Was ‘Jem and the Holograms’ a Good Show for Little Girls?

Though the show’s focus on romantic love, fashion, and female rivalry are of dubious value, there are definitely a lot of good things going on with ‘Jem and the Holograms’: the notion that fame and fortune should be used for philanthropic means, that female friendships can be strong and form an important network of support, and that a sense of community is crucial.

Jem Coloring Book

This repost by Amanda Rodriguez appears as part of our theme week on Children’s Television.

As a little girl growing up in the 80s, I loved the show Jem and the Holograms. I confess that I still have a bunch of the songs from the show that I listen to from time to time (occasionally subjecting my spin class attendees to a Jem track on my workout playlists). Looking back now as an adult feminist, I’ve wondered how the show influenced me and whether or not that influence was a positive thing. *I did a similar assessment of another of my much-loved 80’s cartoons called: She-Ra Kinda Sorta Accidentally Feministy.*

There are a few potential not-necessarily-empowering aspects of Jem. Firstly, the show is fashion-obsessed and revolves around the characters’ fashionability. Unlike most cartoons where the characters mostly wear the same outfit in every episode, the thin female bodies of Jem‘s characters are adorned in multiple wardrobe changes often within a single 20-minute episode. Fashion and modeling, we know, are traditionally coded as female. The fashion world is extremely hard on women, placing undue emphasis on their bodies, especially on the thinness of those bodies. The drummer (and Black bandmate) Shana, however, designs clothing, so there is an aspect of fun creative expression at play here. Not only that, but the band Jem and the Holograms gets into the world of fashion and music in order to maintain the foster home for young girls that they run.

Starlight Girls

In this light, being on the cutting-edge of fashion, making money, being famous, and maintaining their record label (Starlight Music) is all a means to a philanthropic ends. The band often performs benefit concerts, singing many songs that deliver a positive message about fair play, hard work, creativity, education, and friendship to its young, predominately female audience. Jerrica Benton (Jem’s alter ego) must become a savvy business woman in the advent of her father’s death in order to run her inherited huge record label while living with her beloved foster girls, trying to give them good, happy lives. Jerrica and her friends are capable, ambitious women who thrive in the business world and do so for noble reasons. That type of female representation is all too rare in any pop culture medium, and it definitely had a positive effect on my impressionable younger self.

Another aspect of the show that could be a negative for little girls was all the female rivalry. The primary focus of the show was the often high-stakes band rivalry between Jem and the Holograms and their nemeses (another all-female band), The Misfits.

Misfits Close-up
The Misfits: Roxy, Pizzazz, & Stormer

 

The Misfits were mean, reckless, and ruthless in their pursuit to beat Jem at everything. They’d lie, cheat, commit crimes and sabotage, and endanger the lives of Jem and her bandmates in order to win at any cost. They even had a song called “Winning is Everything.” True story.

[youtube_sc url=”http://www.youtube.com/watch?v=CMlneySmI3g”]

Though Jem passes the Bechdel Test with flying colors, this dangerous female rivalry is troubling, reinforcing mainstream media’s insistence that women can’t be friends; they must, instead, compete for resources, men, and general approval. Instead of the bands being able to cooperate and collaborate, they are mostly at each other’s throats (with The Misfits, of course, being the instigators). The upside of this rivalry is that the major players are all women. The characters with all the talent, power, and agency are women. The epitome of this is the all-powerful matriarchal figure of Synergy. She’s a basically sentient hologram generating computer system. She gets Jem and her crew out of countless jams, operates as home base for their operations, and acts as a concerned, maternal mentor for them. Though Synergy is a computer system, she has awesome power and Jerrica/Jem often goes to her for counsel.

Synergy to Jem
“Synergy, create a hologram of Jem.”

 

Not only that, but even the cruel Misfits are given depth over time. My favorite character (on whom I had a serious girl-crush) was Stormer, the blue-haired Misfit who was a bad girl with a heart of gold. When her bandmates crossed the line, she would always undermine their machinations in order to do the right thing, often saving the day. We also learn that Pizazz, the ringleader and front woman for the band, struggles with her former identity as: Phyllis, a rich girl with a neglectful father whose approval and attentiveness she could never garner. Despite the contentiousness of the rival bands’ relations, the fact that women are the primary actors and reactors gives the show a variety of female perspectives and permutations, which is what’s so often lacking in current female representations in film and on TV.

My beloved Stormer storms off.
My beloved Stormer storms off.

 

In fact, there are hardly any male characters in the show at all. There are only two to speak of: Jem/Jerrica’s love interest and road manager, Rio Pacheco, and The Misfits’ slimy band manager, Eric Raymond. Later the lead singer of The Stingers, Riot, enters the scene with his ridiculous hair and obsession with Jem. These male characters’ relevance and even usefulness was often in question. Eric was incompetent at all of his scheming in a distinctly Road Runner style. Jem/Jerrica couldn’t even confide her secrets in Rio, and he was often left waiting in the dark for situational resolutions. I often questioned how healthy for young girls the representation of the love triangle involving Rio, Jem, and Jerrica was. It was bizarre that Jem was Jerrica, so Rio was essentially cheating on his girlfriend…with his girlfriend. There was even an episode where Jerrica gets tired of being herself and her Jem personae, so she dons a hologram of a completely new appearance. Rio falls in love with her, too, and they share a kiss. Though the inherent deception on all sides of the relationship is not good role modeling, maybe it’s important that Rio loves Jerrica no matter what physical form she takes on.

I am in love with this Rio & Jem cosplay duo.
I am in love with this Rio and Jem cosplay duo.

 

The band itself, Jem and the Holograms, was also surprisingly racially diverse. The drummer, Shana, was Black, and the lead guitarist, Aja, was Asian. They later added a new drummer, Raya, who was Latina, when Shana took up bass guitar. Though the front woman for the band (who couldn’t actually play an instrument) remained a white woman, with the addition of Raya, there were actually more women of color in the band than white women. I don’t know if I’ve ever seen that kind of ratio on a TV show that wasn’t specifically targeted at people of color.

Jem and all the Holograms
Jem, Kimber, Aja, Raya, and Shana

 

Though the show’s focus on romantic love, fashion, and female rivalry are of dubious value, there are definitely a lot of good things going on with Jem and the Holograms: the notion that fame and fortune should be used for philanthropic means, that female friendships can be strong and form an important network of support, that a sense of community is crucial, especially that of an older generation of women actively participating in that of teenage girls, that the arts should be respected and fostered, and that the virtues women should value in themselves should include honesty, compassion, fairness, determination, and kindness. Maybe I’m biased because I always thought the show was “truly outrageous,” but the good seems to outweigh the bad, giving us a series about women that tried to teach little girls how to grow up to be strong, ethical, and believe in themselves.


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

Top 10 Villainesses Who Deserve Their Own Movies

While villainesses often work at cross-purposes with our heroes and heroines, we love to hate these women. They’re always morally complicated with dark pasts and often powerful and assertive women with an indomitable streak of independence.

Bad Girls
Bad Girls

 

Written by Amanda Rodriguez.

As a follow-up to my post on the Top 10 Superheroines Who Deserve Their Own Movies, I thought it important to not neglect the bad girls of the superhero universe. I mean, we don’t want to piss those ladies off and invoke their wrath, do we? While villainesses often work at cross-purposes with our heroes and heroines, we love to hate these women. They’re always morally complicated with dark pasts and often powerful and assertive women with an indomitable streak of independence. With the recent growing success of Disney’s retelling of their classic Sleeping Beauty, the film Maleficent shows us that we all (especially young women) are hungry for tales from the other side of the coin. We want to understand these complex women, and we want them to have the agency to cast off the mantle of “villainess” and to tell their own stories from their own perspectives.

1. Mystique

The shapeshifting Mystique
The shapeshifting Mystique

 

Throughout the X-Men film franchise, the blue-skinned, golden-eyed shapeshifting mutant, Mystique, has gained incredible popularity. Despite the fact that she tends to be naked in many of her film appearances, Mystique is a feared and respected opponent. She is dogged in the pursuit of her goals, intelligent and knows how to expertly use her body, whether taking on the personae of important political figures, displaying her excellent markmanship with firearms or kicking ass with her own unique brand of martial arts. As the mother of Nightcrawler and the adoptive mother of Rogue, Mystique has deep connections across enemy lines. X-Men: First Class even explores the stigma surrounding her true appearance and the isolation and shame that shapes her as she matures into adulthood. The groundwork has already been laid to further develop this fascinating woman.

2. Harley Quinn

The playful, demented Harley Quinn
The playful, demented Harley Quinn

 

Often overshadowing her sometime “boss” and boyfriend The Joker, Harley Quinn captured the attention of viewers in the Batman: Animated Series, so much so that she was integrated into the DC Batman comic canon and even had her own title for a while. She’s also notable for her fast friendship with other infamous super villainesses, Poison Ivy and Catwoman. Often capricious and unstable, Harley always looks out for herself and always makes her own decisions, regardless of how illogical they may seem. Most interestingly, she possesses a stark vulnerability that we rarely see in villains. A dark and playful character with strong ties to other women would be a welcome addition to the big screen.

3. Ursa

Kneel before Ursa!
Kneel before Ursa!

 

Ursa appears in the film Superman II wherein she is a fellow Krypontian who’s escaped from the perpetual prison of the Phantom Zone with two other comrades. As a Kryptonian, she has all the same powers and weaknesses of Superman (superhuman strength, flight, x-ray vision, freezing breath, invulnerability and an aversion to kryptonite). Ursa revels in these powers and delights in using extreme force. Ursa’s history and storyline are a bit convoluted, some versions depicting her as a misunderstood revolutionary fighting to save Krypton from its inevitable destruction, while others link her origins to the man-hating, murderous comic character Faora. Combining the two plotlines would give a movie about her a rich backstory and a fascinating descent into darkness in the tradition of Chronicle.

