Sense8 – Bitch Flicks

Call For Writers: Depictions of Trans Women

Representations of trans women still remain few and far between in film and on television. Representations of trans women performed by actual trans women are even more rare. (‘Orange is the New Black’ and ‘Sense8’ are the most recent, popular exceptions to that rule, and, interestingly, both are series productions created by Netflix.)

Our theme week for November 2015 will be Depictions of Trans Women.

Representations of trans women still remain few and far between in film and on television. Representations of trans women performed by actual trans women are even more rare. (Orange is the New Black and Sense8 are the most recent, popular exceptions to that rule, and, interestingly, both are series productions created by Netflix.) Much like white actors dressing up in blackface or redface to interpret the experience of Black and Native characters, trans representation by non-trans actresses takes away the authenticity of the interpretation, no matter how sympathetic the storyline may be.

This is why we often see trans women as the punchline of a joke (Terror Firmer, Twin Peaks, Ace Ventura: Pet Detective) or the source of horror and revulsion (Sleepaway Camp, The Crying Game, The Silence of the Lambs). In more serious dramas, male actors have garnered critical praise for their depictions of trans women (Academy Award nomination for Best Supporting Actor in The Crying Game and hotly contended Academy Award win for Best Supporting Actor in Dallas Buyers Club). This persistence in and even acclaim for insisting on interpreting the experience of trans women for trans women is a kind of violence and erasure in its own right.

Why aren’t trans women given the opportunity to represent themselves? Which interpretations of trans women have merit? What do these interpretations say about the experiences of trans women and trans identity? What do interpretations of trans women say about our society’s interplay with trans identity? Are representations of trans women getting better?

Feel free to use the examples below to inspire your writing on this subject, or choose your own source material.

We’d like to avoid as much overlap as possible for this theme, so get your proposals in early if you know which film you’d like to write about. We accept both original pieces and cross-posts, and we respond to queries within a week.

Most of our pieces are between 1,000 and 2,000 words, and include links and images. Please send your piece as a Microsoft Word document to btchflcks[at]gmail[dot]com, including links to all images, and include a 2- to 3-sentence bio.

If you have written for us before, please indicate that in your proposal, and if not, send a writing sample if possible.

Please be familiar with our publication and look over recent and popular posts to get an idea of Bitch Flicks’ style and purpose. We encourage writers to use our search function to see if your topic has been written about before, and link when appropriate (hyperlinks to sources are welcome, as well).

The final due date for these submissions is Friday, Nov. 20, by midnight.

Orange is the New Black

Hedwig and the Angry Inch

Sense8

Breakfast on Pluto

American Transgender

Red Without Blue

Dallas Buyers Club

Transparent

Creature

Star Trek: The Next Generation

Dog Day Afternoon

Wild Zero

The Bold and the Beautiful

Blunt Talk

The Badge

Dressed to Kill

Ace Ventura: Pet Detective

Bad Education

Ma vie en rose

Sleepaway Camp

Silence of the Lambs

Let the Right One In

Hit & Miss

The Crying Game

Terror Firmer

Veronica Mars

The World According to Garp

Twin Peaks

How to Get Away with Murder

Orlando

It’s Always Sunny in Philadelphia

Tales of the City

Ugly Betty

Sex Positivity: The Roundup

Check out all of the posts from our Sex Positivity Theme Week here.

Virtue, Vulgarity, and the Vulva by Erin Relford

The equality of men and women on the basis of healthy and consensual sex is sex positivity according to the Women and Gender Advocacy Center. Thus, to desire sex positivity is to be inherently feminist.

Clitoral Readings of The Piano, Turn Me On, Dammit, and Secretary by Brigit McCone

But how can female arousal be visually expressed? If women stereotypically prefer to read literary erotica over watching porn, with erotica’s descriptions of the interior sensations of female arousal, is that because many women imagine that female performers of porn are uncomfortably simulating their pleasure? Can there be a clitoral cinema of female arousal, and what would it look like?

Let’s Talk About Sex (Positivity for Women) in Animated Comedies by Belle Artiquez

There are animated shows that do present female sex positivity and appear to subvert the current patriarchal control of female sexuality in media. Archer and Bob’s Burgers are both refreshing examples of portrayals of positive female sexuality.

