R and Julie have opted out of the capitalist conveyor belt that turns humans into braindead zombies and or war-mongering huddled masses. While it could also be read as a fundamental laziness to even stand up for themselves, the two succeed by not fighting.
Though this happens in a future in which cosmetic surgery has become much more than a matter of lift and tuck, Koh’s struggle with whether and how to change her body for the sake of her daughter and her career, combined with the behind-the-scenes machinations of the corporation, casts a complicated light on the present struggles of women trying to succeed in both career and motherhood while facing the social pressure to stay young and be perfect.
While the men are shopping, Francine is left alone to fend off a zombie with no means of self-defence. As she attempts to escape onto the roof, the others return to save her from the zombie and bring her back inside. She is dismayed to realize that they intend to stay there indefinitely. While the men enthusiastically describe the mall as a “kingdom” and a “goldmine,” Francine describes it as a “prison.”
How do you solve a problem like dystopian science fiction? It’s been around for about as long as the film industry and yet, politics and society still won’t stop producing warning signs for the decay of humanity, providing directors, writers, and “artists” with almost inexhaustible opportunities for critiquing the current state of the world community, or showing what the present state of things might turn into if not handled consciously and carefully.
Sarah meets Reese (Jai Courtney) knowing that she will need to have sex with this man, regardless of how she feels, to save the human race. It’s an awkward problem that’s dealt with in Schwarzenegger one-liners about mating and a weak attempt at a narrative theme of free will versus destiny.
Check out what we’ve been reading this week–and let us know what you’ve been reading/writing in the comments!
Though at times problematic, Polly’s story and interactions with other characters is one of a powerful and complex woman who supports and encourages respect for other women.
Don’t judge me.
I am a fan of the ‘Sharknado’ franchise put out by the SyFy Channel.
Seed & Spark: Funny, Feminine, and F*cking Fantastic: Funny Women Who Make Me Want to Woman the Bejeezus Out of My Writing
But lately there’s been a surge of female writers who inspire me. Not only for their individual writing styles, but also for their ability to be so unapologetically female. Which, as my writing partners and I launch into production of our web series ‘Supporting Roles,’ means everything.
This time Berg focuses on sexual abuse of children in Hollywood, perpetrated specifically by managers and other adults in positions of authority over male child actors. The 13-year-old girl Polanski raped was an an aspiring model, who believed that he was going to put her photo in French ‘Vogue.’ The boys–now all grown men–interviewed in ‘Secret’ believed that their managers and other adults who abused them were key to their careers and would blackball them if they spoke up, so kept quiet.
By softening hyena matriarchy, however, Disney accurately represents the aspirations of human feminists: Shenzi, Banzai, and Ed joke around and work together in casual solidarity. Shenzi is confident in her opinions and never belittled for this, nor is her acceptance conditional on romantic availability.
She’s gotten into hot water for political or cultural reasons because of some of her jokes recently:
As I’ve been having more eyes and ears on me, I realize that I have more of a responsibility. Even like a musician gets bigger, like, little girls look up to you; you can’t be showing your asshole at an awards show. They’re like, “No, it’s not my fault they look up to me!” I’m like, okay, people are listening to me, and my words might hold weight for some people, so I’m not going to do that stuff anymore. I haven’t done jokes like that for a couple years.