Author: Myrna Waldron

Why I Love ‘Adventure Time’

Title Screen for Adventure Time
Warning: Spoilers up to the end of Season 3

Adventure Time is a Cartoon Network animated series that combines surrealistic comedy, fantasy and science-fiction. Based on a 2008 short by Pendleton Ward that went viral, it parodies the tropes, archetypes and cliches of fairy tales, video games and childhood action figure battles. The basic premise is about Finn, the last remaining human, and his best friend/adoptive brother Jake (a shape-shifting dog), going on your typical slay-the-monster-save-the-princess adventures. Now in its fourth season, it’s an enormous hit with all genders and age groups and shows no signs of slowing down. And let me tell you, as a feminist, why I am absolutely celebrating this show.

The main cast of Adventure Time
  • Almost every female character is a princess, but the typical cliche Damsel In Distress and/or romance-obsessed girly-girl are parodied and subverted for all they’re worth. In several instances, the princess characters (Bubblegum especially) show little interest in romance, and far more interest in their own personal hobbies. Even more encouraging is that often the female characters are completely able to rescue themselves, and don’t need Finn & Jake’s help.
  • The characters are given genuine honest-to-goodness flaws. Finn is heroic, but has a terrible bad temper and an impulsive streak. Jake is easygoing, but not nearly as clever or level-headed as he thinks he is. Princess Bubblegum is a scientific genius, but can be incredibly callous about the feelings of others. Marceline is a talented musician, but also has deep insecurities about how her friends perceive her. Flame Princess is astoundingly powerful, but also has dangerously passionate emotions. In all of these cases, there’s no black and white morality. It’s an important lesson for children (since this is a children’s show) to present morality as it really is – in shades of grey.
  • I love all the female characters, including the gender flipped versions of Finn and Jake, Fionna and Cake. My main complaint with the series is that the female characters don’t appear nearly often enough, and especially not together. We eventually do get some Bechdel Test passing goodness (Bubblegum and Marceline don’t get along too well – and people have naturally interpreted this as sexual tension) but so far the three main female characters have not yet all appeared in the same story together. I suspect that the main reason for this is because each story is about 11-12 minutes in total, and there’s only so much time for introducing characters and conflicts.
Jake stretching around the other main cast members
  • Speaking of Fionna and Cake, I can see now why that episode is so astoundingly popular amongst the fandom. It’s easily my favourite one of the series. Fionna is an absolutely adorable character – slightly chubby instead of unrealistically slender, tomboyish instead of traditionally feminine, and she still retains her male counterpart’s bravery and heroicism. She still fights with a sword. For my fellow gamers, think of all the games you’ve played in which a female character is a sword fighter. Not very many, right? But there’s no reason they can’t, and this is one thing I really love about the gender flip episode. I also practically exploded with joy at the final scene where Fionna talks about how she has lots of guy friends, but isn’t interested in/isn’t ready to date them, and that there’s nothing wrong with that. THANK YOU. It’s incredibly frustrating how many people think that somehow something is missing if you don’t have an official romantic partner, or that men and women can’t have a platonic friendship. Shippers could do well to remember this – you can like someone without wanting to bang them. (Also, as a Sailor Moon fan, you can’t imagine my joy at seeing Fionna’s ballgown homage to Princess Serenity’s outfit) At any rate, I hope the Gender Swap episodes happen on a regular basis, rather than a once-a-season deal. Wouldn’t it be nice if we had more shows about an ass-kicking girl and her feline best friend? (*coughcoughSailorMooncoughcough*)
  • This is a fairly obvious point, but I really love how Princess Bubblegum’s interest in science is depicted. She’s an absolute genius – shattering the still pervasive stereotype that the sciences are the domain of men – and she also bucks the stereotype that nerdy/geeky people are unable to have fun or to relate to others. Similarly, Marceline’s interest in punk/indie rock also combats the stereotype that rock is a genre made by and for the enjoyment of men. Girls like to headbang too!
  • The Christmas special, which reveals that pseudo-antagonist Ice King was actually a human antique dealer driven insane by his find of a magic crown, is an interesting way of approaching and explaining his very archetypal tendency to kidnap and try to marry princesses. In the Ice King’s case, it’s not so much a wanting to stick to traditional fairy tale gender roles, but a manifestation of his grief over losing the fiance he used to nickname “Princess.” The Ice King is primarily a comic character, but this episode finally established him as being tragic.
Fionna and Cake
  • I appreciated that, for once, romantic tensions are resolved rather than dragged on, and on, and on, and on. They make it clear that while Princess Bubblegum likes Finn as a person, she feels she’s too old for him, and her sometimes callous treatment of his feelings proves that she isn’t the right partner for him. Flame Princess isn’t the perfect girlfriend either, but at least in their case, Finn and Flame got together very quickly, changing the romantic plotline from “Will they or won’t they?” to “What happens now they’ve got together?” I also like that Jake and Lady Rainicorn’s relationship is loving, positive, literally interracial, and well…adult. (Lady Rainicorn’s dialogue is only in Korean, and bilingual viewers have revealed she says some incredibly raunchy things that only Jake can understand)
  • In the “Memory of a Memory” episode, Marceline’s (ex) boyfriend tries to bully her into traditional gender roles. He even pulls the “Go back in the kitchen and make me a sandwich” bit. She finds out he tried to trick her, and kicks his ass. (Also, dear men who think this joke is funny: Wow. You’re original. YES I AM GOING TO GO IN THE KITCHEN AND I’M GOING TO MAKE LOTS OF DELICIOUS FOOD WHICH YOU CAN’T HAVE.)
  • In some ways, other than Marceline, Lumpy Space Princess is my favourite character. She is absolutely hilarious as a sassy valley girl type who, by most accounts, should not be as confident about her body and her sexiness as she “should” be. After all, she’s literally a purple ball of lumps. But this is an important message – you DON’T have to match cultural standards of beauty to be sexy. It’s all about confidence. I’m a fatass, and I’m friggin’ sexy if I do say so myself. And in her own way, LSP is sexy too. At least to fellow Space Lumps.
Finn
  • The show just keeps getting better every season. The quality of animation has spiked, the character arcs are realistic and well-defined, and the storylines are mature without losing their comedic edge. I’m absolutely hooked on this series, and it’s a refreshing feeling that this year, along with Gravity Falls, I got to watch some great new children’s shows that deserve every bit of praise they receive.
  • Lastly, I love the sense of humour in the show. I’ve always been a fan of surrealism, as well as referential humour. And I’m also a big fan of fart jokes, like the one where Jake morphs himself into a farting cheetah. I’m 25 years old, and fart jokes are still funny.

