Sunday 9 August 2009

The Balance 1x18 - (Justice League Unlimited)

@IMDb

Part of me doesn’t want to do this, because to me Wonder Woman has always been an almost asexual superhero. She doesn’t fit into the standards of human behaviour and is almost more of a representation of Mother Nature than humanity. However as the new and deliciously gay Batwoman is being published I decided to queer up some existing DC characters. This review will take a closer look at Wonder Woman and Hawkgirl in the Justice League Unlimited episode The Balance.

Introducing;

Wonder Woman/Diana
Hawkgirl/Shayera

The episode starts off with Wally (Flash) and Diana enjoying a canteen dinner only to be interrupted by Shayera who also was supposed to be having dinner with Wally. As soon as the two women see each other the sparks starts flying and Shayera immediate turns to leave, only to be intercepted by Wally and persuaded to stay. Wally is clearly playing the matchmaker under the disguise of being an incorrigible flirt. He pushes them together, wanting them to get over their past disagreements in order to become friends again. Sparks keep flying between the two women throughout the dinner, but they do stay.

Then we’re introduced to the danger of this week and due to an evil evil man (Felix Faust) having upset the natural order of things and opened up the gates to Tartarus all those with magical powers are currently suffering great torment. The Martian Manhunter acknowledges that, “The gates of Tartarus swings both ways” as he gives Diana a most penetrating gaze. It is now up to Wonder Woman to restore balance into the verse.

Taking the mission upon herself (after the encouragement of the Olympians) Diana sneaks into Shayera’s apartment intent on “borrowing” her mace which has the power to disrupt magic. Shayera catches her in the act and we get another sparkling encounter. The two bicker and their conversation ends on a gorgeously subtextual note as Hawkgirl states, “You want the mace, you get me too”. At which we are offered a most intense zoom in of Diana’s conflicted (as much as any character on this show can manage to look conflicted or show any kind of subtleties on their) face.

The two (metaphorically) suit up and get going. First stop is the Amazons and Hippolyta who are at the gate of Tartarus trying to keep the evil forces at bay. As Hippolyta sees Diana she verbally attacks her daughter for having broken her banishment from the land of the Amazons. Shayera can’t just stand by and take it, but automatically stands up to the queen of the Amazons speaking in Diana’s favour. Hippolyta changes her mind and finally gives Diana her blessing and help by endowing Wonder Woman’s armour and weaponry with their full powers. As Wonder Woman flies away Hippolyta holds Shira back and asks her to, “bring my daughter back to me”. Hawkgirl promises to do just that as she takes off after Diana.

Once in the fire pits of Tartarus the two once again starts bickering and disagree as to what the plan should be, and it’s not just the pits that are on fire as this little interlude takes place:

Wonder Woman: I don’t need you!
Hawkgirl: Yes you do…I can’t make this decision for you Diana, but however you want to play it I’ll back you up.


Showing that no matter the tension or the disagreements, Hawkgirl is fiercely loyal to Wonder Woman. And the matter of needing one another is in reference to their mission, but could also indicate a much larger picture. These two do need each other, even when there are sparks and bickering there is also an undeniable need.


After a minor encounter with Felix Faust the two are thrown out of Hades’ library which he has occupied. Wonder Woman lands heavily on the ground, but Hawkgirl is viciously thrown into it. Diana is the first one to get to her feet and rushes to Shayera’s side offering up some comfort and support through and outstretched hand, a hand that Shayera refuses to take. This scene is also followed by a gorgeous little subtext display.

Hawkgirl: The Princess doesn’t even sweat in the fire pits of Tartarus.
Wonder Woman: I do too sweat!
Hawkgirl: Please! You glow…I wouldn’t be surprised if you never had to-


Not only does Shayera study Diana enough to know she doesn’t sweat, but the fact that she describes her as glowing when she is engaged in physical activities is pure and unsaturated subtext. In short, Hawkgirl was totally checking out Wonder Woman.

As the final battle against evil has been won Wonder Woman approaches the unconscious Hawkgirl who slowly opens her eyes to an outstretched hand. This time Shayera accepts the offer and is pulled to her feet by Diana. Shayera keeps her eyes on their linked hands for a few seconds before pulling away and the following take place;

Hawkgirl: You’re all sweaty.
Wonder Woman: I told you.
Followed by intense eye-contact which is only interrupted as Hades makes himself known.



