press baron and film mogul William Randolph Hearst, ostensibly offended by an off-handed remark West made about his mistress, Marion Davies, sent a private memo to all his editors stating, "That Mae West picture Klondike Annie is a filthy picture... We should have editorials roasting that picture, Mae West, and Paramount... DO NOT ACCEPT ANY ADVERTISING OF THIS PICTURE." At one point, Hearst asked aloud, "Isn't it time Congress did something about the Mae West menace?" Paramount executives felt they had to tone down the West characterization or face further recrimination. This may be surprising by today's standards, as West's films contained no nudity, no profanity, and very little violence. Though raised in an era when women held second-place roles in society, West portrayed confident women who were not afraid to use their sexual wiles to get what they wanted. "I was the first liberated woman, you know. No guy was going to get the best of me. That's what I wrote all my scripts about."

Around the same time, West played opposite Randolph Scott in Go West, Young Man (1936). In this film, she adapted Lawrence Riley's Broadway hit Personal Appearance into a screenplay. Directed by Henry Hathaway, Go West, Young Man is considered one of West's weaker films of the era, due to the censor's cuts.

West next starred in Every Day's a Holiday (1937) for Paramount before their association came to an end. Again, due to censor cuts, the film performed below its goal. Censorship had made West's sexually suggestive brand of humor impossible for the studios to distribute. West, along with other stellar performers, was put on a list of actors called "Box Office Poison" by Harry Brandt on behalf of the Independent Theatre Owners Association. Others on the list were Greta Garbo, Joan Crawford, Marlene Dietrich, Fred Astaire, Dolores del Río, Katharine Hepburn and Kay Francis. The attack was published as a paid advertisement in The Hollywood Reporter, and was taken seriously by the fearful studio executives. The association argued that these stars' high salaries and extreme public popularity did not affect their ticket sales, thus hurt the exhibitors. This did not stop producer David O. Selznick, who next offered West the role of the sage madam, Belle Watling, the only woman ever to truly understand Rhett Butler, in Gone with the Wind, after Tallulah Bankhead turned him down. West also turned down the part, claiming that as it was, it was too small for an established star, and that she would need to rewrite her lines to suit her own persona. The role eventually went to Ona Munson.

In 1939, Universal Studios approached West to star in a film opposite W. C. Fields. The studio was eager to duplicate the success of Destry Rides Again starring Marlene Dietrich and James Stewart, with a comic vehicle starring West and Fields. Having left Paramount 18 months earlier and looking for a new film, West accepted the role of Flower Belle Lee in the film My Little Chickadee (1940). Despite the stars' intense mutual dislike, Fields's very real drinking problems and fights over the screenplay, My Little Chickadee was a box office hit, outgrossing Fields's previous film, You Can't Cheat an Honest Man (1939) and the later The Bank Dick (1940). Despite this, religious leaders condemned West as a negative role model, taking offense at lines such as "Between two evils, I like to pick the one I haven't tried before" and "Is that a gun in your pocket, or are you just glad to see me?"

West's next film was Columbia's The Heat's On (1943). She initially did not want to do the film, but after actor, director and friend Gregory Ratoff (producer Max Fabian in All About Eve) pleaded with her and claimed he would go bankrupt if she could not help, West relented as a personal favor. Censors by now, though, had curtailed the sexual burlesque of the West characterization. The studio had orders to raise the neck lines and clean up the double entendres. This was the only film for which West was virtually not allowed to write her own dialogue and, as a result, the film suffered.

Perhaps the most critical challenge facing West in her career was censorship of her dialogue. As on Broadway a decade before, by the mid-1930s, her risqué and ribald dialogue could no longer be allowed to pass. The Heat's On opened to poor reviews and weak performance at the box office. West was so distraught after the experience and by her years of struggling with the strict Hays censorship office, that she would not attempt another film role for the next quarter-century. Instead, West pursued a successful and record-breaking career in top nightclubs, Las Vegas, nationally in theater and on Broadway, where she was allowed, even welcomed, to be herself.

After appearing in The Heat's On in 1943, West returned to a very active career on stage and in swank clubs. Among her popular new stage performances was the title role in Catherine Was Great (1944) on Broadway, in which she penned a spoof on the story of Catherine the Great of Russia, surrounding herself with an "imperial guard" of tall, muscular young actors. The play was produced by theater and film impresario Mike Todd (Around The World in 80 Days) and ran for 191 performances and then went on tour.

When Mae West revived her 1928 play Diamond Lil, bringing it back to Broadway in 1949, The New York Times labeled her an "American Institution – as beloved and indestructible as Donald Duck. Like Chinatown, and Grant's Tomb, Mae West should be seen at least once." In the 1950s, West starred in her own Las Vegas stage show at the newly opened Sahara Hotel, singing while surrounded by bodybuilders. The show stood Las Vegas on its head. "Men come to see me, but I also give the women something to see: wall to wall men!" West explained. Jayne Mansfield met and later married one of West's muscle men, a former Mr. Universe, Mickey Hargitay.

