Cameron Airen – Bitch Flicks

The Women of ‘American Ninja Warrior’ Challenge Gender Stereotypes

‘American Ninja Warrior’ may not have had any intentions of connecting to feminism necessarily, but they have created a platform for women to shine in multiple ways and to inspire other women, whether athletically or not.

This is a guest post written by Cameron Airen, who interviewed Joyce Shahboz and Michelle Warnky.

“What!? Shut the front door. She’s about to do the impossible for the second time,” shouted the hosts of American Ninja Warrior as millions of us watched 5’0”, 95lb Kacy Catanzaro become the first woman to hit a city finals course. This meant that she was the first woman to qualify for Mount Midoriyama, the finals in Las Vegas consisting of four stages. Catanzaro’s achievement was led by her being the first woman in the history of the show to beat the warped wall and finish a qualifying course. She made history that year on American Ninja Warrior, but she wasn’t the only one.

2014 of American Ninja Warrior was the year of many firsts for women. Michelle Warnky and Meagan Martin were the second and third women to make it up the warped wall and hit buzzers on their city’s qualifying course following Catanzaro. This was the first time this many women qualified for a city’s finals course in the same season.

There are five women veterans on American Ninja Warrior that particularly stand out. Catanzaro, Warnky, and Martin are three of them. Jessie Graff was the first woman to complete five obstacles and the second woman, besides Catanzaro, to qualify for the Vegas finals. Joyce Shahboz was one of the first women to compete on the American Ninja Warrior course and has been participating since season four. At 44 years old, she is also the oldest woman “to make it to Vegas and to the 5th obstacle.” One of the reasons to love American Ninja Warrior is because it represents athletes of all ages. Shahboz told me, “There are things I can do now that I couldn’t do 3-4 years ago and I’m 44 as of today!”

One of the most captivating aspects of American Ninja Warrior is that the women compete on the same platform as the men, making gender irrelevant. This appeals to Warnky, who said,

“I know many people have made comments to me about having a separate Ninja Warrior for ladies. But for myself and at least several other ladies I’ve talked to, we like that extra challenge, we like the strength that is required, and we enjoy competing with the guys.”

The hosts of American Ninja Warrior, Matt Iseman and Akbar Gbajabiamila, generally do a good job of not making a big deal of gender in relation to one’s performance on the course. During Martin’s run at the 2014 Denver finals, Gbajabiamila exclaimed, “She’s got the athleticism; she’s got the upper body strength; she’s built for American Ninja Warrior — that’s for sure!” This is a testament of how the course, with different obstacles that benefit different athletic strengths, is made for people of all genders.

By participating on American Ninja Warrior, women get to demonstrate their strength and other abilities, challenging the gender stereotypes placed upon them. There’s no doubt that the women have the strength, including upper body strength, in order to finish all of the obstacles. In fact, the upper body exercises are the women ninjas’ favorites to perform. Shahboz pointed out,

“The upper body challenges are appealing to us. In Japan, the Women of Ninja Warrior course isn’t as upper body intensive, and we all felt that was our forte and wanted more of the physical strength challenge instead of the balance challenges.”

On a tougher course with new obstacles, Jessie Graff was the first athlete to get the farthest on the 2015 Venice finals course. Even though she didn’t complete the course, she came close, making it to the second to last obstacle, giving it her best fight. Only the top 15 qualify for Vegas and she finished in sixth. Graff ended up being the woman who made it the farthest in a city finals course across the nation.

There is a huge gender disparity on American Ninja Warrior and that needs to change if we want to see women succeed more than they already do on the show. If there were as many women on the show as there are men, then there would be a greater chance of women making if farther. No woman has made it up the warped wall and hit the buzzer on stage one in Vegas yet in the history of the show. Shahboz believes it’s because of numbers: “We just haven’t had enough of us trying it out or training at the necessary level until now.” In season four, there were four women, Shahboz included, and 96 men competing in stage one in the Vegas finals. Warnky believes that the biggest challenge women face on stage one in Vegas is speed:

“I know Jessie Graff and I had many conversations and really wanted to beat it and knew we both had the ability to. Time plays a big factor in Vegas. In the regional rounds, most of us women play it pretty safe with time and don’t rush ourselves, whereas in Vegas, women are not able to stall much at all and need to go quickly through the obstacles and in-between the obstacles. Also, any time a girl does pretty well, history can be made, so I think we tend to focus on the safer and surer ways to do things, which isn’t really possible in stage 1. But I do think I have the ability to complete it, as do several other girls, we just didn’t make it happen the day it counted. Hopefully we’ll make that change soon!”

