Masculinity: The Roundup
Check out all of the posts from our Masculinity Theme Week here.
The radical notion that women like good movies
Check out all of the posts from our Masculinity Theme Week here.
Turtle reminds Vince that “the movie is called ‘Aquaman,’ not ‘Aquagirl.'” This line is indicative of the “boys club” that continues to thrive in Hollywood. An actress’s livelihood in the industry is dependent on her co-star.
As the monomyth evolves, the question is: will it evolve to include the “everywoman” hero archetype, or will the nature of myth itself change to embrace not just the messaging of individualization, but the representation of unique stories for unique people?
Slippin’ Jimmy was to James McGill what Heisenberg was to Walter White–a hyper-masculine alter-ego. OK, Slippin’ Jimmy was only conning a few business men out of their Rolexes, but essentially both men created an alternative, more masculine version of themselves in order to survive and gain success.
Alex is, in many ways, the ideal of the modern man: Handsome, athletic, intelligent, well-traveled, well-off financially but still environmentally sensitive, and with a romantic partner he treats as an equal. Because of this, he has no trouble shrugging off the gendered stereotypes expected of his relationship in the first half of the film. But as soon as he is given reason to doubt his own traditionally defined masculinity, it all falls apart.
Yet this very concept of shaming queer men for their sexuality while society is praising straight men for their sexual conquests as a key element of “successful” masculinity demonstrates the way homophobia intersects with a devaluing of the feminine.
Boys are judged on their ability to swing a sword or work a trade, criticised for showing weakness, and taught to grow up hard and cold. Doesn’t sound unfamiliar, does it? Masculinity is praised in Westerosi society, as it is in our own.
Steven, the title character, isn’t the troublemaking, reckless, pain-in-the-butt Boy-with-a-capital-B I feared I’d have to watch around to get to the powerful women and loving queer folk I really wanted to see. He’s unreserved, adventurous, and confident – all good traits that are fairly typical for boy leads in kids’ shows – but he is also affectionate, selfless, very prone to crying, and just plain effin’ adorable.
The movie also, however, offers ideological and anthropological readings of masculinity which are, arguably, a little more complicated.
Bigelow appears to have a deep interest in, and respect for, martial masculinity.
Part of this belief comes from the assumption that casting women in these roles is always an attempt to tone down the masculine-coded characteristics associated with these characters. Vaguely omnipotent feminist forces are conspiring to emasculate hyper-masculine characters by recasting them as women, so the argument goes.
Two distinct masculinities pull the Trilogy’s heroes in different directions. Given Wright’s frequent use of pop culture references, I’ve opted to borrow Dungeons and Dragons’ terminology and describe these extremes as lawful and chaotic. Lawful masculinity is characterized by competency and order; it is the hallmark of the responsible (but rigid) adult. Chaotic masculinity is characterized by hedonism and anti-authoritarianism, usually embodied in the series by characters in a state of adolescence (whether age-appropriate or not).
It is this point at which things significantly begin to shift in Frank and Claire’s relationship. This entire situation, which occurred in a succession of embarrassments for Frank, clearly served as a challenge to his dominance and an infringement on his masculinity, especially coming from his wife. For Claire, meanwhile, it is evident that while Frank is fighting desperately to enforce his masculinity and remain in power, she has lost all of hers.