4. Sniper Wolf

 

"I watched the stupidity of mankind through the scope of my rifle." - Sniper Wolf
“I watched the stupidity of mankind through the scope of my rifle.” – Sniper Wolf

 

Sniper Wolf from Metal Gear Solid is one of the most infamous and beloved villainesses in gaming history. A deadly and dedicated sniper assassin, Sniper Wolf is ruthless, methodical and patient when she stalks her prey, namely Solid Snake, the video game’s hero. Not only that, but she has a deep connection to a pack of huskies/wolves that she rescues, which aid her on the snowy battlefield when she faces off with Snake in what was ranked one of gaming’s best boss fights. In fact, Sniper Wolf has made the cut onto a lot of “best of” lists, and her death has been called “one of gaming’s most poignant scenes.” Her exquisite craft with a rifle is only one of the reasons that she’s so admired. Her childhood history as an Iraqi Kurdish survivor of a chemical attack that killed her family and thousands of others only to be brainwashed by the Iraqi and then U.S. governments is nothing short of tragic. Many players regretted having to kill her in order to advance in the game. She is a lost woman with the potential for greatness who was manipulated and corrupted by self-serving military forces. Sniper Wolf is a complex woman of color whose screenplay could detail an important piece of history with the persecution of Kurds in Iraq, show super cool weapons and stealth skills while critiquing the military industrial complex and give a woman a voice and power within both the male-dominated arenas of spy movies and the military.

5. Scarlet Witch

Perhaps the most powerful mutant in X-Men lore
One of the most powerful mutants in X-Men lore, Scarlet Witch

 

Scarlet Witch, the twin sister of Quicksilver and daughter of Magneto, is one of the most powerful mutants in the X-Men and Avengers universe. With power over probability and an ability to cast spells, Scarlet Witch is alternately a valuable member of Magneto’s Brotherhood of Mutants as well as the Avengers. She can also manipulate chaos magic and, at times, control the very fabric of reality, such that she can “rewrite her entire universe.” Um, badass. She’s also one of the most interesting characters in the X-Men and Avengers canon because she’s so deeply conflicted about what she believes and who she should trust. Eventually coming around to fight on the side of good, Scarlet Witch has a true heroine’s journey, in which she has a dark destiny that she overcomes, makes choices for which she must later seek redemption, finds her true path as a leader among other warriors, and she even becomes a mother and wife in the process. Despite her extensive comic book history (first appearing in 1964) and the fact that she’s such a strong mutant with such a compelling tale of the journey from dark to light, Scarlet Witch has only been a supporting character in video games, TV shows, and in movies (most recently set to appear in the upcoming Avengers: Age of Ultron). That’s just plain dumb.

6. Ursula

The ominous, magnetic sea witch, Ursula
The ominous, magnetic sea witch, Ursula

 

Ursula, the sea witch from Disney’s The Little Mermaid, is so amazing. Part woman, part octopus, she has incredible magical powers that she uses for her own amusement and gains. With her sultry, husky voice and sensuous curves, she was a Disney villainess unlike any Disney had shown us before. What I find most compelling about Ursula is that her magic can change the shape and form of anyone, and she chooses to maintain her full-figured form. Though she is a villainess, this fat positive message of a magnetic, formidable woman who loves her body (and seriously rocks the musical number “Poor Unfortunate Souls” like nobody’s business) is unique to Disney and unique to general representations of women in Hollywood.

[youtube_sc url=”https://www.youtube.com/watch?v=xLSnNSqs_CQ”]

Now that Disney has made Maleficent, they better find a place for this octo-woman sea witch, and they better keep her gloriously fat, or they’ll be sorry.

7. Evil-Lyn

Evil-Lyn
Evil-Lyn

 

Evil-Lyn was the only regularly appearing villainess on the 80’s cartoon series He-Man and the Masters of the Universe. Unlike its blissfully female-centric spin-off, She-Ra: Princess of Power, He-Man was pretty much a sausage-fest. Much in the way that Teela and the Sorceress were the only women representing the forces of good, Evil-Lyn was the lone lady working for the evil Skeletor. As his second-in-command, she proved herself to be devious and intelligent with a gift for dark sorcery that often rivaled that of the seemingly much more powerful Skeletor and Sorceress. There appears to be no official documentation of this, but as a child, I read Evil-Lyn as Asian (probably because of her facial features and the over-the-top yellow skin tone Filmation gave her). I love the idea of Evil-Lyn being a lone woman of color among a gang of ne’er-do-wells who holds her own while always plotting to overthrow her leader and take power for herself. (Plus, she has the best evil laugh ever.) I have no illusions that she’ll ever get her own movie (despite Meg Foster’s mega-sexy supporting performance as the cunning Evil-Lyn in the Masters of the Universe film). However, I always wanted her to have more screen time, and I always wanted to know more about her, unlike her male evil minion counterparts.

8. Knockout and Scandal

Knockout & Scandal are bad girls in love
Knockout and Scandal are bad girls in love

 

Scandal Savage and Knockout are villainess lovers who appear together in both comic series Birds of Prey and Secret Six. As members of the super-villain group Secret Six, the two fight side-by-side only looking out for each other and, sometimes, their teammates. Very tough and nearly invulnerable due to the blood from her immortal father, Vandal Savage, Scandal is an intelligent woman of color who’s deadly with her Wolverine-like “lamentation blades”. Her lover Knockout is a statuesque ex-Female Fury with superhuman strength and a knack for not dying and, if that fails, being resurrected. I love that Scandal and Knockout are queer villainesses who are loyal to each other and even further push the heteronormative boundaries by embarking on a polygamous marriage with a third woman. I generally despise romance movies, but I would absolutely go see an action romance with Scandal and Knockout as the leads!

9. Lady Death

Lady Death overcomes her status as eye candy
Lady Death overcomes her status as eye candy

 

Lady Death has evolved over the years. Beginning her journey as a one-dimensional evil goddess intent on destroying the world, her history then shifted so that she was an accidental and reluctant servant of Hell who eventually overthrows Lucifer and herself becomes the mistress of Hell. Her latest incarnation shows her as a reluctant servant of The Labyrinth (instead of the darker notion of Hell) with powerfully innate magic that grows as she adventures, rescuing people and saving the world, until she’s a bonafide heroine. An iconic figure with her pale (mostly bare) skin and white hair, Lady Death has had her own animated movie, but I’m imagining instead a goth, Conan-esque live action film starring Lady Death that focuses on her quest through the dark depths of greed, corruption and revenge until she finds peace and redemption.

10. Asajj Ventress

The Dark Side has the Sith Asajj Ventress. #win
The Dark Side has Asajj Ventress. #win

 

Last, but not least, we have Asajj Ventress from the Star Wars universe, and the thought of her getting her own feature film honestly excites me more than any of the others. I first saw Ventress in Genndy Tartakovsky’s 2003 TV series Star Wars: Clone Wars, and she was was mag-fucking-nificent. A Dark Jedi striving for Sith status, Ventress is a graceful death-dealer wielding double lightsabers. Supplemental materials like comic books, novels and the newer TV series provide more history for this bald, formidable villainess. It turns out that she’s of the same race as Darth Maul with natural inclinations towards the Force. Enslaved at a young age, she escaped with the help of a Jedi Knight and began her training with him. She was a powerful force for good in the world until he was murdered, and in her bitterness, she turned to the Dark Side. Her powers are significant in that she can cloak herself in the Force like a mist and animate an army of the dead (wowzas!). Confession: I even have a Ventress action figure. The world doesn’t need another shitty Star Wars movie with a poorly executed Anakin Skywalker; the world needs a movie about Asajj Ventress in all her elegantly brutal glory.

 

Please bring Asajj Ventress to life on the big screen!
Please bring Asajj Ventress to life on the big screen!

 

Peeling back the layers of these reviled women of pop culture is an important step in relaxing the binary that our culture forces women into. Showing a more nuanced and empathetic version of these women would prove that all women don’t have to be good or evil, dark or light, right or wrong, virgin or whore. Why do we love villainesses? Because heroines can be so bloody boring with their clear moral compasses, their righteousness and the fact that they always win. When compared to their heroine counterparts, villainesses have more freedom to defy. In fact, villainesses are more likely to defy expectations and gender roles, to be queer and to be women of color. In some ways, villainesses are more like us than heroines because they’re fallible, they’ve suffered injustices and they’re often selfish. In other ways, villainesses are something of an inspiration to women because they’re strong, confident, intelligent, dismissive of the judgements of others and, most importantly, they know how to get what they want and need.

Read more:

Top 10 Superheroines Who Deserve Their Own Movies
Top 10 Superheroes Who Are Better As Superheroines
Top 10 Superheroine Movies That Need a Reboot
The Many Faces of Catwoman
Dude Bros and X-Men: Days of Future Past
She-Ra: Kinda, Sorta Accidentally Feministy
Women in Science Fiction Week: Princess Leia: Feminist Icon or Sexist Trope?
The Very Few Women of Star Wars: Queen Amidala and Princess Leia
Wonder Women and Why We Need Superheroines
Monsters and Morality in Maleficent


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

Top 10 Superheroines Who Deserve Their Own Movies

So few superheroines are given their own movies. I’m officially declaring that it’s high time we had more superhero movies starring women. The first in a series of posts, I’m starting with a list of my top 10 picks for super babes who deserve their own flicks.

My heroines
My heroines

Written by Amanda Rodriguez.

Most sane people seem to agree that we desperately need more representations of female superheroes to serve as inspiration and role models for girls and women alike. In truth, there is no shortage of superheroines in the world; we’ve got seriously acclaimed, seriously badass female characters from comic books, TV shows, and video games. Though these women tend to be hypersexualized or relegated to the role of supporting cast member for some dude, we still love them and can’t get enough of them. It still remains that so few superheroines are given their own movies. I’m officially declaring that it’s high time we had more superhero movies starring women. The first in a series of posts, I’m starting with a list of my top 10 picks for super babes who deserve their own flicks.

These are the superheroines I’d choose to get a movie if I ran Hollywood:

1. Batwoman

Batwoman makes me swoon
Batwoman makes me swoon

 

Not to be confused with Batgirl, the DC character Batwoman is the highest profile lesbian character in comic book history. A wealthy military brat who was expelled from West Point Academy due to “Don’t Ask, Don’t Tell.” Batwoman is a defiant, tattooed socialite by day and a crime asskicker by night. With compelling, topical social themes (particularly with regard to queer culture), amazing action sequences and a lush, lurid and darkly magical underbelly of Gotham that we never saw with Batman, Batwoman has so much to offer audiences.