Even though the numbers are still low, more women competed in 2015 than any other year. In an interview with The Hollywood Reporter, executive producer of American Ninja Warrior, Kent Weed, said that the producers want more women competing and doing well, and that we will see more women compete as the show progresses. He doesn’t believe that succeeding at the obstacles has to do with gender and is confident that we will see our first woman to complete stage one in Vegas next year in 2016. Warnky expressed, “Hopefully, the show has encouraged other women to push their limits.” The more women see other women competing on the show, the more they will be inspired to train for it and get accepted.

“Could a woman ever win American Ninja Warrior?” an E! Online interviewer asked Isaac Caldiero after he became the first ever winner of American Ninja Warrior. Without hesitation, Caldiero responded, “Definitely. My girlfriend, Laura, could win it!” Even asking the question shows how far we have come in changing sexist beliefs and attitudes about women’s abilities. When Shahboz competed in season four, she was known for going farther than her husband. She said,

“People who didn’t know me or him would occasionally comment to him about getting beat by his wife. People would ask me, ‘How’d your husband take it?’ It’s still amazing to me that people still have the notion that ‘getting beat by a girl’ is an issue.”

Unfortunately, it is still an issue, otherwise the question of whether a woman could win wouldn’t even have been asked. But, American Ninja Warrior plays a pivotal role in changing all of that.

One way that the show doesn’t reinforce gender distinctions, aside from having women compete on the same platform as the men, is by not referencing gender when discussing an athlete’s abilities. During Martin’s performance at the Vegas 2014 finals, Gbajabiamila said,

“I’ve had a lot of sport heroes in my life: Muhammad Ali, Michael Jordan, Magic Johnson…Oh, add Meagan Martin to the list, what she did was phenomenal.”

Another way American Ninja Warrior doesn’t emphasis gender is that the athletes are all in support and cheer of each other. Shahboz pointed out that her male ninja competitors “have always been encouraging and supportive, it’s never been a guy vs. gal thing.” It’s refreshing to see a friendly community be positive and supportive of one another despite gender and background. This is definitely a rarity for competition shows on TV.

A sense of unity exists among the women of American Ninja Warrior. Even though it is a reality TV show, we don’t see unnecessary drama. It’s a show with friendly competition where the athletes support each other. This is a rarity on TV in general, especially in reality TV where women are often depicted as wanting to tear each other to shreds. It’s quite the opposite on American Ninja Warrior, making it one of those rare athletic competitions where you want everyone to do well. When one ninja falls, the other is sad that her fellow competitor did not make it. The women even travel to other cities to cheer each other on.

This solidarity is powerful and creates a positive influence for women and feminism. We need to see more of it onscreen. American Ninja Warrior may not have had any intentions of connecting to feminism necessarily, but they have created a platform for women to shine in multiple ways and to inspire other women, whether athletically or not. Athletics is often viewed as a metaphor for the rest of our lives. What one learns in being able to conquer a physical obstacle can translate to facing obstacles in other aspects of life. The women on American Ninja Warrior are powerful examples of women coming into and owning their own power, whatever that may look like.

Check out a more in depth interview I did with Joyce Shahboz and Michelle Warnky.

Cameron Airen is a queer feminist with a M.A. in Anthropology and Social Change. She loves to dissect and write about women and gender in film/TV. Cameron is also passionate about vegan cooking and resides in Berkeley, Calif.

‘Salt’: A Refreshing Genderless Lens

This guest post by Cameron Airen appears as part of our theme week on Violent Women.

Violent films with a female at their center tend to be viewed differently than violent films with a male lead. When a woman is in this role, it’s controversial. When a man is in the same type of role, it’s a part of who he is as a human being. We’ve become numb to the violence that men engage in onscreen. As a result, we don’t criticize it like we do when a woman is engaging in it. Also, female leads in violent films are usually represented differently than male leads in the same type of film. Because we are more accepting of violent films with male leads than with female leads, she needs to be constructed differently. Usually it’s her sex appeal that makes her more tolerable to conduct violence, fetishizing her in order to justify her acts. Or her sexual power is her weapon and she succeeds at getting what she wants with it. Or, she’s guided by a male partner almost the entire way through who seems to somehow “know the way” and it’s often the “right way.” She wouldn’t succeed without him. Somehow, we are unable to see her as an independent, powerful being just by her human self-without a man, without needing to be sexy, without needing to give sex in order to have more power.

