Thor: Hela Hath No Fury Like Cate Blanchett Scorned

When I was little I was always rooting for the baddies – Scar was just so much more fun than moralistic Mufasa and his arrogant son; Jafar was fab, even his facial expressions were more interesting than anything cocksure Aladdin did, and Angelina Jolie’s Maleficent is fab. In hindsight, I think it’s because these characters oozed rebellion and camp, giving two murderous fingers to all those endless cis, straight men who ruled their worlds awfully but called themselves Gods, Kings and heroes while they were at it. Twenty odd years later and nothing has changed – boy, did I want Cate Blanchett’s Hela, Goddess of Death, to skewer Thor, God of cisgendered, heteronormative patriarchy and smash his home planet of Asgard into smithereens (spoilers). And she almost succeeded.

I went to the cinema for dramatic and colourful escapism and I got it – there were more rainbows in Thor: Ragnarok than in a well-lit museum of prisms and we got a fair few shots of Chris Hemsworth’s buff chest. Cate Blanchett’s arrival was epic – she crushed Thor’s hammer-penis-ego-extension thing with one hand. There was some funny bromance between Thor and the Hulk (tbh, Chris Hemsworth is really funny), Tom Hiddlestone grinned his way through one of Marvel’s only memorable villains – Loki, and Tessa Thompson’s character, Valkyrie, was an alcoholic, gambling warrioress who kicked butt on her own terms and answered to no man (until she suddenly changes her mind and acknowledges Thor as King at movie’s end). Of course, this is Hollywood and all the usual failings are there – why is there only one well-rounded female character in the group of male heroes, why not two or three (or y’know, the whole fucking group), and any trans or nonbinary heroes…nope. Why is the Grand Master of the bizarre planet of Sakaar a man, albeit a hilarious, exceptionally camp Jeff Goldblum? Why is Hela’s assistant a man? Why was the one scene that would confirm Valkyrie’s bisexuality cut? Why was Korg’s (a male warrior made from rocks) first love not mentioned, a first love who was a man? Why was Loki’s gender fluidity and probable pansexuality unmentioned? Of course, we know why and it’s going to be years before diversity triumphs over patriarchy.

But something I did enjoy was Cate Blanchett’s unashamed villainy. She is Thor and Loki’s elder sister and firstborn of idiot patriarch Odin (played by Anthony Hopkins). She reveals the sordid truth behind Asgard’s glory – that all the gold and treasure was gained through bloodshed and annihilation, with her being her father’s executioner (maybe an allusion to the US and its legacy of slavery and militaristic imperialism often papered over by photographable presidents…until Trump, who is just plain awful and too stupid to be considered a super villain). Yup, Odin trained his own daughter to be a psychopathic mass-murderer then banished her when her power grew more than his. So, whilst it’s hard to root for her genocidal intent I did get where she was coming from and struggled to see her out-witted by a group of men and a token Valkyrie (who doesn’t get an actual name beyond her race). But at least when Hela gets destroyed, Asgard, planet of sociopathic, patriarchal monarchy, goes with her. Unfortunately, the film still ends with Thor taking the throne because Hollywood isn’t ready to give up on white men running everything. But times are changing, incredibly slowly, and Raganarok – the death of the Gods in Norse mythology – isn’t over yet. The heroes of colour are amassing as are the female heroes and the queer ones – soon, cis, straight, white men will be the disposable, comedy sidekicks and we’ll get the rainbow warriors we deserve. Now here’s Jafar owning Genie, because even though that movie went straight to video it was still one of my favourites (although this was before I learned about post-colonialism and cultural appropriation).

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Theresa May: Shante, You Stay or Sashay Away?

RuPaul and his panel of bitches have the final say on Theresa May.

Michelle Visage: “Lady, you’ve been strutting it up and down the runway for nearly a year now and we know you can work shoulder pads, angels and chunky earrings but why red? I mean, your colour’s blue and here you are striding out of Number 10 wearing red, that was a faux pas.”

Ross Mathews: “Theresa May! I’m like you gurl, I like my men strong and stable, if you know what I mean.”

Michelle: “We all know what you mean!”

RuPaul: “The shade [giggles].”

Ross: “The Iron Lady throwbacks just rocked my world but I feel that behind all your looks there’s no substance. For the whole season we’ve been asking to see the real Theresa May and she just hasn’t emerged yet. Don’t get me wrong, I would lurve to frolic through a field of wheat being chased by a big hunky farmer but I have bigger aspirations than that.”

