Looking For Leia.

About this project

girls run the galaxy.

That’s what I learned in 1977 when I first saw Star Wars. The moment Princess Leia schooled Han and Luke for launching a “rescue” with no plan to get off the Death Star, I met a role model for life. She was bossy and bold and inspired confidence in an entire generation of girls and women.

Flash forward to 2017 and I remain a dedicated Star Wars fangirl. I’m now in my mid-40s, and on my way to adulthood I picked up a doctorate in clinical psychology and became a documentary filmmaker. My work focuses on stories of racial and gender justice, and in 2015 after attending my first Star Wars Celebration I was totally preoccupied with the question: Who are the girls and women of Star Wars fandom, and what stories do they have to tell?

LOOKING FOR LEIA is a feature documentary film that explores the phenomenon of Star Wars “fangirls,” women and girls who connect deeply to the galaxy far, far away and are unique in the stereotypically male Nerd arena. The film reaches beyond Princess Leia to look at how female fans have shaped and expanded the Star Wars Universe, and how these stories speak to experiences of gender resilience and resistance.

We’re featuring an intergenerational and culturally diverse group of female fans, as well as women who are film buffs and cultural scholars, cosplayers and gamers, artists and authors. We’re talking to women in STEAM (science, technology, engineering, art, and math); women who use Star Wars in the classroom; women whose career path was shaped by Star Wars; women whose love of Star Wars has helped them battle cancer and live with disability and mental illness; mothers, daughters, and sisters in Star Wars families; women who are rebels and royalty, imperials, bounty hunters, and jedi. Every generation has a Star Wars story, and we’re hearing about the original trilogy, prequels, animated series, comics, Extended Universe/Legends, video games, new trilogy, stand-alone films, and conventions.

You can read more at The Looking For Leia Kickstarter.

Wonder Woman Verdict: Great!

Gal Gadot is Wonder Woman in the awesome movie of the same name. All Images: Warner Bros.

The Wonder Woman Movie Is Even Better Than You Hoped It Would Be.

Also, Wonder Woman scored 97% on the Tomatometer. So, could all those people who just had be asses and insist the movie would totally suck because DC please be quiet now? Thanks.

Okja!

Oh, this looks wonderful! Tilda Swinton plays the villain, something she’s quite good at, and this particular villain has much in common with a real villain – Ivanka Kushner.

Although she began preparing for her role in the upcoming film, Okja, long before last summer’s dystopian Republican convention, Tilda Swinton was not oblivious to a certain similarity between Ivanka Trump and her own character of Lucy Mirando, “a marvellously watchable villain, wincing and scowling with self-pity and fear,” in the words of a five-star review in The Guardian newspaper.

The film, from Snowpiercer’s Bong Joon Ho, follows a genetically modified hippo-like pig and its friendship with a young girl as she tries to protect it from corporate forces trying to slaughter it. “Lucy Mirando is the heir to a rotten great fortune built on the corrupt morally repugnant initiatives carried out by her father,” Swinton said of her character in an interview with The Wrap.

“When we shot in New Yokr last summer, I stood watching the Republican convention on the television in our lunch break dressed as Lucy, watching a different daughter of a different dubious dynasty addressing, from a high podium, a big crowd with glossy blond hair, expensive orthodontics and modeling her Barbie-perfect modest pink dress (concurrently on sale online),” she said.  “Chicken? Egg?”

Swinton viewed Lucy as “part spa manager, part Barbie dollybird, part cult priestess,” and the comparison to Ivanka in all respects is uncanny.

Via Out.

Spite Your Face.

CN: misogyny, violence, rape. Have a care before continuing.

Rachel Maclean:

13 May – 26 November 2017
Chiesa di Santa Caterina, Fondamenta Santa Caterina, 30121, Cannaregio
Tuesday – Sunday, 10am – 6pm, free entry (also open Monday 15 May)

Rachel Maclean is representing Scotland at the 57th International Art Exhibition, the Venice Biennale, with major new film commission Spite Your Face – a modern-day, dark Venetian fairytale presented as a large-scale portrait projection at the altar of a deconsecrated church.

Rachel Maclean, Spite Your Face, 2017, digital video (still). Courtesy the artist. Commissioned by Alchemy Film & Arts in partnership with Talbot Rice Gallery and the University of Edinburgh on behalf of Scotland + Venice.

In Venice’s Chiesa di Santa Caterina, I am sitting in a pew, looking up to where the altar would normally be, watching the distinct yet unfamiliar movements of a gigantic nose being masturbated. A blue, gloved hand runs up and down its glittering gold length, and its owner, a cartoonish young perfume-purveying influencer named Pic, groans with pleasure. “I intended it to be shocking,” says Scottish artist Rachel Maclean, of her contribution to Scotland’s presence in Venice during the Biennale, a 35-minute, looping film with no beginning or end, that follows Pic on a morality tale that pits his conscience against his greed.

