Vintage Viewing: Lois Weber, Blockbusting Boundary-Pusher

Thanks to Alice Guy and Lois Weber, filmmaking was once almost unique in its gender equity, before a centralized studio system eliminated the female directors.


Written by Brigit McCone.


 

Part of Vintage Viewing, exploring the work of female filmmaking pioneers.

 “No women directors have achieved the all-embracing, powerful status once held by Lois Weber” – film historian Anthony Slide

Lois Weber: social justice warrior
Lois Weber: social justice warrior

 

The career of Lois Weber demonstrates the importance of mentoring between women; entering Gaumont Company as an actress in 1904, Weber was encouraged by the original film director, Alice Guy, to explore directing, producing, and scriptwriting, while Weber mentored female directors at Universal like Cleo Madison and Dorothy Davenport Reid. Weber’s career also demonstrates the importance of precedent: elected to the Motion Picture Directors’ Association and the highest paid director in Hollywood, her success inspired Universal to promote female directors such as Ida May Park to replace her when Weber left to found Lois Weber Productions. Thanks to Alice Guy and Lois Weber, filmmaking was once almost unique in its gender equity, before a centralized studio system eliminated the female directors. The only survivor into Hollywood’s Golden Age, Dorothy Arzner, was great for transmasculine representation, but an indicator of how exclusively masculine-coded directing had become.

Three directors: Cecil B. DeMille, Lois Weber and Jeanie MacPherson
Three directors: Cecil B. DeMille, Lois Weber, and Jeanie MacPherson

 

For her first feature film, 1914’s The Merchant of Venice, Weber chose a Shakespearean classic whose brilliant female lawyer, Portia, resolves the plot’s dilemma. Her 1915 feature, Hypocrites, is a lush epic. Made the year before D. W. Griffith’s Intolerance, Hypocrites parallels the medieval past and the present in a moral allegory, anticipating Griffith’s most admired film. Weber’s Hypocrites criticizes mob mentality and organized religion, as a medieval monk creates an icon of truth as a naked woman and is murdered by a mob for lewdness. Using innovative traveling double exposures and intricate editing, Weber constructs her naked star as a disembodied phantasm, who confronts congregation members with their own urges for money, sex and power, bypassing slut-shaming to examine society’s fear of the naked woman in the abstract. Fact mirrored fiction, as audiences flocked to Hypocrites for its nudity, before Weber faced a backlash of hypocritical outrage. Weber’s film also features vast canvases and landscapes, using mountains with interesting silhouettes and the highly reflective surface of lakes to compensate for the low light-sensitivity of early cameras. Film critic Mike E. Grost points out that this pictorial quality is associated with the cinema of John Ford, who started his directing career working for Weber’s employer, Universal, in 1917, two years after Hypocrites. [youtube_sc url=”https://www.youtube.com/watch?v=xJBJvEEPegI”]

Extract from Hypocrites, showcasing Weber’s pictorial allegory

In 1915, Hypocrites was banned by the Ohio censorship board, as was the racist The Birth of a Nation. The all-male Supreme Court’s judgement in Mutual vs. Ohio, that free speech protections should not apply to motion pictures, centers sexual “prurience” as their concern however, not hate speech. By 1915, female directors Alice Guy and Lois Weber had explored gender role reversal, gay affirmative narratives, social pressures fuelling prostitution, the evils of domestic abuse, and the hypocrisy of male censorship of the female form. The following year, Weber would condemn capital punishment in The People vs. John Doe, while the Supreme Court’s decision enabled widespread censorship of films by Weber and Margaret Sanger advocating birth control. By the time free speech protections were extended to film, with 1952’s Burstyn vs. Wilson decision, female directors had been eliminated from Hollywood’s studio system.

More than just social propaganda, Weber’s films were equally noted for her talent at drawing out effective performances, shown in this extract from 1921’s exploration of wage inequity and the credit crisis, The Blot. [youtube_sc url=”https://www.youtube.com/watch?v=q1ttuOKdPC4″]

Margaret McWade‘s dignified humiliation in The Blot (extract)

Though most of Weber’s films are credited to the husband and wife team of Weber and Phillips Smalley, Weber was the sole author of their scenarios. She went on to write and direct five feature films after her divorce from Smalley, while he never directed again. Nevertheless, film historian Anthony Slide claims that her productivity declined post-divorce as she could not function “without the strong masculine presence” of her husband. Her drop in productivity actually parallels most of her female peers, with outside investors playing an increasing role in 1920s Hollywood and preferring to back male productions. Despite setbacks, including the bankruptcy of Lois Weber Productions, Weber entered the sound era with lost film White Heat in 1934, depicting a plantation owner ruined after discarding his native lover and marrying a white society girl. This echoes Weber’s 1913 short Civilized and Savage, in which a heroic native girl nurses a plantation owner and departs unthanked. Though Weber’s brownface performance in Civilized and Savage, and her use of “tragic mulatto” clichés for White Heat‘s martyred heroine, can be criticized, both films are theoretically anti-racist. Weber died of a ruptured gastric ulcer, aged 60, in 1939, dismissively eulogized as a “star-maker” rather than a distinctive artist with her own voice and politics.