Miss Fisher’s Murder Mysteries: Killing the Stigma of Sex by Emma Thomas

Besides occasional sex jokes, Miss Fisher’s Murder Mysteries features episodes about vibrators, abortion, and women’s rights. It also highlights a wealth of one-night stands, and while the men are attractive, the camera glances over the bodies of Miss Fisher’s lovers as lovingly as it does her gorgeous outfits. It is, in an odd way, the perfect combination of the male and female gaze.

Yas Queen!: In Praise of Female Friendship and Sex Positivity on Broad City by Alexandra Shinart

As emerging adults, Abbi and Ilana are free to explore their sexuality as they choose. Choosing to be sexually active means the women have the possibilities of exploring love and sex, casual or within a relationship, in a way that best serves them as 20-something single women. Although Abbi and Ilana each explore their sexuality differently, the women share a common mentality- that they will embrace the many sexual adventures they embark on and support and empower each other every step of the way.

The Audacity of Sex and the Black Women Who Have It by Reginée Ceaser

Being Mary Jane provides the dialogue and the safety net in saying out loud ,”I see you, I’ve been there too and you are not alone.” The embracing of positive sexuality of Black women on television is not progressive feminism. It is the hope that future depictions of such will not be labeled progressive, but just as common as the stereotypes that have lingered for too long.

Slaying Dudes and Stealing Hearts: The Tell-All Sexuality of Mindy Lahiri by Shannon Miller

Sex positivity, for instance, is frequently presented in an oversimplified, inaccurate package of rampant promiscuity and generally assigned to a side female character, like a free-spirited best friend or sister. Meanwhile, the main character frequently serves as the antithesis to said behavior who is later rewarded with “true love.”

The To Do List: The Movie I’ve Been Waiting For by Leigh Kolb

And then I saw it–a film that extols the importance of female agency and sexuality with a healthy dose of raunch, a film that includes a sexually experienced and supportive mother, a film that celebrates female friendship and quotes Gloria Steinem, a film that features Green Apple Pucker and multiple references to Pearl Jam and Hillary Clinton.
Yes. This is it.

Concussion: When Queer Marriage in The Suburbs Isn’t Enough by Ren Jender

This film about a queer woman is, unlike the same year’s Blue Is The Warmest Color, directed and written by a queer woman (Stacie Passon who was nominated for “Best First Feature” in the Independent Spirit Awards and will be will direct an episode of Transparent this coming season), and in many aspects is the answer to those who dismissed Blue as a product of the male gaze.

The Day Mindy Lahiri Ate Seashells and Called Me Immature by Katherine Murray

I like Mindy Kaling and I like her show, but the season premiere demonstrates how, like many series, The Mindy Project has ambivalent feelings about what kind of sex is OK.

To Boldly Go: Star Trek: The Next Generation Explores the Limits of Sexual Attraction in “The Host” by Swoozy C

Once Beverly decides that so little of her attraction to Odan was wrapped up in his host body, the floodgates of sex, sexuality, gender, and physical attraction were wide open.

The Fosters, Sexuality, and the Challenges of Parenting While Feminist by Stephanie Brown

In Stef and Lena’s case, they face the much more complicated question of how to talk to their kids about sex in a way that balances their feminist ideals of sex positivity with their parental need protect and discipline their kids. Two scenes in particular stand out to me as exemplars of the ways in which Lena and Stef strive to make sure their kids are not ashamed of their sexuality while simultaneously conveying the importance of being safe, ready, and responsible.

Starlet and Tangerine: A Look At the Sex Work Industry Through the Lens of Chris Bergoch and Sean Baker by BJ Colangelo

Sean Baker and Chris Bergoch are spreading an important truth with their films: that sex does not have to be definitive. Tangerine and Starlet are two monumentally groundbreaking films, and they should be required viewing for all.

“I Want to Slap His Hideous, Beautiful Face”: Sexual Awakenings and First Crushes in Bob’s Burgers by Becky Kukla

Honestly, Tina Belcher is the role model young girls have been waiting for, and I’m so glad she’s finally arrived. However, “Boys 4 Now” – the episode that made me really believe Bob’s Burgers is *probably* the best show I’ve ever watched – deals with Louise getting her first crush. Rage-filled, insane, absolute genius Louise gets a crush on a boy. Unsurprisingly, she does not take this news well.

How the CW’s The 100 Is Getting Sex Positivity Right by Rowan Ellis

In fact, it’s the aspect of love and intimacy, rather than lust and sexuality, which makes Clarke’s part in Finn’s demise so difficult–the show plays with the idea that human connection, whether it’s through friendship, family, alliance or romance, is painful because it matters, not because it is fundamentally wrong.

