Crazy Ex-Girlfriend Season 3 Episode 11: Nathaniel and I Are Just Friends!

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Same, Dr Akopian, same.

When episode 11 of Crazy Ex-Girlfriend opened with Dr Akopian in her bedroom, I had this joyous flashback to the early days of the show, when Rebecca and Heather broke into her house through the doggie door. My hopes were raised that the whiny, misogynist slog toward the finale would be interrupted by a fun, creative episode like the ones I fell in love with. But, no. That was not the case.

Instead, we got more of the pointless, endless “will they or won’t they” from Bex and Nathaniel, a huge amount of time spent on Heather realizing that being 8 months pregnant is no fun (solved by her taking a bath 🤦🏻‍♀️🤦🏻‍♀️🤦🏻‍♀️), and another Paula is a b*tch story, with a side of betrayal from former bestie Sunil, to teach her a lesson. We also had an 8 month time jump, to move the story and characters along. Except almost everyone was stuck in exactly the same place.

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Counterpart Season 1 Episodes 1 & 2: The Crossing & Birds of a Feather- Review

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Counterpart is a new scifi/spy/thriller series from STARZ starring JK Simmons as two very different men who live in two different versions of the same world. The worlds are connected by a secret passage in Berlin that’s heavily guarded and controlled by the two world’s governments. Up until 30 years ago, there was one world, but then scientists caused it to split into two branching realities. The politics of each world spill over into the other world, causing friction and intrigue.

Each person has an “other” in the alternate reality, a duplicate self who may be nothing like themselves. The other self frequently becomes a target of political plots originated on the opposite side. Since the alternate realities have been kept a secret from the general public on both sides, this can cause some confusion.

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Movie Review: Mudbound

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Mudbound * 2017 * Rated R * 2 Hours 15 Minutes

😸😸😸😸😸 Rated 5/5 happy lap cats

Spoiler Free:

Mudbound is a family saga of life in the 1940s Mississippi Delta for two farming families. One family is made up of hereditary black sharecroppers descended from former slaves. The other is a white family of former landowners and slaveowners who’ve fallen on hard times. They’ve bought land in Mississippi hoping to reestablish their wealth. The families become intertwined as their lives intersect and affect each other over the years, until a tragedy changes everything.

Mudbound was directed by Dee Rees, who also wrote the script with Virgil Williams, adapted from the book of the same name by Hillary Jordan. It’s been nominated for four Academy Awards: Best Adapted Screenplay; Best Original Song for Mighty River, sung over the closing credits by Mary J Blige; Best Supporting Actress for Mary J Blige, who plays Florence Jackson, wife and mother of the Jackson family; and Best Cinematography for Rachel Morrison, the first woman to ever be nominated for this award.

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Metawitches Guidelines for Spotting Misogyny vs Female Equality in Entertainment and Media

This is the basic list of questions we ask ourselves while consuming media to help us determine if we’re seeing women being treated fairly or not. It’s not a yes or no checklist, or an easy, one sentence test, like the Bechdel test. But then, Alison Bechdel never meant for her test to become a widely used standardized instrument. This test requires some thinking about what you’re viewing. Misogyny is often subtle, and it’s pervasive. It’s easy to miss with one, casual viewing, but the message still gets into our heads and affects us.

That’s why these are guidelines, rather than a test. Some of these answers will be subjective, and reasonable people can disagree. We’re talking about art and the interpretation of art, after all. It also takes practice to start seeing things like camera angles and positioning, rather than letting it fly by. Hardly any of us can always spot gaslighting, especially when it’s being done by the writers and producers instead of the characters. These guidelines are just aspects of entertainment to keep in mind while viewing, to become more aware of what you’re seeing.

I (Metacrone) started working on this list in the late 80s, and it’s slowly grown. It’s still a work in progress, just like the entertainment industry. There are very few works that would pass every question with flying colors. Figure out how much you can live with watching, and the level that makes you take action. It’s okay to just watch and enjoy the show sometimes without feeling guilty, too. But, the more you can recognize the issues with entertainment and speak out, even if it’s only to one person, the more of an effect we all have on the entertainment industry.

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Riverdale Analysis: Betty Cooper- Hitchcock Blonde and Object of Obsession

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Who is the Black Hood and What Does He Want with Betty?

At the beginning of the season and the Black Hood storyline, Archie and Veronica each wondered if the Hood was targeting people close to them, because Archie was connected to the victims and Veronica tends to assume her father is connected to most crimes in Riverdale, unless she’s given proof that he’s not.

Those assumptions turned out to be red herrings, and we soon discovered that the Black Hood is obsessed with Betty Cooper, who is a Hitchcock blonde, as Jughead told us last season. Polly and Alice are also Hitchcock blondes, and the Hood has some interest in them as well, but Betty’s virgin status, overall goodness and sleuthing abilities specifically seem to make her the object of the Black Hood’s desire.

The shooting of the Sugarman (assuming he was actually shot) takes away most of the suspicion that Betty’s stalker is an imposter. There’s a “romantic” side to the Hood’s obsession. He’s giving her gifts, being extremely possessive, and is inspired by her sexual purity. That sounds like someone who wants to own her. He’s attempting to use his favors and crimes as rewards and punishments to train her into submission to him.

A Hitchcock blonde is the kind of tall, icy blonde that Alfred Hitchcock favored for his leading ladies. The characters were independent, mysterious, duplicitous, and unexpectedly passionate. They were often objects of obsession in his films, and of Hitchcock’s personal obsessions in real life.

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Role Models for Girls: The Good, the Evil, and the Frozen

 

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Or, Why Do Little Girls have to Choose Between Being Good and Being Powerful?