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

10 Reasons Why ‘The Addams Family’ Is Awesome(ly) Feminist

The cast of The Addams Family

1. Anjelica Huston was 40 when she played Morticia. Considering that it’s very hard for women over 40 (who aren’t A-listers) to get lead parts, that’s already a milestone. But she’s also sexy. Incredibly sexy. Yes, she’s playing the mother of a pair of preteens, but she appears immaculately (and eerily) beautiful in every scene she’s in. How often do we see a mother character who is genuinely sexy?
2. Morticia and Gomez Addams are famously in love with each other. What set the 1960s series apart from all other sitcoms was that this was a married couple who were crazy about each other, instead of fighting. In the film, this tradition of their great love affair continues. There are no mother-in-law jokes, both take responsibility in raising the children, and have a very healthy sex life. So many stories have the love story end at marriage, or have the couple grow to loathe each other over time. Just think of it – a loving marriage was groundbreaking.
3. Addams Family Values explicitly challenges conformist WASPs at the Summer Camp that Wednesday and Pugsley stay at. The siblings absolutely refuse to compromise themselves and pretend to be happy or to enjoy sickeningly sappy things (like Annie the musical). The camp counsellors show favouritism to the traditionally attractive blonde white rich kids, and it’s made quite obvious how hateful and hypocritical they really are. At the end of the movie, Wednesday and the other “outcasts” deliberately sabotage the counsellors’ tremendously racist Thanksgiving play by symbolically enacting revenge for the genocide that Native Americans suffered at the hands of white people.
4. Despite the Addamses having both a boy and a girl child (at least in the first film), it is the girl that gets the good parts. That doesn’t happen very often at all – other examples of media that has two siblings of each sex almost always emphasizes the brother. Christina Ricci’s sarcastic and deadpan portrayal of Wednesday is one of the highlights of an already perfectly cast set of films. It contrasts sharply with the cheerful Wednesday from the TV version, but I can’t be the only one longing for more sardonic brunette girls in family movies…who aren’t the villains.
5. The climax of The Addams Family seemingly has a damsel-in-distress situation…except that it’s been turned on its head. Morticia…enjoys…being tied up and tortured. Yep kiddies, here’s your first introduction to bondage and BDSM! It’s played for laughs of course, as it always is, but notice that when Gomez and Morticia discuss her predicament, it’s with absolute passion. Their kinkiness is just another aspect of their already healthy sex life. And in the end, the damsel-in-distress isn’t really in distress at all! Sure, she needed to be untied, but Morticia was definitely not in any danger.
6. The characters are evenly split male/female. On the male side, we have Gomez, Fester, Lurch, Pugsley, and Tully Alford. On the female side, we have Morticia, Wednesday, Grandmama, Dr. Pinder-Schloos and Margaret Alford. The four leads (arguably Raul Julia, Anjelica Huston, Christopher Lloyd and Christina Ricci) are split evenly too. And, of course, the film passes the Bechdel Test pretty easily.
7. The villain of Addams Family Values, Debbie (played by Joan Cusack), is a parody of the femme fatale. She’s a black widow with the most ridiculous motives possible. She supposedly killed her parents as a little girl because they got her Malibu Barbie instead of Ballerina Barbie. The tropes of the femme fatale are stretched to their absolute limit of believability, which helps to highlight just how silly a character archetype it is. And naturally, the Addamses accept her faults wholeheartedly (as they always do – they don’t judge anyone except those who judge them). They just take issue with her attempting to murder them too. And decorating with pastels. One must never decorate with pastels.
8. The first film depicts a realistic (well, for a bizarre comedy) breakdown of a marriage. Tully Alford is a coward and a liar, who has practically bankrupted his family by relying too much on loan sharks and vainly hoping that his wealthy Addams clients will bail him out (but instead of asking them for help, he tries to trick them out of money). Margaret openly wonders why she married Tully in the first place. A few weeks later, when the Addamses are holding their family reunion in Fester’s honor, Margaret hits it off with Cousin Itt. They dance, and talk together, and Itt is clearly the first person to make her smile, laugh, and open up about her troubles. She is initially guilty about the affection she’s showing for Itt, but it’s obvious by this point that her husband has begun to ignore her completely in his pursuit for money. When Tully “dies” at the end, it frees Margaret to begin a relationship with Cousin Itt. Instead of vilifying Margaret, her loneliness and subsequent happiness with Cousin Itt is depicted very sympathetically. Should she have gotten a divorce instead, I have no doubt it would have also been portrayed sympathetically.
9. Morticia becomes pregnant at the end of the first film, and has a son, Pubert, in the second one. This is another unusual depiction of motherhood. We know that Huston was in her 40s when the films were shot, and her character is probably around the same age since she has teenage children. Here we see an “older” mother getting pregnant and having a child, AND a family where there’s a big age gap between one or more siblings. As someone roughly twice the age of my younger sister, I can’t tell you how much I appreciated that a film recognized that not all siblings have to be born within 10 years of each other. I also appreciated that, once again, it depicted a mother who isn’t traditionally “young” (which I’ll define as under 35). As women wait longer to get married and/or to have children, this is an important social change to recognize.
10. They are genuinely FUNNY. The two films are ones I can watch over and over, and I’ll maintain that they are probably the best feature film adaptations of a TV series ever. They utilize black humour in a way that is both clever and ridiculous (exaggeration being the favourite tool of comedians) without being gory or mean-spirited. I also believe that the films couldn’t have had a finer cast, god rest Raul Julia. I leave you with one of the finest jokes ever written for a comedy film. Happy Halloween!
Girl Scout: Is this made from real lemons?
Wednesday: Yes.
Girl Scout: I only like all-natural foods and beverages, organically grown, with no preservatives. Are you sure they’re real lemons?
Pugsley: Yes.
Girl Scout: Well, I’ll tell you what. I’ll buy a cup if you buy a box of my delicious Girl Scout cookies. Do we have a deal?
Wednesday: Are they made from real Girl Scouts?

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

White Dudes Sayin’ Stuff: A Journey Through Conservative Political Cartoons

Trigger Warning: Misogyny, rape, child abuse, domestic abuse
Dripping sarcasm ahead.
And now for something completely different.

In addition to my hobbies of watching films and cartoons, I like reading comics. Sometimes I read the highbrow stuff like Maus or Persepolis, and sometimes I read trash. Complete and utter bullshit. One of the longstanding traditions of the Something Awful Forums is its Political Cartoon Thread, which is an ongoing discussion of how the mainstream media interprets political debate through metaphor and imagery. And by that, I mean they find the worst cartoonists possible and make fun of them. Somehow all the really bad cartoonists are conservative! I couldn’t imagine why that could be, could you?

And if there’s one thing conservatives have made themselves known for lately, it’s just how well they understand the issues of women. It’s like there’s a War on Women or something. And if there’s one thing I’ve noticed, it’s that white dudes seem to have a particularly nuanced understanding of what it is to be a modern woman facing such issues as birth control, abortion, and sexual harassment. See how well the following white dudes represent their totally well thought out opinions:

“Arrested for choking Lindsay Lohan?” “For not finishing the job.”
That Lindsay Lohan. How dare she have a crippling drug addiction. It’s almost as if she’s been in the public eye all her life and completely abandoned by her irresponsible stage parents! But Sean Delonas knows how to deal with Lindsay Lohan. Oh yes. Let’s not let these slutty druggies get away with being sluts and drug addicts any more. Let’s kill them. It’s not like she doesn’t deserve it or something.
“Banned cooking fats… No smoking in bars… Laws against paddling my kids.. Now you’re going to make me give my daughters a shot that may prevent cervical cancer. Government involvement in my everyday life is really starting to worry me!”
Terry Wise understands science so well. And who are we to tell this guy how to raise his daughters? His daughters don’t have cervixes! What do you think he is, a pimp? The second you give his daughters a vaccination, they’ll get autism in their vaginas! If he wants his precious little angels to get cancer, that’s HIS RIGHT. GOD. BLESS. AMERICA.
Which is more important? Free birth control or FREEDOM?
Willful misunderstanding of Sandra Fluke’s speech is a time-honored tradition amongst white male conservatives. But Mike Ramirez, winner of TWO Pulitzers, doesn’t have time for research or fact checking. For you see, YOUR TAX DOLLARS ARE PAYING FOR US TO BE SLUTS! SLUTS, I TELL YOU! There is only one use for birth control pills, and that’s for sex. Only men are allowed to have sex! That’s why Viagra is covered by insurance and the Pill isn’t. After all, they wrote right in the constitution that “Freedom is only for the Penis.” They also wrote, “Catholics have more freedom than you do.” No tax for sluts!
I’m not going to bother transcribing this. Just imagine a ton of Men’s Rights bullshit.

I’ll forgive you if you can’t make heads-nor-tails of this. Chris Muir’s “Day By Day” is a webcomic about Zed (who looks suspiciously like Muir), his half-Irish half-Japanese wife Sam, her liberal sister…somebody, her centrist best friend…someone else, and the centrist’s black husband Black Mouthpiece. Fun fact: None of these people (except the self-insert) exist, but Muir likes using his fictional women and fictional black guy to espouse incomprehensible political opinions that stepped right out of the MRA subreddit. He also draws these women with enormous heaving breasts, pokey nipples and they’re constantly pregnant. It’s rather adorable how a middle-aged single conservative copes, isn’t it?

Democrats Try To Court Modern Women “Hey there groovy lady…I’m down with the cause…free love…”
Eric Allie sees right through those crafty Democrats. Modern Women won’t fall for their tricks, what with their equal pay laws and funding for domestic abuse shelters! Oh no, Women will rise up and stand up to those crazy Democrats, because Women HATE contraception, and they HATE it when an opposing political party points out that the Republicans seem to be disproportionately targeting Women’s Issues in their bills. What’s that? Obama has an 18 point lead over Romney amongst female voters? Pssh. Liberal media bias.
“Why are you so upside down on the FREE birth control issue?” “Keep your WOMB out of my WALLET!”
Sandra Fluke has sex. She has sex CONSTANTLY. And she wants YOU to pay for her! To have sex! SEEEEEEX! She even has sex upside down! She has sex with your taxes! SEEEEEEX! Men like A.F. Branco know better though. They use their own tax dollars to pay for their own sex. Prostitutes always give receipts.
“Stay out of my uterus, government!! …That is, right after paying for my free birth control.”
White dudes REALLY hate Sandra Fluke, including Gary McCoy. That Sandra Fluke, with her grotesquely ugly face and 500 pound frame and unshaven legs. She totally discussed an opinion on abortion too, because she wants to have lots of sex and then KILL ALL THE BABIES. She’s coming to your house and she’s going to KILL. YOUR. BABY. And then she’s going to prostitute herself in a bathroom because she’s a slut. Sluts never shave their legs, doncha know.
Young Woman’s Values Class – Plan A: Responsibility, Family Planning, Self Esteem, Keeping A Good Reputation. Plan B: The Chance To Act Like A Drunken Whore
Brian Farrington knows how to raise teenage girls. There’s nothing more important than a good reputation, and old ladies TOTALLY understand how family planning works, right? There are only two kinds of young women in the world. Good girls who keep their legs closed, and DRUNKEN WHORES! Don’t be a drunken whore, because Mr. Farrington is judging the shit out of you! Don’t let those “women’s libbers” tell you how to think, teenage girls. White Dudes know better than they do.
A 14-year-old girl is pregnant by her 21-year-old boyfriend. Shouldn’t someone have to pay for this? The fetus and the taxpayer, of course!