Michelle: “Getting banged three ways from Sunday in Hula Bar’s dark room.”

RuPaul: [cackles]

Carson Kressley: “Let me square it with you Theresa, I was gunning for you when Davina Cameron sashayed away. Michelle Gove was a tart, Andrea Gimme-Sum just couldn’t do make up for sh*t, Liam Foxy…who?…and the less we talk about Borissima the better. But your relationship with the runway has been vexed to say the least. The odd U-turn to show off that fab bum of yours worked a treat but you turned one too many times. And your cutting has just ruined those hemlines not to mention all those furs.

Michelle: “We don’t do dead animals anymore, hun.”

Carson: “And when you came out with those hunky police men we wanted tens of the well-hung fellas but we only got three. Also, that dementia themed dress…”

Ross: “…forgettable.”

Michelle: “And when we did the Broadway episode your Human Rights Act was not a class act.”

Theresa: “I just want to say that while I may subsist on a diet of cardboard and vacuities I have always done my best. Corbynina, Sturgoon and Caroline ‘The Queen’ Lucas may have big personalities…well, they may have personalities, but I have stood my ground even if I didn’t always get it right.”

Michelle/Ross/Carson: [stoney, unimpressed silence]

RuPaul: “Silence! I have pretended to listen to the judges for the last five minutes and regardless of everything I didn’t hear them say I have made my decision. But before I reveal it I want to level with you Theresa. Here on RuPaul’s Drag Race everyone is a winner, even the losers. Even the people who preach prejudice, exacerbate inequality and don’t always vote in favour of the gays. Because the Rupaul family knows that everyone, even the most hateful, needs some good loving. And, Theresa, apart from some good hard lovin’ you’re also gonna need to wrap up warm because your blue-faced fanboys are about to throw you some serious shade. They’re gonna smear your make-up, tear your dresses and scapegoat you for all the larger failings of a party that forgets to put 99.9999% of the population on the guest list.

“All of us on this show have faced shit times: we’ve been bullied at school, ostracised by society, isolated to the point of self-harm and for some, suicide. But despite all this we’ve kept our hearts and now it’s your turn, Theresa, to go find your own. Because if you can’t love yourself, how the hell you gonna lead our country into a sustainable, equitable future?

“Now, whether it’s Shante, You Stay or Sashay Away it’s time you got lip-syncing for your life because we all know a good politician just mouths the words to someone else’s tune. Whether it’s the tune of neoliberal, corporate capitalism or the beats of the people. Either way, good luck and…

…DON’T FUCK IT UP.”

T2 Trainspotting And Why Men Can Be Idiots

So, T2 Trainspotting is happening. Twenty years after the events of the original movie and that loveable bunch of drug taking Edinburgh-based rogues aren’t faring too well. What ensues is another ride of exceptionally dark comedy, musings on ageing and a wee bit of drug taking on the side. The lads are struggling with the whole growing older thing and are stuck between emptyish lives and nostalgia for a past they only part remember. I shan’t spoil any of the plot but if you loved the first movie then you’ll like this. The soundtrack is also pretty kick-ass. Instead, I want to refer you to a brief clip from the Graham Norton Show in which the team behind T2 were interviewed including director Danny Boyle and lead actor Ewen McGregor.

It’s a fascinating clip especially because it’s about two men who fell out and then took years to forgive one another. As Boyle says “it’s one of the things weirdly the film is about…trying to express emotions.” Of course, what he doesn’t specify is that it’s about men trying to express emotions (most likely cisgendered men and probably heterosexual), indeed, the majority of the film is about men being men (and fucking it up) with the odd women doing a cameo appearance.

As Boyle and McGregor explain they fell out over a “misunderstanding” about the former not casting the latter in the very successful film The Beach. However,  McGregor acknowledges that “it was never about The Beach it was about [their] friendship” but the incident led to years of them not talking to one another. However, as time passed their views changed what with McGregor doing a wonderful speech about another hit film of Boyle’s Slumdog Millionaire and Boyle describing feeling a great “shame” about how he handled the situation. And years later there they both were in 1st class on a plane back from Shanghai, the only ones still awake on their luxury beds, and McGregor thought the time had come – the time to get up, say sorry and mend the past. Of course, that’s how it would play out in a movie (because in movies people tend to learn their lessons) but in reality neither of them spoke to one another and there was no heartfelt reunion. And, my god, is this just another example of how men can be so terrible at communicating. I was raised a cisgendered man and there was scant little education in understanding and expressing my emotions and feelings. I didn’t quite fit the mould of typical masculinity but it was still the predominant lifestyle option and, boy, was it lacking.