When Hades torments Diana by trying to make her question her paternity Shayera is there offering her support. Both physically and mentally. There is also some of that compulsory hand holding going on.



The episode then ends on potent potential as the following dialogue takes place;

Wonder Woman: What about us?
Hawkgirl: Like oil and vinegar. We go together, but we don’t mix.
They both fly off together into the horizon.

They might not be ready to put all their differences and past aside, but they do go together. And judging by Hawkgirl’s insecure body language (her arms across her chest, protecting her heart while enhancing the appearance of her bossom) there are issues to work on and miles to go, but there is no denying the compatibility.

The Balance.

Sunday 5 July 2009

Ice Age 3: Dawn of the Dinosaurs

@IMDb

I’m taking a break from the subtext of romantic love and this time will take a look at a far more destructive kind of subtext. The following review contains major spoilers for the entire movie that I am discussing, so don’t read if it bothers you.

This is a short little note on an otherwise funny movie, Ice Age: Dawn of the Dinosaurs. At first glance it is a harmless movie aimed at families, at second glance it is a somewhat disheartening look at where the queer fits into today’s society.

Sid the sloth was a most tragic metaphor/symbol for adoption and/or any couple/individual who cannot conceive the old fashioned way. The generally odd and socially frowned upon sloth takes it upon himself to care for three lost eggs after the male Mammoth makes him feel unwelcome as the Mammoths are having a baby. Wanting to find his own family the eggs represent a brilliant solution to his problems. Once he brings the unattended unborn babies with him to his friends he is immediately told off by the Mammoth male who makes a speech on how Sid does not have the right to those children or eggs. As the eggs hatch into dinosaurs they immediate form a bond with their new mother, Sid. However the Mammoth does not like the nature of the dinosaurs and once again forces Sid to “get rid” of them. At which point the birth-mother appears and takes both dinosaur babies and Sid with her to her own “land”. Despite the somewhat problematic start to their relationship Sid and the dinosaur mother actually end up showing affection towards each other as they continue to raise their children together. However his friends take it upon themselves to “save” him and bring him back to their own land. At the end of the movie Sid really does not appear to have a choice in the matter and teary-eyed has to say goodbye to his children, who clearly mirror his love and reluctance to leave, and join the rest of his friends back in their “own world”.

Sid is the most obvious example, but the rest of the gang are also representations of various “deviating” lifestyles that all come together in a pack governed by the Mammoth couple who work as the emotional and moral core of both their created family as well as the movie. It ends on a message that families are created, but they always centre around the heterosexual family. It is they who have to take the active decision to incorporate others into their “natural” family.

As the movie ended tears of laughter shimmered in my eyes and as they dried I couldn’t help wondering if the tears weren’t there for another reason than merriment. I was entertained by the movie, but at times I also am a victim of self-loathing.

The gays, dykes and random queers are allowed, they are even embraced, but only as long as they gravitate around the heterosexual couple and their moral compass. The Mammoths represent the norm, they represent the dominating powers. They absorb the various other individuals into their new family, but on their own terms. We are allowed, tolerate, but we must submit to and follow the standards of the heteronorm. We will get full rights and acceptance, but only when the Mammoths grants us them, or the day when the Mammoths are extinct.

I know I am being overly critical, but I am also tired of being so close, yet being so incredibly far.

Saturday 27 June 2009

The Phantom (1996)

@IMDb

The Phantom – The Metaphor That Walks

Before we begin let’s have a look at The Phantom himself. A man who dresses entirely in purple spandex, is incredibly particulate about his jewelry, wears heavy eye make-up and is very good with both children and animals. Suffice to say he is not your stereotypical representation of XY. Then to up the gay-ante he lives alone in a skull shaped caved together with his close confidante and manservant (I’m thinking that’s a synonym for glamorous gay loverboy), Guran. So turning this story on its gay edge really will not be a chore or a pain, in fact it basically jumps at you.

