There’s an image that appears just after the Ubisoft logo comes on that, in recent events, no longer feels as sincere as is used to.
A few days ago, the final entry in the Netflix animated movie Godzilla trilogy, Planet Eater, was released, and to say it has disappointed more than impressed would be an understatement.
Quite frankly, the previous two entries in this film series were quite a slog for me to get through, mostly on account of the large amount of time spent on characters that had little to no depth and not entirely enough spent on Godzilla. Heck, the second movie, City on the Edge of Battle, didn’t even have Mecha Godzilla, a classic in the line of Godzilla foes. Just his head.
But what I truly disliked about the series come to fruition in the third movie, as me and a fellow fan of Godzilla came to realize: it is an absolute exercise in Nihilism, self entered in its own intelligence that humanity will kill itself off.
Warning, here there be spoilers.
Hello everyone, it’s another episode of Brain Food, and this time around, I’m bringing with me a wonderful little graphic novel from Lucy Bellwood, 100 Demon Dialogues.
And you can find the ending song here, from the amazing people at Audio Library.
Well, I had a video set up to finish being edited, focusing on the news that Scarlet Johannson had accepted the lead role in a movie called Rub and Tug, wherein she’d be playing male transgender mob boss, Dante Tex Gill, which would have teamed her up with her director from Ghost in the Shell, Rupert Sanders.
(I’ll just point out briefly that her whitewashing in that movie’s role was, I’d argue the main reason why it was such a box office failure, as was Gods of Egypt and The Wall. Whitewashing means loss of profit, a lesson Hollywood has yet to learn, and the subject for another time.)
So, for a while there, it appeared ScarJo was intent on playing a role that would have denied work for a marginalized community as well as enforced a transphobic trope, that transgender people are merely playing dress up instead of trying to live the gender that they really are.
However, thanks to the outrage raised by the transgender community over what would have been a performance of what I call transgender pain porn for an acting award, Scarlet Johannson has dropped out of the role.
This is, without a doubt, a victory for the transgender community, because it means that their voices were heard and that change is possible. It’s a bright spark of hope in some rather dark times, to be sure, because lets face it, the representation of transgender people, to say nothing of non-binary and non-gender conforming people, is absolutely atrocious.
I mentioned transgender pain porn earlier, and for that I feel a definition is in order.
Transgender Pain Porn: A movie, TV, online show that features a cisgender actor or actress in a transgender role whereby said transgender role is shown to be one of misery and suffering, usually ending tragically.
One such example? Hillary Swank as Brandon in Boys Don’t Cry, a transgender man who runs away from home, finds a brief moment of happiness, and is murdered by transphobic people.
Dallas Buyer’s Club, starring accused sexual molestor and abuser Jared Leto, is about a man who contracts HIV and, while setting up a buyer’s club to get medication, befriends Rayon, a transgender woman. This is based on the real life story of Ron Woodroof.
Handled by the powers that be in Hollywood, such films are more an attempt at an Oscar grab, as was Jared Leto’s role in The Dallas Buyer’s Club that earned him an Oscar, than any chance to showcase transgender people living and loving and and exploring all aspects of their lives. What’s more, such roles aren’t even offered to transgender actors and actresses, as Trace Lysette, actress on the Amazon series Transparent, pointed out when news of ScarJo’s casting first dropped.
This was followed by up actress Jamie Clayton, best known for her role in the popular Netflix series Sense8, expressing frustration and not even being able to get into the casting room.
It’s especially frustrating when there are examples such as the Roland Emmerich flop, Stonewall, a movie based on a real, historical event and a majour turning point in the fight for rights for the LGBTQ+ community when Marsha P Johnson, a black, bisexual transgender woman, threw the brick heard round the world that instigated a riot, was replaced by a Indiana white gay man. It cost 13 million to make and brought in only $133 thousand dollars, with Roland Emmerich, himself a gay white man, defending his decision to erase Marsha’s role, saying “”It’s a good thing the film is out there now, but I never quite understood the fuss.”
So hopefully, with ScarJo opting out, things might be turning around, but there is still some things we can do.
For started, do not do as actress and director Justine Batemann do, and berate the critics and a marginalized community for getting a movie cancelled.
As anyone with access to Google can tell you, simply having an actor or actress with marquee value does not guarantee a successful movie. Any number of well established actors and actresses have starred in abysmal box office failures, such as Bruce Willis in Hudson Hawk, or even ScarJo herself in Ghost in the Shell.
You also shouldn’t then delete your initial tweet and a bunch of other, finger waving, lecturing tweets after being educated on how wrong you are. It makes you look like a coward.
As for actual constructive actions we can take that aren’t paternalistic-ally condescending, the first is that when such moves are made by Hollywood, we, cisgender people, can align our voices with those of Transgender people and call Hollywood out on this bogus casting. They can’t do all the heavy lifting, no single marginalized group should.
We can listen to them when they tell us why this is wrong and transphobic, as was written in this excellent article by Danielle Soizman for Slashfilm.com where she talked with other transgender actors and actresses and the ugly history of such casting in Hollywood.
We can boycott the films when they come out.
We can support shows and movies that actually strive for inclusion instead of exploitation, as as Janet Mock’s The Pose on FX and Sense8 on Netflix.
And in this case, we can read up more on Dante Tex Gill, in this fine article by Samantha Riedel, and learn more about this interesting person.
In this episode, I review Esther Frisner’s Chicks in Chainmail feminist minded, fantasy fiction.
Sadly, like a lot of media from the 90s, it does not hold up well to the test of time, especially with its rather narrow application of feminism that, through omission, does not include any other kind of woman who is not white, and so very little who aren’t straight and cisgender.
What I found the most frustrating about the anthology as a whole is that, somehow, there are almost no stories where a woman is single and happy. She almost always has, finds, or has had been in a relationship.
The music for the ending theme came from the No Copyright Music youtube channel, and you can listen to it here.
It’s another week, and another novel review, as this time I delve into one of my comfort reads, the novelization of the Resident Evil 2 game by SD Perry, Resident Evil 2 – City of the Dead!
For more information on SD Perry and the many books she’s worked on, check her out on these places on the Internet.
Ending theme music was found on the No CopyRight Music youtube channel, so be sure to check them out as well.
It’s been a long time coming, but here it is, a new episode of Brain Food!
In this episode, I review the amazing Cassie And Tonk, written by GMB Chomuchok,with art by Justin Currie.
To see more of GMB Chomichuk, check out his Twitter here.
To see more of Justin Currie, you can find him at these locations on the Net:
It’s been just over a week since the death of John Bain, a.k.a. Total biscuit, due to a cancer he had been fighting over the past couple of years, and in that time I’ve read some opinions and felt some emotions over the whole thing.