So, it’s not weird at all that T2 is about men failing to communicate with one another and living pretty sad and often scary lives as a consequence and nor is it a surprise that a similar turn of events happened in the lives of the real people behind the film. Of course, they’re big dog Hollywood millionaires but that doesn’t mean they’re rich in the ability to communicate. So, men, I really think it’s time we learnt our lessons and realised that a greater awareness of our emotions is not a weakness or something to be ashamed of, it is actually empowering because the human being is basically one giant bundle of feelings that occasionally thinks. And sure, there would be less plot devices for movies because men would start getting things right and stop trying to kill each other so often but at least we’d get happier endings in real life, preferably without a twenty year time gap.

The Trouble With The Gilmore Girls

Only a couple more weeks until the Gilmore Girls return in four brand new episodes on Netflix. But who are the Gilmore Girls, I hear you ask. Well, it’s a popular American dramedy (drama-comedy, yup, that’s a thing) that ran from 2000 to 2007 and now they’re coming back. The ‘girls’ themselves are Lorelai and Rory Gilmore. Lorelai is a single Mum who was shunned by her rich parents when she became pregnant. Rory is her daughter. They live in the kooky town of Stars Hollow where all manner of daily adventures take place. It sounds like a recipe for success – not one but two female protagonists and a supporting cast of likeable, if kooky, characters. Indeed, it was a success, a huge success, and people all over the world enjoyed watching Lorelai and Rory talk at an incredibly fast pace and remain in great health despite diets of takeaway food.

However, scratch beneath the surface and the kookiness takes on a darker hue. For starters, the supporting cast is one of stereotypes – there’s Manuel (correction, his name is Michel, I was mistaking him for the stereotyped waiter in Fawlty Towers and compounding the stereotype – sorry), the one black and homosexual character who is a smörgåsbord of tokenisms; there’s Sookie, Lorelai’s co-worker and the token ‘larger’ character whilst nearly all other characters are slim and conventionally good-looking (she’s also played by the epic Melissa McCarthy who was tragically underused). There’s Kirk the ‘oddball’ character who is frequently mocked for finding it difficult to socialise. There’s Lane, Rory’s nice Asian friend, but never going to be the star of the show. And there’s Lane’s Mum who is all sorts of offensive cultural generalisations. And don’t forget Paris, the ambitious and intelligent one who regularly gets mocked for being ambitious and intelligent, unlike Rory whose achievements come naturally and without fuss. Meanwhile, if you wish to find other diverse characters, e.g. bisexual, lesbian, transgender, ethnicities besides black and asian, non-Christian, this is not the show for you. But this isn’t new, shows like Friends and How I Met Your Mother also fall foul of these tropes.

However, I think the biggest problem is that the Gilmore Girls are presented as normal – Rory and Lorelai are presented as the great bastions of normality around whom all other characters are presented as weird offshoots. Yet these ‘girls’ are not normal. For one Lorelai gets to have her cake and eat it with regards her wealthy background – she simultaneously accepts handouts from her parents whilst decrying said privilege. She hands these views down to Rory who we witness in one episode paying a guy $20 so she can sit under the tree he’s sitting by. There are other trees! Rory also never learns how to do her own laundry, a useful plot device to see her relentlessly driving from Harvard to Stars Hollow to hang out and talk fast with her Mom. The ‘girls’ also enjoy mocking their fellow townspeople, making offhand jokes about genocide and ebola, and generally belittling the lives of others. Yet these ‘girls’ are the moral core of the programme and I think that’s a little problematic.