White Dudes get SO close to being compassionate and understanding of the problem, but then they remember that there are women to oppress. Chuck Asay knows that Planned Parenthood employees ALWAYS recommend abortion and ONLY abortion, and that their main concern is keeping the whole thing quiet rather than getting a statutory rapist prosecuted. For you see, ONLY the fetus shall pay for this crime (and, okay, the taxpayer, who is more important than anyone else in the cartoon), when it should totally be the 14-year-old child who was exploited by her adult boyfriend. It’s tough, but that’s what she deserves. Also, she’s black. Maybe you noticed that.
Paterno knew about a sexual predator and is a “Scumbag.” Clinton got a blowjob. That’s worse.
A consensual extramarital affair is completely comparable to a man who looked the other way while his colleague was repeatedly raping little boys. Bill Clinton got away with the worst crime in history! And after all, football is the most important thing in the universe! Won’t somebody think of the child molesters and their enablers? Glenn McCoy (brother of Fluke hater Gary McCoy) speaks for the oppressed pedophiles. Also, Monica Lewinsky is a fat ugly skank. (Here’s a bonus Glenn McCoy cartoon if you can bear looking at bloody fetuses)

So you see, White Male Conservatives truly understand how the world works. We silly women just don’t get it. They have penises, they make the rules. They get to have all the sex, we are just allowed to lie there and put up with it. And we’d better have as many babies as humanly possible, or we’re SLUTS. And don’t forget it. Also, Sandra Fluke sucks. The White Dudes have spoken.

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

Women and Gender In Musicals Week: The Surprising Feminism of ‘Gentlemen Prefer Blondes’

Gentlemen Prefer Blondes Movie Poster
It’s always difficult to review older movies from a feminist outlook, especially ones that predate not only second-wave feminism, but the civil rights movement as well. On the surface, Gentlemen Prefer Blondes is kinda anti-feminist – we have the stereotypical dumb blonde and the smart brunette, the dumb blonde is a blatant golddigger, we don’t get a full Bechdel Test pass (almost all of the conversations are about men), and the film is shot with the intention of emphasizing the lead actress’ sexiness as much as possible (with a few obligatory male gaze shots). Yet I was asking myself why I love this now almost 60 year old film so much. I looked a little deeper, and realized that there is a lot in this film for feminists to celebrate – not only the stars, Marilyn Monroe and Jane Russell, but also the characters’ friendship, their mutual sexual liberation, and how a little song named “Diamonds Are A Girl’s Best Friend” is not as much about being materialistic as it seems.

Marilyn Monroe has to be one of the most misunderstood household names. When people think of her, sure, they think of her beauty and sex appeal, but they also think of her drug addiction, her early death, rumoured plastic surgery, rumoured promiscuity, her stage name, and her difficulties as a performer. No one ever seems to know about her good points. They seem to think that her dumb blonde sexpot persona is her actual personality, when, in fact, she was acting. She was actually an intellectual who loved reading (and I’m talking difficult texts like Proust and Nietzsche) – her favourite photographs of herself are of her reading. There’s a reason she married Arthur Miller! She was also an early civil rights advocate – Ella Fitzgerald would recollect that Monroe personally called the owner of popular club Mocambo, which at the time was segregated, and demanded that Fitzgerald be booked as a performer immediately, promising that she’d be at a front table every night, and bring the press with her, if the owner did so. Her actions made sure that Fitzgerald would never have to play a small club again. Marilyn Monroe could act (in both comedic and dramatic roles), dance, and sing, and yet all that she is remembered for is her looks and her personal demons. She deserves better, especially as someone I consider to be an early feminist icon.

Marilyn Monroe & Jane Russell in the film’s opening sequence
Jane Russell is another performer who deserved a lot more accolades than she got. Her portrayal of Dorothy Shaw is overtly feminist – sexually and intellectually confident in an era that tried to force patriarchal notions of morality. My Baby Boomer mother also fondly remembers her commercials for the Playtex Cross-Your-Heart 18-hour Comfort Bra (it remains one of Playtex’s most popular products). Here was a well-known star as a spokesmodel for lingerie. Even now, we don’t see famous women (besides the Victoria’s Secret supermodels) selling lingerie – at least not for the sake of promoting comfort over sex appeal. Never mind selling lingerie made especially for larger-chested women. These days, we buy non-sports bras for the look of them or the curves/cleavage they create, not because it kinda hurts to jiggle. Here was an actress who basically stated to the world, “Yes, I have large breasts, yes, I need a decent bra, and so does every other woman out there.”

The friendship between Lorelei Lee and Dorothy Shaw is one of the most positive female friendships depicted on film, and is one aspect of the adaptation distinctly improved from the original novella by Anita Loos. (Yes, I’ve read the source material this time.) In the original novella, Lorelei is a flapper who keeps a diary of her daily events and describes both her ambitions of wealth and her attempts to juggle three suitors at once. She is vain, poorly educated (the prose is littered with deliberate misspellings), and disdainful of other women. Dorothy is supposedly her friend, but she often makes sarcastic snipes at Lorelei’s expense (which Lorelei is too dimwitted to pick up on). They’re a lot closer to frenemies in the original, which is a surprisingly misogynistic depiction of women from a female writer. The musical version instead makes Lorelei and Dorothy inseperable. They are absolutely devoted to each other and protective of one another. They disagree on relationships – Lorelei believes in only dating rich men and falling in love with them later, whereas Dorothy is a romantic who keeps falling in love with poor men. Each thinks the other is foolish when it comes to relationships, but they accept each other’s differences and are loyal to each other before any other man in their lives. Sisters before Misters.

Marilyn Monroe & Jane Russell
Another feminist aspect of the film, one which I think is left over from the characters’ original incarnations as flappers, is their complete sexual liberation. Despite what Baby Boomer conservatives would like you to think, there was no such bastion of morality in the 1950s. In Gentlemen Prefer Blondes they make it clear that the lead characters are “lower class.” (“We’re just two little girls from Little Rock, we came from the wrong side of the tracks.”) Both are completely confident about themselves and their life choices. It’s heavily implied that neither girl is a virgin, especially in the “Isn’t Anyone Here For Love” sequence, which is littered with innuendo. (The sequence has also infamously been read as subtly homoerotic – there’s a reason the Men’s Olympic team isn’t interested in Dorothy.) Lorelei is a master seductress, whose suitor Gus has to repeatedly turn himself away from because he has trouble resisting her charms. They drink, they smoke (though they are never seen actually smoking, just buying cigarettes), they dance, they party, they stay out late. And while wealthy men like Gus’ father look down on women like Lorelei, they are completely unapologetic about their choices.

The film also depicts the women as unmistakably intelligent, albeit in different ways. Dorothy is very obviously meant to be the “smart” one, who corrects Lorelei’s mistakes, catches on to other people’s insinuations, and is always ready with a witty retort. But while Lorelei might be “book dumb,” she’s not stupid. Together, Lorelei and Dorothy are master manipulators, and she’s far more devious than she lets on. Famously, at the end of the film, she convinces Gus’ father to let them marry through some admittedly clever logic. (“Don’t you know that a man being rich is like a girl being pretty? You wouldn’t marry a girl just because she’s pretty, but my goodness, doesn’t it help?”) Dorothy isn’t entirely smart either, because she tends to think with her heart over her head. She knows that Ernie Malone is a private detective out to ruin her best friend’s life, but falls in love with him anyway. Notably, however, she makes it clear that she chooses loyalty to Lorelei first.

Marilyn Monroe in the “Diamonds Are A Girl’s Best Friend” sequence
The most famous number in the musical, by far, is “Diamonds Are A Girl’s Best Friend,” which has endured for over 60 years and is considered Marilyn Monroe’s signature number. The sequence, depicting her in a hot pink gown against a bright red backdrop, is so iconic it has, amongst other homages, served as the visual inspiration for Madonna’s music video for “Material Girl.” On the surface the song is about being materialistic – that Lorelei’s love for jewels supercedes all other things, and at the surface, yes, it would be a theoretically anti-feminist song. But I think the song is actually about a longing for financial independence. If you pay attention to the lyrics, they describe how the men in Lorelei’s life are generous for a while, but are shallow (“Men grow cold as girls grow old, And we all lose our charms in the end.”). She is actually saying that while she appreciates romantic attention, she relies on their expensive gifts to live. (“A kiss may be grand…but it won’t pay the rental on your humble flat, Or help you at the automat.”) As a duo of showgirls, Lorelei and Dorothy might be fairly successful, but they’ll never earn enough to be truly financially independent. Don’t forget that in the 1950s, women were still expected to be homemakers. Lorelei’s manifesto is that having diamonds will grant her the opportunity to live on her own, feed herself, and be able to support herself along with her showgirl job. She will need that financial independence long after her looks have faded and the shallow men in her life have moved on. (“Cause that’s when those louses go back to their spouses”) This song, above all else, is advocating for women to work and take care of themselves, but until that day when they are allowed to be truly independent, Lorelei’s going to get to her dreams the best way she knows how.

Yes, the film is flawed, especially if taken at its apparently anti-feminist face value. But contextually, I feel that this film’s depiction of women is quite fair for its day. Yes, it would be nice if the girls weren’t stereotypes and Lorelei wasn’t a blatant golddigger, but then, where would the plot be? Not only are its stars, Marilyn Monroe and Jane Russell, important landmarks in feminist history, but their characters are too. Their friendship is absolutely ironclad – they put each other first, even though both are looking for love in different ways. Their confidence in their intelligence, lifestyle, and sexuality is incredibly liberated for what was supposedly a time of suffocatingly patriarchal morality. And lastly, the famous song “Diamonds Are A Girl’s Best Friend” might be about celebrating materialism, but is really about a woman’s dreams of financial indepdencence. All things considered, Gentlemen Prefer Blondes is surprisingly feminist.