The film Salt (2010) takes a different approach.

In many ways, Salt is the action film that feminists have dreamed of. Its female lead character, played by Angelina Jolie, does not depend on her being female. What Salt does well is eliminate gender from its focus. Most action films with a female lead are clearly marked by gender. Instead of her character being motivated by experiences that have happened to her because she’s a woman (like in Thelma and Louise or Kill Bill), she’s driven by non-gendered circumstances. In fact, Salt is never once referred to as being a woman/female in the film. She is only referred to as “Salt” or a spy. Whereas, in other films like Kill Bill, she is known as The Bride and is committed to take revenge based on what happened with her wedding and an unborn child. The Bride’s character, experiences, and revenge is all about gender. Even though the lead in Salt was originally meant for Tom Cruise and the film was slightly changed for a female, Salt isn’t characterized by gender. Salt crosses all kinds of gender lines, including going as a “male” disguise, towards the end of the film, to kill the president of the United States. Since Salt’s character isn’t motivated or marked by gender in a way that fuels the story, any gender could easily play her.

Despite its plot holes, Salt is a solid action film. Evelyn Salt is a CIA officer accused of being a Russian spy. One of the most interesting points of the film is how ambiguous her character is. We don’t know whose side she’s on and whether we should root for her or not. While the plot is confusing, it’s refreshing to have a female action lead whose intentions are ambiguous, as we are starting to see onscreen more today.

Salt has some of the best violent scenes seen in an action film. After Salt has been accused of being a Russian spy, she tries to escape the CIA building. Her colleagues try to trap her but she makes a bomb to blow down the doors and runs away. Have we ever seen a woman make a bomb in a film before? This might be a first for women in film and it’s no surprise that Jolie is the one to instigate it. Not only is Salt’s action unrestricted by a female lead but Jolie performed her own stunts.

After Salt escapes and scales a tall apartment building, she gets cornered by the CIA and jumps off of an overpass onto a moving semi truck driving on the highway. The film’s already frenetic pace ratchets up another notch and actually gets even better when Salt meets up with Orlov, the Russian man who trained her. At a barge, Orlov has her husband killed right in front of her eyes by her Russian comrades. Salt has to hide her tears and emotions so that her comrades don’t suspect her as being a traitor. Later, when alone with Orlov, she makes no hesitation in killing him with a broken liquor bottle, then goes on to wipe out the rest of the men on crew with a machine gun and hand grenades. Salt doesn’t stop there. She lets herself get arrested after appearing to kill the Russian president. Handcuffed in the back of a police car, she knocks out the officers next to her, then tasers the driver and tries to steer the car. At this point, we have no idea why Salt let herself get caught, but the action scenes keep you at the edge of your seat.

One of the best scenes in Salt is after Salt is placed in handcuffs once again, and is being escorted out of the White House up a flight of stairs. Winter, her colleague who betrayed her and orchestrated her husband’s kidnapping, is waiting for her at the top of the stairs with a pair of scissors in hand. When she approaches him, Salt manages to wrap her handcuffs around Winter’s neck as her body jumps over the stair railing and chokes him to death. The way she fearlessly snatches Winter’s neck with her chain and lets her body dangle from the top of a staircase with her face bloody from fighting Winter is a creative and incredible scene that I’ve never seen in a film before.

One of the more interesting parts that the film lacks is a sex scene. We don’t once see Jolie in her underwear or naked. In fact, she is fully clothed the entire time except in the very beginning scene when she’s being tortured in a non-sexual way. As much as I wanted to see a sex scene with Jolie, I was happy that the film didn’t actually have one. When do we ever not see a hot, steamy scene with the beautiful and sexy, Jolie? This film somehow got away with it and it’s a breath of fresh air. It wasn’t her sexuality that saved her. Typically, a woman is identified by her “sex,” but in Salt, she is simply a human being. Sexual or not, we don’t know. But, her “sex/gender” makes no difference and is not a signifying factor of her character or action. We rarely see a woman kick ass without sexualizing her in some way. It’s great when women can be sexual beings and kick ass onscreen, but they tend to be oversexualized in a way that guides their character.

My biggest criticism with Salt is that it lacks diversity. Even though there is a female lead and a main Black male character (who doesn’t get killed), the rest of the main cast is white and male. There are barely any other women in Salt besides Jolie. Sometimes, we think that diversity is achieved simply by having a female lead even if the rest of the cast is male. But, this is false, and it would have been an even better film if there were more women in it. What Salt succeeds in is by having a mostly genderless lens in terms of the main character, and not defining her by sex. Salt is a refreshing action film with a female lead who has some serious violent scenes that will make one hunger for more.