Other problems include the replacement of plot with endless talking – Rory talks to her current boyfriend, Rory talks to Lorelai about talking to her current boyfriend, Lorelai talks to Sookie about talking with Rory about her talking with her current boyfriend. Of course, what would be interesting if Sookie then talked to the current boyfriend and we discovered they were having an affair together – but that would constitute plot rather than talking. Then there’s the soundtrack, composed of a singer chanting monosyllables like ‘la’ and ‘da’ over and over again as the scenes change. However, the saving grace of the Gilmore Girls is Emily, Lorelai’s mother. She is a rich, snobbish, conservative bigot and regularly complains about other people, who she treats largely  as means to satisfying her various ends. But she is consistent in her views. At least we know where we stand with Emily (ideally, far away), she’ll be rude to her staff and she’ll complain vociferously at restaurants whereas Lorelai and Rory are too busy trying to present as ‘women of the people’ when really they’re more like Emily than they care to acknowledge (I guess Emily would unashamedly vote Trump whilst Rory and Lorelia would vote for Hillary but not necessarily campaign against the structural injustices of neoliberal capitalism).

Now, I realise I might as well stop blogging given that I’ve just criticised one of America’s national treasures but there is something I must admit to – I kinda love the show. I have watched an awful lot of episodes (although not all, which is my disclaimer for this post containing any factual inaccuracise) and seen Rory and Lorelai eat far too many pancakes at Luke’s cafe, go to lots of kooky town events and bicker with various partners. Like erosion, their incessant waves of chatter have gradually worn away at my coastal defenses and for some unknown reason I actually find myself caring about the people of Stars Hollow. So, yeah, I will definitely watch the new episodes and shudder every time a character is tokenised but also cheer when Rory and Lorelai achieve great things. I love those Gilmore Girls…or should that be Gilmore Women?

Game of Thrones: One Penis Doesn’t Make Equality

They say one swallow doesn’t make a summer and the same has to be said for Game of Thrones‘ latest attempt at bridging the gender nudity gap. You might not have heard of GoT but it’s a TV show about monarchs, back stabbing, walls, climatic extremes and sex (contemporary politics basically but with dragons). Something that also features prominently is nudity. Naked women abound in the show, sometimes they’re just hanging out topless at their window, sometimes they’re being stripped in front of the other characters, sometimes they’re stripping, sometimes they’re emerging from flames with no clothes on…you get the gist. However, what is often lacking are naked men…until now (a few spoilers ensue, one involves a penis).

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Yup, in a surprise turn of events that has delighted many fans (and infuriated others) we have been shown a close up of a man’s penis (see above but imagine it without the emoji). A few willies have been wangled before on the show (even if one of them was a prosthetic) but this one was up close and personal. The character played by actor Rob Callender is an actor playing another character (it’s all quite boring really) and he gets his dong out to check for genital warts. Turns out he has them. And so GoT did it, it unleashed the penis and we got a face full. The glass ceiling of male nudity has been broken…or has it.

Unfortunately, one penis doesn’t make equality and whilst the odd cock shot does redress the balance it’s about more than just exposure. It’s about a whole culture in which it is normal to regularly see women naked, often objectified and reduced to their genitalia. It is about a culture in which men write the books, direct the shows and get their penises out only once in a while and rarely as sex objects. If we really want “total equality” as actor Emilia Clarke is calling for we’re going to have to do more. But that equality doesn’t have to mean routinely objectifying men as often as women are, in fact, I’d suggest we veer away from routine objectification entirely (you can use google if you really want that). A show like GoT provides interesting characters and their nudity should form part of their role and not be a needless adjunct to please a subset of audience members. Just as Clarke was happy to have her character emerge naked from a fire to show her strength (she has flame resistant skin), let’s have naked men appearing from battle as well and not just checking their members for warts (as important an act as this is). So, yes, a battle has been won, but the war is still waging. Despite winter’s arrival we must call for more men to remove their battle garments whilst encouraging writers and directors to ensure female nudity earns its place on-screen and doesn’t just exacerbate the denigrating and objectifying culture of nakedness within patriarchy. We can reclaim nudity. Equality is coming.

Little Mix: Holding Hands Is A Political Act

Little Mix are at it again – using catchy pop songs to relay important political messages and this time it’s all about holding hands.

For some holding hands is a simple act done on a regular basis. A guy and a gal just holding hands as they reveal their love to the world and walk to Sainsbury’s to get some snacks. Inside the shop he might put his hand around her waist and even tap her bum. Outside, snacks now bought and waiting in their bag-for-life, they might hug and briefly lock lips. Do you do this? Are you in an opposite-sex relationship where you both feel comfortable to express your affection in public? Well, if so, count your fricking blessings, because for many people holding hands, let alone snogging, could land them with a punch in the face, at the very least.

