‘Ouija: Origin of Evil’ may be a prequel, but it is first and foremost a tragic character piece. One in which a previously strong family dynamic is torn apart when malicious forces use Alice’s grief to manipulate her.
With regular bombings being an everyday part of their lives, and a warhead landing in the apartment above them, the two of them live under the “shadow of war” in a very real sense. … The jinn, and the hauntings, also serve as a metaphor for Shideh’s own insecurities about motherhood.
Recognizing the witch hunts dotted throughout the U.S.’s early history as a feminist issue, Robert Eggers smartly constructs his film to be a power struggle between the two main female characters, each representing a different conception of femininity. … By rejecting motherhood, the witches reject their feminine role in the patriarchal Puritan society.
The narratives surrounding the television series ‘Downton Abbey’ and the musical film ‘Fiddler on the Roof’ are about change and more specifically, how the daughters within both families represent the small, but important contributions that these characters make to modern feminist narratives. … In both ‘Downton Abbey’ and ‘Fiddler on the Roof,’ each trio of sisters takes a step in determining her own fate.
Instead of investigating the science, Scully actually becomes the science. …There seems to be a substantial link between Scully’s gender and the tests and science that is inflicted upon her. Is this her punishment for daring to be a woman in a male-dominated sphere? … There’s also something pretty grim in Scully’s abduction/missing ovum storyline that feels very reminiscent of higher powers meddling and making decisions about women’s reproductive rights.
It is science fiction fact however, that Ellen Ripley should not have been “Ellen Ripley” at all. Dan O’Bannon’s original script for ‘Alien’ stated: “The crew is unisex and all parts are interchangeable for men and women.” … In ‘Aliens,’ both Ripley and the alien are further solidified as female. …We come to an implied understanding that is wholly complicit in their both being mothers, adding a subliminal layer that would not have been present had either Ripley or the alien been male.
Check out all of the posts from our ‘Game of Thrones’ Theme Week here.
Cersei Lannister is cunning, deceitful, jealous and entirely about self-preservation. Yet, her show self seems to tie these exclusively with her relationship with her children… Why is motherhood the go-to in order to flesh out her character? Why can’t she be separate from her children, the same way the father of them, Jaime Lannister, is?
Catelyn Stark’s main function in the show is to be a mother to Robb Stark, a prominent male character, whereas in the book series, ‘A Song of Ice and Fire,’ she is so much more than that. … The show creators are here relying on mother tropes in order to set up the characters; Catelyn is now the nag who only cares about her family and nothing else, whereas Ned is now the valiant hero who wants to seek justice.
This blame, fear and guilt are heaped upon Thomasin right as she starts to blossom into womanhood… This may be why ‘The Witch’ so strongly resonates.
While both the novel and the film are sure to point out Ma’s anguish, ‘Room’ can be seen to paint a romanticized, sometimes insensitive and propaganda-esque…fantasy of immersive, attachment motherhood in which nothing else matters but the child.
At the end of season 6, Gemma violently clashes the spheres of power. She’s in the kitchen. She’s using an iron, and a carving fork. Using tools of the feminine sphere, she brutally murders Tara, because she fears that Tara is about to take control and dismantle the club—the life, the style of mothering and living—that she brought home with her so many years ago.