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

The Reception of ‘Corpse Bride’

Corpse Bride Poster (Source: Wikipedia.org)

The Reception of Corpse Bride
By Myrna Waldron
Corpse Bride is that odd film that is both original and derivative at the same time. Based on a Yiddish folk tale, it is a stop-motion animated film directed by bizarre auteur Tim Burton, and featuring his three favourite people: Johnny Depp plays Victor, Helena Bonham Carter plays Emily, and Danny Elfman writes the score and the musical sequences. (The film also features other Burton mainstays such as Christopher Lee and Michael Gough.) Burton also worked with Laika Entertainment, which is a studio that would later release Coraline and ParaNorman. (Apparently they are unable to make films that are not horror-comedies.) Although it is stylistically similar to The Nightmare Before Christmas (to the point where the theatrical trailer used music from “What’s This?), Burton was NOT the director of that film – he only wrote the original poem that inspired the film, and had a producer credit. Henry Selick was the director for both Nightmare Before Christmas and Coraline.

Corpse Bride is generally a charming film, with some interesting themes centered around acceptance of death, arranged marriage, and the differences of women. The score and musical sequences are catchy, and the stop-motion animation is top-notch. I often found myself thinking, “How did they DO that?” I was particularly pleasantly surprised at how well the women were developed in the story. This is something I think Tim Burton does fairly well, at least judging from the films I’ve seen of his based on original stories – the women in his films are generally proactive, multi-dimensional and serve an important role in his films. He may have started to become a parody of himself in his later years, but he is one of the few mainstream directors whose personal style makes an indelible impression on the film.

Emily, looking uncharacteristically spooky. (Source: TimBurtonCollective.com)
One aspect of the story that I want to discuss is its treatment of arranged marriage. We know that the film takes place in a European village in the Victorian era – everyone speaks with British accents (which, as we all know, is just movie shorthand for “European” and not necessarily “English”). Because the film is based on a Yiddish folk tale, I’m going to assume it takes place in Eastern Europe. Western aversion to arranged marriage is a fairly recent development, as it was a normal occurrence (especially for rich families) at least up to the beginning of the 20th Century. One can also look at the story of Fiddler on the Roof to see how important arranged marriage was to Jewish culture.
One of the first conflicts of the story is centred around Victor van Dort’s shyness and nervousness about his impending arranged marriage to the sweet but sheltered Victoria Everglot. The Van Dorts are nouveau riche social climbers, the Everglots are penniless aristocrats. It is quickly established that although their marriage would be arranged, Victor and Victoria genuinely like each other and their marriage is likely to be a happy one. This contrasts with the Everglots’ own arranged marriage – they bluntly tell Victoria that marriage is a partnership, and that they don’t like each other at all. Whether this is because they are badly matched or because they are very unpleasant people (the latter being more likely) remains to be seen. This also contrasts with Victoria’s forced marriage to Lord Barkis Bittern, who is a gold digger bragging to the Everglots about his riches. Although she is distraught by it, Victoria is forced to marry Barkis because her family is destitute. It is heavily implied that Lord Barkis planned to murder and rob Victoria just as he had done to Emily.
Victor and Emily about to (re)marry. (Source: Digitalrendezvous.net)
A further contrast to the arranged marriages are the marriages (or intended ones, anyway) made for love. Emily’s backstory reveals that she fell in love with a poor stranger, but was banned from marrying him by her wealthy (and probably snobbish) father. She makes plans to elope with the stranger, who instead robs and murders her, leaving her for dead in the forest where Victor unwittingly discovers her. Another marriage for love, though more in the agape sense than the eros, happens after Victor and Emily learn that their marriage is invalid since death has already parted them, Victor makes the incredibly loving choice to sacrifice his life so that he can make Emily happy. He is heartbroken at the time since he thinks he has lost Victoria forever, but it is a tremendous sacrifice on his part for someone he has only known for a few days. Emily halts the marriage after realizing that she cannot take the dreams away from someone else after having her dreams of love and marriage taken from her.
It is convoluted, but it is easy to interpret that the moral perspective of the film is that arranged marriage is acceptable, and love within an arranged marriage even better, but impulsively marrying for love is dangerous. However, Victoria’s two marriages and the contrast therein present a very feminist message of agency. Although distraught, Victoria is going along with the marriage to save her family. It turns out to be a sham marriage to a murderous gold digger, so Victoria’s fortuitous and quick widowing allows her to make her own choice. She may have chosen the man she was going to marry anyway, but it’s obvious that Victor truly cares about her AND will help her family (whether or not they deserve it).

Another aspect of the story I wish to discuss is the characterizations of Emily, the Corpse Bride, and Victoria, the very prim and proper Living Bride. Although there is a subtle “Betty and Veronica” dichotomy, neither is expressly presented as the “ideal” match for Victor in the love triangle. The only reason Emily does not end up with Victor is simply because she is dead – not because she is conniving, nasty, or not as attractive as Victoria. Oddly enough, it’s implied that Emily was more attractive, as she’s surprisingly cute for a corpse. She’s also got…rather defined curves for someone so otherwise decayed. When she becomes jealous of Victoria, there is a legitimate reason for her to feel this way – she points out that she is married to Victor. And notably, her anger is mostly directed at Victor, not at Victoria, which is important since the woman tends to get the blame in love triangle/cheating situations, regardless of which partner is the one who does the cheating. When Emily’s friends try to cheer her up by pointing out her presumably superior traits, she is not swayed by this – her heartbreak is not that Victor loves another, it is that as a dead woman she can never truly win his heart. However, it is implied near the end that Victor is the true love of both women. In the “Remains of the Day” sequence, it is said that Emily was waiting for her true love to come set her free. Victor’s intended sacrifice, and Emily’s realization that she can’t take away the dreams of marriage and love from Victoria after having her own dreams taken, are the catalysts that allow Emily to be set free and “move on,” so to speak.

Victoria looks at Victor after catching Emily’s bouquet. (Source: Drafthouse.com)
There is also a strong contrast in the upbringing of the women. Victoria has a severely strict mother, with the most stereotypically draconian morality of the Victorian era. She has been banned from playing the piano, as music is “too passionate” and “improper” for a young lady – a curious contradiction to social norms, as young women in the 18th and 19th centuries were expected to know how to play piano, sing, and otherwise entertain their guests. She is also dressed in a severe black gown, and forced to wear a corset tied so tightly that her mother expects her to speak while gasping. Emily, on the other hand, is wearing a rather anachronistic wedding gown, with ample cleavage and a long slit up the thigh. (Though the slit in the skirt of the dress may have just been damage from the murder/decay) She also plays piano enthusiastically, dances, and sings. She’s wholly passionate, a true capital R Romantic. Both came from rich families, but it is obvious that Emily was raised with far more love and freedom than Victoria was. It is a miracle, then, that Victoria did not turn out like her sour and nasty parents – she is shy, but sweet and strong-willed. Notably, neither woman is afraid to stand up to those who hurt them (and Emily gets the rare opportunity to confront her own murderer).

The film is fairly feminist for a horror-comedy, but it’s not perfect. There are at least two fat jokes in the story – a mean-spirited form of discrimination that needs to just end already. I was particularly annoyed that Mrs. Van Dort is portrayed as not being aware just how fat she is. Let’s set the record straight – if someone’s fat, they KNOW, thank you. There are also no people of colour in the cast at all. I suppose this is partly justified in that it takes place in Victorian Eastern Europe, and the aesthetic of the living village is severe whites, blacks, and greys, but there’s no reason there couldn’t have been minorities in the underworld village. The closest thing we get to POC representation is a skeletal parody of Ray Charles during the “Remains of the Day” sequence. I suppose Bonejangles, Danny Elfman’s showcase character, could have been black. It’s not really easy to tell when someone’s a skeleton, of course.

Emily talks with Victor’s skeletal dog, Scraps. (Source: Allmoviephoto.com)
I do recommend Corpse Bride to fans of stop-motion animation, supernatural horror, fairy tales and British-style comedy. It’s yet another Tim Burton film where he does more of the same, but it’s far more watchable than Charlie and the Chocolate Factory or Alice In Wonderland. The music is great, the performances are great, the humour is great. I also really like the message that death is nothing to be afraid of, that we all face it someday and the best we can do is to live our lives the best way we can. Fans of Corpse Bride should also check out Tim Burton’s early film Vincent, Henry Selick’s films like The Nightmare Before Christmas, Coraline and Monkeybone, and Laika’s films like Coraline and ParaNorman. I hope to see more films about a love triangle where both women are portrayed positively, and appear to genuinely care about each other. It’s about time that Hollywood realized that women are not split into two distinct types, nor are they always likely to blame one another for a love triangle.