2. Wonder Woman

The one, the only Wonder Woman
The one, the only, Wonder Woman

 

Wonder Woman is practically a goddess; she’s an Amazon princess with superhuman strength and agility raised only among women on the concealed Paradise Island. With her superior physical prowess and training, she constantly saves the day and her love interest, Steve Trevor. Not only that, but she also has cool gadgets like her invisible plane, Lasso of Truth, and her bullet deflecting bracelets (Wolverine’s adamantium bones ain’t got nothing on Wonder Woman’s gauntlets). The world has been clamoring for and drumming up rumors of a Wonder Woman movie for at least a decade. She’s as steeped in history as Superman, as iconic as Batman, as patriotic as Captain America, as strong as Hulk and way sexier than Ironman, and yet Superman, Batman, and Hulk have all had their own movie series AND their own series’ reboots while the rights to Wonder Woman languish on the shelf. Hell, the 70s were more progressive than today because they recognized the need and market for female superheroes when they created the beloved Wonder Woman TV series starring Lynda Carter that ran for four years. Give the woman a movie already, damn it!

3. The Bionic Woman

The Bionic Woman
Lindsay Wagner as The Bionic Woman

 

Speaking of the 70s and their penchant for female-driven TV shows, Jaime Sommers, aka The Bionic Woman, first had her own TV series in 1976, which was then rebooted in 2007 as Bionic Woman. After an accident nearly kills her, Jaime is retrofitted with a bionic ear, arm, and legs, giving her superhuman strength and speed in those limbs as well as acute hearing that she uses in her secret agenting. Though Jaime Sommers was imagined as a spin-off to the male-driven series The Six Million Dollar Man, she was successful in her own right and expanded the horizons of little girls in the 70s. I want Jaime to get a real movie, not just some piddly made-for-TV deal. My only requirement for said movie is that it keep the super sweet 70s sound effects for when she uses her bionic powers.

4. Samus Aran from Metroid

The biggest reveal in Nintendo history: Metroid is a GIRL
The biggest reveal in Nintendo history: Samus is a GIRL

 

Samus Aran is a space bounty hunter who destroys evil Metroids in the Nintendo video game (you guessed it) Metroid. Because of Samus’ androgynous power suit, game players assumed she was a man until the big reveal at the end of the original 1986 game when she takes off her helmet. Gamers loved it. Not only that, but Metroid was and continues to be one of Nintendo’s most lucrative and popular game series, such that the latest installment of the game (Metroid: Other M) came out as recently as 2010. With ever-expanding plotlines and character development, Samus has proven that she is compelling enough to carry a series for over two and a half decades. Instead of making another crappy Resident Evil movie, I say we give Samus a chance.

5. Runaways

The young women of "Runaways"
The young women of Runaways

 

Runaways is a comic book series that chronicles the adventures of a group of minors who discover that their parents are supervillains. Not wanting to go down the evil paths of their parents, the kids make a break for it. Now, both boys and girls are part of the gang, but there are more girls than boys, and the women are nuanced, funny and smart. The de facto leader of the rag-tag group is Nico, a goth Japanese-American witch (um…how cool is that??). Then there’s Gertrude who doesn’t have any powers (unless you count her telepathic link to her female raptor), but she’s tough, smart, confident and is a fat-positive representation of a nontraditional female comic book body type. Next, little Molly is a scrapper and a mutant with superhuman strength and great hats who kicks the shit out of Wolverine. Finally, we’ve got the alien Karolina with powers of light and flight who explores her sexuality, realizing she’s a lesbian. Karolina ends up falling in love with the shapeshifting Skrull, Xavin, and the storyline explores transgender themes. Joss Whedon himself was involved for a time in the series, so you know it’s full of humor, darkness and deep connections to the character. There’s so much WIN in Runaways that it’s a crime they haven’t made a movie out of it yet.

6. She-Ra: Princess of Power

She-Ra: Princess of Power. EF yeah.
She-Ra: Princess of Power. EFF yeah.

 

She-Ra is the twin sister (and spin-off) of He-Man. Possessing incredible strength, a healing touch, an ability to communicate with animals, and a power sword that transforms into anything she wants, She-Ra is, frankly, the shit. Ever since I was a bitty thing, I always loved She-Ra, and I’d contend that with her organizing of a 99.9% female force to fight the evil Horde, She-Ra and her powerful lady friends are busting up the patriarchy. Though 1985 saw the feature length animated film introducing She-Ra’s origin story through the eyes of her brother in The Secret of the Sword, it’s time for She-Ra to have her own live action film. I mean, He-Man got his chance on the big screen with Masters of the Universe, starring Dolph Lundgren. Though I love Lundren’s mush-mouth rendition of the most powerful man in the universe, it’s universally regarded as a steaming pile of Cringer crap. I’m sure She-Ra can easily top reviews like that, especially with her women-powered “Great Rebellion.”

7. Storm

Storm: goddess of the elements
Storm: goddess of the elements

 

Storm, aka Ororo Munroe, is one of the most powerful mutants in the X-Men franchise. She is intelligent, well-respected and a leader among her mutant peers and teammates. Storm also flies and controls the fucking weather. Does it get more badass than that? Storm was the very first prominent Black female in either DC or Marvel, and the fanbase for this strong Black woman grows all the time. Though the X-Men film series sprung for the acclaimed Halle Berry to play Storm, her character is habitually underutilized and poorly developed. Enough! Let’s get Lupita Nyong’o to play Storm in her origin story, chronicling her thievery in Cairo, her stint as a worshiped goddess when her powers first emerged and her eventual induction into the X-Men. That, friends, is an epic tale.

8. Xena: Warrior Princess

Fierce Xena 325
Fierce Xena

Xena: Warrior Princess is a TV series that ran for six years about a couple of women traveling and fighting their way across the world, their stories weaving in and out of ancient Western mythology. Xena herself is a complex character, full of strength and skill in combat, while battling her own past and demons. Her companion Gabriel, though also quite skilled at martial arts, is the gentler of the two, always advocating compassion and reason. Together, the pair formed a powerful duo with pronounced lesbionic undertones that has appealed to queer audiences for nearly 20 years. I suspect the statuesque Lucy Lawless could even be convinced to reprise her role as this fierce female warrior who stood up to gods and men alike.

 9. Black Widow

Remarkably life-like Black Widow action figure
Remarkably life-like Black Widow action figure

 

Black Widow, aka Natalia Alianovna “Natasha” Romanova, began as a Russian spy. With impressive martial arts abilities and wily womanly charms, Black Widow is renowned as one of the deadliest assassins in the Marvel universe. In an attempt to redeem her past, Black Widow joins the S.H.I.E.L.D agency and the Avengers, adding her considerable skills (that she has cultivated without the aid of magical abilities) to the team. Though I’m not, personally, the biggest fan of Black Widow, I’m impressed by her universal appeal. She’s appeared in a handful of comic book movie adaptations, most notably The Avengers, and people go ga-ga for her. Even those who care little for the rallying cry for greater female on-screen representation and even less for feminism are all about Black Widow starring in her own film. Hell, she even has a remarkably life-like action figure…proof positive that this gal has made it to the big-time.

 10. Codex from The Guild

Codex: a charming nerdgirl with delusions of epicness
Codex: a charming nerdgirl with delusions of epicness

 

The Guild is a web series with short episodes that focuses on Codex, aka Cyd Sherman, an introvert with an addiction to massive multi-player online roleplaying games (MMORPG). In her online guild, Cyd is the powerful priestess Codex. Reality and her online personae collide when members of the guild begin to meet in real life. This is a fun and quirky web series written and created by its female star, the talented Felicia Day. Not all superheroines need to have superpowers and save the day. In fact, some superheroines just have to give it all they’ve got to make it through the day. With powers of humor and authenticity, Codex would make a welcome addition to the superhero film family.

Honorable Mention

1. Painkiller Jane

Painkiller Jane

Queer Painkiller Jane has rapid healing powers like those of Wolverine, but she tends to be far grittier and darker, even facing off against the Terminator in a particularly bloody installment. She briefly had her own craptastic television series starring Kristanna Loken before it was wisely canceled.

2. Rogue

From the X-Men, Rogue is the complicated and compelling daughter of Mystique with vampire-like powers that make her nearly invulnerable but also render her unable to touch any other living creature.

3. Batgirl

Batgirl has had many permutations throughout the ages, beginning as a sidekick to Batman and Robin in comics, TV as well as film and ending with several different versions of her own comic series, including her incarnation as Oracle, the paraplegic command center for the Birds of Prey comic and disappointing TV series.

4. Power Girl

Power Girl is another version of Supergirl who, therefore, has the same powers as Superman. She is a leader among other superheroes, a formidable foe, and renowned for being “fresh and fun.”

5. Psylocke

Comic Psylocke and her bit-part film counterpart
Comic Psylocke and her bit-part film counterpart

 

It might seem crazy that so many X-Men made this list, but, damn, they got some awesome ladies on the roster. I’m ending with Psylocke, my all-time favorite X-Men character. Elizabeth Braddock is a telepath who can use her telekinesis to create pyschic weapons. Upon her death, she inhabits the body of a Japanese ninja, eventually taking over the body completely so that she adds hardcore martial arts skills to her repertoire.

I know I missed a bunch of amazing superheroines. That’s a good thing because it means there are so many badass super babes out there that I can’t possibly name them all. Now we’ve just got to get a bunch of those ladies up on the big screen to show us reflections of ourselves and to inspire us to be more.

Sound off in the comments by listing your top female superhero picks to get their own films!

Take a look at the rest of my Top 10 installments: Top 10 Villainesses Who Deserve Their Own Movies, Top 10 Superheroine Movies That Need a Reboot, and Top 10 Superheroes Who Are Betters as Superheroines.

Read also:

Black Widow is More Than Just a Pretty Face in Captain America: The Winter Soldier
The Women of Captain America: The Winter Soldier
Dude Bros and X-Men: Days of Future Past
She-Ra: Kinda, Sorta Accidentally Feministy
Wonder Women and Why We Need Superheroines


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

The Very Few Women of ‘Star Wars’: Queen Amidala and Princess Leia

With cast members Daisy Ridley, Carrie Fisher (reprising her role as the iconic Princess Leia), Lupita Nyong’o and Gwendoline Christie, these women quadruple the number of female leads that typically appear in a ‘Star Wars’ trilogy. That’s right. Until now, space has apparently been no place for women, especially strong women with more than one or two lines.