The Phantom – a lover and a metaphor
This is the story of The Phantom (Billy Zane; Titanic, Orlando) and his lover/partner Guran who for many years have enjoyed a beautiful relationship together in the relaxed Bengallan jungle. However the legacy of the Phantom is becoming more and more of an issue as this loving same-sex relationship is unable to produce the heir Kit Walker (aka the Phantom) is in dire need of to perpetuate the legend of the Ghost Who Walks. Kit’s subconscious is actually haunting him to such an degree that he has begun to see his late father berating him for his mistakes as well as urging him to reproduce. Harsh really, sometimes not even the death of our parents will stop them from nagging and condemning our lifestyles. At this point Diana Palmer, an old College friend of Kit’s shows up and a solution to appears to take form to Kit’s problem, but more on that later.


[Two men - One cave]


Kit and Guran really is a sweet couple that gives us several scenes of gorgeous subtext. It begins in their first scene together which is of the hurt/comfort variety. The Phantom has been stabbed and Guran is cleaning the wound, unaffected by the purple-clad man’s whining, but meanwhile showing tenderness and affection in his care. Their relationship continues on this tender note as Guran also shows concern as Kit is talking to himself (or the manifestation of his dead father).






[Every-day intimacy and affection]


Early on in the movie there is also a scene in which the Phantom has just rescued Diana from her kidnappers and is bringing the Captain of the Jungle Patrol up to speed. The Captain is about to lit a match and start smoking his pipe, but is quickly interrupted by Guran who with a strained smile informs him that smoking is not allowed in the Skull Cave. After which the Phantom and Guran share a moment of lingering eye-contact and Guran gives a slightly apologetic smile that is return with an affectionate one from Kit. Clearly Guran have no problems setting the rules of the cave and neither does Kit. You are allowed to go awww.


[Guran sets the rules]


In addition to his relationship with Guran, the Phantom also works as a metaphor for the US military policy of “don’t ask, don’t tell”. The Captain of the Jungle Patrol is very much aware of the Phantom and his contribution to upholding the laws of the district, yet will not acknowledge the man’s presence officially. Something that is embodied in a scene where the Phantom gets into the Captain’s house through one of the windows and the two have a small business chat. Once it is time for the Phantom to leave he first moves towards the door only to be stopped by the Captain who tells him he better leave the same way he came, “he was having enough troubles pretending he didn’t exist as it were”. So it is okay for the purple hero to risk his life, but the military will not officially acknowledge him or his “lifestyle”. Incredibly topical (though just as hidden) in a movie premiering in 1996.

Diana Palmer
However it is not only Kit and Guran who likes to engage in some homosexual activities, Diana Palmer (Kristy Swanson; Buffy the Vampire Slayer, 3way) sets the subtle gaydar a-pinging right from the start by showing us a sharp contrast to the accepted XX norm (by 1930s standards at least). She makes an entrance by returning from an adventure in the Yukon, with a brash attitude she jumps out of her own car and breezes into her uncle’s party, dressed in a cocky khaki suit (trousers and tie included) and a stylish beret. The first thing she is met by is her mother who insists Jimmy Wells will be thrilled to see Diana again, at which Diana gives her uncle a look of defeat only to turn her back and walk away. Jimmy is indeed pleased to see her and plants a kiss on her lips, a kiss she frowns off and shows more interest in her baloney sandwich (I think she must be a meat-er)). As the evening then progresses she is invited to her uncle’s little smoke/drink gathering in his library, where she alongside her uncle and two other big wigs (obviously older white men) discuss the problem of Xander Drax. This says a lot about her, but also her relationship to her uncle, a man who clearly accepts her for who she is and has no problem assimilating her into the “boys club”.


[Will she ever understand it's not a phase?]




Sala – and dealing with repressed emotions
As Diana takes a trip to the Bengalla jungle to research the Singh Brotherhood her plane is captured by a gang of all-female pilots lead by Sala (Catherine Zeta-Jones; Ocean's Twelve, The Mask of Zorro) who was deployed to kidnap her. The first meeting of the two women sends sparks flying. Sala is by nature an overtly sexual being and oozes sexuality all over the place. Diana shows a clear interest in the female pilot and curiosity makes her bold enough to pull off Sala’s helmet/goggles to get a better look at the brunette. Sala end up knocking Diana out and the scene that follows might not be subtext in its more traditional form, but it is nevertheless much entertainment to be had in watching Diana draped over Sala’s shoulders like a sack of potatoes as the villain dumps her at their “headquarter”.




[Love at first sight?]