I was never much for Disney princesses growing up. None of them ever spoke to me. I was more into characters like Simba from Lion King. I suppose, for whatever reason, I was more concerned with the personality and journey of the character than their gender. Cinderella, Snow White, Sleeping Beauty, Jasmine, Ariel…none of them did anything for me. I don’t even remember thinking they were particularly pretty. I liked Megara from Hercules a little, but I was more about Pegasus, Hercules, and Hades in that movie. The complex characters with clear goals and inner journeys were always the ones who appealed to me. (And animals. Being an animal makes a big difference to me.)

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More on GYNX the Play

 

 

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A homeless teen lesbian, a prostituted girl, an underground
abortionist, and a child porn survivor are recruited into
a rapist castration plot by a mysterious woman named
Gynx. Men go into hiding, and their operation makes global
headlines. But when Gynx’s true motives are revealed,
the group is forced to question whether
they are truly on the side of justice.

We had notes that we didn’t have room for in our review of GYNX by Alicen Grey, so, in the spirit of an “outtakes” post, here are some more thoughts on the play:

In some ways, the play reminds me of Disgraced, the 2012 Pulitzer Prize-winning Broadway play by Ayad Akhtar about the dehumanization of Muslim men in America. Disgraced showed us that stereotyping and racism can lead to the exact dangers that the dominant culture is afraid of. Its characters were realistic people, but they were also stereotypes and symbols. GYNX uses the same method with its characters and story.

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GYNX the Play the Review

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Last week, Metamaiden and I traveled to Denver to see the new Disney musical adaptation of the animated movie Frozen. It was, shall we say, a less than completely positive experience. But, I’ve written thousands of words about that already. In my last post about it, I wrote that I was going to support a feminist off-Broadway play to offset my inadvertent support of what Disney had done to Frozen. GYNX is that play.

Alicen Grey, playwright and producer of GYNX, saw my post, and offered us a recording of their opening night performance. So, Metamaiden and I sat down in Albuquerque on the afternoon of Sunday, 8/27/17, and watched this radical feminist theatre revelation while the final performance of its current run was happening in NYC. It was playing at the Hudson Guild Theater as part of the 2017 NY Summerfest. GYNX is also a Semi-Finalist in the MultiStages 2017 New Works Contest, and it’s not hard to see why.

GYNX was everything I hoped it would be, and more. I felt like Alicen had lived my life, and was seeking my revenge. The play is powerful, haunting and cathartic all at once. It’s impossible to be unaffected by it. It ends with a question that you’ll think about for a long time, if you aren’t already thinking about it.

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Joss Whedon’s Ex-Wife Reveals That He Is a Hypocrite Who Gaslighted Her for 15 Years

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I Am Not Shocked at All

On Sunday, while I was traveling and wasting my life explaining my issues with the Frozen adaptation, Kai Cole, Joss Whedon’s ex-wife and partner of almost 20 years, published an open essay explaining the reasons for their divorce. Turns out Whedon cheated on his wife for most of their marriage and lied to his wife about it for the entire time. He had affairs with the actresses he worked with, other co-workers, fans, and friends. Never mind the dubious nature of Whedon sleeping with fans who worshiped him and actresses who worked for him. All the while, he was also presenting himself to the world as a champion of women, as someone who was fighting for women’s rights. A woman’s right to be used by a powerful man was what he meant, apparently.

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Why I Think “Ghost in the Shell” Is Racist As F*ck, But I’m Still Planning To See It

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Since I heard about the extremely controversial casting of Scarlett Johansson in “Ghost in the Shell,” I’ve been about as enraged by it as anyone. At first, I resolved not to see the film in protest. As a woman, I understand how meaningful it can be to see yourself represented in mainstream media. It makes you feel seen and accepted by your society, your people. It makes you feel like an equal and someone who matters. And as a lover of women in general, I don’t want to see any kind of woman shut out of our culture’s media. Every kind of woman, no matter what she looks like or how old she is or where she comes from or who she’s attracted to or what she believes in, deserves recognition and acceptance.

The film is nauseatingly racist. In addition to the blatant racism of casting a white woman in an originally Asian female role, it reportedly attempted to yellow face some of its extras, and possibly even Johansson herself.

I had a friend once who was half Chinese and half Scottish. She was outgoing, excitable, charming, feminine, and beautiful. We took ballroom dance classes together, and that was where I first realized how marginalized Asian women are. The men looked at her like she was a sex toy – old, often married men and this 14 year old girl. They flirted with her and ogled her. She was their favorite dance partner, and it had nothing to do with her dancing ability. Her personality had quite a bit to do with it, but I’m also quite certain that her race made them feel much more confident in treating her like she existed purely for their pleasure.

I often get ads for Asian women from dating sites. I get those more than any other dating site ad. I’ve seen statistics that Asian women are the most fetishized women in America. What comes with that fetishization? Viewing them as non-human.

Which is why it was so deeply offensive for this film’s producers to take an iconic, inspiring female character like Major Motoko Kusanagi and make her the default woman that we always see on our screens, rather than an underrepresented minority who deserve to see themselves as these inspiring people.

But despite feeling so strongly about that, I also couldn’t ignore that it was a female lead, who is meant to carry the film. Now, I don’t mean to say that it is REMOTELY okay that they whitewashed this character. But I kept thinking, how often do we have a female lead in a big-budget, mainstream cyberpunk film? A woman starring in an action film is unusual enough, but what’s even more unusual is a story that focuses on the humanity, or lack thereof, of a female cyborg. The cyborg trope and the question of whether cyborgs and human-like robots should be treated as equal humans has been so deeply explored within the science fiction genre that I’m sick of contemplating those questions. (I’m a sci fi baby.) It’s a very unique way to explore the human condition, and relevant to our modern world.

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