Cameron Airen is a queer feminist with a M.A. in Anthropology and Social Change. When she’s not getting her fix from watching women in violent action films, Cameron is working on creating a (mostly) vegan cookbook. She resides in Berkeley, Calif. You can follow her on Twitter @cameronairen.

Sex Worker Positivity in ‘Satisfaction’

Normalizing all sexual fantasies seems to be one of the main themes of the show. ‘Satisfaction’ offers a lot of varied sex positivity onscreen that centers on women. The show sets an example for what more television shows and films could portray when it comes to women, sexual desires, and sex work.

This guest post by Cameron Airen appears as part of our theme week on Sex Positivity.

There aren’t a lot of positive portrayals of sex work in film and television. Sex workers are typically seen as less than human–their lives disposable. The sex worker is often an object used for men’s domination, to shame her for the work she partakes in, or to be feared and avoided like she has the plague. How many times have we heard a woman in a film or TV show express something like, “Oh my god, I look like a whore!” or “She’s a whore!” in total disgust? It happens more often than we are conscious of because whorephobia and the stigma of sex work is deeply pervasive. We’ve been taught from the beginning not to look, or act like or be a whore. Being a whore is thought of as the low of the low; it is a shameful position in society.

Because sex workers are seen and thought of as inferior, violence against them is seen as normal, like we see in the film Dressed to Kill (1980) where a serial killer psychiatrist specifically targets sex workers. If a sex worker is not the target of violence, then they’re being objectified like in the recent film The Escort (2015) where Lyndsy Fonseca plays a sex worker whose story wants to be written by a white man. With the title “The Escort” you might think it would be HER story but she ends up being the pawn for his interesting journalism further perpetuating what the media does to sex workers consistently, objectifying them, which further perpetuates the stigma of sex work. But, I have good news.

One of the few shows that depicts sex workers in a positive way by challenging stereotypes of sex workers and the sex industry is the Australian drama, Satisfaction. Satisfaction centers on a circle of six women who work out of an upscale, legal brothel in Australia (where sex work is legal but its regulations vary regionally). The show doesn’t only focus on their sex work, but their friendships with each other, their personal sexual and romantic interests, and other parts of their lives unrelated to sex work. Satisfaction shows a realistic experience of sex work (for more privileged workers anyway), of sex workers’ clients and situations. Not every work situation turns out to be a positive one for these sex workers, but most do. It shows an assortment of realities that happen within sex work like clients falling in love with a sex worker or vice versa, the various fetishes that clients possess, coming out to loved ones about doing sex work, and dozens of dozens more. Also, safe sex is portrayed in Satisfaction by showing the workers doing STI checks on their clients before each session. When do we ever see safety around sex onscreen?

“People pay me to have sex with them, and yes, I’m OK with that” –Lauren

Satisfaction offers a variety of personalities and representations of its main characters. It gives older sex workers a voice with characters like Lauren, a receptionist of the brothel who picks up sex work after discovering that she has a knack for it, and Mel, an independent sex worker. It represents the kink side of sex work through Heather, who works as a Dominatrix, and Nat, who explores her kinky sexuality. Chloe, “the best sex worker in the brothel” as Nat describes, has been in the business a long time and is a mother of a teenage girl. A younger and more intellectual type of worker is played through Tippi, a bubbly girl who wants to study creative writing. The brothel is owned by Nat’s dad but Nat manages it with a strong business intent. Satisfaction also adds a male sex worker in season 3 showing some diversity among gender.

Heather, a lesbian Dominatrix

I do want to point out that Satisfaction is not as diverse as it could be. Heather is the only prominent gay character and sex worker of color. The rest of the women are white and heterosexual. All of the women are in a more privileged position in the sex industry. They have the privilege of working out of a safe and structured, fancy brothel, where clients are screened, instead of on the streets. Plus, they have the privilege of working in a region where sex work is legal. There is a new character in Season 3 who struggles financially, but up that point, no one else seems to struggle to pay the rent or bills on time. The show also lacks the representation of trans or genderqueer sex workers.

A great aspect of Satisfaction is that it focuses on and normalizes fetishes. When do we ever see sexual fetishes portrayed in a positive light onscreen? Fetishes are seen as a normal part of a person’s sexuality, and not just among the clients but among some of the women as well. It’s another way the show defies sexual and gender stereotypes and gives kink a voice.

