Sep. 16th, 2017

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The Mummy (1999) dir. Stephen Sommers
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Others might have a different view, but here’s how I see the distinction between sexism and misogyny. When a husband tells his wife, “I can’t quite explain why and I don’t even like admitting this, but I don’t want you to make more money than me, so please don’t take that amazing job offer,” that’s sexism. He could still love her deeply and be a great partner in countless ways. But he holds tight to an idea that even he knows isn’t fair about how successful a woman is allowed to be. Sexism is all the big and little ways that society draws a box around women and says, “You stay in there.” Don’t complain because nice girls don’t do that. Don’t try to be something women shouldn’t be. Don’t wear that, don’t go there, don’t think that, don’t earn too much. It’s not right somehow, we can’t explain why, stop asking.

We can all buy into sexism from time to time, often without even noticing it. Most of us try to keep an eye out for those moments and avoid them or, when we do misstep, apologize and do better next time.

Misogyny is something darker. It’s rage. Disgust. Hatred. It’s what happens when a woman turns down a guy at a bar and he switches from charming to scary. Or when a woman gets a job that a man wanted and instead of shaking her hand and wishing her well, he calls her a bitch and vows to do everything he can to make sure she fails.

Both sexism and misogyny are endemic in America. If you need convincing, just look at the YouTube comments or Twitter replies when a woman dares to voice a political opinion or even just share an anecdote from her own lived experience. People hiding in the shadows step forward just far enough to rip her apart.

- Hillary Clinton, What Happened. (via chrisdwoo)
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No offense, but all you nice people who have been going on and on about how much you loved Wonder Woman (2017) and how you can’t get enough Amazons had better show up to movie theaters on October 13 to support Professor Marston & the Wonder Women, a beautiful queer love story about Wonder Woman’s creators written and directed by Angela Robinson, a QWOC. You know I can’t help but notice a distinct lack of buzz for this film on this website despite it seemingly being right in Tumblr’s wheelhouse.
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Sep. 16th, 2017 03:18 pm
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Even though we were never supposed to be together, I can’t be with anyone else, no matter the consequences. -Nicole Gulla
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Vulture reports on why Colin Trevorrow left Episode IX – per “speculation from a ranking Hollywood movie insider with direct knowledge of the productions on both The Book of Henry and Jurassic World” – that the director’s ego might have gotten in the way. Basically – do not mess with Kathleen Kennedy.

“When the reviews for Book of Henry came out, there was immediately conjecture that Kathy was going to dump him because they weren’t thrilled with working with him anyway,” the executive continues. “He’s a difficult guy. He’s really, really, really confident. Let’s call it that.”

Previous reports claimed script issues were at the source of the split.

Something that’s fascinated me about the whole “why can’t Kathleen Kennedy keep a man [director]???” discourse is how few people seem to realize that Kennedy’s behavior is, in fact, something we should see more of, not less. Because what she is reacting to is a widespread problem that has, until now, gone unchecked: the problem of asshole directors.

Kennedy is in an unprecedented position in Hollywood for a woman. She is in control of the entirety of the Star Wars franchise—what movies are made, what stories are told, what merchandise is sold—and she is the final authority. Disney will no doubt replace her the minute the franchise stumbles, but the past two movies have gotten good reviews and staggering box office numbers and The Last Jedi looks to be just as successful, so she is, for now, in one of the safest spots in Hollywood. The last female executive with that kind of power was probably Lucille Ball.

Which means that if you are part of the franchise, you answer to Kennedy and moreover you have to play by her rules. The stories have to get her buy-in, the actors have to get her approval, and the directors have to behave the way she expects them to. And it’s very apparent that Gareth Edwards, Josh, Trank, Phil Lord and Christopher Miller, and now Colin Treverrow have all fallen short of those expectations in one way or another. (You may say to yourself “wait a minute, Gareth Edwards wasn’t fired!” To which I will reply, “lol.”)

Now, nothing hugely out of the ordinary has been reported in re: Edwards or Trank or Lord & Miller or Trevorrow’s antics — mostly it’s been stuff like “ego” or unprofessional behavior or whatnot. But that’s exactly my point: white male directors are, for the first time, being fired over things that they should have been getting fired for years ago.