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

‘Phantom of the Opera’: Great Music, Terrible Feminism

Phantom of the Opera Movie Poster (Source: Wikipedia.org)
The Phantom of the Opera was my first musical; I saw it for the first time when I was 4 years old during its now legendary decade-long run in Toronto. I remember very little from that event (though the shaking chandelier during the Overture stayed with me), but I’ve been a huge fan of the soundtrack ever since. Premiering in 1986, the musical adaptation of Gaston Leroux’s Gothic Romance novel was written specifically for Andrew Lloyd Webber’s then-wife Sarah Brightman. It’s easily one of the most popular stage musicals ever; after the early 2000s revival of the musical film genre, it was a natural choice for a feature film adaptation in 2004 (though it had languished in development hell since the 80s), directed by Joel Schumacher.
Superhero film fans know Schumacher’s name simply by reputation; it is no exaggeration that he is known for cheesy, schlocky and silly films. The fourth Batman film, Batman and Robin, was so poorly received it single-handedly killed the Batman franchise for a decade and still carries a tremendous amount of infamy. So is it any surprise that his adaptation of Phantom is astoundingly cheesy, even for musical standards? We have a cast of mostly inexperienced singers talking in implausibly varied accents. Some of the actors attempt fake accents (Minnie Driver and Miranda Richardson put on exaggerated Italian and French accents, respectively) and others don’t even try (I have a hard time believing that someone whose title is Vicomte de Chagny would have a modern American accent in Victorian Paris). Some of the directing choices are bizarre, too; The Phantom conjures a horse out of nowhere when leading Christine to his lair, and several scenes have honest-to-god “dramatic” slow motion in them.
But the really big problem with Phantom of the Opera isn’t its cheesiness, but its total lack of feminism. Honestly, if the music wasn’t so good I’d never watch Phantom again, but I don’t know if I should blame its film adaptation, Broadway version, or original novel, since I haven’t seen the stage version in 20+ years, nor have I read Leroux’s novel. Emmy Rossum’s Christine Daae is a lovely young woman with a pretty (if not exactly operatic) voice, and possibly the most spineless personality I’ve ever seen from a female protagonist. The love triangle between herself, the Phantom and Raoul is the central conflict of the story. Her preference for Raoul, her childhood sweetheart, is one of only two personal choices she makes throughout the entire story.  Neither The Phantom nor Raoul ever seem to take Christine’s wants into account. I know I’m supposed to root for her to end up with at least one of the suitors, (the 26-year shipping wars notwithstanding) but honestly? Run away, Christine. RUN AWAY.
Gerard Butler as The Phantom (Source: Fanpop.com)
The Phantom is a fairly archetypal Byronic hero; brooding, moody, dangerous, and artistically talented. Whether it’s because he grew up in isolation or because he’s a dangerous lunatic, he is incredibly controlling over Christine. He exploits her grief over her father’s death to pretend that he is the Angel of Music that her dying father said he would send to her; he has been giving Christine vocal lessons at least since she was a child. He then expects total submission and romantic affection from her for his helping her launch her professional career. Hmm, now, where have I heard “Guy volunteers favors for girl he is attracted to, then flies into a rage when she doesn’t return his romantic attention” before? Can we say Nice Guy Syndrome?
The extent of The Phantom’s control over Christine is very disturbing and often hypocritical. He explodes with anger when she takes off his mask and exposes his facial deformity; apparently he can violate Christine’s privacy all he wants by following and watching her everywhere around the Opera House, but he damns and curses her for violating his privacy. He repeatedly attempts to force Christine into marriage, (to the point where he builds a dummy of her and dresses it up in a bridal gown) and it is even implied near the end of the film that he intends to force her into sex. His power over Christine is such that he can hypnotize her; he may be shown seducing Christine during the “Music of the Night” sequence, but I have to seriously question the amount of consent Christine is offering. It’s kind of abhorrent that so many fans seem to prefer the Phantom to Raoul, even to the point that the sequel musical, Love Never Dies, invents some ridiculous contrivances to have Christine end up with the Phantom (and let us never speak of the sequel again). It’s like they’ve forgotten that the Phantom has committed at least three murders, two kidnappings, arson, and has threatened physical and sexual violence against Christine. There’s sympathizing for the isolation and discrimination the Phantom faced throughout his life, and then there’s excusing him entirely.
Unfortunately, the winning suitor, Raoul, is only preferable in that he isn’t violent like The Phantom is. He controls Christine in a much less forceful but still very paternalistic way. When they reunite, he does not ask her to come to dinner with him, he says, “And now, we go to supper.” How much of this is “I’m the rich guy so I get to decide what you do” and how much of this is “I’m the man so I get to tell you what to do?” He also dismisses Christine’s very real fears of the Phantom, saying that there is no Phantom despite the fact that he knows she has already been kidnapped once, he has received letters from the Phantom, he has heard the Phantom’s voice, and has even seen a stagehand murdered (though perhaps he assumes the murder was an accident). He later tries to force Christine to show affection for him publicly by questioning why she is hiding their engagement, while still dismissing her fears. After finally seeing the Phantom, Raoul becomes so overly protective of her that Christine must sneak by him while he’s asleep in order to visit her father’s mausoleum (the second personal choice she makes, and predictably, it’s one that lands her in danger). Really, one especially creepy thing about this “love” story is that there is an Electra Complex issue going on with both suitors; the Phantom pretends he is the spirit of Christine’s father, and Raoul acts like a father. Both are very possessive over Christine.
Raoul (Patrick Wilson) and Christine (Emmy Rossum) waltzing (Source: Fanpop.com)
Raoul is supposed to be the suitor whose love for Christine is pure, but it bothered me that at the end when he’s pleading for her freedom, it’s because he loves her, not because he wants her to be happy. When the Phantom overwhelms Raoul, he forces Christine to either choose to become his lover, or watch as he strangles Raoul. Christine wills herself to stay with the Phantom – a choice she must make that is really no choice at all. The Phantom then releases both of them after finally feeling guilt over her sacrifice, and Christine inexplicably gives the Phantom her engagement ring. Why is it supposed to be touching that she gave him a symbol of her choosing someone else? Why does a serial murderer get given a memento just because he taught her how to sing? At the end of the film, which takes place in the 1930s, an elderly Raoul purchases the Phantom’s music box and places it on Christine’s grave. A red rose with the engagement ring on it is already on the headstone. Even after death, Christine is still subject to her suitors’ whims, and is “gifted” with an eternal reminder of her kidnapping.
As for Christine herself, because there isn’t really much to her personality besides her spinelessness, I took notice that there’s a lot of symbolic and sexist meaning in the clothes she wears. Her rival, Carlotta (more about her in a minute) wears brightly and brashly coloured outfits, but Christine is always clad in whites, soft pinks, and the occasional red. Christine’s outfits are so unlike Carlotta’s that, when she becomes Carlotta’s understudy, it didn’t even look like they were playing the same part. When the Phantom kidnaps her for the first time, she’s wearing a lacy white nightgown that is both low cut and slit up to her thigh. Pretty sure that wasn’t the fashion in Victorian Paris! But after he returns her, she’s never in pure white again, leading to the unfortunate subtextual conclusion that she might not be so virginal anymore. The Phantom himself wears bright red in one scene, so I can only conclude that Christine’s switch from white to pink is a sign that the Phantom has “tainted” her.
Besides Christine, there are three other named female characters. Carlotta, the literal prima donna, Madame Giry, the ballet instructor, and Meg Giry, her daughter and Christine’s best friend. Unfortunately, the script does not get a full Bechdel Test pass; the few times that the female characters talk to each other, it is always about the Phantom. There is also some rather nasty pitting of the women against each other. Christine and Carlotta follow a pretty rigid virgin/whore dichotomy, though while Carlotta is not shown as being promiscuous, she is contrasted with Christine through her vanity, short temper, jealousy, supposed lack of talent (though she actually does sound like an opera vocalist, whereas Christine does not), and general brash demeanour. There is also a contrasting of a young woman versus an “old” woman; both the Opera House owners and the Phantom strongly want to emphasize Christine’s youth. The Phantom even says that Carlotta is “seasons past her prime” when she can’t be older than her late 30s. Christine is also pitted against her best friend, and this one I find particularly loathsome. Madame Giry was the one who brought the Phantom to the Opera House in the first place; as such, she knows not only about his deformity, but also about his artistic talents and his obsession with Christine. She excuses the Phantom’s crimes both out of pity and admiration for him, which is pretty sickening because Christine is supposed to be like an adoptive daughter to her. It’s quite obvious which young woman Madame Giry cares about and which one she doesn’t, as twice she goes out of her way to keep Meg away from the Phantom and never once does she try to protect Christine.
Unmasked Phantom (Gerard Butler) holding a struggling Christine (Emmy Rossum) (Source: Fanpop.com)
Lastly, though it is unfortunately not surprising for a film taking place in 1870 Paris, there are zero people of colour in the major cast. The only people of colour in the film at all are supposed to be Romani (and they’re, of course, called “gypsies” here). They are in a single flashback scene to the Phantom and Madame Giry’s childhoods, where she finds him cruelly caged and used as a sideshow freak act in a traveling caravan. The scene is incredibly racist, as the “Gypsies” are shown to be filthy, violent, strange and cruel. They are always photographed in the darkest lighting possible to emphasize their (what I’m guessing is supposed to be) “evil swarthiness.” The child Phantom’s subsequent strangulation of his keeper is presented as sympathetically as possible. I have never been able to keep a straight face through the sequence where the Phantom’s first murder is discovered, as it depicts another “Gypsy” coming across the keeper’s body and incredulously shouting “Murder!” in slow motion.
All in all, what a mess. It’s still better than Batman and Robin, but that’s not saying much. Awful acting, mediocre singing and cheesy directing choices are the least of the film’s problems. At its core, Phantom of the Opera is the supposedly romantic story of two controlling men fighting over a spineless and personality-devoid woman. Hmm…sounds like Twilight. Christine is given absolutely no agency throughout the entire story, and can’t seem to do anything without a man to tell her what to do. She’s symbolically valued solely for her virginity, and other women in the cast are considered inferior to her, except when Madame Giry values her own daughter’s safety vastly more than Christine’s. For a musical I love this much, it’s quite shocking how anti-feminist the story is. With all things considered, I think I’ll just stick to listening to the soundtrack.