When casting about for the role of Norma Desmond for the 1950 film Sunset Boulevard, Billy Wilder offered West the role. Still smarting from the censorship debacle of The Heat's On, and the constraints placed on her characterization, she declined. The theme of the Wilder film, she noted, was pure pathos, while her brand of comedy was always "about uplifting the audience". Mae West had a unique comic character that was timeless, in the same way Charlie Chaplin did. After Mary Pickford also declined the role, Gloria Swanson was cast.

In subsequent years, West was offered the role of Vera Simpson, opposite Marlon Brando, in the 1957 film adaptation of Pal Joey, which she turned down, with the role going to Rita Hayworth. In 1964, West was offered a leading role in Roustabout, starring Elvis Presley. She turned the role down, and Barbara Stanwyck was cast in her place. West was also approached for roles in Frederico Fellini's Juliet of the Spirits and Satyricon, but rejected both offers.

In 1958, West appeared at the live televised Academy Awards and performed the song "Baby, It's Cold Outside" with Rock Hudson, which brought a standing ovation. In 1959, she released an autobiography, Goodness Had Nothing to Do With It, which became a best seller and was reprinted with a new chapter in 1970. West guest-starred on television, including The Dean Martin Show in 1959 and The Red Skelton Show in 1960, to promote her autobiography, and a lengthy interview on Person to Person with Charles Collingwood, which was censored by CBS in 1959, and never aired. CBS executives felt members of the television audience were not ready to see a nude marble statue of West, which rested on her piano. In 1964, she made a guest appearance on the sitcom Mister Ed. Much later, in 1976, she was interviewed by Dick Cavett and sang two songs on his "Back Lot U.S.A." special on CBS.

West's recording career started in the early 1930s with releases of her film songs on shellac 78 rpm records. Most of her film songs were released as 78s, as well as sheet music. In 1955, she recorded her first album, The Fabulous Mae West. In 1965, she recorded two songs, "Am I Too Young" and "He's Good For Me", for a 45 rpm record released by Plaza Records. She recorded several tongue-in-cheek songs, including "Santa, Come Up to See Me", on the album Wild Christmas, which was released in 1966 and reissued as Mae in December in 1980. Demonstrating her willingness to keep in touch with the contemporary scene, in 1966 she recorded Way Out West, the first of her two rock-and-roll albums. The second, released in 1972 on MGM Records and titled Great Balls of Fire, covered songs by The Doors, among others, and had songs written for West by English songwriter-producer Ian Whitcomb.

After a 27-year absence from motion pictures, West appeared as Leticia Van Allen in Gore Vidal's Myra Breckinridge (1970) with Raquel Welch, Rex Reed, Farrah Fawcett, and Tom Selleck in a small part. The movie was intended to be deliberately campy sex change comedy, but had serious production problems, resulting in a botched film that was both a box-office and critical failure. Author Vidal, at great odds with inexperienced and self-styled "art film" director Michael Sarne, later called the film "an awful joke". Though Mae West was given star billing to attract ticket buyers, her scenes were truncated by the inexperienced film editor, and her songs were filmed as though they were merely side acts. Mae West's counterculture appeal (she was dubbed "the queen of camp"), included the young and hip, and by 1971, the student body of University of California, Los Angeles (UCLA) voted Mae West "Woman of the Century" in honor of her relevance as a pioneering advocate of sexual frankness and courageous crusader against censorship.

In 1975, West released her book Sex, Health, and ESP (William Allen & Sons, publisher), and Pleasure Man (Dell publishers) based on her 1928 play of the same name. Her autobiography, Goodness Had Nothing to Do with It, was also updated and republished in the 1970s.

Mae West was a shrewd investor, produced her own stage acts, and invested her money in large tracts of land in Van Nuys, a thriving suburb of Los Angeles. With her considerable fortune, she could afford to do as she liked. In 1976, she appeared on Back Lot U.S.A. on CBS, where she was interviewed by Dick Cavett and sang "Frankie and Johnny" along with "After You've Gone." That same year, she began work on her final film, Sextette (1978). Adapted from a 1959 script written by West, the film's daily revisions and production disagreements hampered production from the beginning. Due to the near-endless last-minute script changes and tiring production schedule, West agreed to have her lines signaled to her through a speaker concealed in her hair piece. Despite the daily problems, West was, according to Sextette director Ken Hughes, determined to see the film through. At 84, her now-failing eyesight made navigating around the set difficult, but she made it through the filming, a tribute to her self-confidence, remarkable endurance, and stature as a self-created star 67 years after her Broadway debut in 1911 at the age of 18. Time magazine wrote an article on the indomitable star entitled "At 84, Mae West Is Still Mae West".

