A Matter Of Life And Death (Michael Powell, Emeric Pressburger, 1946), Captain America: The First Avenger (Joe Johnston, 2011).
For more film and television comparisons visit www.teaandamovie.tumblr.com.
Alex Cranz and Rebecca Jane Stokes are breaking down Grey’s Anatomy, episode by episode, in this weekly podcast from FemPop. (x)
So maybe I started this Grey’s Anatomy podcast and I’m stupid proud of it. You don’t know.
Also you should totally listen to it.
Song: Godzilla is FIERCE
umm so i heard this instrumental and then i just put FIERCE by Azealia Banks on top of it
PLEASE FUCK ME UP
THIS WHY IM ALIVE
THIS IS SO IMPORTANT
The Feenix Autore gives gamers a gorgeous minimalist keyboard, but anemic gaming features.
If you’re curious as to what I’ve been doing since last we spoke sweet internet. Here is a keyboard review I wrote.
More super whizbang stuff like this may find it’s way here. Or maybe this will continue to be a space for ranting about how Hollywood can be a load of d-bags when it comes to portraying anyone who isn’t a straight white male dude or Godzilla.
Oh my goodness gentle fair beautiful readers. How long has it been. What have you been up to? What exciting TV have you consumed? What exciting tech have you frolic’d with?
WHAT THE HAPS?
You’ll notice things at FemPop have been a little slow of late. With Rebecca Jane Stokes off being fantastic (and getting paid) over at XOJane and Hairpin and the like and the shows we regularly recap here on a bit of a hiatus I took a step back from things. But over the last month I’ve been working myself up to come back here to FemPop.
That’s meant a call for new contributors. (Those of you who have applied will hear back very shortly and those of you who haven’t applied are encouraged to do so ASAP.) But the biggest hurtle I’ve faced is purely an internal one.
When you’re in the “social justice” game it can be exhausting. Covering every failure from Hollywood–every slight to the less privileged–wears on you. Its easy to emotionally flame out in a glory of “fuck you movies and television and comics and games” and find yourself so miserable with the state of pop culture that you disappear into a hole of the previously established “good” stuff.
But after a lot of revelry in the good stuff and avoidance of the bad I’ve found myself ready to wade back into the cesspool of sexism, racism, and good ol’ boy celebrations that is the culture I exist in.
But it is more than being reinvigorated.
Because in the time since I last really passionately embraced FemPop I’ve seen a lot of people say “why” whenever someone gets up in arms over a television show or a movie or a video game. What’s the point of talking about these shows? Or getting mad about all the films that exist to wallow in manpain?
Why does Orange is the New Black matter? Or The Fosters or Under the Dome or Kick Ass 2? What makes Saints Row 4 or Finatticz’s “Don’t Drop That Thun Thun” critical to the discussion?
Because media matters.
Because as a very white kid growing up in a very white household Roc and True Colors and The Cosby Show reminded me that the world didn’t all look like curdled milk.
Because as a kid of divorce in a blended family with two siblings and three step siblings Step By Step showed my family on the screen every Friday night.
Because as a sheltered young woman taught that sexuality was a binary Gabrielle and Willow showed me it was a spectrum and you could move around on it as you damn well pleased.
Because as a woman who always hated dresses Skin‘s Frankie showed me it was okay to just dress just like me.
Because my uncle didn’t know many gay people but he saw Callie and Arizona get married and now he knows there isn’t always a husband or a wife in a marriage.
Because my twelve year old neighbor didn’t grasp the concept of state sanctioned genocide until he saw the Ishbalans systematically slaughtered in Fullmetal Alchemist.
Because Djimon Hounsou’s son wanted to bleach his skin so he could look like a superhero because all superheroes seem to be white.
Because Whoopi Golderberg went into film and Mae Jemison became an astronaut after growing up seeing Nichelle Nichols on Star Trek.
Because kid’s television boosts the self-esteem of little white boys but makes little white girls and every child of color feel worse about themselves.
Media has the ability to build us up. It has the ability to break us down. It comforts us every evening. Prepares us for every morning. It is the background radiation of our lives. It matters. Critiquing it matters. Praising what it does right and condemning what it does wrong matters.
And I’m really excited to continue to explore the relationship between us and our media.
The original Doctor Who was a campy fantasy show. One I’d watch with family on Saturday night, safely ensconced in a giant blanket, and clutching a tup of homemade popcorn in my little hands. The show had charm and Daleks filled me with terror, but as I grew older and the reruns tapered off I didn’t really give the show much thought.
Then Russell T Davies had an indie actor darling with a Northern accent grasp the hand of a fading teen pop star done up like a chav and urgently say the one word that would become synonymous with the present incarnation of the show.
It was a bold proclamation of what this modern interpretation of a British institution would be. This was escapism raised to an art form. Rose, Martha and Donna were more than assistants. They were each of us, plucked from obscurity and the boredom of our lives and cast in adventures spanning space and time. They had moms who worried, granddads that cheered and sisters and boyfriends who looked on with a tinge of jealousy. We were Rose and Martha and Donna. We were the girl who poverty condemned to one location her whole life, the workaholic in need of a little holiday with a cute guy, and the temp thirsting for more but lacking the esteem to be bold.