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

Quote of the Day: Clementine Ford Calls Out Hollywood’s Excusing Of Domestic Abuse

Trigger Warning: Domestic Abuse

Chris Brown scowling

We all know what Chris Brown did. His brutal beating of then-girlfriend Rihanna has made a permanent mark on his career. On Twitter, it’s easy to see how divisive the situation has gotten. Most people are disgusted with Brown, and often tweet taunts to him about his violent temper. His devoted fans, known as “Team Breezy,” blame Rihanna for starting the altercation, and even worse, claim that it would be worth enduring physical assault in order to be Brown’s girlfriend. Brown was unrepentant and still has an explosive temper. And yet he won Grammys, and was allowed to perform twice at this year’s ceremony. It’s obvious that, in Hollywood, domestic abuse isn’t that big a deal. Chris Brown’s career continued, and even flourished after the incident. And other domestic abusers continue to get work in Hollywood too. Mel Gibson. Michael Fassbender. Gary Oldman. Tommy Lee. Josh Brolin. I bet you didn’t even know some of these men are abusers, and these are just a few examples.
This leads to my quote of the day, which has been making the rounds on Tumblr this week. This is excerpted from Clementine Ford’s excellent article, Chris Brown isn’t the only one:

And then there’s Charlie Sheen. Sheen’s sordid history includes shooting Kelly Preston with a .22 calibre pistol, throwing chairs at his then wife Denise Richards, being sued by a UCLA student for allegedly hitting her in the head after she refused to have sex with him, allegedly strangling at least two of his former girlfriends and just generally being a god-awful d-ckmonger. Yet none of that mattered to Chuck Lorre and the other people making squillions of dollars from the long running Two and a Half Men, a televisual fart that didn’t just succeed in offending the tastes of thinking people everywhere but also legitimised Sheen as some kind of raffish japester. In the end, Sheen was fired not because he’s a disgusting human being with a gross history of violence against women but because he had a drug problem and was publicly rude to his boss.

Charlie Sheen’s meltdown didn’t ruin his career. It fueled it. “Winning” and “Tiger Blood” became memes, his solo shows sold out, his Twitter feed got millions of followers within days. And now he’ll be getting another sitcom, Anger Management, which is apparently already breaking ratings records. It begs the question – how much worse can a person get before Hollywood finally gives up on them? Why are we predicting the ruin of Kristen Stewart’s career for a cheating scandal, when Charlie Sheen gets new opportunities after repeatedly committing attempted murder?
Unfortunately, I think we all know the answer.

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

Futurama’s Fanservice

By Myrna Waldron
Spoiler warning: Full summary of episodes from the currently airing Season 7.
Trigger warning: Very brief reference to rape.
From “Into The Wild Green Yonder,” Amy & Leela talking.
Is it possible to still love something when you’re completely annoyed by it?
This is how I feel about Futurama right now. I’ve been a fan of it since its premiere in 1999 (as I spent most of my preteen and teen years with a healthy obsession with The Simpsons). As my affection for The Simpsons waned, Futurama replaced it as my favourite TV show. And there’s a lot to love – the series affectionately parodies a wide array of science fiction staples, the mood varies from slapstick comedy, to tragedy, to overwhelming wonder, and the writers and actors are some of the most talented and intelligent working in television today.
The two main female characters, Turanga Leela and Amy Wong, are one of the main reasons I love the show so much.  They are good examples of those mythical strong female characters you’ve all heard about, Leela especially. They combine several seemingly contradictory traits, resulting in a multi-faceted characterization. 
Leela is one of those rare combinations of toughness and vulnerability, since her personality combines a short, sometimes violent temper, with tremendous internal insecurity. In situations where the cast is in trouble, Leela is always the one who reacts first, and she is usually the one who is the voice of reason (especially if her only allies are the dimwitted Fry and the immoral Bender). Her insecurity especially links to her heritage – as a mutant whose only mutation is a single eye in the centre of her forehead, she doesn’t truly belong with her mutant parents, nor with the “normal” humans. 
Amy is a Chinese-American heiress, and is one of the few Asian characters I’ve seen represented on television ANYWHERE. She is sometimes shallow and promiscuous and has a tendency to constantly use the 30th century equivalent of slang, but she also holds a Ph.D in Applied Physics, establishing an Elle-Woods-in-Legally-Blonde-like contrast between the stereotype of a bimbo and incredible intelligence. She and Leela also share the trait that they don’t take any of the crap that their male co-workers sometimes throw at them.
But I have a problem.
From “Zapp Dingbat,” Munda, Leela, Fry and Bender.
After Futurama was un-cancelled and began airing new episodes on Comedy Central, the tone of the show changed. The show never shied away from risque jokes, but I have noticed that the general content of the show has become, as TV Tropes might say, “Hotter and Sexier.” To give one example, the second episode of the 6th season, “In-A-Gadda-De-Leela,” has some fanservice that severely undermines character development. In that episode, an out-of-control satellite forces Zapp Brannigan and Leela to have sex in order to save the planet. (It…makes a bit more sense in context) At this point in the series, Leela and Fry have finally become a couple, so this scene struck me as a rather blatant attempt to get Leela to have sex with Zapp again despite her significant character development. There are other earlier examples of Amy/Leela fanservice as well, such as them making out in “Bender’s Game” and a scene from “Jurassic Bark” of them wrestling in tiny spandex leotards. It gets pretty tiring.
The 7th season, which is currently airing, has two episodes with fanservice that I have a particular issue with. In “Zapp Dingbat,” Leela’s parents divorce and her mother Munda starts dating Zapp Brannigan. Since Leela believes Zapp is only using her mother to get to her, she resents their relationship tremendously. She tries everything she can think of to break them up, but they only flaunt their relationship even more in response. Eventually, Leela tries to seduce Zapp. She invites him to her apartment for dinner, and when he arrives, she’s shown dancing around a stripper pole in a negligee. This scene infuriated me – not only is the fanservicey attempt at showing Leela acting like a stripper extremely blatant, it contradicts Leela’s previously established loathing for Zapp and her regrets over their brief affair. Her actions are also indicative of selfish betrayal, which is also out of character for her. At no point does she recognize that her seduction attempt would constitute cheating on Fry, apparently all she’s thinking about is getting Zapp to cheat on her mother. I was also offended that of all the “sexy” acts of fanservice Leela could have been depicted as doing, they went for stripping, which is a tremendously misogynistic industry.
From “The Butterjunk Effect,” Amy and Leela flying in their skimpy battle costumes.
This trend of using the female characters for fanservice continues into the next episode, “The Butterjunk Effect.” In it, Leela and Amy join a “Butterfly Derby” league, which involves scantily clad female gladiators wearing giant butterfly wings. I bet I don’t even have to point out the fanservice here. Predictably, Leela and Amy wear very little once they become regular participants in this derby. They are easily defeated, and it is revealed their more powerful opponents drink “Nectar,” which acts similarly to steroids. The pair become addicted to the Nectar, and become violent and incredibly muscular. In fact, they become almost masculine, leading to some rather sexist jokes surrounding how they’re no longer acting like traditionally feminine women, and there are indications that Fry and Kif are losing attraction to them because of the masculinization. I suppose this is a parody of how steroids have a side effect of creating too much testosterone. At any rate, Leela and Amy run out of Nectar, and travel to the planet where it was sourced. Fry gets sprayed with a giant butterfly pheromone, which irresistibly arouse both Leela and Amy due to their Nectar addiction. Never mind that he’s already got one hot girlfriend, let’s have Fry fool around with the other hot girl too! …Again! I won’t even get into this episode’s running joke about women’s supposed cattiess to each other.
As you might guess, I’m pretty disgusted with how the female characters are being treated now. These plot developments and sexualized/objectified visuals are not indicative of the show that I love.  It isn’t right that only the female characters are sexy, while every time a male character is naked or horny, it’s played for laughs. I suspected that this is because there aren’t any women on staff, only (presumably) heterosexual males. When I was looking up the information on these episodes, I decided to find out how many female writers/directors have been involved with Futurama. According to Wikipedia, not including season 7, there are a grand total of three female writers, Kristin Gore, Heather Lombard, and Maiya Williams, who are credited only one episode each. I know it’s typical for screenwriters to be mostly male, but that’s just pathetic.
Leela and Amy wrestling in leotards. Objectification of women? Surely you jest.
What I feel like is that episodes like “Zapp Dingbat” and “The Butterjunk Effect” set a rather dangerous precedent. The show hasn’t jumped the shark yet, but it’s strapped on the waterskis. If I were to show episodes like these to a non-fan, especially a female one, I doubt they’d gain much interest in the series. How did the same show go from “Robot learns he is not immortal and achieves a new understanding of how precious and finite life is” to “Women wear sexy leotards and butterfly wings while having airborne battles, then get addicted to steroids?” This downhill slope reminds me of what happened to Matt Groening’s other show, The Simpsons. The decline of The Simpsons is a topic that has been argued about many times, but the most common complaints include character derailment (Homer stopped being a well-meaning but foolish husband/father and became an overly impulsive and selfish asshole), fanservice (The Marge-gets-breast-implants episode, anyone?), and stupid, offensive and unrealistic plots (Homer gets raped by a panda). I am one of many Simpsons fans who had to give up watching the series, as it became unrecognizable from the groundbreaking and brilliant satire that I loved. It’s by now a cliche to prematurely predit the doom of a television series, but I don’t want to see the same downhill spiral from Futurama.
I doubt anyone involved with Futurama production is going to read this, but enough already. I don’t theoretically have a problem with risque jokes or sexy/erotic situations, but there is a difference between depicting sexuality, and exploiting and objectifying women for a presumed heterosexual male audience. Heterosexual women aren’t the only ones sick of this stuff. Judging from brief Twitter conversations I’ve had, some LGBT women don’t care for fanservice either, especially when it goes beyond subtle expressions of sexuality. 
I like to joke that I believe in equal opportunity exploitation. If they’re not going to ever depict the male characters as sexy, then they need to stop with the fanservice of the female characters. It’s dragging down the entire show to exclusively objectify normally well-developed female characters. And they need to hire some women writers and directors. Math & science jokes, and science fiction in general, are not male-exclusive fields. I still want to continue to love Futurama. When the show is at its best, such as episodes like “The Late Philip J. Fry”, it’s one of the greatest shows on television. But stuff like a stripper Leela and butterfly gladiators bring down the entire series. Honestly…if things don’t get better, Futurama is going to end up just like The Simpsons.