Upon its release, Sextette was not a critical or commercial success, but has a diverse cast. The cast included some of West's first co-stars such as George Raft (Night After Night, 1932), silver screen stars such as Walter Pidgeon and Tony Curtis, and more contemporary pop stars such as The Beatles' Ringo Starr and Alice Cooper, and television favorites such as Dom DeLuise and gossip queen Rona Barrett. It also included cameos of some of her musclemen from her 1950s Las Vegas show, such as the still remarkably fit Reg Lewis. Sextette also reunited Mae West with Edith Head, her costume designer from 1933 in She Done Him Wrong.

West was married on April 11, 1911 in Milwaukee, Wisconsin to Frank Szatkus (1892–1966), whose stage name was Frank Wallace, a fellow vaudevillian whom she met in 1909. She was 17. She kept the marriage a secret, but a filing clerk discovered the marriage certificate in 1935 and alerted the press. The clerk also uncovered an affidavit in which she had declared herself married, made during the Sex trial in 1927.

In August 1913, she met Guido Deiro (1886–1950), an Italian-born vaudeville headliner and star of the piano-accordion. Her affair, and possible 1914 marriage to him, as alleged by Diero's son Guido Roberto Deiro in his 2019 book Mae West and The Count, went "very deep, hittin' on all the emotions". West later said, "Marriage is a great institution. I'm not ready for an institution yet."

In 1916, when she was a vaudeville actress, West had a relationship with James Timony (1884–1954), an attorney nine years her senior. Timony was also her manager. By the time that she was an established movie actress in the mid-1930s, they were no longer a couple. West and Timony remained extremely close, living in the same building, working together, and providing support for each other until Timony's death in 1954.

West remained close to her family throughout her life and was devastated by her mother's death in 1930. In 1930, she moved to Hollywood and into the penthouse at The Ravenswood apartment building where she lived until her death in 1980. Her sister, brother, and father followed her to Hollywood where she provided them with nearby homes, jobs, and sometimes financial support. Among her boyfriends was boxing champion William Jones, nicknamed Gorilla Jones (1906–1982). The management at her Ravenswood apartment building barred the African American boxer from entering the premises; West solved the problem by buying the building and lifting the ban.

She became romantically involved at age 61 with Chester Rybinski (1923–1999), one of the muscle men in her Las Vegas stage show – a wrestler, former Mr. California, and former merchant sailor. He was 30 years younger than she, and later changed his name to Paul Novak. He moved in with her, and their romance continued until her death in 1980 at age 87. Novak once commented, "I believe I was put on this Earth to take care of Mae West." West was a Presbyterian.

In August 1980, West tripped while getting out of bed. After the fall she was unable to speak and was taken to Good Samaritan Hospital in Los Angeles, where tests revealed that she had suffered a stroke. She died on November 22, 1980, at the age of 87.

A private service was held at the church in Forest Lawn, Hollywood Hills, on November 25, 1980; (the church is a replica of Boston's Old North Church.) Bishop Andre Penachio, a friend, officiated at the entombment in the family mausoleum at Cypress Hills Abbey, Brooklyn, purchased in 1930 when her mother died. Her father and brother were also entombed there before her, and her younger sister, Beverly, was laid to rest in the last of the five crypts less than 18 months after West's death.

For her contribution to the film industry, Mae West has a star on the Hollywood Walk of Fame at 1560 Vine Street in Hollywood. For her contributions as a stage actor in the theater world, she has been inducted into the American Theater Hall of Fame. On June 25, 2019, The New York Times Magazine listed Mae West among hundreds of artists whose material was destroyed in the 2008 Universal fire.

[cassandraclare]

Malecparty, Red Scrolls, and women writing for money.

havisha1212 said: Hi, I just want to say that i've been seeing a lot of discourse online. [There are those] trying to boycott RSOM because apparently they know that your intentions with the book are to get money, even though you were offered more money to write Clace. I just want to say that you have thousands, if not in the millions of people who understand that you write what you want to write. WE LOVE YOU and we appreciate you.

I appreciate the love, truly. Of course I’m also distressed to hear about a boycott of The Eldest Curses, since it will be a book with a main interracial gay couple and a secondary interracial lesbian love story. A vendetta specifically targeting a book like that won’t be seen by the outside world of publishing as an act of support for something else. It would be seen as exactly what they expect — a lackluster interest in books about LGBT+ characters.

I guess there are a few things to talk about here: one is the realistic situation of LGBT+ kids’ publishing and one is about women’s writing. In terms of the first, it’s very strange to suggest I wrote these books for money when I did, as you say, take a pay cut to write them. I was paid a third of what I was paid for the Dark Artifices to write them though they are the same number of books. I was paid less than what I was paid for my adult Sword Catcher series which features a world and characters no one has any familiarity with at all — a completely unknown brand. Many of my international publishers still won’t publish TEC. One bought it and has as of now cancelled the deal, though they have bought different books from me since. There are a thousand things I could have written or done that would have made me more money. That’s the stark reality of the “cash cow” the boycotters are discussing. 