Suspense – 1913

“The Final Girl is (apparently) female not despite the maleness of the audience, but precisely because of it.” – Carol J. Clover 

In Carol J. Clover’s influential study Men, Women, And Chain Saws, she expresses surprise at finding feminist enjoyment in horror, where majority-male audiences are expected to identify with a female protagonist. But slashers were not the male creation she assumed them to be. Gothic horror was popularized by Ann Radcliffe, writing from the perspective of a vulnerable yet resilient heroine. Radcliffe’s Final Girl was raped by Matthew Lewis’ Monk, parodied by Jane Austen’s Northanger Abbey, and made lesboerotic by Joseph Sheridan Le Fanu’s Carmilla, but her role as the conventional protagonist of horror was fixed, her impact discussed by Bitch Flicks‘ guest writer Sobia. Male artists obsessively sexualized the Final Girl, but didn’t create her.

In Lois Weber’s 1913 short Suspense, the Final Girl crosses into cinema, now unsexily a wife and mother. Ideologically, Suspense is not radical: Weber’s middle-class heroine is a damsel-in-distress, shrieking and clutching her baby as she’s imperiled by the house-invading “Tramp,” waiting passively for her husband to rescue her. What Suspense brilliantly achieves is a cinematic language of the female gaze, inducing male viewers to identify with the heroine. From the mother spotting the Tramp from an upper window in dramatic close-up, to the Tramp’s slow ascent, viewed from the woman’s position at the top of the stairs, to Weber’s close-ups of the mother’s terrified reactions, Suspense demonstrates that identifying with the imperiled woman is essential to produce… suspense.

Weber’s split screens, and the dread she builds by allowing the Tramp to initially lurk in the background, were also innovative. From George Cukor’s Gaslight to Hitchcock’s Rebecca to John Carpenter’s Halloween, directors would use Weber’s techniques of female gaze to induce the male empathy that they required for their suspense effects, creating the accidental feminism of horror that Clover celebrated. Though often remembered for her moralism, Weber mastered the craft of popular entertainment, scripting the original 1918 Tarzan of the Apes, and being drafted to recut the Lon Chaney Phantom of the Opera after initial versions tested poorly, successfully crafting it into an acknowledged classic. [youtube_sc url=”https://www.youtube.com/watch?v=-_wkw5Fr_I8″]


Where Are My Children? – 1916

“Against the State, against the Church, against the silence of the medical profession, against the whole machinery of dead institutions of the past, the woman of today arises.” – Margaret Sanger

"Must She Always Plead In Vain?" by legendary feminist cartoonist Lou Rogers, 1919
“Must She Always Plead In Vain?” by legendary feminist cartoonist Lou Rogers, 1919

 

A Cinema History slams Weber’s influential 1916 film with the claim that “even more strongly than D.W. Griffith’s The Birth of a Nation, this film defends the superiority of the white race… the film is in the first place defending eugenics.” It is true that Weber’s film invokes eugenics in her courtroom defense of birth control, but her case studies are of impoverished white families in circumstances unsuitable for children – abusive relationships, overcrowded homes and ailing mothers. Weber’s argument, “if the mystery of birth were understood, crime would be wiped out,” actually anticipates research by popular book Freakonomics. The irony of Where Are My Children? — that birth control and abortion are available to women who can afford children, but not to the poor — mirrors current realities in Ireland. Though the activism of Women on Web has reduced the number of Irish women driven overseas for terminations over the last decade from over 6,000 yearly to around 3,000, the law almost exclusively impacts institutionalized women, illegally trafficked women, asylum seekers, homeless women, hospitalized women and victims of reproductive coercion – that is, groups most at risk of sexual exploitation.

Like Weber’s choice of a white actor for the Tramp of Suspense, and her argument in Civilized and Savage that civilized values are independent of race, her choice of white families as negative case studies in Where Are My Children? dodges eugenics’ racial aspect. To understand why she is using eugenics, one must appreciate the philosophy’s widespread acceptance before its adoption by Nazism, shaping US debates on immigration and converting celebrities George Bernard Shaw and Winston Churchill in the UK. Weber covers her bases by invoking religion as well as pseudoscience, using Calvinist concepts of election as a metaphor for the “predestination” of planned parenthood, with cherubs representing pregnancies that were unfilmable at the time.