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

‘Young Justice’ Grows Up

The Season 1 Team From Left to Right: Superboy, Zatanna, Kid Flash, Rocket, Robin, Miss Martian, Artemis, and Aqualad.
Written by Myrna Waldron.

SPOILER WARNING – No major plot twists are revealed, but there are minor spoilers.

It’s a sadly accepted fact that the superhero genre just isn’t women-friendly. The few times we have gotten a major motion picture centered around a female superhero (Supergirl, Catwoman, Elektra), the results have been abysmal to say the least…leading executives to conclude that superheroines aren’t cost-effective (of course). Films based in both the DC and the Marvel universes all star male superheroes, with heroines only appearing in ensemble groups like X-Men, Fantastic Four and The Avengers (curiously enough, all Marvel properties). It doesn’t look like this is going to change any time soon, since all of the upcoming superhero blockbusters are sequels and reboots to already established male-centric franchises. I fully expect Batman to be rebooted AGAIN before we get a Wonder Woman film.

So it was with trepidation that I started watching Young Justice, an animated TV series centered around the teenage protégées of the members of the Justice League. Produced by Greg Weisman, who created cult classic animated series Gargoyles, I was encouraged by Weisman’s involvement in the show, as Gargoyles’ heroine Elisa Maza is a rare animated lead character who is not only fully competent and well developed, but is also a POC, (Person of Colour) as she is half African-American, half Native American. The series is definitely aimed at a teenage audience, as it has an overarching storyline (rather than self-contained episodes), moral ambiguities, and romance (naturally). Over the course of the first season (Young Justice is now currently in its second season) the teenage team gradually forms, with a combination of well-known and obscure characters, male and female, human and non-human, and white and racial minority. The main cast is as follows:
Green Arrow, Aquaman, Flash and the four protégées, Speedy, Robin, Aqualad and Kid Flash
Robin/Dick Grayson, Batman’s very well known protégée, who is talented with acrobatics, explosives, and computer hacking.
Aqualad/Kaldur ‘Ahm, Aquaman’s protégée, who is Atlantean, so he has the powers of water breathing and manipulation of electricity and water “blades.” Although non-human, he has the appearance of a young black man with blonde hair.
Kid Flash/Wally West, The Flash’s nephew, who, while not as fast as his uncle, has the same super-speed abilities.
Superboy/Conner Kent, a weeks-old clone using Superman’s DNA. He has most, but not all, of Superman’s powers, including super-strength and invulnerability. He lacks the heat-vision, x-ray vision and flying abilities, but can still, as they say, leap tall buildings with a single bound.
Miss Martian/M’gann (Megan) M’orzz, a green-skinned Martian immigrant who is the first female character introduced. Initially pretends to be the niece of Martian Manhunter to conceal a secret about her true Martian identity. She has by far the most powerful and varied abilities, including telepathy, mind-reading, super-strength, flight, shapeshifting, and most importantly, pilots a biological ship that the team uses to travel to their assignments.
Artemis/Artemis Crock, Green Arrow’s protégée posing as his niece. Predictably, she has the same abilities as Green Arrow, including incredible accuracy in archery, use of arrowheads with varying effects (explosive, etc), and general martial arts abilities. Although blonde, she is eventually revealed to be half Vietnamese.
Zatanna, the daughter of Zatara. She has highly varied magical abilities, which require a spell to be spoken in reverse order. Although powerful, her father still outclasses her.
Speedy/Red Arrow/Roy Harper, Green Arrow’s previous protégée. Went solo and renamed himself Red Arrow after still being treated like a sidekick during his introduction to the Justice League. Has the same abilities as Artemis, and only assists the team occasionally.
Rocket/Raquel Ervin, the apprentice of Icon. Gets her powers from her inertia belt, alien technology that grants her the ability to manipulate kinetic energy for flight, super-strength and as a force field. Like Icon, she is (or at least appears to be) African-American.
As a general whole, the equality between the sexes on the team, and the inclusion of several characters of colour, is encouraging. However, the series takes far too long to get to this point. I was incredibly dismayed to notice that for the first episode and 95% of the second episode (which premiered together as a “movie”) no female characters speak at all. Other than Aqualad, the first two episodes are, well, a white sausage-fest. Miss Martian is introduced at the very end of the second episode, and remains a token female for several episodes more. Black Canary, a Justice League member, is assigned to train the team in hand-to-hand combat, (which is a good idea, as it establishes a female hero in a position of leadership and competence) but only appears in episodes occasionally. Artemis is not introduced until the 6th episode, with Zatanna and Rocket joining in the 15th and 25th episodes respectively. Considering that the first season is only 26 episodes, that’s pretty sad.
The series also takes a very long time to pass the Bechdel Test. For those who are unfamiliar with this term, the Bechdel Test is used to help determine female representation in film & television. In order to pass, the media must A) Have two or more named female characters, B) Who talk to each other, C) About something other than a man. Unfortunately, while Miss Martian and Artemis talk to each other, they only talked about the male members of the team (and especially about Superboy, as there is a very minor love triangle surrounding him). 

Artemis: You embarrassed Superboy!
Megan: Didn’t hear him say that. Must you challenge everyone?
Artemis: Where I come from, that’s how you survive.

Cheshire and Artemis
The series does not pass the test until the 12th episode during a flashback scene depicting a younger Artemis begging her sister (antagonist/anti-hero Cheshire) not to run away from home in order to escape their abusive father. 

Cheshire: You should get out, too. I’d let you come with me, but you’d slow me down.
Artemis: Someone has to be here when Mom gets out.
Cheshire: Haven’t you learned anything? In this family, it’s every girl for herself.

Fortunately, after this barrier is finally broken, conversations between the female characters become a regular occurrence, including sequences where Megan and Artemis team up, and an entire subplot in one episode centred around Artemis and Zatanna having a “girl’s night out” and fighting crime together after Artemis discovers that Megan and Conner have become a couple.

Artemis: (seeing a crime scene with police presence) Whatever happened here is over. I want some action.
Zatanna: Then maybe you need to talk…about Conner and Megan..or whatever.
Artemis: What I need is something to beat up.

The female characters in the show are generally well developed, with Miss Martian getting the most attention and development. It’s a little unfortunate that a lot of the character development surrounding Megan and Artemis is about their romantic entanglements with Superboy and Kid Flash respectively, but that is not unusual for a teenage audience show. One thing I appreciated was that Megan and Conner become a couple fairly early on (the 11th episode) rather than spending an entire season with endless sexual tension (which, unfortunately, is what happens with Artemis and Wally). 
Speaking of which, I also have to say how much Kid Flash annoys me. His treatment of women is pretty deplorable; he constantly flirts with Megan despite her total lack of interest, and butts heads with Artemis due to his resentment at her replacing Speedy/Red Arrow. 
Red Arrow and Artemis argue while Green Arrow looks on

Artemis: (teasing Wally, who was preparing to go to the beach) Wall-man! Love the uniform. What exactly are your powers?
Wally: Uh, who’s this?
Artemis: Artemis. Your new teammate.
Wally: Kid Flash. Never heard of you.
Green Arrow: Um, she’s my new protegee.
Wally: W-what happened to your old one?
Roy: Well, for starters, he doesn’t go by “Speedy” anymore. Call me Red Arrow.
Green Arrow: Roy! You look —
Roy: Replaceable.
Green Arrow: It’s not like that, you told me you were going solo.
Roy: So why waste time finding a sub? Can she even USE that bow?
Artemis: Yes. She can.
Wally: WHO ARE YOU?
Artemis & Green Arrow: I’m/She’s his/my niece.
Dick: Another niece?
Kaldur: But she is not your replacement. We have always wanted you on the team. And we have no quota on archers.
Wally: And if we did, you KNOW who we’d pick.
Artemis: Whatever, Baywatch. I’m here to stay.