Sex Worker Positivity in Satisfaction by Cameron Airen

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

The Honest Sexcapades in You’re The Worst by Giselle Defares

Gretchen leaves Jimmy and states, “Well as my grandma used to say, ‘It’s only a walk of shame if you’re capable of feeling shame.’ See you later, thanks for doing all the sex stuff on me.”

Unity Through Differentiation: The Radical Sex Positivity of Sense8 by Emma Houxbois

The net effect, woven throughout the series, is a sex positivity that both embraces differentiation and recognizes the universal experiences that can work to close gaps of gender, orientation, and race that routinely stymie the discourse.

Living Single and Girlfriends: The Roots of Sex Positivity for Black Women on TV by Lisa Bolekaja

There were never any shows that centered happy, single, child-free Black women that prioritized good sex as part of successful living. That is until two television shows came on the scene, Living Single (1993-1998, created by Yvette Lee Bowser) and Girlfriends (2000-2007, created by Mara Brock Akil).

Unity Through Differentiation: The Radical Sex Positivity of ‘Sense8’

This guest post by Emma Houxbois appears as part of our theme week on Sex Positivity.

Sex positivity, as a movement and concept in general, is open to a great deal of interpretation and criticism because of the multitude of forms that it’s taken over the years. Nowhere is that more apparent than in the heated debates that formed what are alternately described as “the feminist sex wars” and “lesbian sex wars” in establishing where the boundaries between legitimate self expression and exploitation lie in areas like commercial pornography and BDSM lie.

Discussions of power, privilege, and control typically remain central to the topic of sex positivity, and they’re vitally important when considering film in particular, a medium where female expressions of desire are more often than not conceived of and executed by men. While these discussions are vital, they can also stand to be expanded into what sex positivity can look like when it moves beyond the idea of liberating self-expression to recognizing and understanding other people’s desires.

Prior to the debut of Sense 8, Lana and Andy Wachowski were not typically considered to be filmmakers with a particularly sex positive agenda, but the roots of their broad and inclusive conceptions of sexuality in their Netflix series (co-created with J. Michael Straczynski) go all the way back to their debut Bound, a heist flick that starred Gina Gershon and Jennifer Tilly as lovers. At the time, the Wachowskis reached out to erotica writer and famed proponent of sex positive femininity Susie Bright to offer her a cameo in the film as thanks for her work’s influence in creating the film. Bright, who fell in love with the script, countered with a readily accepted offer to be their consultant on film and provide direction on how to film the sex scenes between Gershon and Tilly.

It’s an under-discussed part of the Wachowskis’ career that Bound, through arrangements made by Bright, had its debut at the San Francisco Gay and Lesbian Film Festival at the Castro theater, establishing a queer context to their work years before Lana came out as transgender. However it’s easy to see a recapturing of the spirit of their collaboration with Bright in Sense8, as they expand from the lesbian romance of Bound to expand into a multitude of simultaneous expressions of sexuality.

Key to much of the conversation around the series and its depiction of sex is how central, and explicit, the relationship between Nomi, a trans woman, (played by Jamie Clayton) and her girlfriend Amanita (played by Freema Agyeman) is. In and of itself it’s a tremendous victory for trans representation that scores the unheard of trifecta of a trans woman character being played by an actual trans actress, recognizes that trans women experience same gender desire, and doesn’t construct her sexuality around deception of any kind. The Wachowskis clearly communicate their triumph in this with the close up shot of a well-lubricated rainbow dildo dropping to the floor at the close of their first sex scene together, but Sense8 sets out to accomplish far more than just a sex toy mic drop.

In addition to Nomi and Amanita’s relationship, the series develops the romance between closeted Mexican actor Lito Rodriguez (played by Miguel Angel Silvestre) who is among the seven other characters Nomi shares an empathic bond with, and his boyfriend Hernando, as well as blossoming heterosexual romances between other members of the group. Nomi and Lito’s relationships are given the bulk of the development as the series progresses, but the Wachowskis use that focus as an opportunity to build a conception of sex that celebrates differentiation while also tapping into the universal aspects of sex and intimacy that everyone experiences regardless of gender or orientation.