The tension between the two continues and Sala goes on to comment, “Pretty, in a spoiled rich kid kinda way” and once Diana gives them lip adds with a content smile, “Feisty too”. Yet at this point it appears as if Diana is having more of an interest in Sala (judging by the interested looks of longing she keeps sending her way) than the other way around. Despite being the leader of an all female gang of pilot-criminals Sala doesn’t appear to quite “get” the same-sex attraction. Clearly she is feeling some of it towards Diana, but instead of acknowledging and accepting her feelings she takes out her insecurities and self-loathing through her promiscuous image and criminal behaviour. She’s angry at the world and herself for not accepting and is trying to get back at both.

[Tension - wii haz it]






It is first as Sala meets Diana that she begins to realize there are other possibilities. The one scene that stands out is during the latter half of the movie Sala taunts Diana by telling her Kit is probably long dead. At which Diana snaps and asks her;

Diana: Why are you so mean? Don’t you care about anything?
Sala: Like what?
Diana: You figure it out.
Diana gives her an intense look before looking away. Sala’s smile of insolence quickly fades and she looks almost haunted by Diana’s words.




Once in the Singh Brotherhood’s nest Diana is attacked by one of the pirates who first give Sala a warning/taunting look before touching Diana’s face and proclaiming, “This one’s mine”. Sala loses it and attacks him with a well-placed knee to the groin. The scene then continues and ends on Sala and Diana sharing a private moment where Sala appears to give her a butt slap and tells her, “I think us girls should stay together”. Diana looks a little shocked, but gladly agrees. It appears as if Diana truly got to her, reminded her of the possibilities available once you stop running away from your own feelings. For the rest of the film Sala is incredibly protective of Diana and tries to defend her whenever possible. Also as the twosome are about to get launched out of the Singh nest in a torpedo tube Sala protectively takes a firm hold of Diana’s hips as the enter the cramped area of the tube. Incredibly cute.







Kit and Diana – BFFs sharing more than memories?
Right from the first scene the two have together we are made aware that the Phantom aka Kit and Diana have a past. However it is not until the plot of the movie is transferred back to New York City that the extent of the relation is discovered, Kit and Diana were apparently very close friends during College, before Kit had to return to Bengalla to take up his father’s spandex. Kit is thrilled to see her again, but Diana is still feeling betrayed by his sudden unexplained disappearance and is reluctant to let him back into her life. We are never fully made aware of the true nature of their College friendship, but it does appear as if the two were BFFs who quite possibly experimented in heterosexual behaviour with one another.

From the moment Kit saw Diana again it appeared as if his thought process was kicked into gear, part of him genuinely happy to see an old friend, the other part seeing a solution to his and Guran’s child problem. What better way than to create a child together with your lesbian BFF.

However there is a small amount of jealousy involved and every time that Diana and Kit get a little too close Guran is there to make sure no one steps over the line as old memories flare. Fortunately they are both too secure in their own current sexualities for that to ever happen, the only affection they share is a chaste kiss at the end of the movie as Diana is about to leave Kit and the jungle behind and go off with Sala. Previous to this scene Kit had also explained to her about the intricacies of the Phantomic legacy and how he needed a son to continue on his work. Diana clearly understood his hidden meaning and does show an interest in Kit’s subtle suggestion of starting a rainbow family. However she is not nearly ready to take such a huge step, especially not as she has just entered a new relationship with the provocative and somewhat unpredictable Sala.


[A cautious Guran]


The Plot
On a larger scale this is a story of the Singh Brotherhood and Xander Drax (Treat Williams; Hair) who are representing the uglier sides of heteronormativity, while preaching hatred and intolerance. The three skulls of Tuganda (that the movie is all about) representing the power of information and indirectly media. It’s not a coincidence that Drax wants to buy the leading New York newspaper from Diana’s uncle, neither is the torture of the “tattling” librarian. The librarian in this case being a metaphor for gays in media, as Drax pokes his eyes out what he does is a subtle reference to crippling queer visibility through “passive” censorship. It also shows that he is threatened by this alternative way of life, by the “erotic minorities”.

To further go with this oppression angle we have the scene at the Museum of History where as two of the skulls come together radiate one blue and one red ray that together show the location of the third skull. The colours in this case, red and blue are accepted indicators of female and male and the coming together of the two is one big metaphor for heterosexuality. As Xander is wielding the power of the skulls he worships their potential and proclaims that this is a dawn of a new era aka the destruction of “abnormalities”. It’s no wonder Diana and Kit look at each other in horror, this man represents a most deadly threat towards their identities and the lives they are leading.