[…]

It would be hard not to see the political significance of the piece, in a world where outright lies appear to be de rigeur for anyone in the public eye. “I was disturbed by the ways in which lies had been used in the Trump campaign and the Brexit campaign, in a lazy sense, to substantiate a political narrative or an idea,” Maclean says. “I started writing the script in December last year and it was a scary time…” One narrative that stands out from the film is the idea of a transformation of fortune, a rags-to-riches redemption (or riches-to-rags, depending on which order you watch the film in), that sees a destitute young boy wind up as shill for a perfume brand called “Untruth.” This creates a fake corporate illusion, in comparison to the magic “Truth” one given to him by his fairy godmother.

“I’ve always been interested in perfume because it seems absurd,” says Maclean. “Really, it’s just a bottle of smelly liquid but it’s packaged in this way that not only makes the object into something more valuable, but it also suggests that you spraying it onto yourself transforms you into something more powerful and alluring.” This idea of a transformative solution to society’s problems critiques these myths that we are told about social mobility: lean in, pull yourself up by the bootstraps, it’s the American Dream. “I was interested in the compassionless aspect of it. The narrative suggests, if you work hard enough and if you dream it, you can do it. It’s a convenient way to gloss over the lack of social mobility in our society,” adds Maclean.

Another uncomfortable moment comes right after the unforgettable nose-onanism, where Pic’s guardian angel joins him in the sexual act. Pic becomes enraged at a perceived insult and ends up brutally raping this maternal figure. It’s uncomfortable, in fact, almost unbearable to watch, even though it’s still, absurdly, carried out by the character’s nose, lengthened from all those lies. “I’ve been disturbed by the rise in visible misogyny,” Maclean says, when asked about this scene. “There’s a level of immunity to it—where we’re just not affected by it. I wanted the rape scene to feel palpably violent and difficult to watch, so that it’s able to break through the surface of that a little bit.”

Rachel Maclean, Spite Your Face, 2017, digital video (still). Courtesy the artist. Commissioned by Alchemy Film & Arts in partnership with Talbot Rice Gallery and the University of Edinburgh on behalf of Scotland + Venice.

The Creators Project has the full story, and more photos. There’s also more at Scotland and Venice.  I have no doubt this is both and impressive and disturbing work; not one I would find easy to sit through, but I would like to see it all the same.

Oooh, Cry Some More, Boys.

Greg Rucka said Wonder Woman’s queer identity was important to the narrative. Photograph: Frank Cho/DC Comics.

Greg Rucka said Wonder Woman’s queer identity was important to the narrative. Photograph: Frank Cho/DC Comics.

Time to get drunk on tears once again. Some screenings of Wonder Woman have had a Women Only night, and all the dudes are upset.

“Wonder Woman” may be a feminist icon, but some male moviegoers aren’t happy about some scheduled women-only screenings of the film.
The controversy began when the famous Alamo Drafthouse cinema in Austin, Texas, announced it would be hosting a screening of the new movie, which stars Gal Gadot as the superhero.

“Apologies, gentlemen, but we’re embracing our girl power and saying ‘No Guys Allowed’ for one special night at the Alamo Ritz,” the announcement read. “And when we say ‘People Who Identify As Women Only,’ we mean it. Everyone working at this screening — venue staff, projectionist, and culinary team — will be female.”

That didn’t go over well with some men, judging by the comments on the theater’s Facebook page.
“Apparently ‘equality’ is only selective nowadays,” one person wrote. “How about a ‘men’s only’ showing of a movie or is that not how equality works?”

Why no, that is not how equality works, you crybaby of a cupcake.

The Alamo responded to many of the negative comments, pointing out that they have hosted screenings for select groups before, including veterans for military films, and that it’s about a celebration of the Wonder Woman character.

Hmmm, I’ll just bet there wasn’t any leaking of man tears over a veteran’s screening. So, cry some more, dudes, cry enough for us all to get drunk!

Full story at CNN, beware autoplay. Hat Tip to Saad.

Sunday Facepalm: Beastly!

Kevin Swanson is being rather beastly over Beauty and the Beast, and for a different reason than the standard Christian zealot reason of “gay character”. Swanson is concerned with the promotion of inter-species breeding. Yep. Obviously, Mr. Swanson’s knowledge of how that whole breeding business works is deficient, but let’s take a look at La Belle et la Bête by Gabrielle-Suzanne Barbot de Villeneuve, published in 1740. The original work was more in line with a novella than a brief tale, and it was for adults, not children.

Villeneuve’s work is more novella than simple tale with its elaborate prose and numerous details, including stories told within stories. Her narrative is far from complete upon the Beast’s transformation into a man. Then we meet his mother and learn his backstory as well as Beauty’s own hidden history, for she is not the true daughter of a merchant, but a princess in disguise herself. All of this combines into an elaborate literary creation, not a traditionally truncated folktale. Villeneuve imagined new material, uniquely her own, while incorporating traditional folklore elements, many of which exist in the version we are most familiar with today. She writes about romantic love and marriage while exploring themes like women’s marital rights, although those themes are somewhat hidden in most English translations of the tale.

Two different English translations of Villeneuve’s tale are presented in this collection. The first one, by Ernest Dowson, was first published in 1908. It is one of the most accurate translations of Villeneuve’s content into English, including elements often changed or omitted in other translations. However, Dowson’s language is less ornate than Villeneuve’s and doesn’t capture the same essence as another favored translation, one by J. R. Planché, first published in 1858.