Someone in Hollywood once described Alec’s being gay to me as “a strike against the character’s likeability.” So far in publishing I have experienced publishing TEC as “a strike against its marketability.” As you all know, it was pushed back: that was because my publisher wanted Queen of Air and Darkness to come out first and set a record of strong sales — while they support the books completely, they want to be as pro-active as possible about getting diverse books front of as many people as possible.

I’m in a lucky position; I’m a bestselling author and if these books don’t sell at all, my career can take the hit. That’s partly why I’m writing them now, when I finally can: I think it’s important to make sure books like this are placed front and center in bookstores as expected bestsellers, but if these books blow up on me, I’ll survive it. Other writers who are writing books with LGBT+ content wouldn’t be so lucky, and the message of boycotting a “big” book with a gay main couple isn’t “We don’t like this author” (because my other books are doing just fine) — it’s “We don’t like this subject matter.” (It is also a strange punishment for Wes Chu, my cowriter, often forgotten in these debates — a man of color writing about another man of color.)

I am of course not saying anyone who doesn’t want to read these books should buy them. We should consume the entertainment we think should entertain us; that’s what it’s for. But the idea of punishing female writers for their moral failings is an old and unfortunate one. It’s always been acceptable for men to write for money, or for attention; “she wanted attention” is one of the worst things you can say about a woman, but an inoffensive thing to say about a man. Similarly I’ve often been told online that I don’t deserve to be paid for what I write, or that my creative work should be taken away from me and given to men. It has always been expected since the Victorian era that writing about complex people and complex stories is a man’s job, and women should write simple moralistic tales in which the good are rewarded and the bad are punished. When a good character in a man’s book does something wrong, he is congratulated for his complexity; I get told at great length how morally terrible I am personally, since female writers are not generally assumed to have the emotional distance from their characters that with men, is a given.

The roots of taking away women’s ability to profit from their work goes back centuries into the idea that it’s evil for women to own intellectual property at all. One of my favorite writers, Colette, died in poverty because her husband owned the copyright to her bestselling books. There is a deep discomfort with the idea of a woman being paid what she’s worth at all. Writers are entertainers and they don’t work for free any more than singers or actors or TV showrunners. I am the sole breadwinner of my family and I support my parents and others with the income I derive from working on the intellectual property I create. A man would be congratulated on his success. I am called a money-grubbing bitch. A man would be credited for his work. I get people spitting at me that Red Scrolls is “fanfic”, as if these were not characters I created myself, so intense is the need to shame women for the act of creation and the desire to take it away from them.

One of the reasons we self-published Ghosts of the Shadow Market was because I wanted to write a novella about a genderqueer lesbian and I wanted it to get the same attention as the other stories in small invisible ways sometimes readers don’t even notice — the same time spent on the cover, the same hiring of a great audio reader, the same time being edited, the same advertising. When EET came out we all sat around wringing our hands and hoping it would at least sell half as much as the others: it sold just as well, and we were thrilled. We can hang onto those numbers. We can prove important points in future to the publishing world about the viability of non-binary LGBT+ characters. Sales do matter. The Red Scrolls of Magic is a book, and sales expectations are higher for books than short stories, so I know I will be in the same state of fear and hope when it comes out.

But the fact Every Exquisite Thing did well means something else, too: I believed there was an audience for it, and every person who bought it proved me right. The outpouring of love during the contest for an early Red Scrolls of Magic copy was amazing, and I scrolled through the #malec and #malecparty tags (thank you so much you guys! Winners will be notified!) with tears in my eyes, overwhelmed by readers’ stories of coming out and having their eyes opened to new ideas, and most of all by their love. Before I ever had attention or money, I had the joy of creation. One of the most amazing feelings when writing is to make up people, and to have real people invest in your inventions. I created Magnus and Alec, building them into characters I could love block by block, and yesterday I got to see other people love them too. I have been awed by and grateful for the support of every reader who has embraced the diverse world I have tried to create, and the increasing diversity I try for as I keep on writing and am allowed to have more freedom in what I write than when I first began and was turned down by publishers because I wouldn’t remove Alec from my books. I am hoping to help change attitudes and create, along with many writers and readers who believe that diverse media makes a difference, a world in which a book with a main LGBTQ pairing will be judged purely on its literary merits. We’re not there yet! I wish we were. But the increasing call for and support for diverse literature makes me hope we are getting there. I trust in my readers. I have to believe that anybody calling for a boycott of The Red Scrolls of Magic is in a small hateful minority who has lost sight of how their actions would be perceived by the world, and the effect their actions would have on the world. I have to believe that there are far more people who are open to loving and supporting diverse stories.

Money and attention are great. But in the end, I write because I do believe words have the power to change people, and change the world. Ultimately, I have to do what I think is the right thing, and trust that other people will too. My readers haven’t let me down yet.  

[I decided to remove the part about the television show from the original ask. Unfortunately the asker has been forced to delete their tumblr because of responses to this post, and so I cannot ask them for clarification. I hope they are all right.