When Steven Moffat took the reigns it was easy to be excited. Davies had always fumbled the finales, and he sometimes got too dark for comfort, and he forced Donna to forget all her growth and one time the monster of the week was a chubby baby looking alien that farted a lot. Moffat had Jekyll, Coupling, and he’d written, hands down, the best episodes of Davies’ run.
But by the second episode of Moffat’s first season as showrunner it became apparent that he wasn’t Davies. The companions who’d risen to be the Doctor’s equals despite being mere humans, would not be escapist fantasy avatars. They would barely be characters.
They would be puzzles. Moffat’s Doctor, sans Davies’ influence, was a dear old uncle who was smarter than everyone else in the room. He didn’t travel to stand in awe of the wonders of the universe. He’d seen them all, and was more content to dotter around the house puzzling out young women’s existences. These companions weren’t taken on adventures, they had to urge him to go on one.
"Run clever boy."
Hideo Muraoka by Wong Sim, 2013
Spike Lee’s list of essential films features exactly one woman filmmaker. So here are seven more women filmmakers and their films that are essential to understanding and enjoying film.
So all these people are posting pictures of their dad on Facebook for Father’s Day and I was like “THAT’S DUMB.”
Then I remembered THIS photo existed and it is the nerdiest motherfucking thing you have ever seen.
Loyal FemPoppers will notice that updates to the site have been…erratic. Sadly real life (re: making money) has kept FemPop’s editors very busy.
Two weeks ago I sat down with fellow editor Rebecca Jane and we chatted about the future of FemPop. Where we wanted the site to go and what we wanted the site to be. As a stepping stone to awesome paying gigs it has been fantastic, and we want to allow others to have the same opportunity.
FemPop will always be a place where women (and men if they’re polite) can come together to analyze films, television and video games without having to deal with a stubbly white dude perspective and we want it to continue to be such a place.
We’ll be editing and curating the content and contributing (Xena recaps FINALLY return this week!) as well, but we want young voices to have a chance. We want new voices at FemPop.
Which is why we’re recruiting YOU (unless you are a white dude, in which case as much as we love you we’d prefer that you, like, just leave your thoughts in the comments).
So are you a television, video game or total film nerd? Can you tell us why Jodie in Beyond Two Souls is going to be the best video game heroine of the year? Or do you have the urge to write about Cersei and her troubled relationship with the patriarchy in Game of Thrones? Are you primarily excited about This Is The End and Man of Steel because of Emma Watson and Amy Adams?
Then we want you.
What will you get out of all of this? You’ll be writing for a site that’s been featured at Jezebel, XOJane, Mary Sue and the Washington Post. You’ll be working with actual professional editors (who understand that this isn’t a full time gig and will work with you and your schedule). You’ll get the opportunity to attend festivals, cons and even industry events. You’ll be showing folks that it isn’t just white dudes in their forties that understand pop culture.
If this is appealing to you then collect your three best writing samples, and a cover letter explaining why you are the tits and send it to me at submissions AT fempop.com. Put I AM THE BEST in the subject line so we know you’re not just, like, messing around.
The game industry has a massive problem with representation. It’s come under fire in the last year because of the complete lack of diversity in plots and characters. Earlier this year gaming insiders candidly admitted that games won’t be made if they feature a female heroine and that those that are made will receive a fraction of the marketing budget received by games featuring grizzled white dudes out for revenge.
So how does one of the largest publishers in video games and the developer of one of gaming’s most popular consoles respond to the allegations of misogyny?
They have a woman get beat up on stage and then they make a rape joke.
Check out Once Upon A Time during the Austin TV Festival.
I’m not doing a formal write up because this was totally me fun time. Which is why I went to things like the Scandal panel that morning and sighed softly in wonder at Joshua Malina (he is perfect and funny and perfect what?).
But yeah, back to the OUAT panel. A&E were there and, as most modern show runners are, they were a little less than candid.
These guys have a wonderful talent for telling you everything and absolutely nothing. So we got fun anecdotes about how Emma had three kids in their first discussion of OUAT and Charming died in the first script delivered to the network.
But then on things like, say, LBGTQ representation we got the “we’re open to telling those stories and we want them to be big and epic romances” line.
There was no elaboration on that point. No discussion of what characters they COULD queer. Which was a bummer. Such a vague answer to the question brings to mind flashbacks of just about EVERY show runner who gets asked the “queer” question.
BUT there was some very cool talk as well in regards to next season. Like that they’re treating the season split, where half airs in the fall and half in the spring, as two separate seasons with two distinct arcs.Other highlights:
Honestly sitting down I expected a lot of double speak and oblique answers, but hearing these guys talk it was clear they’re finally starting to get comfortable running a show and managing this massive cast of characters they have. They also said that their wish list for characters to cover on OUAT were already on screen. So the character bloat we saw this season could be a thing of the past—it certainly seems like the break neck and wild pacing that made season 2 so muddled could be done with finally.
I was nervous for next season going into this panel, but came out pretty stoked.