This is primarily and most noticeably achieved in a sequence in the sixth episode where enough of the emotional energy of the sensates is focused on sex to trigger a full blown orgy between several of them, including Nomi, Lito, and two of the straight male characters. The focus and direction of the sequence, which was described by Silvestre as Lana Wachowski yelling directions from the sideline, which sounds much like what Bright believed her role in Bound’s production would be interpreted as. (“I think they imagined that meant I stood over Gina and Jennifer with a riding crop, snapping, “Deeper , Harder, A Little to the Left!”) But the scene does also communicate the same language and visuals that Bright intended for Bound:

“There were two main ideas on my mind. One, unlike most Hollywood lesbian scenarios, this movie shouldn’t insinuate oral sex– that’s not the kind of characters we were looking at. BOUND is about getting inside someone very fast, trusting them with everything-these women had to be fucking each other. Penetration was the act we wanted to imply. Yet obviously we weren’t going to get away with gynecological or hardcore shots in a movie that was headed for America’s shopping malls.”

“My idea, stolen from the ‘Kathy’ footage, was that we show a woman’s legs, straining and squeezing, and that we see that her lover’s forearm between her thighs. We dwell on that arm for a moment, moving back and forth in a fucking rhythm, looking sure, steady and unrelenting. Then, instead of following her arm all the way up to her lover’s pussy, we would cut to her stomach, fluttering like a little butterfly in that spasm we all recognize as orgasm. I loved the idea of eroticizing a woman’s belly like that. A lot of men making sex movies try to show a woman’s sexual pleasure by focusing the lens on her cleavage. Maybe that’s what they’re looking at, but hey, there’s a lot more going on!

“The other key idea was to eroticize the women’s hands whenever they were flirting or making love with each other. ‘A lesbian’s hands are her cock, they’re the hard-on of the movie, that’s what you want to follow,’ I said, like some veteran pornographer. When I see Corky’s hands on screen, I want to imagine how they would feel inside me. They’re the metaphorical substitute for the genital shots that you won’t be showing.”

Eroticizing the hands is the technique most keenly felt that follows through from Bound, but toward a somewhat different purpose in Sense8. Bright was looking for a way to get the idea of the kind of sex she imagined being most relevant to the plot and character beats of Bound across without being able to use explicit detail. She wanted to communicate genuine queer female desire to an audience who had never seen it presented in a manner equal to the depiction of straight sex in mainstream film. In Sense8, the first thing that focusing on eroticizing hands and grasping does is communicate the universality of desire across characters who identify as gay, lesbian, and straight. It depicts a physical element of sex that everyone, no matter their gender or orientation, can easily grasp and identify with. What it also does, just as Bright sought to evoke penetration in the sex scenes as part of the overall themes of Bound, is communicate how the individual sensates have been grasping toward each other in the series, trying to reach an understanding of their circumstances and who each other are.

Differentiation cannot be overlooked as being a major component of how the series presents and celebrates sexuality, despite the centrality of the “orgy” sequence that communicates a universality to human desire. Immediately following that sequence is a conversation in which Nomi tries to make sense of why she shares an empathic bond with the others, stating that it would seem more logical to her if the others were closer and not further from her identity and experiences. The response from Amanita’s mother is that she teaches the importance of differentiation through her classes on evolution. The implicit idea is that if differentiation is a key catalyst in biological evolution, it cannot be overlooked when considering the evolution of attitudes around sex that include queer and trans experiences.

Elsewhere in the series we see the critical importance of differentiation outside of sex, most notably as Lito and Wolfgang trade places in each others’ lives at the climax of their individual storylines. Lito, having pushed the situation with his blackmailer as far as he can by acting, falls back on Wolfgang to literally finish the fight. Then Wolfgang, having reached the limits of his skills as a thief and fighter in dealing with his rival, allows Lito to step forward and ply his trade as an actor. Each facet of the characters’ lives and experiences are as vital to the others’ towards their shared survival whether it be Sun’s martial arts skills, Capheus’ driving abilities, Lito’s acting skills, or Nomi’s computer wizardry.

Emma Houxbois is a fiercely queer trans woman whose natural habitat is the Pacific Northwest. She is currently the Comics Editor for The Rainbow Hub and co-host of Fantheon, a weekly comics podcast.

The American Lens on Global Unity in ‘Sense8’

‘Sense8’ is a clusterfuck of clichés, mediocre storylines and inept world building. Still, binge watch the series to enjoy the human journey of the eight sensates and maybe the Wachowskis and Netflix will take note and improve season 2 – they’ve mapped out five seasons. ‘Sense8’ will prosper on Netflix.