This answer is in response to this ask and others like it — it was not the only one — about people having decided to boycott Red Scrolls because they believed it was “an attempt to make money”. Their alliances aren’t important and I’m getting the sense this may have been an attempt to drag me into a fight I’m not interested in having and which I have deliberately avoided knowing or saying anything about since the show was cancelled. I’m interested in talking about keeping diverse lit front and center, and I’m interested in talking about how female creators are treated, online and off. I am irritated — and partially with myself — for having been dragged into internecine warfare between fans of different things. It’s not my place to opine on those things or on the fighting itself. I also removed the word “stan” from the original ask as I think it’s an insult. Fans are fans, whatever they like.]

[bonesloveeverandemilyanddavid]

Emily Deschanel on Biggest 'Bones' Lessons, Working With David Boreanaz and Returning to TV

  June 04, 2019 9:45am PT by Jean Bentley

  The actress formerly known as Temperance Brennan is returning to television in TNT's 'Animal Kingdom,' and discusses the evolution of her career with The Hollywood Reporter.

When Emily Deschanel graduated from theater school, she planned to spend her career doing off-Broadway shows and the occasional indie film. The actress, who is best known for the 12 years she spent starring on Fox procedural Bones, chuckled on the phone while remembering those early career goals.

"I remember somebody laughing at me, like, 'OK, if you never want to make any money, then great,'" she told The Hollywood Reporter.

While her earliest credited parts include small roles in not-so-indie films including Cold Mountain, Glory Road and The Alamo, Deschanel's big break came after being cast in Stephen King's ABC miniseries Rose Red. A couple of pilot seasons later and she was the No. 2 on the call sheet for Bones, behind former Buffy the Vampire Slayer and Angel star David Boreanaz, where she'd spend the next decade-plus of her life.

                          Two years after her Fox drama ended, Deschanel now finds herself headed back to television in a recurring role on TNT's crime family drama Animal Kingdom. While she spent 12 years playing forensic anthropologist and straight-laced FBI collaborator Temperance Brennan on Bones, she's on the other side of the law as recovering addict Angela on Animal Kingdom.

Deschanel spoke with The Hollywood Reporter about her nearly two decades in Hollywood — including following in the footsteps of her younger sister, Zoey Deschanel (their parents are both in the industry; their father is the Oscar-nominated cinematographer Caleb Deschanel and their mother is Twin Peaks actor Mary Jo Deschanel), working with occasionally difficult co-workers, the Bones lawsuit that has made her wary of signing contracts, and deciding to return to the small screen after a hiatus.

When did you start acting?

When I was growing up I always wanted to be an architect, for whatever reason. I guess it's the perfect blend of art and math and science, which, to me, was really appealing. But then I went to Crossroads for high school and I discovered theater and discovered acting, and I really loved doing it. I think I wouldn't have become an actor if I hadn't gone to the conservatory at Boston University for theater. You get to do four plays a year there, and I think I wouldn't have had the experience to give me the confidence to pursue being an actor after college if I hadn't done something like that. Of course, I look back and wish I'd gone to a liberal arts school and got a more well-rounded education, but there's always time to educate yourself, I guess. I think it was probably the right path for me because it gave me the experience, it gave me the confidence to try and pursue acting. My sister was already [acting]. She was always a natural performer, so she didn't need an external source to tell her she could pursue something.

I just loved theater, I loved to study, I loved Shakespeare. I'm the kid that went to Shakespeare camp three years in a row. Of course when I left school I was like, "I'm going to do Off-Broadway theater only and maybe independent film. And that's all." I remember somebody laughing at me, like, "Okay, if you never want to make any money, then great." It was such a specific thing. I can't say that I had a grand plan of what my career would be. Clearly I had one idea that changed completely, and I've done television for many years.

I moved back to L.A. after a period of time in New York and I finally got representation that sent me out. I had representation in New York but I think I got zero auditions for a whole year, so I was just working in a restaurant there, but it was still fun. A few months in, I think it was six months after moving back, I got this miniseries: Stephen King's Rose Red. Such a big job to get, where I was in Seattle for many months and it was so exciting to me. It was not a main character but it was a character that was in the show a lot. It was so much fun and I quickly loved being a complete sellout. [Laughs] I met one of my best friends, Melanie Lynskey, on that. We're still so close. I love the camaraderie with the actors — I love working on set and being on location too, you get to know people even more because you're kind of stuck in a place far away. I loved it.

Then I did a pilot after that and I did a Law & Order: SVU, so my first several jobs were all in television, and then I did some independent films and small parts in other films.

   What was it like when Bones came along? It was probably exciting to book a pilot, but obviously at the time you have no idea that it's going to last more than a decade.

I had zero idea, and that was not my plans for things, either. I had done a couple pilots before and this was towards the end of the pilot season, or the end of their casting of the show, and I got a call to come in and audition for it. I met with Hart Hanson, who created the show; Barry Josephson, the producer; Greg Yaitaines, who was directing it. They laughed at my jokes, so I thought they were really nice people. Especially Hart Hanson loved my stupid jokes, so I'll always remember that.