Hollywood is far too enamored of the genius auteur trope (and Kennedy is no exception, hence why she hired these dudes in the first place) and indulges the most horrifying behavior from the men it deems “visionary.” Woody Allen, Roman Polanski, Mel Gibson, Sean Penn, Johnny Depp, David O. Russell: men with long and ugly histories are venerated without a second thought, so much so that the ones who are merely outrageous don’t even ping the radar. Rupert Sanders has an affair with Kristen Stewart and gets her booted out of the sequel to “Snow White” (when Stewart played the title character); Jennifer Lawrence tears her diaphragm hyperventilating while filming Darren Aronofsky’s latest whatever-the-fuck thing “mother” is gonna turn out to be; Lars Von Trier…continues to be himself. None of it raises an eyebrow (with the exception of the Sanders/Stewart fling, but that’s because people blamed Stewart, who was 21, for seducing Sanders, who was 40) and all of those men have very successful careers. Being an asshole is perfectly acceptable — everywhere else but Star Wars.

On Star Wars, Kennedy is holding the directors she hires to a very basic standard of professionalism and none of them are able to handle it; and for the first time in their lives, they’re actually suffering the consequences. Bad scripts are thrown out and writers replaced; bad dailies and reports of cast unhappiness get directors the boot. It’s astonishing — but it shouldn’t be. There’s no indication that Kennedy is too demanding or that her standards are too high; but there’s every indication that these dudes have been getting away with absolute murder on their other sets. 

The real question then, the one that nobody’s asked yet and probably never will, isn’t “why is Kathleen Kennedy firing these guys,” but rather, “Why do any of these guys have a career in the first place?”

Plus, here’s the thing: This is motherfucking Star Wars.

That invisible line of people of people standing behind you waiting to do your job if you don’t want to say “how high” when your boss says “jump” that the rest of the planet’s been threatened with for its entire working life a) is present for the first time in a decade for some of these guys and b) includes literally the entire film industry.

A lot of them have been getting away with their bullshit for so long at least partially because they’d gotten to the point where if they walk, there very well may be no movie, or the movie may suffer dramatically for them having walked.  There’s no one standing behind Luc Besson just aching to direct a weird bubble-gum scifi movie about military accountability and environmental rejuvenation.  There was no one really standing behind Edgar Wright just dying to direct Ant-Man.

But this is Star Wars.  Half the film industry would sell their souls in a pact with Satan to get your spot on the project, and the other half already has and their demon agents are desperately working on delivering.  It’s the sort of property that’s universally beloved.  People grew up loving it and want a chance to put their mark on it.  People know half the planet will show up twice to see it in theaters.  It can make people rich and famous beyond their previous dreams.  If you’ve got a name to make or a message to send or you want your slice of the pie, this is the closest thing to a guaranteed ticket to that outcome.

Disney could be publicly wiping their asses with the last director’s dailies, and there would still be a line that would make ComicCon blush to fill their shoes.  The real shocker* is that, having watched the number of directors getting let go ahead of them for failing to meet baseline standards of behavior or understanding that this is a franchise film and they can’t just do whatever the fuck they want, they’re still not moderating their own behavior on the project in an attempt to avoid the same fate.


Let’s not forget that Kennedy is in the enviable position of being in charge and the unenviable position of being a WOMAN in charge. I absolutely think some of the turnover is asshole directors expecting a woman to roll over for them (wording intended), and a fair amount of the conflict we hear about is arrogant men being challenged for the first time by a woman who outranks them.

IME there are very few men who can handle a situation like that without an escalation of their volatile and abusive behaviour.
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She tries to take back her families business only to find that it’s been taken over by a cult of Evil Cowboys

are you kidding i’d watch the fuck out of this

Her love interest is an Actual Cowboy from the Old West who was the greatest gunslinger of their age and who won countless duels, but they still aren’t as good at it as she is because of Reasons

Reason being she has the Guns of Pecos Bill.

*internal screams of joy*

Do not do this to me my husband is a historical reenactor and weapon historian I know so much about this shit.