The Sensates "Mom" Angelica — The Sensates “Mom” Angelica

This is a guest post by Giselle Defares.

The paradoxical desire for global inclusivity that is created or controlled from an American perspective is characteristic for our modern pop culture. Harsh, maybe. We are in the 21st century after all, so it seems more than natural – albeit refreshing in our current cinematic climate of reboots – to explore an array of themes such as religion, gender identity and politics (LGBT) all served with a thin layer of sci-fi. The Wachowskis put their own spin on the mosaic narrative with Sense8. Robert Altman’s Short Cuts, Paul Thomas Anderson’s Magnolia and Alejandro Gonzaléz Iñárritu’s Babel paved the way. Sense8 aims to portray the brittleness of cultural barriers and the importance of global unity. Do the Wachowskis succeed?

Directors Lana and Andy Wachowski ventured from the start of their career into the field of “mindfuck” cinema. Their previous work on the Matrix trilogy, V for Vendetta, Speed Racer, and Ninja Assassin prepared them for their Magnum opus: the film version of the incomparable deemed novel of David Mitchell: Cloud Atlas – or was it the critically panned Jupiter Ascending?

The announcement of the series created a lot of buzz online but criticism rose against Lana Wachowski as a result of her previous comments when it came to the racial insensitivities in Cloud Atlas; and the fact that Wachowski was a keynote speaker at the Chicago Trans 100 – this annual event honors influential voices that are leading the transgender movement. In her speech she tried to focus on the “eradication of otherness,” but made several anti-Black comments, compared the current trans movement and its hardships to the American Civil Rights Movement, and appropriated Indigenous language. This is the same woman who brought us the premise of diversity with Sense8. Dilemma.

Sense8 has a challenging narrative structure. Eight different places, eight protagonists and eight stories that seemingly fit together as matryoshkas. The eight characters all influence each other in subtle ways and thereby change the course of events. In an interview with Buzzfeed director Joe Straczynski states,“ It’s a global story told on a planetary scale about human transcendence and what it ultimately means to be human in a contemporary society.” Right.

The plot centers around the idealistic Chicago cop Will (Brian J. Smith) who has father issues; Icelandic DJ Riley (Tuppence Middleton) who runs from her traumatic past; happy-go-lucky Kenyan bus driver Capheus who is obsessed with Jean Claude Van Damme (Aml Ameen); Korean business woman Sun (Bae Doona) who is a kick ass martial artist at night and deals with her inept brother and father; Mexican telenovela actor Lito (Miguel Angel Silvestre) who is closeted and afraid to come out, Indian scientist Kala (Tina Desai) who is stuck in a “love match” with a man she doesn’t love; German criminal Wolfgang (Max Riemelt) who struggles with his Slavic family; and San Franciscan blogger and ex-hacktivist Nomi (Jamie Clayton) who is a transwoman and is haunted by her family’s disproval. The series was shot in San Francisco, Chicago, Mexico City, London, Berlin, Iceland, Mumbai, Nairobi, and Seoul.

The eight strangers have one thing in common and that is that they’ve evolved into “sensates” and thus can share the thoughts, feelings, memories, skills, and experiences of other sensates. At the start of the series, the sensate Angelica (Daryl Hannah) and Jonas (Naveen Andrews) give “birth” to the group of adult sensates which ties them together into a “cluster”, which means that they can reach out to each other without being in physical contact first. The cluster is composed of eight sensates who are all born at the exact same time but are scattered all over the world. Conveniently enough they can use each other’s language, knowledge and skills. Well, no story is complete without the big bad wolf. The cluster is haunted by the Biologic Preservation Organization (BPO) under the leadership of Whispers (Terrence Mann).

The series has a very slow start. The Wachowskis take their sweet time to introduce all the characters. Will is the one who sets the story in motion when he finds out he can connect with other people – and has had a similar experience in his childhood. Jonas contacts Will and reassures him, “You’re not losing your mind, it’s just expanding.” Nomi often questions the ability of the sensates and her girlfriend’s mother quips, “ To be something more than what evolution would define as ‘yourself,’ you’d need something different from yourself.” Lovely pseudo-profound statement.

The Wachowskis made the creative choice to focus more on the day to day lives of the sensates and their relationships with their loved ones instead of fully embracing the sci-fi element. There should be a better balance between the sci-fi elements and the different relationships of the sensates. It truly distorts the flow of the series. The Wachowskis try to embrace the equality of different world culture and underline the universality of the human experience. It seems that they aimed for a similar vibe as seen in documentary films such as Baraka or Koyaanisqatsi.