Mother and daughter: Padme and Leia
Mother and daughter: Padmé and Leia

 

Written by Amanda Rodriguez.

As buzz builds around the upcoming and presumably final Star Wars trilogy following the announcement of the Episode VII’s cast, I’m relieved to see that, with the recent addition of Game of Thrones‘ Gwendoline Christie and 12 Years a Slave‘s Lupita Nyong’o, the Star Wars franchise is trying to overcome its reputation as a sausage-fest. With Daisy Ridley on board (I’m guessing to play Han and Leia’s daughter) and veteran Carrie Fisher, who’ll be reprising her role as the iconic Princess Leia, these women quadruple the number of female leads that typically appear in a Star Wars trilogy. That’s right. Until now, space has apparently been no place for women, especially strong women with more than one or two lines. Now we just have to hope that Christie and Nyong’o won’t be used as Othered alien cameos and that these women’s considerable talents will be used, instead, to enrich the flagging franchise.

Consider the way the questionable way George Lucas has dealt with the very few women of Star Wars from the beginning. For the original Episodes IV-VI, we have Fisher as the tough rebel leader, but still royalty, Leia Organa…the only female character of note in the entire trilogy.

Leia in camouflage uniform on the forest moon of Endor
Leia in camouflage uniform on the forest moon of Endor

 

In the prequel Episodes I-III, we have Natalie Portman playing Padmé Amidala, Luke and Leia’s mother as well as a strong, independent, politically savvy queen…the only female character of note in the follow-up trilogy.

'Star Wars Episode I: The Phantom Menace' featured an ass-kicking Amidala
The Phantom Menace featured an ass-kicking Padmé

 

Basically, despite the fact that entire Star Wars trilogies feature only a single female lead, each trilogy starts off with promise because that lone lady happens to be an empowered women who leads others with compassion, but isn’t afraid to get her hands dirty by firing a few blasters.

Mother and daughter both start off as forces to be reckoned with
Mother and daughter both start off as forces to be reckoned with

 

Though Leia is the apex of yet another insipid (and incestuous) cinematic love triangle, her role as a critical leader in the rebellion is far more defining of her identity. In A New Hope, Leia is captured by Imperial forces and tortured. Not only does she not reveal the location of the rebel alliance, she is also integral in the success of her own rescue at the hands of Han and Luke. She also displays remarkable bravery, intelligence, and an innate talent for The Force (shown in both Empire Strikes Back and Return of the Jedi through unexplained knowledge, strength, and a supernatural connection to her twin, Luke).

A deceptively helpless imprisoned Leia moments before her escape
A deceptively helpless imprisoned Leia moments before her escape

 

Interestingly enough, one of Leia’s most seriously badass scenes is also, conversely, her most iconically objectifying one as well. When Leia poses as a “ruthless” bounty hunter to infiltrate Jabba’s Palace to rescue Han in Return of the Jedi, her cool points went through the roof. I love the idea of the woman organizing a team to go in and rescue her male love interest. However, women being in love within the Star Wars universe never goes well, and Leia is captured and forced to don scanty clothing and lounge beside Jabba. The film is vague about whether or not she has been raped or forced to engage in sexual acts with Jabba, but from here on out, Leia’s image as “Slave Leia” has gone down in pop culture as well as sexual fetish history and continues to be a popular cosplay for nerd gals and others.

I hate that Leia is best remembered for her "Slave Leia" outfit
I hate that Leia is best remembered for her “Slave Leia” outfit

 

Though Leia is demeaned, harassed, threatened, and disgusted by her captor, in the end, she’s able to take charge. With nothing but the chain around her neck, enslaving her, she kills Jabba, one of the most iconic villains of all time before aiding the rest of her friends in their escape. Her self-liberation, that she’s integral to her team and their escape, and that she fucking killed Jabba the fucking Hut goes a long way to distract us from the fact that for two films, we didn’t even see Leia’s wrists or ankles and suddenly, now that she’s in love, she’s a prime target for grossly sexualized objectification.

Though scantily clad, Leia is heavily armed
Though scantily clad, Leia is heavily armed

 

Later in Return of the Jedi, things get even dicier for Leia when she’s befriended and essentially held hostage by the furry Ewoks (I wonder if Lucas has some sexual fetishes he was indulging in this film). They give her a rustic dress, braid her hair and make her wear it down for the first time in the trilogy. They protect her and ignore her. Essentially, the Ewoks relegate Leia to a traditional female role, removing her agency. Leia is rescued by her friends yet again. The fact of the matter is that Leia, our only female character, is captured and rescued more than any other character in the trilogy. In the end, the film gives her back a measure of agency, and she is allowed to fight in the final battle.

Leia’s mother, Padmé, is a more extreme example of Lucas’ at best confused, at worst fucked-up attitude toward women in that her highs are higher, but her lows are so very, very much lower. On the positive side, Padmé is a popular and well-respected ruler-turned-Senator who is courageous in her dedication to her people. She generally wields her power for good, in defense of her planet and is never power hungry, nor is she a mere figurehead (despite the ridiculous ornamental nature of her wardrobe). She is alternately a diplomat and a warrior when the need arises.

Amidala doesn't shirk from necessary conflict
Padmé doesn’t shirk from necessary conflict

 

Though considerable, that’s where Padmé’s awesomeness ends. Throughout all three films, she is treated like a doll with her parade of outfits and her elaborate face painting. There’s even a Star Wars wiki page dedicated to her extensive wardrobe. Much of her Naboo state attire is even offensive with its appropriation of Asian cultural aesthetic.

So...many...costume...changes
Does Lucas also have an Asian fetish?

 

Despite the focus the films place on her body via her endless stream of costumes, Padmé mostly remains a badass (except for her vote of no confidence in Chancellor Valorum that opens the door for Palpatine to take control of the Senate, ushering in the tyranny of the Empire for decades to come…except for that). All agency slips from her, though, when Padmé falls in love with the atrociously acted Anakin Skywalker.

Padmé becomes little more than a love interest and a pretty face
Padmé becomes little more than a love interest and a pretty face

 

Her story ceases to be one about political advocacy, diplomacy, and her struggles to keep her people’s liberties and safety intact. Instead, Padmé becomes little more than a love interest and a pretty face. Ignoring the fact that the love story is painfully trite and stilted with zero chemistry and wooden acting, this romance becomes all that Padmé is about. She marries Anakin in secret and becomes pregnant, and her personality totally changes. She becomes a simpering, deplorable character who dies of a broken heart. I mean, who cares that Anakin has been a childish wanker from the beginning and that she’s got a newborn set of twins? Life, I guess, is just too unbearable for a once strong and independent woman once she realizes she made a bad choice in love.

[youtube_sc url=”https://www.youtube.com/watch?v=tfX01lURXFk”]

Interestingly enough, Lucas did a better job in the 70s and 80s with his depiction of Leia than he did 20 years later when he brought Padmé to life.

Of the renderings of Skywalker women, Leia wins the prize for badassery
Of the renderings of Skywalker women, Leia wins the prize for badassery

 

It’s a sad state of affairs when representations of women become progressively less feminist as time goes on. Despite the fact that certain parties are involved: Lucas with his growing record of bad judgment and J.J. Abrams with his habit of taking all the substance out of sci-fi franchises, I can’t help but be hopeful that the new Star Wars trilogy will get it right where its predecessors failed. Though the series has let me down before (Episodes I-III were, frankly, Bantha fodder), having several actresses on the cast for this new trilogy, women known for their strong female characters is a bright spot in a franchise that’s rapidly turning towards the Dark Side.

Of George Lucas, I, like Luke, can only say, “There is good in him. I’ve felt it.” And I, like Luke, will continue to have faith until it is perhaps too late.

Read also: Women in Science Fiction Week: Princess Leia: Feminist Icon or Sexist Trope?


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

 

Dude Bros and ‘X-Men: Days of Future Past’

With a running time of two hours and 11 minutes, audience members are subjected to some thematic repetition, gratuitous gags, and an unnecessarily meandering plot. That said, there’s no shortage of amazing costumes and make-up to bolster a ton of sweet action sequences depicting mutants kicking serious booty. ‘X-Men: Days of Future Past,’ though, is disappointing in its general dearth of female characters and its under-utilization of the ones it does have.

Huh. No ladies are shown on the movie poster for 'X-Men: Days of Future Past'
Huh. No ladies are shown on the movie poster for X-Men: Days of Future Past

 

Written by Amanda Rodriguez.

It’s no secret that I’m a tremendous fan of superheroes nor that I am on a mission to expose the ridiculous lack of superheroines on the big screen. The X-Men movie franchise has been relatively so-so with regard to its general quality: some hits, some misses, some overwhelmingly mediocre films. It’s also been pretty hit-or-miss with its representations of female characters. The latest installment, X-Men: Days of Future Past, is no exception. With a running time of two hours and 11 minutes, audience members are subjected to some thematic repetition, gratuitous gags, and an unnecessarily meandering plot. That said, there’s no shortage of amazing costumes and make-up to bolster a ton of sweet action sequences depicting mutants kicking serious booty. X-Men: Days of Future Past, though, is disappointing in its general dearth of female characters and its under-utilization of the ones it does have.

Blink, a member of the future's mutant resistance.
Blink, a member of the future’s mutant resistance.

 

Despite the film featuring four female characters, X-Men Days of Future Past fails to pass the Bechdel Test. We have Blink (Bingbing Fan), a mutant in the future reality who has the power to teleport and create portals through which others can teleport. I’m not sure if she speaks at all…maybe a single line. Then we have the classic Storm (Halle Berry), who controls the elements via weather. The talents of Berry, an Academy Award-winning actress, aren’t showcased at all what with her having maybe two lines throughout and, much like Blink, zero character development. The “phasing” and walking-through-walls Kitty Pryde (Ellen Page) is back with a slightly more substantial role than Storm, but her character is also static with very few lines. Finally, we have Jennifer Lawrence as Mystique/Raven, the shapeshifting martial arts expert who has the most screen time and the most depth of the bunch.