I remember loving the dialogue between the two characters, really quick witty repartee, and I liked that relationship. I liked that it was a strong female character. When you sign on to do a TV show you have to think about the long term, especially in the beginning when you're doing the pilot, what kind of message you're putting out there for people. Of course this is like the opposite of now what I'm doing — Animal Kingdom is like the worst thing that could ever happen to a person for what you put out there. On Bones it was a different show. Younger people watched it, so you have to think about young girls watching the show and seeing female role models and scientists who are really smart and accomplished in their careers, and are successful.

I thought about all of that and I really responded to the script, and then I met David Boreanaz. He already had the part when I auditioned for it. I remember thinking, Oh, this could last us three years. That would be the longest I could ever in a million years imagine that it could ever last. And then it kept going and going and it was a lot of fun, with some great people. I look back with such fondness.

I [spoke with] a friend recently who was an actor on the show as well, and he was saying, "You seem so might lighter than when you were on the show!" And I'm looking back on it thinking I was so easy-breezy but apparently I was like "I will stress out about every single thing that I could possibly stress out about." It's a lot to be the lead of a television show. It's a lot of responsibility and it's an honor, but you do have to set a tone for a set, and there's pressure to keep the show going and be good. There's all kinds of things that I was probably holding on to that I wasn't realizing, and I look back just remembering all the fun times we had on set with the other actors — like the times in between when they say "cut" and before they say "action" — and of all the conversations we had. I look back thinking I was so easy-breezy but was usually very stressed about everything.

 She's also a character who is not very emotional, so you probably also had to tamp down your own feelings more when you were playing her.

Yeah, that's true. I remember the first season doing takes where there was some things that were super upsetting. I remember there was an episode about a girl in foster care and my character was supposed to be in foster care and I was just bawling crying. We couldn't use any of it. I was so upset but my character was so cut off emotionally. I loved, like I was saying, that we had these strong female characters. Hart Hanson, who created it, was a feminist himself and we talked about how my character would never be saved by the male lead until I saved him first. We had things like that, and my favorite thing ever was when I met young girls who said they wanted to become scientists or they were in the process of studying science because of watching the show. That just makes me so happy that we had that kind of impact on people in such a positive way.

What was it like working with David Boreanaz, who had come off of a decade of successful shows with Buffy and Angel? What was it like for you as a relative newcomer to be paired up with someone who can be notoriously prickly sometimes?

No comment. [Laughs.] No, he was very respectful of me. He respected me from the very beginning, and I will always appreciate that. We had a great relationship. I had worked for several years but I'd never been a regular on a TV show before, so it was very new to me. He never tried to tell me what to do, never tried to school me in any way or make me feel like I didn't belong or like I was learning and new. We went to an acting coach, so we basically had therapy every week together which is kind of hilarious, in certain ways, 'cause we would talk about our lives as well in the sessions.

We also had an agreement: We spent more time with each other than we did with our own spouses — with anybody else, really — and we fully acknowledged that we would drive each other crazy. We gave each other permission to walk away at different times, or just say "you're really bothering me right now," or "you're annoying me, I have to get away from you." And we rarely used that because we gave each other permission and we talked about it. It really helped us to get along better in that way, and he always respected me and I love that about him. We would laugh about a million things and he became like a brother and played jokes on me and stuff. For some reason it became a joke that if someone was acting badly, you give them a Diet Coke. I don't drink soda, so if somebody brought me a Diet Coke, I knew it was because he would tell a PA to bring me a Diet Coke as a joke. I didn't do that to him every often. He was more of the mischievous one of the two of us for sure, but we had a lot of good times together.

That sounds like a healthy way to approach that type of relationship.

People have work husbands and work wives at their jobs. I think that's not uncommon, but it takes it to another level playing opposite each other and being married to each other, for sure.

You and David still have a lawsuit pending against Fox for withholding profits from the show. Is there anything you can say about what you learned from that whole experience, and how it has impacted your deals going forward, or even advice to other actors dealing with that issue?

I can't really talk about it because it's still going on. It's not over. I would love to talk about it at some point, but I can't talk about it now. I can talk about it with my friends, but I can't talk to the [press] about it. We can talk in a couple of years. It makes me nervous to sign a contract.

                   What's your biggest takeaway from your experience on Bones?

Oh, there's so much. I loved playing that character for 12 years. I loved the people I worked with, not just the cast but the crew. I loved telling the stories. I loved all of it. For me, going forward, I just don't want to do the same thing twice. At this point, I have no interest in doing 22 episodes of a television show. I want to play different characters, I'm open to anything — I'm not going to say that I'm not doing television because I'm currently filming television, but I'm not a series regular. That was a plus to me going in. I have flexibility. When you're a guest star you can come and go, and there's no contract, which is great going into my first job after doing Bones. And I don't want to take too much time away from my kids. So that's basically how I see things now, but I'm not anti-television by any means. It really is the golden age of television right now; there's so many amazing things going on, so many stories that are being told, and people doing it so well. I would never write off doing television.