The prosecution of Margaret Sanger inspired the film’s Dr. Homer. A Cinema History questions Weber’s feminist cred by demanding, “Why did Lois Weber turn this positive female character into a man?” Why A Cinema History considers eugenicist Sanger “a positive female character” while criticizing Weber is a mystery, but here’s why Dr. Homer’s a man: the success of Where Are My Children? emboldened Weber to make The Hand That Rocks The Cradle, starring Weber herself as a woman on trial for advocating birth control. The film’s original title Is A Woman A Person? echoes Ireland’s #iamnotavessel. The Hand That Rocks The Cradle was censored across the Northeast and Midwest, and is now lost.

Alison Duer Miller, sarcastic suffragette bitch (in a good way)
Alison Duer Miller, sarcastic suffragette bitch (in a good way)

 

The suppression of The Hand That Rocks The Cradle demonstrates the necessity of Weber’s patriarchal approach to Where Are My Children? (including remaining uncredited to obscure its female authorship), as classic deliberative rhetoric. Weber harnesses popular horror of abortion to present birth control as the only alternative to “stop the slaughter of the unborn and save the lives of unwilling mothers.” The hero, Walton, fails to consult his wife on having children, driving her to secret abortions which render her unable to conceive, punishing him with permanent childlessness. In a Dirty Dancing twist (another female-authored blockbuster), the housekeeper’s daughter dies by tragically botched abortion, blamed on the wealthy “wolf” who seduced her without consequence.

Though A Cinema History claims the film shows “how moral values have shifted since the 1910s,” their interpretation of Weber’s frankly depicted unwilling mothers, as “refusing motherhood out of pure selfishness,” rather suggests little has changed. Where Are My Children? is not a free expression of Weber’s eugenic or anti-abortion views (whatever they were), it is calculated propaganda for an age when advocates of birth control were prosecuted by male juries, under obscenity laws created by legislatures for which women were not yet entitled to vote. Watching Where Are My Children?, you see our foremothers going to the mattresses for freedoms we (even me, thanks to Ireland’s Contraceptive Train) now take for granted. Despite its outdated imagery, or precisely because of how that imagery reflects Weber’s anticipated audience, Where Are My Children? is a milestone in the struggle for reproductive rights.

Suggested Soundtrack: Joan Baez, “Baez Sings Dylan”

[youtube_sc url=”https://www.youtube.com/watch?v=HwrkAyH0-8A”]


See also at Bitch Flicks: Erik Bondurant reviews Where Are My Children


 Lois Weber was only one of many actresses who took creative control over their films by moving into directing in the silent era. Next month’s Vintage Viewing: Mabel Normand, Slapstick Star in Charge. Stay tuned!

 


Brigit McCone writes and directs short films and radio dramas. Her hobbies include doodling and memorizing lists of forgotten female artists (Brigit McCone is an extremely dull conversationalist).

Bitch Flicks’ Weekly Picks

Check out what we’ve been reading this week–and let us know what you’ve been reading/writing in the comments!

Hollywood studio announces boot camp to nurture female directors by Ben Child at The Guardian

“Tammy”: Melissa McCarthy finally gets creative control by Sady Doyle at Salon

“Orange Is The New Black” Does Not Need To Tell Male Prisoners’ Stories by Rebecca Vipond Brink at The Frisky

Television Shows That Understand Birth Control Better Than The Supreme Court by Jessica Goldstein at Think Progress

Broad City’s Ilana Glazer and Abbi Jacobson: Yes, We Are “Totally” Feminists by Lindsay Miller at POPSUGAR

Long Live Tousstee: Taystee & Poussey Challenge the Portrayal of Black Woman Friendships by Michelle Denise Jackson at For Harriet

What Pennsatucky’s Teeth Tell Us About Class in America by Susan Sered at Bitch Media

How Melissa McCarthy Became a Box Office Powerhouse by Melissa Silverstein at Forbes

Vietnamese-American Filmmaker Turns Lens on NYC’s ‘DIY Generation’ by Jamilah King at Colorlines

What have you been reading/writing this week? Tell us in the comments!

Women in Politics Week: White Dudes Sayin’ Stuff: A Journey Through Conservative Political Cartoons

This post by Myrna Waldron originally appeared at Bitch Flicks on October 4, 2012.

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.