A sentinel gets the drop on a stoic Storm
A sentinel gets the drop on a stoic Storm

 

Despite the fact that these women aren’t given nearly as much airtime as the dudes in the film, it’s no secret that they’re all seriously badass. In fact, the entire plotline revolves around the sheer power of two of these women’s mutant abilities. Kitty Pryde has managed to hone her phasing ability to allow others to pass through consciousness and time much the way she would pass through a wall. It is her ability that allows Wolverine to travel back in time to prevent a dystopian future fraught with mutant genocide and mutant-sympathizer wholesale slaughter. Kitty’s strength holds Wolverine’s mind in two places at once despite physical and emotional trauma that he may suffer while traipsing through time. In the original comic book storyline, Kitty, herself, travels back into her past consciousness in order to avert disaster, which firmly places her in the position of agent and heroine in an epic tale. In the film, however, her power, though vast, is incidental to the real drama of the story: setting a lost and bitter young Charles Xavier back on the path of hope and mutant/human unity.

Kitty Pryde phases Bishop's consciousness into the past
Kitty Pryde phases Bishop’s consciousness into the past

 

The entire film itself details the chain reaction the decisions and actions of Mystique set off. Her murder of anti-mutant weapons innovator, Dr. Bolivar Trask (performed by Game of Thrones favorite Peter Dinklage), followed by the synthesis of her shapeshifting capabilities into mutant-hunting sentinels, sets the stage for mutant genocide and a post-apocalyptic Matrix-like future. Mystique’s agency is so influential that she defines the future in a single act. Not only that, but her mutant ability is so powerful that it is coveted by the government and used to create an unstoppable weapon.

I'd watch the hell out of a solo Mystique movie
I’d watch the hell out of a solo Mystique movie

 

Despite the importance of Mystique not only to the plot of the film but also to the fate of mutants as a species and the world as a whole, her agency is full of negative consequences. The choices she would make on her own lead to destruction and despair. This echoes a generalized fear of the power of female agency and the belief that, if left to their own devices, women can’t or won’t make the right choices. That is why we have the two warring patriarchal, paternalistic forces seeking to shape her: Magneto and Professor X. Professor X evokes her familial bond with him and urges her towards unity and peace while Magneto uses their past sexual relationship, the allure of unfettered power, and the rage inspired by the persecution of fellow mutants to appeal to her. Professor X calls her “Raven,” a name that makes her his, while Magneto dubs her “Mystique,” asserting ownership over her identity.

Raven is Professor X's creature, while Mystique is Magneto's.
Raven is Professor X’s creature, while Mystique is Magneto’s.

 

An either/or dichotomy is formed in which she must choose to be either Raven or Mystique. Charles’ or Eric’s. There is no third option that allows her to be her own person, to make a choice outside of the ones presented to her by these two men. She is nothing but a symbol of the fight between our two great, male adversaries and their disparate philosophies.  Yet again, a woman’s body (in that her DNA is pivotal to the extinction or survival of all mutantkind) is the grounds on which a man’s war is fought. Boo.

Mystique kicks serious as but, in the end, is a pawn
Mystique kicks serious ass but, in the end, is a pawn in a male ideology battle

 

The representations of race also inspired a “What the hell??” in me with Bishop (Omar Sy) being divested of his time traveling role (in the cartoon TV show version, if not the original comic storyline, Bishop travels back in time, not Wolverine) as well as the lotta people of color being killed off. The use of Peter Dinklage, a little person, to play Trask, a man obsessed with the threat mutants pose, to carry out prejudice and the genocide of those who are simply different from him rang a bit hollow as Dinklage/Trask, himself, is part of a marginalized group who likely knows firsthand what oppression looks like.

Trask, an oppressed little person, seeks to kill all mutants because they're different and scary
Trask, an marginalized little person, seeks to kill all mutants because they’re different and scary

 

It’s a step in the right direction that there are powerful, pivotal women in X-Men: Days of Future Past, but it’s not enough. Why isn’t this a story about Mystique’s internal landscape, her struggles, and how she learns that she’s not only powerful enough to change the world but powerful enough to change her mind? Why is her story a proxy to tell the tale of the men who seek to shape her? I hoped for better from X-Men: Days of Future Past, but I can’t say I’m surprised. Hollywood keeps churning out sub-par superhero movies with shitty plotlines, an over-reliance on explosions and action sequences, and a general all-about-the-dudes vibe. The X-Men franchise places a lot of emphasis on evolution; it’s time to do more than pay lip service to that notion. It’s time to evolve to the point that we’re telling the heroic arc of women and superheroines with the knowledge that that story is every bit as important as those of their male counterparts.


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

Gender, Androgyny, and ‘The Dark Crystal’

The primary theme of ‘The Dark Crystal’ is that there should be no opposites, no dichotomies, no binaries. There cannot be balance when we separate out good and evil, ends and beginnings, cruelty and kindness, male and female. These things are truly one and exist together, inseparable.

The Dark Crystal Poster

Written by Amanda Rodriguez.

I’m at it again, reviewing a piece of media from my childhood that powerfully affected me in the hopes of determining what kind of message it imparted to my younger self and how that message helped shape the woman I am today. This time around, it’s Jim Henson’s The Dark Crystal. (My blast-from-the-past reviews thus far include:  Was Jem and the Holograms a Good Show for Little Girls, Splash: A Feminist Tail Tale?, She-Ra Kinda, Sorta Accidentally Feministy, and “No man may have me”: Red Sonja a Feminist Film in Disguise?) The Dark Crystal, like so many other 80s movies, appealed to me because it was dark, otherworldly, and told a story that was not only unique, but epic in scale. When I look back on The Dark Crystal, what strikes me most is the film’s complicated representation of gender. Most of the film’s characters are overwhelmingly androgynous.

The last gelflings: Jen & Kira
The last Gelflings: Jen and Kira

 

The heroes of our tale are a pair of Gelflings, the last surviving members of a race the Skeksis genocided to avoid a prophecy foretelling their downfall. In appearance, Gelflings are decidedly androgynous: they are small and child-like with smooth, feminine features and long hair. Both are gentle and soft-spoken; Jen loves to play music on his pipe while Kira sings along. However, being female gives Kira the advantage of flight because female Gelflings have wings.

Kira surprises us by using her wings to rescue Jen
Kira surprises us by using her wings to rescue Jen

 

Kira can also speak to animals and plants. Though that is a learned trait from her Podling foster family, women being able to understand creatures of nature is a common trope to denote femininity.

Kira marshals a pair of landstriders to help their quest
Kira marshals a pair of Landstriders to help their quest

 

Though Kira is physically the least androgynous character in the film, she is brave and sure of herself when Jen is not. Though Jen is the one singled out for destiny and agency with his possession of the crystal shard, he doubts his mission and himself. Kira must spur him to adventure. She also uses her wits and talents to rescue herself when the Skeksis try to drain her essence. Not only that, but in the final scene when the Skeksis are closing in, she sacrifices herself, using her own body to show Jen the path when he is lost. Kira is simply a hero. Her feminine traits don’t make her weak, and her possession of typically coded masculine heroic traits does not make her masculine. At the end of the film when the Skeksis and Mystics are joined together again to form the UrSkeks, one of them says to Jen as he holds Kira’s lifeless form, “She is a part of you.” This is true, especially considering their earlier Dreamfasting scene in which the two touch and share memories. Though Jen is male and Kira is female, their genders do not make them binary. They are stronger together; together they form a single whole. (More on that theme later…)

Kira sacrifices everything to help Jen heal the dark crystal
Kira sacrifices everything to help Jen heal the Dark Crystal

 

The wise figure of Aughra is also androgynous. She is clearly female with a woman’s voice and large breasts with protruding nipples, but she has a beard and curling ram’s horns along with a removable eye. The companion novel to the film, The World of the Dark Crystal, apparently identifies Aughra as both male and female, the essence and personification of the planet Thra in which our story takes place.

Aughra. Don't mess with her.
Aughra. Don’t mess with her.

 

Aughra is powerful, ancient, and grotesque. She commands the plants of the earth and holds the crystal shard. She is an astronomer, scientist, and prophetess who can read the future in the stars. She regards the Great Conjunction as “the end of the world…or the beginning,” claiming it’s “all the same.” Like the Gelflings don’t distinguish between self and other when it comes to male and female of their race, Aughra sees ends in beginnings and beginnings in ends. Instead of focusing on how things are different, disparate, and separate, Aughra sees infinite connections, sameness, and harmony in unity.

Portrait of Augra
Portrait of Augra

 

The entire journey of the film centers around reuniting a sundered shard to make the Dark Crystal whole again. This will reunite the sundered Mystics and Skeksis who were once single beings now separated, embodying binary, dichotomous traits with the Skeksis being evil, selfish, greedy, cruel, and violent while the Mystics are gentle, kind, peaceful, and generous. Interestingly enough, the Mystics and Skeksis are all male, and their combined form continues to be male, but their maleness is not wholly traditionally masculine in its representation.

The Mystics nurture Jen, teaching him the gentle magics of the earth
The Mystics nurture Jen, teaching him the gentle magics of the earth

 

The Mystics embody more traditionally coded female characteristics: gentleness, nurturing, community building, a connection to the earth: teaching, music, and magic. They’re long-haired and peaceful…the hippies of their planet (one of them even wears a stylin’ do-rag over his hair).

Look at those lovely locks flowing in the wind. Think he conditions?
Look at those lovely locks flowing in the wind. Think he conditions?

 

In many ways, the Skeksis are more overtly masculine in their desire to subjugate others, the grotesque way they eat, their trials by combat, and their quickness to anger and violence. On the other hand, the Skeksis are obsessed with fashion. Their clothing defines them, and the disrobing of our lead Skeksis, Chamberlain, is the height of dishonor and humiliation. They disrobe him before casting him out after he loses the trial-by-stone competition to be emperor.

The Skeksis are serious about their opulent robes.
The Skeksis are serious about their opulent robes.

 

Chamberlain himself is very androgynous with his high-pitched voice, slight build, and his preference for manipulation over force. The Skeksis are also obsessed with looking youthful. They drain the “essence” of Podlings, turning it into an elixir that they drink in order to temporarily rid themselves of wrinkles. This obsession is reminiscent of our own female-dominated beauty and fashion culture.

A disrobed Chamberlain trying to beguile the naïve Jen
A disrobed Chamberlain trying to beguile the naïve Jen

 

The primary theme of The Dark Crystal is that there should be no opposites, no dichotomies, no binaries. There cannot be balance when we separate out good and evil, ends and beginnings, cruelty and kindness, male and female. These things are truly one and exist together, inseparable. The film’s representations of gender give preference to a more androgynous, non-binary mode of being, insisting that gender and human nature are too rich and complicated to be “this or that,” “one or the other,” “either or.” As a child, this de-coding of masculinity and femininity that allowed characters to be so much more than a simple gender formed a piece of the bedrock of my lifelong questioning of gender roles, gender hierarchy, and the entire binary system of gender. Thanks, Brian Froud and Jim Henson!

