Silent movie zombies
Silent movie zombies
I’m flattered! Thank you :)
I’ve just finished watching the first episode. SPOILERS AHOY
Funny that I should write an essay about the show’s brilliant ability to address the complexities of sexuality and consent, only to have the new series opener involve a non-consensual sex scene that is abruptly brushed aside.
Don’t get me wrong - as always, the scene was more complex than that one sentence made it sound. One of the parties was possessed, but also unconscious, the other party under emotional duress and only initiating the act as a sacrifice play to save lives (and possibly souls). There’s also Jess, the third party, forced to watch this non-consensual act take place and feel some (undeserved) burden of responsibility for it, which would be traumatic in its own way.
It could be that this will be dealt with later, as with the acknowledgment that the sex Alisha and Curtis had was non-consensual, a series and a half or so after the fact. I certainly hope this is the case.
Now, there are also some things in the episode I enjoyed. One, the long-time-coming acknowledgment that Rudy has had same-sex encounters in the past. Granted, we all more or less knew this was true, and also granted, Rudy hasn’t really acknowledged this properly himself, but it’s a start. Two, the subversion of expectations when Rudy tells Alex that his father used to tell him, “Women are like tractors.” The audience waits for what is bound to be a stunningly offensive explanation. Instead, Rudy says, “And I never understood it.” Three, I love Jess. Just about everything about Jess, including the lovely Karla Crome, is fantastic. I love her defensive sarcasm, her emotional outbursts (“BELIEVE IT OR NOT, THE WORLD DOES NOT REVOLVE AROUND YOUR COCK!”), her deadpan deliveries. Her throwing coffee on Alex, and then, when he’s all “ow, ow, hot, hot coffee!” she responds with a dry, “It was warm coffee.” Four, I foreverlove long-suffering Rudy Too, and five, I’m pleased that they seem to be returning to some overarching plotlines that connect back to the storm itself and the onset of super-empowerment (the Power Support Group is great). I do still have big issues with Finn, and this episode made Abbey seem Saltine cracker-bland, but my hopes are nonetheless enduring.
One final, self-indulgent complaint: I realize that Alex was introduced after Seth, and I don’t recall them having any significant interactions, but it annoyed the shit out of me that the crux of this episode was Alex being forced to have sex with people to relieve them of harmful powers. If Alex had so much as mentioned the situation with the accident-prone woman to the main group, they might have said, “Oh, well, if she’s offering money, she could just buy Seth a round trip ticket from Africa and clear that right up, no dubiously consensual sex necessary!” I get it, Seth’s off the show, much to my chagrin, but, as littleletknown and I were recently discussing, if your conflict could easily be resolved if the characters just talked to each other about what was going on, then it’s probably weak writing.
You’re gushing, nonnie, I’m blushing. Thank you. “Misfits” is a great show that deserves more critical analysis. Do you have any particular issues or ideas you wish were addressed more?
Thanks! I had thought a lot about the contents of this post before I actually wrote it.
Technically, “Misfits” still has a series to go, but I’ll tell you my overall thoughts so far: it’s a brilliant show that could’ve been even more brilliant were it not for behind-the-scenes drama. I love Rudy, Seth, and Jess, but there’s only so much Howard Overman could do in terms of long-term arcs when he couldn’t even guarantee that he’d have a full cast. They desperately needed to do contracts, which I realize is less of a thing in the British TV industry than it is here in the States. That said, there’s just so much that went on in “Misfits” that I couldn’t find anywhere else, and, behind-the-scenes issues notwithstanding, there’s something to be said for that kind of ingenuity and boldness.
When my fellow geeks and I heard the rumor that “Misfits” might be adapted to American television, we talked a lot about what we thought would change, and a lot of that was stuff that “Misfits” did that was different and innovative. I doubted that they could portray a character as brazenly sexual as Alisha without slut-shaming—an especially tricky thing when you think about the ways in which her “super-power” is rape culture made literal. I doubted they could pull off a fuller-figured, working-class woman like Kelly, simultaneously abrasive and endearing (and let’s not forget, attractive to men despite being kind of terrifying). Or how about Curtis, an attractive black man whose past run-in with the law is portrayed as more indicative of a system still plagued by racism than by Curtis’s innate lawlessness? Think about Nathan’s line in the first episode about how Curtis had no chance because he was both “famous and black.” Or how Simon’s character arc reminds us not only of how unforgiving our culture is to those who struggle with social skills, but also reminds us that sexism and rape culture are problems with everyone, not just awful guys like the date rapist in series three (I’m thinking here of Simon’s temptation to look up Kelly’s skirt while she’s passed out in the flashback). Additionally, “Misfits” is one of the few shows to acknowledge rape as something that can be perpetrated against men by women (Curtis by Alisha).
It portrayed gender and sexuality as fluid, be it in the continuous homoerotic subtext of Rudy’s dialogue, or in Curtis’s greater enjoyment of sex as a woman than as a man, or in Nathan’s breezy acceptance in series three when the others poke fun at him for temporarily having a crush on Simon (“it would’ve been the best sex you’ve ever had”). In fact, few shows dared to have as complex a portrayal of sexuality, in general, as “Misfits.” Sex wasn’t something that only happened with conventionally attractive, young, straight, white people, but people of color, bisexual people, elderly people, disabled and aneurotypical people, etc., etc. There was a certain openness about the evolutionary, unstable nature of identity that made its supernatural plotlines work in a way that no other show had previously managed. And whether the final series can live up to the emotionally engrossing nature of the earlier series or not, “Misfits” will always be one of the greatest shows I have ever seen.
pig in a blanket
Forget superheroes: Loki is definitely Tumblr’s favorite comic book character.
Thanks to the success of Thor and The Avengers, Tom Hiddleston’s villain Loki is now neck and neck with Benedict Cumberbatch for the title of ultimate fandom heartthrob. And next year, he’ll star in his own solo comic series.
Loki: Agent of Asgard won’t be out until early 2014, but writer Al Ewing is already getting a head start on fan engagement by answering public questions on his Tumblr blog. One answer that’s received a lot of attention today is the revelation that in the new series, Loki will be canonically bisexual and gender-fluid. Ewing writes:
“Yes, Loki is bi and I’ll be touching on that. He’ll shift between genders occasionally as well.”
We may not know many plot details yet, but this book already sounds like fandom catnip. According to an interview earlier this month, Ewing’s Loki will be “a young man of stolen wealth and varied taste with the universe as his oyster and a penchant for black nail varnish,” with further Tumblr posts implying that the series will take inspiration from the heist genre. [READ MORE]
It’s flattering to be on a poster. But what I learned very quickly, thanks to the internet, is that it’s the perfect poster for drawing dicks on.