Nat, manager of the brothel and latex Queen

While the last season of Satisfaction took a downturn overall by subtracting familiar characters and adding new ones, it explores one of the more interesting sexual expansions of one of the main characters, Nat. In Season 1, Nat, discovers her sexual appetite for latex. In the “Rubber Dubber” episode (Season 1, episode 7), Nat is intrigued by a client of Heather’s who enjoys being wrapped up in latex from head to toe. As she escorts the client in and out of the room, she is excited by the smell of latex and her curiosity begins. In Season 2, Mel’s younger brother, Sean, comes to visit, ends up being a sex worker, and crushes out on Nat. For a while, Nat doesn’t know what to do with this new guy pursuing her but ends up trying to date him. Her relationship with Sean leads her even deeper into her kink and fetish desires that has her wanting to open up their relationship. This is another sex positive moment because we hardly ever see people, but women in particular, wanting and initiating an open relationship with their partner onscreen.

Nat and Sean

Season 3 broadens Nat’s sexuality when she starts seeing Bernie, one of Heather’s ex-clients. They end up having a strong S/M connection that allows Nat to explore her relationship to intimacy, fetish, and kink in ways that are more authentic to her. Nat realizes that she needs and wants to be with someone who is more compatible to her desires. This is a great portrayal of showing how women can get their sexual needs and desires met no matter what they may be. Normalizing all sexual fantasies seems to be one of the main themes of the show. Satisfaction offers a lot of varied sex positivity onscreen that centers on women. The show sets an example for what more television shows and films could portray when it comes to women, sexual desires, and sex work.

You can watch all seasons of Satisfaction for free on Hulu.

Cameron Airen is a queer feminist with a M.A. in Anthropology and Social Change who did her ethnography with sex workers in the Bay Area. When she’s not obsessing over women & gender in film/TV, Cameron is trying to create a (mostly) vegan cookbook. She resides in Berkeley, Calif. You can follow her on Twitter @cameronairen.

Female Masculinity and Gender Neutrality in ‘Dexter’

Knowing that his son had and would continue to kill, Harry taught him to follow a strict code that only allowed Dexter to kill “bad” people. Instead of being chaotic, spontaneous, and killing out of pure rage, Dexter developed a more methodical approach. He is a neat monster who creates a pristine kill room with everything clean, tidy and in its place. All of this could be seen as a more feminine kind of control.

This guest post by Cameron Airen appears as part of our theme week on Masculinity.

Our dominant culture tends to subscribe to the notion that “masculinity” belongs to males and that “femininity” belongs to females. This makes it hard to recognize masculinity in females, thus a lot of female masculinity in film and TV goes unrecognized. The show Dexter challenges gender norms and stereotypes.

Its most masculine character is Dexter’s sister, Deborah Morgan. Deb is a carnivorous, straight, tough girl who catches “bad guys” for a living. She wears masculine clothing, is demanding, takes control and is the “hottest potty mouth in the South,” as her co-worker Masuka puts it. All of these traits could be considered stereotypically masculine.

Dexter Morgan, on the other hand, is not a character that I would describe as either masculine or feminine. Though he presents as male, he’s more gender neutral. His true identity is one of a serial killer, and most serial killers are male; however, Dexter doesn’t seem to have any kind of gender identity or is attached to one in any way. He is completely clueless to gender social norms and wears a mask, one of the “nice guy.”

However, it’s not a complete mask since Dexter is “nice” deep down. Dexter is affected by those who kill and harm others, and cares about those closest to him. His father, Harry, taught him to channel his darkness into something better, giving killers what he thinks they deserve: death. But, Dexter has no intention of harming those he sees as good, people who don’t kill, with a few exceptions that show how complex binary ideas of good/bad are. In order to hide this darkness, Dexter needs to try to fit in and present as more “normal,” strong advice that Harry gave him.

Part of Dexter’s gender-neutrality is that he’s far from macho; he is a lab geek after all. But he’s not exactly a hearts and flowers kind of person either. This gives him an interesting balance of masculine and feminine traits. And his naiveté prevents him giving into any sexist thoughts or beliefs, which is refreshing for a male character.