 


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

Reproductive Rights in ‘Orphan Black’ Season 2

What’s shaping up to be the forefront theme in ‘Orphan Black’ season two is reproductive rights. Of all the clones, Sarah is an anomaly because she was able to give birth to Kira when all her clone counterparts are infertile. The seemingly impossible birth of Kira has the forces of science and religion both vying for access and control over clone bodies.

Orphan Black Season 2
Orphan Black Season 2

Written by Amanda Rodriguez.

I’m sure it comes as no surprise that I continue to be a fan of Orphan Black into its second season. My review of season oneOrphan Black: It’s All About the Ladies–focuses on the strength and wide range of female characters that the show revolves around (not to mention Tatiana Maslany‘s formidable acting talents as she portrays all of the clones). In season two, the compelling female relationships continue to be integral to the heart of Orphan Black‘s plotlines. In particular, we see a deepening of Cosima’s connection to and lingering distrust of her monitor, Delphine.

Can Cosima trust her lover and monitor Delphine?
Can Cosima trust her lover and monitor Delphine?

 

We also delve into the dark past of Sarah’s foster mother Mrs. S, full of secrets, violence, and questionable intentions.

Is Mrs. S helping or hurting Sarah and Kira?
Is Mrs. S helping or hurting Sarah and Kira?

 

We also meet a new and powerful clone, Rachel, who works for the dubious cloning research corporation, Dyad, and who doesn’t seem to feel a kinship with her fellow clones.

Sarah and Rachel get off on the wrong foot
Clone-Off: Sarah and Rachel

 

We also see more of Sarah coming into her own as a responsible, present parent for her medical miracle daughter, Kira. Though Felix is not a woman, his close relationship with foster sister Sarah and his queerness seem to get him into the inner circle of Clone Club, and it’s always a pleasure to watch scenes where he calls Sarah on her shit, is nurturing to Kira, is hilarious, and remains fabulous the whole time.

Felix: King of the Smart Asses
Felix: King of the Smart Asses

 

What’s shaping up to be the forefront theme in Orphan Black season two is reproductive rights. Of all the clones, Sarah is an anomaly because she was able to give birth to Kira when all her clone counterparts are infertile. The seemingly impossible birth of Kira has the forces of science and religion both vying for access and control over clone bodies. Yes, a pitched battle between science and religion is mounting over the reproductivity of female bodies. Sound familiar? Art imitating life perhaps…

The Prometheans, a religious cult, attempt to bind Helena to their cause
The Prometheans, a religious cult, attempt to bind Helena to their cause

 

Both the Prometheans (religious nutjobs) and the Dyads (cold, calculating scientists) are deceptive, selfish, and don’t see the clones as autonomous human beings. Our heroines must navigate these treacherous forces that seek to exploit them. Even more remarkable is the way in which the clones fight back by using these forces for their own gains by gathering, stealing, and manipulating resources and information in order to better understand themselves: their origin, DNA, and purpose. From within a system that attempts to abuse and dehumanize them, these woman are making their own way, living by their own rules, and relying on their collective strength to survive. Now that, my friends, is a feminism.

 

Read also: Orphan Black: It’s All About the Ladies and The Male/Female Gaze on BBC America’s First Season of Orphan Black


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

Joss Whedon’s Indie Film ‘In Your Eyes’ Disappoints

Though beautifully shot with surprising and genuine performances, Joss Whedon’s ‘In Your Eyes’ disappoints with its lazy storytelling and ultimately trite plotline.

In Your Eyes Poster

Written by Amanda Rodriguez.

As a dedicated fan of much of writer/director Joss Whedon‘s work (Buffy the Vampire Slayer, The Cabin in the Woods, and Dr. Horrible’s Sing-Along Blog to name a few), I looked forward to watching Whedon’s latest film: Vimeo’s video on demand indie flick In Your Eyes. The film is a supernatural love story, featuring a man (Dylan) and woman (Becky) who live on opposite sides of the country and discover they’ve been psychically linked since adolescence when Becky had a sledding accident.

Sledding
Young Becky steels herself to face a fearful, snowy descent on her sled

 

In Your Eyes is beautifully shot with rich colors that starkly contrast Dylan’s arid New Mexico home with Becky’s snowy New Hampshire location. Not only that, but I enjoyed the hip, indie soundtrack, featuring songs from Iron & Wine, Santigold, and The Lumineers (among others). The concept of having a couple telepathically fall in love when separated by great distances poses unique challenges to filming, and those were all handled surprisingly well: mainly the conceit of the characters seeming to carry on conversations with and by themselves while evincing chemistry and a growing affection. This is the equivalent of green screen acting where the performers can’t feed the scene with one another’s delivery or energy. Unlike, say, the new Star Wars trilogy where all the acting was wooden (in part) because of the green screen challenge, In Your Eyes managed to convey a warmth and liveliness to Becky and Dylan’s interactions that are missing from the flatness of their real-life encounters with others in their day-to-day lives.

Through Dylan's eyes, Becky watches a breathtaking New Mexico sunset.
Through Dylan’s eyes, Becky watches a breathtaking New Mexico sunset.

 

Interestingly, the vibrancy of Becky and Dylan’s love brings these two oft misunderstood loners together but further isolates them from the outside world. Though both characters evolve as a result of this new intimacy, we find them even further withdrawing from the potential for interdependency in aspects of their “real” lives like work, marriage, and social interactions. Neither of them are happy with their lives, but using a secret, long-distance romance and fantasies of escape as lifelines are not particularly healthy or sustainable solutions. As a writer, I also find this to be lazy storytelling. So many scenes are of our lead characters alone in rooms talking to themselves. Not only that, but the more interesting story is what life looks like once Becky and Dylan don’t have the obstacles of distance and unhappy lives between them. Do they integrate better into the world as a unit? Do they continue to feel compelled to speak to each other telepathically all day, every day if they see each other daily? Is this connection all it really takes to heal each other them? We’ll never know.

Dylan sabotages a date as he telepathically communicates with Becky
Dylan sabotages a date because he’s busy telepathically communicating with Becky

 

Speaking of lazy storytelling, the psychic premise of In Your Eyes is never fully explored. Why are these two linked? Does this make them soulmates? Do they have other yet undiscovered abilities? Are there others like them in the world? Even the boundaries of their telepathic link are haphazardly explained. For example, we learn that they can hear, smell, and feel things in each other’s environments (as evinced in an awkward mutual masturbation session), but can they physically control things in each other’s environments, too? Does distance matter, i.e. does their communication get stronger when they’re closer and fainter when they’re further apart? Not only that, but Dylan and Becky are simply not that curious for answers. If I discovered a psychic link between myself and a stranger across the country, you can bet your ass I’d be obsessed with understanding the why and how of it.

Becky's piss-poor friend thinks her isolation is due to an affair
Becky’s piss-poor friend thinks her isolation is due to an affair

 

My final and greatest critique of In Your Eyes is how damned trite the story is at its core. When you take away the gimmick of the unexplained and unexplored psychic connection, we have a pretty tame hetero, long-distance love story about two white people who conform to traditional gender roles. Dylan actually hops a plane and ends up in a standard car chase with the cops because he’s white knight’ing it up, on a mission to rescue Becky, the imprisoned/institutionalized damsel in distress. Frankly, that’s boring and uninspired. Simply reversing the gender roles, making Becky the ex-con and Dylan the kept trophy spouse, would have made this story more compelling. I’ve come to expect a lot more from Joss Whedon. At the very least, I expect him to have a more racially diverse cast, amazing dialogue that delights, plotlines that subvert expectations, and, most importantly, empowered female characters.

 


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

‘Game of Thrones’: The Meta-Feminist Arc of Daenerys Targaryen

The journey of Daenerys Targaryen is a prototype for female liberation, one that charts women’s emancipation over the centuries and encourages us to push harder and dream bigger for even more freedom now.

Game of Thrones Dany Poster

Written by Amanda Rodriguez
Spoiler Alert
Trigger warning: discussion of rape

The incredibly popular HBO TV series Game of Thrones is off and running as Season 4 gets under way, and as the devoted fan that I am, I’ve been thinking an inordinate amount about this show, in particular the character arc of one Daenerys Stormborn of House Targaryen, Queen of the Andals and the First Men, Khaleesi of the Great Grass Sea, Breaker of Chains, and Mother of Dragons (now that is a title). As I’m steadfastly staying behind the TV series in my reading of George R.R. Martin‘s ongoing book series, A Song of Ice and Fire, I don’t know what’s in store for Daenerys in the pages beyond the TV show. However, I see the journey of Daenerys Targaryen as a prototype for female liberation, one that charts women’s emancipation over the centuries and encourages us to push harder and dream bigger for even more freedom now.

Daenerys begins her life as property.

Cruel brother Viserys sells his sister for an army
Cruel brother Viserys sells his sister for an army

 

Daenerys is a quiet, dreamy youth who has been physically, mentally, and sexually abused by her brother, Viserys, who sells her to Khal Drogo to buy an army of Dothraki. Her ownership then transfers to Drogo who repeatedly rapes her before Daenerys learns to assert herself and manipulate his desires.

Not really the wedding night every girl dreams of
Not really the wedding night every girl dreams of

 

It’s important to note that HBO chose to alter Daenerys’ wedding night by having Drogo rape her, using her as property. Martin’s book A Game of Thrones, depicts her wedding night as a sexual awakening and a revelation for Daenerys about the power of her desire and sexuality. This change from book to screen has several implications, and not all of them are good since it solidifies the racist depiction of the Dothraki as unfathomable savages and kicks off the show’s penchant for the sexual degradation of women. However, it’s hard to realistically imagine a child bride with Daenerys’ disposition enjoying her stranger-husband’s advances, and the TV version of Daenerys’ arc then shows us how she (like so very many women) must overcome the repeated violation of her body (in her case, by both brother and husband).

Like her sexual abuse, Daenerys must overcome many obstacles on her heroine’s journey for self-actualization.