‘Boardwalk Empire’: Margaret Thompson, Margaret Sanger, and the Cultural Commentary of Historical Fiction

In 1923, Margaret Sanger opened the first legal birth control clinic in America.
Almost 90 years later, HBO’s Boardwalk Empire is reminding audiences of those early struggles for women’s reproductive health and education, which don’t seem as foreign as they should.
In the premiere episode of season 3, Margaret (Schroeder) Thompson hears a radio story about Carrie Duncan, a woman who is about to take off as the first aviator to attempt a cross-continental flight.
Later in the episode, she takes a private tour of the Enoch and Margaret Thompson Pediatric Annex in St. Theresa’s Hospital, as she and her husband (“Nucky”) are its benefactors. As she tours the halls, a pregnant woman comes in and collapses, and she’s obviously miscarrying. The doctors whisk her away and Dr. Mason later tells Margaret that the loss could have been prevented, but the woman (her name is later revealed as Edwina Shearer) drank raw milk that was infected with E.coli. He goes on to explain that pregnant women are not given any instruction about nutrition or hygiene. Margaret, horrified, wants to use her benefactor status to change this.
Edwina Shearer has a miscarriage in the first episode of season 3.
At her and Nucky’s New Year’s celebration–they are ringing in 1923–she approaches Dr. Landau (St. Theresa’s medical director) about the inadequate prenatal care at the hospital. He is insulted and condescending, and Nucky chastises her.
However, as her determination and tenacity in the last two seasons has proven, Margaret will not stand down.
At the end of the episode, Margaret gets up at dawn to witness Duncan fly over the coast. She smiles as she sees Duncan’s plane.
Margaret watches Carrie Duncan fly overhead.
While Margaret’s feminist activism is a sub-plot–in fact, it doesn’t even appear in every episode–the establishment of a prenatal education program (and evolving views on birth control) is an important, sobering reminder of our history and provides context for much of what propels current conversations on reproduction and women’s health.
Margaret manages to open the St. Theresa’s Women’s Clinic after going above the director’s head to appeal directly to the bishop (although he warns her that “delicate topics would have to be avoided”). Margaret has become a power player in season 3. Certainly it’s worth noting that the hospital’s namesake could either be found in St. Therese of Lisieux, who went directly to the Pope to beg to become a nun after priests and bishops had turned her away, or St. Teresa of Avila, who was forced into the convent by her father and then became a reformer and was posthumously declared a Doctor of the Church.
Margaret, also, has been dually wedged into circumstances by her own stubborn motivations and by the men in her life. In previous seasons, she has deftly navigated her world to provide better circumstances for her children and her community, but this season she is securing her place as more than just an activist–she is a leader.
In episode 4, she and Dr. Mason set up the women’s clinic and are met with resistance by the nuns. As they discuss the mission statement, a nun says, “This is rather infelicitous language, isn’t it?” “Vagina?” Margaret asks. The doctor says that it’s a medical term, and the nun replies, “I’ve never enjoyed the sound of it.” Dr. Mason says, “I’ve never liked brussels sprouts, but I don’t deny they exist.”
Dr. Mason, left, and Margaret prep for their evening women’s health class (they are holding boxes of Kotex, and the nun in the background disapproves).
“The entire area is problematic,” the nun scoffs, adding that she doesn’t approve of the term “pregnant.”
“You are at odds with ‘menstruation’?” Margaret asks.
The nun finally storms off after seeing brown packages that Margaret tells her are Kotex–a relatively new product–which are gifts for the women in the class. “Let’s hope our evening students aren’t quite so sensitive,” Margaret quips.
As she passes out fliers for the new class on the boardwalk, she runs in to Mrs. Shearer–the woman who inspired the clinic. She seems uncomfortable, and her husband interjects, “When she’s feeling better, we’ll try again.”
Margaret passes out flyers on the boardwalk.
At the end of the episode, Margaret is reading the newspaper. Wreckage of Carrie Duncan’s plane was found, and the headline reads “Aviatrix Presumed Killed During Ill-Fated Journey.” Duncan’s trip, which clearly was inspirational to Margaret, was unsuccessful. 
This moment in American history–the 1920s–was a promising time for women. The 19th amendment granted women the right to vote in 1920, and Margaret Sanger was making headway (and finding loopholes) to help women plan their reproduction.
However, there were no figurative cross-country flights completed during this era. It would be decades before the Pill was legalized and first-trimester abortion de-criminalized. Still in 2012, contraception is a divisive issue in America.
But women kept fighting, as does Margaret.
In the beginning of the next episode, she’s looking over a class flyer with a friend. “Do you wish for more knowledge? sounds mystical,” her friend teased.
Margaret responds, “I can’t very well say Let’s talk about your vagina.”