My brain is over flowing. Like like i love and hate the idea of it being Pecos Bill because on one hand I can think of 4 real humans I would want it to be and on the other Pecos Bill is BRILLIANT because he is a myth and tweeking things are less likely to hurt historians in their souls.

Also if it’s Pecos Bill she would also have his lasso.

You guys. Don’t do this to me.

The Lasso is too OP and you know it!

As someone who knows very little about the Wild Wild West other than that it was the inspiration for a terrible Will Smith film, I am curious to know more about this because I do not know who Pecos Bill is or about his guns/lasso

Pecos Bill is an American folklore hero in the same vein as Paul Bunyan and Johnny Appleseed. Among his feats included being raised by coyotes, using a pet rattlesnake for a lasso, using said sneklasso to wrangle a tornado, and snacking on dynamite. He fell in love with a woman he met while she was riding a giant catfish down the Rio Grande, but his horse got jealous and sabotaged the relationship.

In other words, he’s the perfect legendary figure for Quickdraw (as I now dub our Asian reverse Iron Fist) to inherit her powers from

*shrieks happily* Yes yes yes I need this.

Quickdraw feels kinda generic for a super hero name. I’d say using the naming conventions of Iron Fist I’d name her something like the Raging Gun.

Iron Six.

Can refer to the six shots on a revolver, her having six guns (each with their own name, naturally*), or her nearly-supernatural abilities to follow her enemies and show up behind them (”on their six.”)

Pecos Bill might be an old man or even a myth-spirit in the way of Discworld gods (dependent on belief, fading away without it), the elderly mentor who devotes himself to training a hero/chosen one/heir to be better than he ever was. She can represent the future of the art while the old white guy represents the past, as an inversion of both many martial arts movies and many westerns where Asian and Native American characters, respectively, pass their torches to the white dude.

*The guns are named things like Golden Sunset and Deep Canyon and Silence After Battle, poetically referencing both the vibrant geography of the Old West and the weapon’s function of ending lives.

Or/and she gets Pecos Bill’s horse which broke up his relationship by throwing his wife to the moon on their wedding day

The horse is given to her by Pecos Bill as payback for the wife thing, but they actually get along great. The horse is to her as Appa is to Aang. A guide and friend. They’re there for each other in the dark and cold times and in the good times. He may or may not be able to speak. Its an ongoing joke that Iron Six will say “Widow Maker/Lightning was just telling me…” or they’ll be alone somewhere together and she’ll be whispering but will stop as soon as someone comes near.

Better and better.

Pecos Bill is old, centuries old or wind-and-skies old or whatever, and his original horse has run wild with other wild horses and has many descendants now. One of Iron Six’s tasks over the years of her training is to tame and train a foal, which grows up to be her horse. 

And thus, she can learn the ways of the horses and the language of the horses, and teach them all sorts of things, so when she goes into town she can see plain as day which people the horse is afraid of, or she can teach the horse to recognize certain phrases that other people might say as a command to bite whoever’s saying it, and the result is people thinking the horse can understand human speech and talk to Iron Six.

One day some guy tries to steal her horse while she’s in a bar. Jumps on and digs his heels in and the horse just turns around, looks at him like he’s being stupid, and finds something interesting to nose at on the ground.

Dude’s friends laugh at him, dude gets angry, dude starts kicking at the horse, horse stands there calmly and then suddenly rears and dumps him off behind.

And then poops on him.

Dude gets up, furious and humiliated, borrows a whip from his friends, and is about to strike the horse with it and the horse calmly walks away.

More laughter, more fury, and that’s about when Iron Six shows up in the doorway.

Not a word.

She doesn’t go for her guns. She walks up to the guy, takes the whip out of his hand, he goes for his gun and she decks him. He hits the ground with a broken nose and the gun goes bouncing into the dust.

She picks it up, looks at it, sends it sailing into a nearby water trough. “Garbage,” she says. “Now, about my horse,” she says, and whips the would-be horse thief half to shreds.

Tosses the whip back to its owner, tips her hat to the rest of them, and her horse is right there when she turns around to climb on.
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