You produced and directed on Bones, is that something you want to do more?

Yeah, all of it. I loved being a producer on Bones. It gives you a say in things, and I really appreciated that. Directing I really loved, and I'm very much interested in doing more of that in my life, but it takes up time. It depends on the time and finding the right project, because you don't want to spend all that time producing or directing something that isn't something you are completely passionate about. It's about finding the right project, and the right timing, with family and everything, I could do that again.

Your character on Animal Kingdom is very different than we've seen you play in the past.

I was really interested in having the conversation about addiction. The character is a recovering heroin addict, and this is a big issue in our country right now. This is a character you're seeing enter the show at rock bottom: She's just come out of prison, she's got nowhere to live, and she's trying to establish herself. This is a character who is sensitive to things, has seen everything in life, has done all kinds of things in her life, like a lot of people who have dealt with addiction have. This is a character who is a survivor. She's trying to find her way in the world and she's doing to do whatever it takes to establish herself to get what she needs, basically.

So she might come across as manipulative. She always has the reasons for doing what she does, but that's like all the characters on the show. They're like criminals, addicts, sociopaths,and she fits in with all that. My character is the best friend of Ellen Barkin's character's daughter so I've known the family for years and years and years, and I see it as an opportunity for myself to get in with the family and see what I can get out of it.

It sounds like there might be a throwdown between Angela and Smurf, Ellen Barkin's character.

Yeah, my character and her character did not like each other. I blame her for her daughter's death, and she blames me, essentially. There's no hiding how we feel about each other. It gets very intense between the two characters for sure. I'm the woman coming in for her territory and I move in to her house. She is not happy about that. I can't say that there's a throw-down fight between us, but it gets intense. Which is always uncomfortable because I love Ellen Barkin so much as a person and as an actor, so I hate the fact that our characters don't get along. But at least we get along off camera!

Animal Kingdom airs Tuesdays at 9 p.m. on TNT.

x

[cannoli-reader]

A Thought or two on the race of the Wheel of Time casting.

So “The Wheel of Time” has cast a group of people to play the characters born to Two Rivers families, Nynaeve, Perrin, Egwene & Mat.  And there have been concerns.  And there have been people making knee-jerk assumptions that these concerns are entirely founded in racism. And hey, maybe there are some. But I don’t think all of them necessarily are. 

First of all, some personal context. I am not really a SJW or much concerned about race issues in general. I am white, of entirely European ancestry, but I haven’t the slightest bit of “white guilt”. “Get Out” did not make me the least bit uncomfortable because I had absolutely no comprehension of the white characters. I understand that “representation matters” in media, but it matters to white people as well, which is why ‘Hollywood’ which is not a monlithic entity, mostly casts white people.  I don’t care if there are not enough black people or too many white people in any given movie.  We can have Scotsmen playing Lithuanian-Russians or try to pass off their burr as a brogue. We can have Terry Molloy, Stanley Kowalski and Vito Corleone, members of immigrant communities from very different parts of Europe, played by the same man. 

That said, while I think adaptations have a degree of responsibility to be faithful to the original work or to the historical time period, I don’t care that Michael Jordan and Reg E Cathay and Jessica Alba were cast as members of a family that is white in the picture books in which the Fantastic Four originated or that black paratroopers were in “Overlord”. I would not approve of T’Challa being played by a white person, because that IS important to his character.  And insisting on casting a woman of color as Cleopatra in the name of historical accuracy instantly destroys my respect for you. 

What we know about the appearance of the Two Rivers people is that they seem to be about average height for their part of the world.  Nynaeve & Egwene are short by modern standards (for a white or black North American), while Perrin is tall and Mat above average. They have somewhat darker complexions than the very Nordic-looking Aiel and possibly Andorans, but on the other hand, no character ever uses Two Rivers folk as a touchstone for dark skins, the way they do the Sea Folk or Tairens.  Even Domani are often mentioned as having coppery colored skins, with Two Rivers people using the terminology the same as lighter-skinned people, suggesting that they too, are lighter-skinned than the Domani.  When Elaida points out that Rand’s natural skin tone is unusually light for a Two Rivers native, she pushes up his sleeve to show the untanned skin, which to me suggests that Two Rivers people are not much, if at all, darker than a very pale person tans. So people do have a point that the actors for Perrin and Nynaeve, at least, if not also Egwene, are darker than they are portrayed in the books.

To which I say, “So what?” The important thing is that Rand is clearly different from the others.  That is probably even easier to convey visually if they use actors from different races, so Rand clearly stands out.  It might have been more interesting to make Rand the person of color, but then you’ll turn all the stuff into racial issues, and we don’t need that in discussions of the show.  Seriously, that was one of the more tedious parts of reveling in all the on-line criticism of Season 8 of Game of Thrones, which I prefer to think of as HBO’s six-part documentary, alternatively titled “Cannoli Was Right All Along.”  They didn’t kill off the Dothraki because they are racists, they killed off the Dothraki, to the extent that they did, because they long ago jettisoned everything else in service to spectacle.  Which brings me to the point that TV writers can’t be trusted and there are lots of other concerns in what they are going to do, beyond letting some black folks get full of themselves because Nynaeve would make Captain Marvel, Wonder Woman and Rey hide under the bed when she’s annoyed at them. 