"I do not have a gentle heart." - Daenerys Targaryen
“I do not have a gentle heart.” – Daenerys Targaryen

 

Our Khaleesi faces the death of her husband, brother, and child, the loss of most of her khalasar, starvation, and desperation along with many deaths in the Red Waste.

Our young Khaleesi faces starvation and loss in The Red Waste
Our young Khaleesi faces starvation and loss in The Red Waste

 

Like the mythical heroine that she is, though, Daenerys’ struggles make her stronger. She ignores the protests of those who either don’t believe in her or who underestimate the magnitude of her power. She trusts her instincts and is reborn from her husband’s funeral pyre where she is thought to have burned. Instead she emerges The Mother of Dragons with her hatched dragons suckling at her breast. In her Bitch Flicks review, In Game of Thrones the Mother of Dragons is Taking Down the Patriarchy, Megan Kearns says, “Dany becomes the metaphorical phoenix rising from the ashes, purging the last vestiges of her former timidity to transition into her life as a powerful leader.” Yes. Symbolically, Daenerys has faced many trials by fire, and she is unbowed and unbroken by them. Not only that, but Daenerys and NOT her brother Viserys is the trueborn heir imbued with magical abilities and, perhaps, a destiny. Her story tells women that only each of us can know our own minds and our true worth, and it is much greater than our patriarchal society can imagine.

Daenerys proves that fire truly "cannot kill a dragon."
Daenerys proves that fire truly “cannot kill a dragon.”

 

The theme recurs of Daenerys having to constantly prove that she is a fit leader, that she knows what she’s doing, and that she can be ruthless when necessary. Her youth and femaleness make others underestimate her, including her own retinue (Jorah gets more than one tongue lashing for his continual doubts about her and her “gentle heart”). But Khaleesi proves herself again and again: in Qarth when she pits her magic against that of the warlocks, in Astapor when she outwits the chauvinistic slaver and acquires an army eight thousand strong of the renowned Unsullied warriors, and in Yunkai when she quietly liberates the slave city from its masters.

Daenerys becomes a queen with an army
Daenerys becomes a queen with an army

 

The liberation of slaves is the next step in Daenerys evolution as a feminist leader. Once acquiring the Unsullied, she immediately frees them and asks them each to make the personal choice to follow her. When she drops the whip that signifies her ownership of the Unsullied, I said aloud, “Fuck yeah!” Not only that, but in Yunkai, the former slaves rally around Daenerys, their liberator, and call her Mysha, meaning “mother.”

The freed slaves name Daenerys mysha meaning "mother"
The freed slaves name Daenerys Mysha meaning “mother”

 

Now, it is deeply problematic that Daenerys is a white savior figure to all these enslaved and impoverished brown people. It’s condescending and (ironically) paternalistic. However, the trajectory of Daenerys’ development as a feminist guide for the liberation and empowerment of women holds true because what is most important is that Daenerys cannot abide slavery and oppression. She embodies the civil rights quote, “No one is free when others are oppressed.” This means that Daenerys will not rest just because she has become a queen with an army. Though poorly (and racistly) executed, Daenerys embodies intersectionality because she believes that everyone deserves equality and freedom of choice regardless of life circumstances or the type of oppression that they face.

In fact, I like to think that Daenerys even inspired Emilia Clarke, the actress who portrays her to take a feminist stance when at the end of Season 3, Clarke stood up to HBO (one of the most powerful networks on the planet) and refused to do anymore nude scenes for Game of Thrones. Talk about a meta-feminist empowerment arc!

Daenerys and Drogon menace Yunkai slavelords
Daenerys and Drogon menace Yunkai slavelords

 

As someone who hasn’t finished the books, I ask myself, “What’s next for Daenerys?” I see Season 4 as her opportunity to grow as a leader, learning how to balance her personal quest for the Iron Throne with the will of the people she has liberated. She will, of course, falter along the way because, hey, this is Game of Thrones, and a series of wins can only result in some kind of tragedy or personal failings. Fact. Though she will undoubtedly make mistakes, I suspect Daenerys will overcome any newfound challenges, as she has done before. Just as all women must when we struggle to be so many things to so many people while holding true to our own goals and values.

Take What is Mine Game of Thrones
Maybe hubris will get in Daenerys’ way?

 

The ultimate question now becomes, “Who in the game of thrones is fit to rule?” All of the others with claims to the throne have had at least one major flaw: Robb Stark was too much his father’s son, valuing honor above all else (and is now dead); Stannis Baratheon is a charisma-less, rigid man with a chip on his shoulder and a dubious moral compass in the form of Melisandre; Mance Rayder will be lucky if he can even wrangle his own army and get beyond The Wall, Balon Greyjoy is powerless inland, and Joffrey Baratheon/Lannister is an evil fuck who everyone despises (and is now dead). Though others will undoubtedly enter the high stakes fray, Daenerys is without compare. Not only does she have dragons, she has proven her abilities time and time again. Most importantly, her liberation of slaves is a testament to her righteousness, her cunning, and her ability to evolve beyond outdated modes of rulership (not to mention that she’d be the first woman to ever sit on the Iron Throne in the history of Westeros). Jorah Mormont said it best:

“You have a good claim: a title, a birthright. But you have something more than that: you may cover it up and deny it, but you have a gentle heart. You would not only be respected and feared; you would be loved. Someone who can rule and should rule. Centuries come and go without a person like that coming into the world.”

***Please no book spoilers in the comments!***

 

Read also: Gratuitous Female Nudity and Complex Female Characters in Game of Thrones and In Game of Thrones the Mother of Dragons Is Taking Down the Patriarchy


Bitch Flicks writer and editor Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

‘In the Blood’: We Need More Female Action Stars

Despite how blasé the plot and character development are, despite the racism and sanctioning of torture of ‘In the Blood,’ I love the opportunity to see a woman on screen who is physically capable, strong, and is ultimately tougher than every man she faces. We don’t have enough female action movie stars. But guess what? Women like action movies, too, and we want to see other women in them as the leads, kicking ass and chewing bubblegum.

In the Blood Poster

Written by Amanda Rodriguez
Trigger Warning: discussion of torture and violence

As someone with a not-so-secret penchant for action movies and strong female character leads, I was pumped to see In the Blood, starring Mixed Martial Arts (MMA) fighting legend Gina Carano. I was particularly interested in this film because, in truth, it’s your basic action film where the lead must save a kidnapped loved one from the clutches of ne-er-do-wells, using the skills of body and brain that the lead has cultivated from a former, more violent life, but in this case the lead is a woman. Carano plays Ava, a newlywed on her honeymoon who must save her injured and disappeared husband from a web of corruption.

[youtube_sc url=”https://www.youtube.com/watch?v=DamjF9XmtlY”]

 

That kind of gender role reversal hardly ever happens in action movies. In fact, the best example in recent memory is Carano herself again flipping the script in 2011’s Haywire as a secret agent on a mission for justice after she’s been betrayed by those who trained her. Sound like the Bourne series much? But starring a woman. Confession: I was also pumped to see Haywire. Neither Haywire nor In the Blood are fantastic films. The plots of both are by-the-book with little that is exciting or memorable save the serious ass kicking and stuntwork of the awesomely physical Carano.

Ava goes MMA with a takedown in a nightclub
Ava goes MMA with a takedown in a nightclub

 

In the Blood showcases Carano’s martial arts skill with little that’s compelling in the way of backstory. Carano’s Ava had a semi-sadistic father on the wrong side of the law who doled out lessons in toughness, survival, and inflicting brutality. Why Ava’s technique is still so strong and clean after all these years is unclear. What does she do for a living now? Unknown. After a barroom brawl, her new husband questions, “What was that?” To which, Ava buries her head in his shoulder. This is a missed opportunity for the emotional development of our characters as well as for filling in plot holes.

Ava is a stone-cold killer
Ava is a stone-cold killer

 

Though I love a good fist, knife, or even gun fight in a film, I’m not a fan of torture, which seems to have become a staple in the hardened (wo)man rescues loved one trope, and In the Blood is no exception. Many 80’s action movies managed to have the hero get information without torturing his enemies, and torture was, instead, an interrogation technique that these enemies used, thus showcasing their inhumanity. Ava tortures and murders a series of the unnamed island residents, all people of color, which is painfully problematic. They are, however, all men who’ve transgressed against her (many of them prepared to kill her), but a white woman torturing people of color crosses a line. In the Blood attempts to save itself from its racism by having impoverished island residents rally around Ava in the end to protect her from the evil overlord who hunts her.

The unnamed impoverished island exchanges one evil overlord for another
The unnamed impoverished island exchanges one evil, unstable overlord for another

 

Despite how blasé the plot and character development are, despite the racism and sanctioning of torture of In the Blood, I love the opportunity to see a woman on screen who is physically capable, strong, and is ultimately tougher than every man she faces. We don’t have enough female action movie stars. But guess what? Women like action movies, too, and we want to see other women in them as the leads, kicking ass and chewing bubblegum. I also strongly suspect that from time to time men, too, want to see badass ladies running the show in the action genre.

Though I want to see other women fronting their own action movies (like my beloved Michelle Rodriguez), Gina Carano continues to be a stellar choice. Carano has repeatedly paved the way for other women even back in her MMA days when she became “the first female fighter to earn $100,000 for a fight.” I  also love that Carano always struggled to make weigh-ins before her MMA matches because she’s so damn muscly. Though Carano told Women and Hollywood that she’s more interested in emotionally rich, character-driven parts, whispers of Carano taking on the Wonder Woman role abound. As a lover of Wonder Woman with a vociferous opinion on who should or shouldn’t play my favorite heroine, I say Carano’s got what it takes: the bulky muscular physique, the screen presence, and the martial arts skills that give the role a necessary realism. Somebody sign her up, and let’s start cranking out female-led action and superhero movies already!

Gina Carano: pure powerhouse muscle
Gina Carano: pure powerhouse muscle

 


Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

‘Half the Road’: Gender Inequality in the World of Women’s Professional Cycling

As an amateur cyclist, I was ecstatic to review Half the Road, especially because the obstacles female professional cyclists face (pathetic prize winnings along with the lack of pay equity, sponsorships, media coverage, recognition, and equal opportunity to compete in events) has long galled me. To finally have a documentary that gives the women most affected by this gender discrimination a platform to show their outrage, their passion for cycling, and their absolute right to “half the road” is crucial for letting the world know this problem exists while (hopefully) acting as a catalyst to evolve the governing body for cycling, the Union Cycliste Internationale (UCI) to accept gender parity as a necessity and the norm.