The climax off the movie then takes place in the Singh Brotherhood’s secret nest which is blown to smithereens as the Phantom successfully vanquishes Drax by turning the tables on him and using the power of the skulls for his own benefit - it’s a fun message from the subtexter’s point of view. It’s also a gay crusade where tolerance and love wins out. Hatred and the brotherhood of intolerance is dead, long live liberty and love.

The Summary
The movie tells the story of same-sex love and relationships. It touches on the intolerance of heteronormativity as well as dealing with some of the problems faced by homosexuals such as creating a family and dealing with your own family’s reaction to your way of life. At the same time it is a beautiful saga where love does win out and where the grotesque aspects of normality is destroyed by using “their” own tools against “them” (and yes I am biased cause I love doing it). Meanwhile it briefly touches upon the matter of visibility and uses the Phantom as a metaphor for “don’t ask, don’t tell”. But ultimately it sends a message that fighting for what you believe in is worth it, and the only way for the GLBT community to be strong is to take a stand side by side.

If for no other reason the movie is recommended for its final scene where we see Diana and Sala take off together and fly into the horizon. How many movies have you watched where the heroine leaves the hero for the bad girl at the end?! It’s worth a watch, and I’m not just saying that because the Phantom is one of my favourite comic-book heroes.





[Two women - One plane]



[In The Sun - but actually in a gay gay way]


To sum it up; “this is so gay” – old jungle saying.

Wednesday 3 June 2009

Bride Wars (2009)

@IMDb

Yes, I sat through all of it, Kate Hudson works wonders for my concentration. It is a silly movie, stupid even, but it deserves some proper femslashing. It’s a movie about two BFFs who are about the get married, but a mix-up in planning causes them to be pitted against each other in one huge bitch-fest.

It is a movie about the fulfilling of the heterosexual norm of marriage and children, but sometimes during the run of the movie that is incredibly easy to forget. First of all the two leads have great chemistry together and that works a long way on its own. Then there are a number of scenes that taken out of context look a lot more like one big anti-prop 8 campaign than anything else.

Not to mention that the outline of the story would make a great Uber. On the one hand you have the aggressive corporate lawyer with a need to control and on the other hand the meek middle school teacher with a need to please. Despite their differences they share an incredible strong connection and mean everything to each other. All the story needs is an alternative alternative ending.

There are too many meaningful looks and lingering touches for me to list them all, but some of the scenes worth mentioning are the following:

  • The opening where the two play bride (a young Liv) and groom (a young Emma), and marry each other.
  • The better-off Liv buying clothes (read spoiling) Emma for no real reason other than she wants to.
  • The mentioning of the two having lived together.
  • Emma chasing Liv through her apartment and tackling her to the couch where she ends up sitting on top of the blonde. After which they pull apart and there’s some panting involved.
  • The wedding planning montage which is completely devoid of all male and only shows the two planning a wedding together.
  • The dance-off where the two are handcuffed to each other at the hen party.
  • Emma falling apart because of the feud with Liv and confesses, “How I feel?..I’m so confused”.
  • Liv receiving a blessing from Emma’s dad at the day of her wedding and as he walks away softly whispering, “He’s such a good man…Emma is so much like him”.
  • The longing looks of sadness they give each other before they head off to their separate weddings.
  • Emma running down the aisle and attacking Liv. The two end up rolling around on the floor fighting to be on top. Spent they collapse on the floor next to each other.
  • Emma breaking up with her man and afterwards take Liv down the aisle.

Anyhow, words only say so much so rather than to waste more of them I decided to retell the movie in screencaps. Here you go, Bride Wars the Alternative Story;





























Like I said, looks a lot like an anti-prop H8 campaign, don't you think?

Conclusion
The entire movie is about these two women and their relationship. Everything comes back to that one true relationship that goes beyond any other and the loss of that relationship that causes them both to fall apart completely.

The movie was pointless, but squint a little and put heterosexuality on hold and suddenly it's a tribute to same-sex marriages. From a subtext POV it is definitely recommended, but that's the only POV it is recommended from.