It’s different for same-sex couples. The Sexual Offences Act of 1967 decriminalised homosexual acts in private between two men, both above the age of 21. That was only fifty years ago and it applied only to men. It was in 2000 that the age of consent for homosexual couples was reduced to 16 years, so only sixteen years ago that gay couples achieved parity with straights. And in the Sexual Offences Act of 2003 was sexual activity between more than two men no longer a criminal offence across the entirety of the UK – yup, fourteen years ago and a threesome+ would have been illegal. What this brief political history demonstrates is that the law can be absolutely ridiculous, focussed often not on upholding justice and equality but enforcing prejudice and discrimination. That’s nothing new but it’s worth repeating.

Of course, it’s one thing for laws to change, quite another for culture. And for this reason same-sex couples holding hands in public is still a political act. There’s still so much hostility and discrimination out there that it makes hand holding dangerous. And even if the passersby aren’t homophobes they may still offer a good stare just because it ‘fascinates’ them to see these exotic queer people demonstrating affection. Whereas, straight couples usually don’t get stared at or if they do it’s because they are swapping way too much saliva. So thank god for this song by the wonderful Little Mix, which speaks directly to this issue. The video below is for Secret Love Song Part 2 as Jason Derulo was involved in Part 1 and he (or his producers) ensured it was decidedly straighter than originally intended. So here’s the better more political version. Thanks for singing out Little Mix!

Tiny Violins For White People

Countless tiny violins are playing for offended white people all over the world. First, there was Charlotte Rampling saying that “it is racist to whites” to suggest that decades of institutionalised racism have yet again resulted in no people of colour being nominated for Oscars. Then there was Michael Caine reminding us that it took him “years to get an Oscar, years” so it’s only right that people of colour should “be patient” and wait their turn. And, finally, there are the many white people outraged that Beyoncé should use her latest music video to highlight the racism and abuse that black people continue to face in today’s society. I’m getting a bit bored of trying to encourage fellow white people to see things differently (cue my own tiny violin) but here goes.

Charlotte Rampling: As a female actor who rose to fame during the sixties she no doubt encountered an awful lot of sexism. An industry that is still predicated on the objectification and demeaning of women was surely worse back then. So kudos to Rampling for pushing through. However, even if my speculations are right and she did face discrimination this is no excuse to ignore the struggles of others as she willfully ignores the prejudice facing people of colour. “One can never really know, but perhaps the black actors did not deserve to make the final [Oscars] list,” said Rampling whilst discussing the boycott of the current Academy Awards. If the consequences of ignorance weren’t so grave this would be laughable – to actually think the Academy Awards are based on an objective judgement of acting talent carried out by unbiased judges behind closed doors is ridiculous. No, the predominantly white people who form the panel are just as likely to suffer from the prejudices and bigotry that run through all sectors of society resulting in biased behaviour. Sorry Rampling, you may be a good actor but you’re not that good and actors of colour aren’t that bad either.

Fortunately, Rampling issued a statement in which she clarified her position. Whilst not explicitly apologising she did say she regrets what she said. “I simply meant to say that in an ideal world every performance will be given equal opportunities for consideration.” Yes, but come on Rampling, we don’t live in an ideal society and crass comments about how talentless actors of colour are for which you don’t apologise form part of what doesn’t make it ideal.

Michael Caine: When it comes to winning awards, to suggest that people of colour need to “be patient” and hold tight until the Academy deigns them worthy is a right slap in the face. Caine is an individual actor of arguable talent whilst people of colour represent an absolutely vast talent pool. For Caine, as a privileged white male who will never have had to experience the sort of racism that people of colour have faced and do face in the film industry, to compare his situation with that of people of colour is ludicrous. Why doesn’t he hand over his awards to some of the many overlooked and discriminated against yet hugely talented actors of colour? Come on Caine, it’s time to step up by stepping down.

Formation by Beyoncé: Centuries of slavery and oppression meant black people were treated abysmally in the States and all over the world. Whilst slavery might have been abolished in the US its legacies of violence, prejudice and ignorance live on. It’s time white people acknowledged this history and recognised that we still benefit from huge amounts of white privilege (what’s white privilege? Check out this cartoon). Questioning this privilege means redistributing it in such a way that we can all be empowered – so it works out better for all of us, yes, even white people. Sure, it’s going to be tough for us whites to accept that an awful lot of violence has been and is still perpetrated in our name, often by us, but this will never be as tough as actually experiencing that violence. I could go on but Beyoncé’s latest video speaks for itself.