Dexter doesn’t seem to prize masculinity over femininity or maleness over femaleness in any way. Deb’s an insightful detective who earns success and honor as she moves up in leadership positions as the show progresses. She’s given the same opportunities and respect as her male counterparts, even more since she attains more power and prestige. Dexter becomes more in touch with his “human” side including his feelings that balance out the monster within him. I would argue that Dexter has been human all along and just lacked awareness of his feelings of love and compassion toward others. In any case, Dexter becoming more in touch with his feelings could be seen as becoming more in touch with his femininity, which is why his character is a balance of masculine and feminine.

There is a lot of pressure for women to marry and have children and it can show up onscreen as well, but not in Dexter. While Deb dates a variety of men, she doesn’t marry any of them. Although she comes close, there is no pressure for her to “settle down.” All of the men she dates seem to accept Deb for who she is, not trying to change her or wanting her to be more feminine than she is. Deb has a strong sexuality and casual sex is a normal part of life to her. In most of her sex scenes, she is the one literally on top, which we don’t often see with women onscreen when they’re having sex with men. In addition, Deb doesn’t have children, nor does she seem to want any. Whether Deb wants or doesn’t want children was never a topic for discussion.

Men don’t have as much pressure placed upon them to marry and have children. However, this was a big part of Dexter’s journey. Dexter’s “nice guy” is successful with women. He ends up marrying and having a child with Rita. Dexter even began dating Rita when she already had two children of her own. This didn’t bother Dexter one bit; he likes children and is good with them. When Dexter’s biological son came along, it was important to him to be a good father and that became a focus of his character. After season 4, Dexter becomes a single parent, and embraces the responsibility (as much as he can as a blood analyst and killer).

Dexter also challenges violence as an inherently male trait, questioning this kind of “masculinity.” Dexter’s violence is shaped by the man who killed his mother, which he witnessed when he was 3 years old. Knowing that his son had and would continue to kill, Harry taught him to follow a strict code that only allowed Dexter to kill “bad” people. Instead of being chaotic, spontaneous, and killing out of pure rage, Dexter developed a more methodical approach. He is a neat monster who creates a pristine kill room with everything clean, tidy and in its place. All of this could be seen as a more feminine kind of control. Though Dexter has created a structure to help keep his killing habits a secret, he is not always able to maintain control.

Another role in society that men are expected to play is one of protector. Men’s role to protect their families and loved ones puts a lot of unrealistic pressure on them. Dexter feels an enormous pull to protect those he loves but ultimately fails in huge ways. In this way, the show doesn’t give us the impossible superhero character that men are supposed to be. Instead, it reveals to us how men are human just like women–how Dexter is human just like anyone else and cannot always be expected to play superman.

But men aren’t the only protectors and heroes as Dexter clearly shows. While Dexter may be killing off “bad” guys, Deb saves the day too. In season 6, episode 2, Deb’s asshole male boss, Deputy Chief Matthews, calls her a “hero” for stopping a random shooting in a restaurant. As a result, she was promoted to lieutenant.

Throughout much of the series, Deb thinks Dexter is the “strong one” who has always been there for her. It’s not until Season 5, episode 1 when her story starts to turn upside down. When Deb finally lets her bottled up tears fall, her partner Detective Quinn tells her that he sees her as the “strong one,” not Dexter. This moment confirmed the rock that Deb has always been, even though she saw Dexter as her rock. This becomes even more apparent in season 7, when Deb finds out that her brother is a serial killer. Deb then becomes the “protector,” as conflicted as she is about it, and tries to protect anyone from finding out about Dexter’s darkness. And she succeeds. While Dexter couldn’t ultimately protect most of his loved ones, Deb did ultimately protect the person she loved most.

It’s important to recognize female masculinity onscreen because it’s often ignored, yet there’s plenty of it. It’s equally important to recognize male characters who have a balance of masculinity and femininity but that isn’t explicitly defined as such. Dexter comes off as more gender neutral because Dexter portrays the gender balance of masculine and feminine as human, as getting more in touch with one’s humanness and individual self. The terms “masculinity” and “femininity” aren’t easily defined and Dexter shows just how complex they are. In fact, the terms are difficult to use in relation to Dexter because of how much the show challenges gender norms and constructs. At the very least, Dexter is a great example of redefining these terms, but is perhaps more of an example of how it might not be necessary to use them at all.

Cameron Airen is a queer feminist with an M.A. in Anthropology and Social Change who is passionate about women and gender in film/TV. When she’s not binge watching, Cameron is experimenting in her kitchen with (mostly) vegan food in Berkeley, Calif. You can follow her on Twitter @cameronairen.