Half the Road Poster 400
Half the Road documentary poster

Written by Amanda Rodriguez

Half the Road is professional athlete and filmmaker Kathryn Bertine‘s revelatory, inspiring documentary that exposes the rampant gender inequality in professional cycling.

[youtube_sc url=”http://youtu.be/nsKumPrwaQE”]

 

Half the Road takes us into the homes and lives of professional female cyclists who thrive in their sport, some of whom must work other jobs in order to make ends meet, who must sleep on couches or floors when they travel to race, who hide injuries to maintain a tenuous spot on team rosters due to archaic age regulations, who spend valuable time and energy fighting unfair UCI rulings and bureaucracy, or even one woman who buys tea kettles with her prize winnings because there’s little else she can afford with such a pittance. We see the faces of these elite athletes, like time trialist Emma Pooley, criterium rider and Ph.D holder Nichole Wangsgard, four-time Ironman triathlete gold medalist Chrissie Wellington, and two-time Olympic gold medalist Kristin Armstrong (no relation to Lance Armstrong), and we learn in a straightforward manner about their struggle for gender parity in their sport.

The female peloton at the Tour of Gila
The female peloton (pack of riders) at the Tour of Gila

 

The documentary’s director, Kathryn Bertine, intimately knows the limitations that stifle female cyclists’ potential because she is a professional cyclist herself. Bertine says:

“As a sports journalist and professional athlete, I knew we had to show the truth about gender equality in sports which is simply a mirror for gender equality in society. As much as everyone wants to believe that Title IX (sports equality law in the USA) has leveled the playing field in sports, the reality is there is still a long way to go. The good news is that cyclists and fans are pushing for change, and at the heart of this movement is a raw, pure, uplifting love of sport specific only to the struggle and triumph of female athletes.”

Kathryn Bertine 2013 World Championship
Kathryn Bertine 2013 World Championship

 

As an amateur cyclist, I was ecstatic to review Half the Road, especially because the obstacles female professional cyclists face (pathetic prize winnings along with the lack of pay equity, sponsorships, media coverage, recognition, and equal opportunity to compete in events) has long galled me. To finally have a documentary that gives the women most affected by this gender discrimination a platform to show their outrage, their passion for cycling, and their absolute right to “half the road” is crucial for letting the world know this problem exists while (hopefully) acting as a catalyst to evolve the governing body for cycling, the Union Cycliste Internationale (UCI) to accept gender parity as a necessity and the norm.

These athletes, these women, deserve better. I urge you to watch this film and add your newfound knowledge and outrage to this growing movement that demands female professional cyclists be afforded the same rights, privileges, and opportunities that men are given. Because how will we know what heights a woman is capable of achieving if we never give her the chance? Plus, watching Half the Road gives us the treat of seeing all those ladies’ amazing quad muscles in action.

Cyclist version of Rosie the Riveter's "We can do it!"
Women cyclist version of Rosie the Riveter’s “We can do it!”

Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.

‘Divergent’ is Not So Divergent But Still Crucial for Feminism

I’m hopeful that ‘Divergent,’ as the first installment of the series, is setting Tris up to be a memorable heroine in her own right in the following films. I’m hoping that ‘Divergent’ is the story of the forging of our heroine, the exploration of her talents, abilities, and heart and that the second and third films will show her learning from her experiences, becoming a leader, and inspiring others.

"Divergent" Poster
“Divergent” Poster

Written by Amanda Rodriguez
Mild Spoilers
Trigger Warning: mention of sexualized violence

The much-anticipated film Divergent is based on the series of teen sci-fi novels by Veronica Roth dealing with a walled-off, post-apocalyptic Chicago wherein society has divided itself into factions in an effort to create order and peace. Our heroine Beatrice “Tris” Prior (Shailene Woodley) finds out she is “Divergent,” a taboo non-conformist who doesn’t fit into any of the factions and is therefore threatening to the caste system.

The five factions of the "Divergent" universe
The five factions of the Divergent universe

 

Disclaimer: I haven’t read the novel series yet.

As a sucker for female-driven sci-fi stories, I liked the premise, but Divergent stands on the shoulders of many young adult and teen movies that came before it. Divergent features training-based dream-like hallucinations like in Ender’s Game.

Tris frees herself with the realization, "This isn't real."
Tris frees herself with the realization, “This isn’t real.”

 

Tris is another thin, white heroine who learns she is more capable than she ever suspected, much like Katniss from The Hunger Games or Clary from The Mortal Instruments: City of Ashes series.

Tris must be brave and not flinch at the knives flying at her.
Tris must be brave and not flinch at the knives flying at her.

 

Divergent‘s Choosing Ceremony has young people choose which faction they’ll belong to for the rest of their lives (“faction before blood”). With factions like Abnegation, Erudite, and Dauntless, the Choosing Ceremony hugely resembles the Sorting Ceremony from the Harry Potter series, wherein wizarding youths are sorted into houses like Gryffindor, Hufflepuff, and Ravenclaw (representing bravery, hard work, and intelligence respectively).

The factions seated at the Choosing Ceremony
The factions seated at the Choosing Ceremony

 

Divergent also spotlights the obligatory overwrought teen romance replete with multiple manly rescues of our heroine in a way that bears a strong resemblance to Twilight (though Tris admittedly has more fortitude and independence than her counterpart, Bella).

Obligatory sunset make-out session...with tattoos.
Obligatory sunset make-out session…with tattoos.

 

Divergents themselves are essentially misfits with special abilities that speak to the potential of human beings for evolution into a more advanced species like in the famed comic book turned cartoon series turned movie franchise X-Men.

Tris defies categorization, her test revealing her to be Divergent.
Tris defies categorization, her test revealing her to be Divergent.

 

Lastly, I think we should expect the second film (Insurgent) to really play up the youth rebellion angle like in The Legend of Billie Jean.

Outlaw youths on the run, trying to be understood, striving to overthrow an unjust system.
Outlaw youths on the run, trying to be understood, striving to overthrow an unjust system.

 

So, yes, Divergent is derivative and predicable. Funny how a movie with an emphasis on the importance of being different…isn’t all that different itself. I was, however, still entertained, and I’m willing to wait and see if the second two films pave their own way, uniquely establishing themselves within the lexicon of the iconic pop culture fantasy/sci-fi teen series genre.

Divergent is basically an unnecessary prequel. I’m a fan of training sequences and didn’t tire of them despite the fact that Tris repeatedly gets her ass handed to her.

No wonder she's always getting gut punched with a defense like that.
With a defense stance like that, no wonder she’s always getting gut punched.

 

However, almost an entire film dedicated to Tris’ martial training, her budding romance, and the requirements of survival within the faction of Dauntless are not strictly necessary for the big picture scope of the series. I suspect the real story starts in the next movie, Insurgent, with the caste system in upheaval and Tris coming into her own as a leader of dissidents.

I was disappointed at the under-utilization of Kate Winslet‘s extensive acting powers in her role as the Erudite leader and villainess Jeanine. I’m frankly so tired of the cold, fanatic female villain trope. Jodie Foster played a similarly uninspired role in the sci-fi film Elysium. At first, I hoped that Jeanine would only be Tris’ first foe, the patriarchy-complicit woman, and that Tris would advance beyond that to actually deconstructing the patriarchal system of oppression in the following films. A quick Wiki search disabused me of that notion.

Kate Winslet as Jeanine in "Divergent"
Kate Winslet as Jeanine in Divergent

 

No, it looks like our lead villain throughout the series will be Jeanine, which makes me question the underlying thematics behind the class structure that the film and book series critique. Is it claiming that cold, intelligent women are the problem? Are they the purveyors of this dysfunctional culture? If so, for which real world social ill is the post-apocalyptic world of Divergent a stand-in? What problematic mechanism of power does this sci-fi series seek to illuminate? So far, all we’ve got is a generic argument that being different and thinking differently is a good thing. Not much subversiveness going on there.

Tris also gets rescued a lot, mostly by her love interest, Four, played by Theo James (James Franco called…he wants his face back). This made me roll my eyes a lot because I didn’t pay $10 to watch a young woman lead be so dependent on a dude for her survival. Not only that, but through a fear simulation, we learn that one of Tris’ greatest fears is that Four will try to rape her, and that theme isn’t delved into at all. However, I did admire the close, loving relationship Tris shares with her mother (Ashley Judd) and that her mom also rescues her in a surprising act that would make both factions Abnegation and Dauntless proud.

Tris mother, Natalie, brushes her hair on test day.
Tris’ mother, Natalie, brushes her hair on test day.

 

As with so many other aspects of the film, I’m letting our heroine’s constant need to be rescued slide because I’m hopeful that Divergent, as the first installment of the series, is setting Tris up to be a memorable heroine in her own right in the following films. I’m hoping that Divergent is the story of the forging of our heroine, the exploration of her talents, abilities, and heart and that the second and third films will show her learning from her experiences, becoming a leader, and inspiring others. At the end of Divergent, we saw a glimmer of her potential in her rallying of others, quick thinking in a crisis, her empathy, self-sacrifice, inventiveness, and the steel in her spine.

Tris is endlessly tenacious and never gives up.
Tris is endlessly tenacious and makes up her own mind about things.

 

The bottom line is that, despite Divergent‘s glaring flaws, I am so inspired by this outpouring of stories written by and about women. The mathematical expression of the term divergent is, simply put, “having no finite limits.” Right now, Tris’ story is empowering young girls and women with her bravery, her vulnerability, and her centrality. We have so desperately needed greater representation for young women so that they can imagine themselves in the roles of heroines, leaders, and catalysts for change. It is an important step forward that these films are being made at all. It is a coup that they are so damned popular, proving that people, in fact, DO want to see stories about women and that those stories DO sell. Eat your heart out Hollywood.

 


Amanda Rodriguez is an environmental activist living in Asheville, North Carolina. She holds a BA from Antioch College in Yellow Springs, Ohio and an MFA in fiction writing from Queens University in Charlotte, NC. She writes all about food and drinking games on her blog Booze and Baking. Fun fact: while living in Kyoto, Japan, her house was attacked by monkeys.