Later in the episode, Dr. Mason is wrapping up their evening women’s education class (a crucifix looms above him), and one of the few women in the class says, “I wish someone would have told me all of this when I was 13–I wouldn’t have thought I was dying!”
The need for comprehensive education was clear, and for the few women who came to the first classes, Margaret and Dr. Mason were making a difference.
When Dr. Mason is called into an emergency surgery during their next class, Margaret steps to the front of the room and smiles. “We have our book, we have our chart, we have ourselves–what else is needed?”
She’s gotten the permission she needed to open the clinic and fly under the radar of the conservative leadership, and she is comfortable taking the lead.
At the beginning of episode 6, Margaret opens the mail and pulls out a copy of the Birth Control Review (along with a letter signed by Margaret Sanger).
Margaret receives a copy of Margaret Sanger’s Birth Control Review in the mail,.
This isn’t the first time that Sanger has appeared in Boardwalk Empire. In season 1, the episode “Family Limitation” (named after a brochure of the same name that Sanger produced in the early 1900s) showed Margaret douching with Lysol to prevent another pregnancy (a method that was touted as a method of birth control). Season 1–with its focus on temperance leagues, suffrage and reproductive issues–offered a preview to the show’s complex sub-plots that focus on women’s issues.
Throughout the series, men’s reactions to birth control and family planning have been venemous (Nucky referred to Margaret as a “common whore” when he discovered she’d been trying to prevent pregnancy, and Mr. Shearer insists that he and his wife will continue to procreate). Dr. Mason is the exception thus far in his progressive attitudes about women’s health.
In episode 8, Mrs. Shearer comes to Margaret, pleading. “My husband won’t keep off me,” she says, and wants to know how to not get pregnant.
She says, “I don’t need a pamphlet, or some man to tell me what I already know.”
She hesitates, and says, “I wasn’t–I stored the milk, I waited. It wasn’t an accident, you understand? I drank it on purpose to lose the baby–I won’t go through that again.”
The E.coli was self-inflicted, because she refused to have another child. This example of self-induced abortion was nothing new or rare for the time, and it was one of the reasons Sanger pushed for education and birth control.
Without judgment, Margaret simply asks, “What do you need?”
“One of those Dutch caps, that go up here,” she answers (indicating a diaphragm).
When Margaret says that those need to come from a doctor, Mrs. Shearer says, “Doctors only listen to ladies like you.”
Wealthy women of privilege generally have always had access to family planning. Mrs. Shearer knows that, and finally trusts Margaret enough to be a connection between working class exclusion and upper class privilege.
Margaret waits for Dr. Mason outside of the hospital, and tells him directly, “I need your help with something and it’s rather delicate… I would like to ask you to help me obtain a diaphragm.” He understands that that is what Mrs. Shearer wanted. “Actually,” Margaret adds, “I suppose I need two–one for her, and one for me.” (Margaret’s need for a diaphragm isn’t because of her relationship with Nucky; Nucky has had a mistress in the city, and Margaret picks up her affair with his driver, Owen.)
The issues surrounding the female characters of Boardwalk Empire are instrumental in the male characters’ lives (the late Angela Darmondy and her lesbian relationship, Gillian Darmondy’s brothel the Artemis Club, Chalky White’s daughter’s resistance to marriage, Assistant Attorney General Esther Randolph–based off Mabel Walker Willebrandt, Nucky’s late lover Billie Kent’s desire for independence and of course, Margaret), and they also serve as history lessons for the audience.
Boardwalk Empire is, essentially, a boys club. So is American history. While Nucky’s world of politics, power, alcohol smuggling and bloody violence is central to the entire plot of the show, the women’s stories underneath the surface are integral to their stories and to the audience.
In 2012 America, a female legislator was punished for using the word “vagina” in a debate about reproductive choice. Religious groups are fighting the Affordable Care Act’s provision that contraception be covered by insurance as preventative medicine. States are attempting to close women’s health clinics that don’t even provide abortion, but provide women’s health services. Abstinence-only education is pushed nationwide. The same resistance that Margaret faces in Boardwalk Empire is the same resistance faced by activists and leaders in today’s fights to prioritize reproductive education, health and choice. 
By showing these struggles in an award-winning, critically acclaimed HBO drama, audiences are able to hold a mirror up to the failures of not only prohibition, but also limiting women’s reproductive choices. Boardwalk Empire serves as a reminder that when women’s options are limited, they will fight back–even if it means risking their lives. With only three episodes left in season 3, we can hope that Margaret will remain steadfast in her fight for women’s reproductive education and choice.



Leigh Kolb is a composition, literature and journalism instructor at a community college in rural Missouri. 

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.