Planché’s translation includes footnotes by the present editor to show where he modified the text, changes he briefly touches upon in his comments to his Victorian audience. The changes, although small, are far from minor for they change an essential element of the tale. Instead of asking Beauty to marry him each night—a familiar refrain in modern versions of the story—the Beast asks Beauty, “May I sleep with you tonight?”

The question, while risqué, is not merely suggestive or erotic. It implies control and choice for Beauty over her own body and sexuality, something that was not legally hers or that of any woman who was handed over as property in marriage to a husband in centuries past. The Beast is no true beast since he never forces his physical desires upon her despite any rights implied by her presence in his home in what today may be considered a common law marriage, although the construct didn’t exist in Villeneuve’s time.

Another important change is in the Beast’s transformation scene. Beauty finally agrees to sleep with the Beast and marry him in the original Villeneuve. The Beast then sleeps beside her during the night, although no other activities beyond Beauty’s mysterious dreams are described. When she awakens the next morning, a man—one whom she has come to love in her dreams—is sleeping beside her instead of the Beast.

That, and more is from SurLaLune Fairytales. All of the above elevates the tale considerably from the versions which are familiar today, and it’s easy enough to figure out why Disney certainly wouldn’t touch upon such complexities. The Disney version is a simplified tale of love, with the requisite lesson about how appearances are not what matters, don’t judge a book by its cover, and so on. For Mr. Swanson, that’s quite bad enough, as somehow or another, along with the horrible effort to ‘homosexualize’ whole generations, claims the movie promotes ‘Inter-Species Breeding’, oh, the horror!

Swanson said that the movie was an “insidious” effort to “homosexualize the next generation of eight and ten-year-old kids” and ensure that they are “indoctrinated into the homosexual lifestyle.”

“This is how revolutions take place,” he said. “You are in the middle of a cultural revolution in the United States of America. No, this is not the cultural revolution that Mao Tse-tung brought to China; this is a different kind of cultural revolution, but I’m going to say it’s just about as dangerous … though a bit more insidious.”

Oooh, look at that nicely done twist into communism. You can’t have the gay without the commie in the christian version of the gay agenda. From what I understand, a minor character in the movie has a crush on his mean boss. This is hardly a gay version of Beauty and the Beast. (As the commonly known tale has little to do with the original these days, that would be a fun movie!) It’s not as though the current flick has become mandatory, and all people must have their eyelids taped open and have no choice but to watch it.

Even worse, Swanson said, the film is promoting inter-species breeding, which he said Hollywood has been pushing since the days of Star Trek.

“Christians, I don’t believe, can allow for this,” Swanson stated. “Humans are made in the image of God. Humans are assigned a spouse which happens to be a member of the opposite sex. Friends, God’s law forbids it … Christians should not allow for this, man. We cannot allow for humans to interbreed with other species. It’s just wrong, wrong, wrong. It’s confusion, it’s unnatural.”

“We are in some of the most radical, most anti-biblical, the most immoral, the most unethical, the most wicked sexual environment that the world has ever known, right now,” he warned.

Star Trek? Oh my. Does the not very thoughtful Mr. Swanson not know that we don’t have a federation, starships, or zillions of extraterrestials around to get sexy with? Yes, I had one hell of a crush on Mr. Spock when I was 9 years old, it was those ears. Unfortunately for me, there weren’t any neato trips to Vulcan happening. Given the limitations of television back then, and the lack of imagination now, most all the aliens pictured were suitably humanoid, barely distinguishable from the bog standard human. Even so, there’s no inter-species breeding going on in the Star Trek sense.

Humans are assigned a spouse? So all that dating stuff is not necessary? You had better let people know where the ticket center is, so they can grab their god ticket and see who has been all lined up for them. I think the only confusion going on here is in the mind of Mr. Swanson, a steamy mess of muddle. After all, there really isn’t a beast in Beauty and the Beast, he’s a prince in disguise, remember? A human type prince. Everyone gets all human prior to the happily married business.

Via RWW.

And we have a bonus facepalm today, in the form of Rick Wiles, who is now officially unhappy with the Tiny Tyrant over the Syria bombing. Mr. Wiles has now decided that the evil is in the form of Ms. Kushner and her husband:

Wiles went on to compare Ivanka with the daughter of Herod who, in Matthew 14, convinced her father to behead John the Baptist.

“That’s who I think Ivanka Trump is,” Wiles said. “She’s a Kabbala practicing, evil woman whispering evil things in the ear of her father. She’s going to the grave site of an old dead Kabbala practitioner and getting spirits telling her what to do … We have to pray against witchcraft in high places, witchcraft that plans to kill millions of people. … [Ivanka and Jared] are cleaning out the White House to surround President Trump with their Kabbala practitioners, and the only advice he is going to get will be from people who are evil. And the church is letting this happen.”

Oh my, now it’s a Jewish witch in the white house! I think it’s wars and bombs which are killing people, and it’s the Tiny Tyrant’s notion that it’s his military and his toys that are the actual problem.

Via RWW.