Miss Martian and Artemis in general are not treated as equals until later; Megan makes an honest mistake in one battle (she assumes that an antagonistic android with wind powers is their “den mother” Red Tornado, who has similar powers and implied he would be testing them) and is made to feel foolish for it, and Artemis is treated like an outsider due to the team’s loyalty to Roy. Both are distrusted for their general lack of practical battle experience, despite Superboy being theoretically just as inexperienced. He may be invulnerable, but he is literally months old and is extremely rash and sullen. His impulsive actions during the 5th episode, where he abandoned the team’s mission to fight an enemy on his own, jeopardized the team’s safety far more than Miss Martian’s mistake did earlier, and yet he does not have to endure nearly as much blame and condescension as she did.

Superboy: You tricked us into thinking Mr. Twister was Red Tornado!
Aqualad: She didn’t do it on purpose.
Robin: It was a rookie mistake. We shouldn’t listen.
Kid Flash: You are pretty inexperienced. Hit the showers. We’ll take it from here.
Superboy: Stay out of our way.
Miss Martian: I was just trying to be part of the team.
Aqualad: To be honest, I’m not sure we really have a team.

In terms of racial representation, although the Young Justice team is still primarily comprised of white heroes, having three major characters that are racial minorities is better representation than usual. The alien heroes, Miss Martian and Superboy, also serve as metaphorical representations of racial minorities through their, well, alienation from the team members native to Earth. Although it is tricky to show inclusiveness and diversity without looking like a cheesefest from the 90s, there is definite room for improvement – ideally, the ratio between white and minority characters should be at least 50-50. In addition to this, I was somewhat uncomfortable by Kaldur’s character arc; as the most mature member of the team he is a natural leader, but makes it clear he eventually plans to step down once Robin comes of age. It has been previously established that Robin is usually the leader of these teen teams, and he is by far the most well-known character, but it seemed problematic that the racial minority is acquiescing his position of leadership to a white male. 
Another area of representation that needs to be improved is inclusion of LGBTQ characters. So far, all of the romantic relationships depicted in the show have been heterosexual. While not every character has had their romantic interests explored, none have been established as LGBTQ either. If the formerly staid, heterocentric and whitewashed Archie Comics can reinvent itself to include permanent minority and gay characters, there’s no reason that a TV show that skews towards an older audience cannot do so. It would be even more exceptional and encouraging, albeit unlikely, if there was a trans* character introduced in the series, as it is unfortunately very uncommon to see trans* characters represented in the media.
The Season 2 Team, Clockwise From Left: Robin II, Wonder Girl, Lagoon Boy, Bumblebee, Batgirl, Miss Martian, Beast Boy, Superboy and Blue Beetle.
On the bright side, the writers and producers of Young Justice are definitely improving on some of the criticisms I have detailed here. As I mentioned, although the series starts off with far too much emphasis on white male characters, more female characters and more minorities are gradually added to the cast. The second season improves on this even further by introducing even more minority and female characters, including Batgirl, Beast Boy (who, although originally a white male, is technically no longer human), Blue Beetle (who is Hispanic), Bumblebee (who was DC’s first black female superhero), Lagoon Boy (another Atlantean like Aqualad, but less human in appearance), and Wonder Girl. Other additions to the cast in the second season include Tim Drake, who assumes the Robin title after Dick Grayson becomes Nightwing, and Impulse, The Flash’s grandson from the future.
The series also is notable for having a very mature storyline. As I mentioned earlier, the episodes are not self-contained, but all form one continuous plotline. Themes such as sacrifice, wanting to prove oneself, child abuse, and living in someone else’s shadow are prevalent, as well as moral ambiguities such as the implications of being a clone, accepting a parent who is a former convict, and whether antagonists have (human) rights and if the ends justify the means. There are also subtle representations of sexuality, as in the second season some characters are depicted cohabiting, and others having shown to have married and had a child. Previous animated series based on DC comics such as Justice League, Team Titans and Batman: The Animated Series, which all had mature, morally ambiguous stories, are an obvious influence here.
As a general whole, I was very pleasantly surprised with Young Justice once it got over its initial speed bumps. It’s still got a long way to go, but I can say fairly confidently that the representations of women and POC are head-and-shoulders above many other contemporary animated series. The second season indicates that the writers and producers have learned from their mistakes, and are becoming more inclusive as the series goes on.  In fact, one popular scene in the fifth episode of the second season points out how absurd it is that an all-female team is considered unusual.

Nightwing: …but Biyalia’s dictator, Queen Bee, is another story. Her ability to control the minds of men is why Alpha is an all-female squad for this mission.
Batgirl: Oh REALLY? And would you have felt the need to justify an all male squad for this mission?
Nightwing: Uh…ahem. There’s no right answer for that, is there? Uh…Nightwing out.
Batgirl: Queen Bee isn’t the only one who can mess with a man’s mind.

The series will be resuming the second season this fall. I look forward to seeing just how much better the series can get in terms of equal representation. Like its teenage protagonists, Young Justice itself is growing up.
All images gratefully borrowed from the Young Justice Wiki. 

Myrna Waldron is a feminist writer/blogger with a particular emphasis on all things nerdy. She lives in Toronto and has studied English and Film at York University. Myrna has a particular interest in the animation medium, having written extensively on American, Canadian and Japanese animation. She also has a passion for Sci-Fi & Fantasy literature, pop culture literature such as cartoons/comics, and the gaming subculture. She maintains a personal collection of blog posts, rants, essays and musings at The Soapboxing Geek, and tweets with reckless pottymouthed abandon at @SoapboxingGeek.

New Bitch Flicks Regular Contributor: Myrna Waldron

Hey Bitch Flicks readers! I’m flattered and excited that I have been invited to become a weekly contributor. Looking forward to having another forum on which to express my rather passionately opinionated thoughts!
I discovered Bitch Flicks rather by accident last year. My preferred social network is Twitter, which I have used as the primary outlet for my musings (okay, they’re mostly rants, and profane ones at that). Reports on the “unexpected” success of Bridesmaids made me sarcastically tweet that the only people who were shocked by its success were Hollywood execs who just found out that A) Women exist and B) We don’t actually like Kate Hudson movies. The BF editors retweeted it, I discovered their blog, and since I was already an enthusiastic consumer of other feminist blogs I dove right into their archives, and eventually became a contributor.  My previous posts for Bitch Flicks include “You Say Princess Like It’s A Bad Thing,” (on Disney Princesses) “The Dancer’s Dilemma,” (on Dirty Dancing’s approach to illegal abortion) and “The Feminism of Sailor Moon.” (On…the feminism of Sailor Moon.)
I am a lifelong film enthusiast, but my particular passion is animation. (I like live action television too, but I’m fairly picky) Since a young age I have obsessively consumed animation in all forms, whether they be slapstick cartoons like Looney Tunes or abstract experiments like Begone Dull Care. I am particularly interested in American animation (Chuck Jones is my hero), but I have some interest in Canadian (particularly the short films distributed by the National Film Board of Canada) and Japanese animation (mostly from the 90s) as well. It is a pet peeve of mine when people refer to animation as a genre rather than a medium, or, even worse, to assume that all animation is for children – so don’t do it! 😉
My favourite live action films include the Back to the Future trilogy, Pleasantville, Network, All About Eve, Casablanca, Dirty Dancing, Help!, Meet Me In St. Louis, Shadow of a Doubt, Sense and Sensibility, The Third Man, The Wizard of Oz, Labyrinth, Scott Pilgrim vs. The World, Chicago, Four Weddings and a Funeral, Groundhog Day, and The Addams Family (and Addams Family Values).
Favourite animated films include Duck Amuck, What’s Opera Doc, Spirited Away, Bambi, Long Haired Hare,The Incredibles, Princess Mononoke, A Corny Concerto, Rabbit Fire, Snow-White, Beauty and the Beast, Somewhere In Dreamland, The Little Mermaid, Coraline, and the Sailor Moon R Movie.
Favourite television shows (both live action and animated) include Whose Line Is It Anyway?, Futurama, Animaniacs, The Muppet Show, Clone High, ReBoot, Sailor Moon, Magic Knight Rayearth, Slayers, Cadfael, Mythbusters, Pride & Prejudice BBC, Game Center CX, Community, Downton Abbey, Firefly, Star Trek (and TNG).
More formal background information:
Myrna Waldron is a feminist blogger who takes a more informal, geeky, and humorous approach to analysis. Her personal blog is The Soapboxing Geek, and her Twitter is @SoapboxingGeek. The nom de plume refers to her tendency to get up on her soapbox, especially about geeky things. She blogs and tweets regularly about pop culture, video games, film/tv/animation, literature, music, and politics. Her general approach to feminism includes an enthusiastic support for reproductive rights, LGBTQI rights, analysis of sexism and gender roles in the media, and advocacy for body positivity.
She has studied English at York University, where she has also dabbled in film studies. Her particular area of interests in English include Romantic literature, genre literature such as fantasy, science fiction and mystery, pop culture literature such as graphic novels, media studies, and an approach to film studies using analysis techniques derived from English literature. Although very close to achieving her BA, she was forced to temporarily cease her studies due to the progression of a recent diagnosis of fibromyalgia & ankylosing spondylitis. She has turned to blogging and tweeting as a way to keep her mind sharp and to continue to develop her writing abilities.  She hopes someday to return to university, change her degree to include a film minor, and eventually attend graduate studies with the intent of becoming an animation historian.
She currently lives, has lived, and will live, in Toronto.