One of the problems in “Game of Thrones” was that a lot of adaptational choices were not thought through, long term, nor were the implications. Like how Daenerys crowd-surfing on her freed slaves would look, compared to her riding her horse through a cheering crowd.  Or how abandoning a lot of the world building meant some things made very little sense.  If you read the books, between the lines, you know that the Dance of the Dragons (a war in-universe, not the book title) pretty much put paid to the idea of a woman inheriting the Iron Throne. But on the show, all we heard about that is that Stannis thinks the name is stupid.  In the books, he has definite opinions, including that the losing female contender was a traitor for attempting to claim the crown over her younger half-brother. But this sort of world-building would justify the characters’ stated preference for Jon’s gender over Daenerys in Season 8.  Going by the show alone, that makes no sense, because most of the nobles left at this point are women, and very few of the male lords would have reason to favor Jon over Dany, or else they were opponents of Dany for other reasons, like their die-hard support of Sansa, who was pro-Jon. The show’s worldbuilding undercut their own point of conflict, but they tried to fall back on book worldbuilding they had never serviced and made deliberate choices to omit characters or storypoints that would have supported that detail.

At this point I can’t see how the particulars of the Two Rivers’ ethnicity would affect the story, but I also thought cutting fAegon from “Game of Thrones” was a good idea when Season 5 rolled around.  To the extent that it is an issue in the story, the Two Rivers district of western Andor was once the heartland of a legendary nation called Manetheren.  When the nation was betrayed by their allies, the army fought alone to hold the ford of one of those eponymous rivers for far longer than anyone had thought possible, with civilians taking up arms to join them in hopes of preserving some fraction of the population.  In the end they all died fighting, but the enemy force was wiped out as a result of their defense, and so the few survivors who had got out came back, rebuilt their homes and said “We’re only leaving this country feet first.” But they lacked the human capital or resources to rebuild the nation and have been reduced to a rural farming community centered around a trio of villages.  There is a fourth village, called Taren Ferry, at the river crossing that is the only known way in or out of the Two Rivers, but they don’t have much to do with the rest of the area, and are looked at askance by the proper Two Rivers folk.  

It is also established in the text that the Taren Ferry people are the only ones to interbreed with outsiders or to have much intercourse with them at all.  The people living deeper in the Two Rivers are an isolated culture and breeding population.  Itinerant enterainers, merchants buying their crops and peddlers selling goods they cannot make themselves are their only contact with the outside world, and at one point a character actually scoffs at the idea of marrying one of them.  Rand is physically unique because his father, nearly equally uniquely, left the Two Rivers as a young man and came home with a wife from somewhere else and their baby.  

Because the Two Rivers people have only been reproducing among themselves for two thousand years, certain characteristics are reinforced in their genetics.  This is revealed when one of them, in a moment of stress, facing the same enemy that destroyed Manetheren, starts shouting in the language Manetheren spoke, using phrases specific to Manetheren.  This is later diagnosed as a kind of racial memory emerging, and strongly suggests that the character is a descendant of strong geneological connections to the last king of Manetheren. A second character feels a sort of recognition, suggesting a lesser degree of this Old Blood as it is called in the books. The other two native Two Rivers people don’t feel it. 

Now here’s the two fold problem with the casting.  The problem is not Marcus Rutherford and Zoe Robins, it is Barney Harris. They should ALL be the same race.  They’re isolated and have had very very few reproductive encounters with outsiders. Mat Cauthon should not be played by a clearly white actor if the rest of the Two Rivers is something else. 

But the really funny bit comes with the implications of the casting with regard to the Old Blood. 

Because these are the two people who are not the purest royal-blooded Two Rivers folk:

and 

while this is the one with maybe a hint of the blood of the legendary hero-king:

and THIS is the pure-blooded descendant of ancient royalty:

Ooops.  Gonna be fun when the people whose major problem with Missandei’s death is that a black woman didn’t have get to be in the last two episodes, watch the scene where Rosamund Pike tells THAT GUY, up there, how special his bloodline is.

But maybe they just rolled with the casting choices because they are going to skip the Old Blood issue. Okay. But like I said above, you never know what’s going to bite you in the butt seven or eight seasons down the road.   But the cynical part of me is greatly amused at the implications of the apparent mixed race heritage of the Two River people, and what it suggests about who the nobles and who the commoners were in the glory days of Manetheren.  On the other hand, you get the suggestion that the barriers between lords and commoners came down as they fought side by side to save their land and then worked side by side to make their community survive and we got people intermarrying without regard to the old social divisions.