However, they opt to include every cliché in the book when it comes to the non-western countries and the characters. Mexico City looks like it was copied out of a popular telenovela; Mumbai is multicolored, lots of jewelry, flowers, Hindu iconography and Kala busted out the classic Bollywood dance with her fiancé; Seoul is almost sterile with a grey-futuristic aesthetic and lots of mirrors and windows; Nairobi looks sweaty and lots of earth tones were used; and Reykjavik and London look like glossy tourist commercials and so on and so forth…

Naturally, Kala is a smart scientist who is stuck in a “love match” but knows that the arranged marriage will make her family very happy. Capheus is a poor yet happy bus driver who cares for his sick mother. Her illness? AIDS. He also has several battles with the local gangs. At first glance, Sun’s story seemed the most fleshed out. Only her arc reaffirms several stereotypes on East Asian culture, see the manifestation of sexism (“Oh, I wish my daughter was a son”) and she’s the ultimate fighter. Despite filming in Korea, the city is only used as a backdrop in the ultra-masculine business where Sun works or a seedy night club scene; Lito is the colorful, sensitive yet conservative homosexual telenovela actor who doesn’t want to bring his career in jeopardy by coming out. Honorable mention goes to Will as the idealistic white cop who tries to safe a black child’s life after he’s been shot and the Black nurse at the ER refuses to help at first and asks him if it will be worth it. Luckily this element of his arc was quickly dropped.

When it comes to (pop) cultural influences, they’re all American. Capheus is obsessed with Jean-Claude Van Damme. Wolfgang and his friend live by the philosophy of Conan the Barbarian and Riley inspires the cluster to a sing along with the 4 Non Blondes song “What’s Going On?” We are not introduced to the local (pop) culture of Mumbai, Mexico City, Seoul or Nairobi – besides the tired cliché of Kala’s Bollywood dance.

The creative decision to let all the characters speak English albeit with a hint of an accent here or there seemed unnecessary. In the other Netflix show, Daredevil, several characters spoke their native language and subtitles would suffice. On the other hand, there are small moments in the series where you know that the sensates speak to each other in their own language but because of their connection they understand each other, e.g. when Sun and Capheus meet and they understand each other, Sun asks him, “Do you speak Korean?” and Capheus says, “No.”

It has to be said, all eight storylines are mediocre when you look at them separately. Riley’s tragic loss is wonderfully acted but looks too familiar. Capheus’ narrative brings at times some lighthearted relief but it doesn’t add to the general arc. Lito, his boyfriend Hernando and beard Daniela have great chemistry- a Tumblr dream come to life. Yet, Lito’s narrative stands on his own until the last couple of episodes where’s he’s pulled into the fight of the sensates to rescue Riley. The only exception could be Nomi – played by the trans actress Jamie Clayton (!) – who plays an important part as a San Franciscan trans female character who fight society’s standards and the occasional TERF. Her arc is natural, layered and she has wonderful chemistry with her very supportive girlfriend Amanita.

Some of the performances fall flat and the swishy camerawork definitely doesn’t add to the quality. You can’t escape the cheesiness and terrible, terrible dialogue. Sure, Sun and Wolfgang are always used as the fighters when the others are in trouble; Will brings his critical thinking skills in times of duress; Capheus knows how to drive the get-a-away car; Lito will tell the perfect lie; Nomi can erase you from the internet; and Riley plays the white damsel in distress whilst being in a bland relationship with Will. All the sensates are seemingly good, kind and idealistic. Nevertheless, it still is a welcome change from the usual assholes that parade on our screens. Plus: Diversity (!).

Why should you watch Sense8? A) The genuine bond between all the sensates; B) The series really flows when the sensates finally work together to fight against Whispers and BPO and manage to control their skills; C) The Wachowskis do know how to aptly bring fight choreography to life on screen.

Sense8 is a clusterfuck of clichés, mediocre storylines and inept world building. Still, binge watch the series to enjoy the human journey of the eight sensates and maybe the Wachowskis and Netflix will take note and improve season 2 – they’ve mapped out five seasons. Sense8 will prosper on Netflix.

[youtube_sc url=”https://www.youtube.com/watch?v=iKpKAlbJ7BQ”]

Giselle Defares comments on film, fashion (law) and American pop culture. See her blog here.