Subtle. Subtle. Subtle.

Light 2x08 - (Legend of the Seeker)

2010-04-16T07:16:00.000-07:00

This week on Legend of the Seeker; Queen Melosa shows up and tells Richard about his powerful magic before whisking him away to Hogwarts. Meanwhile Zedd's dead baby, Zedd's dead. And Cara and Kahlan spend forty minutes setting the celluloid ablaze even though they don't actually have time to make a fire.

Lets begin by stating the obvious, Kahlan is wearing Cara’s colours. Perhaps the wardrobe people just wanted to give Kahlan a new hot outfit so she could stand toe-to-toe with the more revealing and sexualized uniform of Cara. Doesn’t really matter how or why it came to be, what it does is work as a signifier of Kahlan and Cara’s "union". Kahlan’s new dress imitates the dark crimson of Cara’s Mord’Sith leathers while at the same time being laced with the dark forest green that has become a trademark of Kahlan herself. Wearing someone’s colour is a simple yet extremely symbolic way of pledging your allegiance and showing your support and love. This would be Kahlan's subtle way of showing her complete acceptance, and dare I say devotion to Cara.

[Cara rubbing off on Kahlan]

But back to the actual plot. In short, Zedd is kidnapped by Denna, and Richard’s got magical migraines, which can only be cured by Amazon Ninja Nuns and their Texas sized throwing stars (sometimes I really do love this show). One thing leads to another and Richard is forced to leave Kahlan to explore his wizardy skills (leaving Kahlan time to explore her sexuality). Cara who’s sworn to protect Richard, and who clearly does not trust herself to be alone with the Confessor, insists she go with him. Kahlan however assures Richard that she and Cara will find Zedd on their own. Richard takes Kahlan’s side and tells Cara to protect Kahlan as if she was him. Cara pauses for a beat before adding; “I think it’s good you’re leaving. You’ll only slow us down”. At which a brief, but wide smile spreads across Kahlan’s lips, once again looking a whole lot like true affection. Perhaps Cara's line is meant and does play as a joke, but there is an undeniable and subtextual truth to it. Richard does slow down the subtext, not by much, but three is after all a crowd.

We are then dealt one of those hitting-you-over-the head-with-symbolism kinda scenes where Kahlan is shown standing between two roads.

[Not much of a choice is it?!]

On the one side we have Richard walking away alongside the Ninja Nuns and on the other side we see Cara standing between two horses, one light as day, one dark as night (I am such a sucker for any yin/yang imagery). And while Cara gently strokes Kahlan’s horse, Kahlan gives one final look at Richard before joining the Mord’Sith. Symbolism doesn’t get much more explicit than that. Though I liked the nice touch of having Cara care for Kahlan’s animal in there.

Then there’s the fighting.

Every time I watch the scene I seem to zone out and all that is left once it is over is; “oh so pretty”. Which obviously is the honest truth, but not very descriptive. So here’s me doing my best to move beyond the pretty; The fight in itself is beautifully choreographed and played out. It is smooth and it is powerful. But what makes it so brilliant and much more than just a fight scene is the complete awareness these two characters show each other. Wordlessly they stay in-sync and cover each other's backs. Watching them you don’t see two different individuals fight, you see one unit fight. And that is for obvious reason incredibly satisfying from a subtextual point of view.

Ah, the subporn. What can I say, it happens. There is moaning. There is phallic objects. There is ambiguous dialogue. It is love in disguise. You need to watch it.

And on a slight sidenote, but I recently read a painfully tragic story called Denial, and the dialogue going along with the subporn reminded me a lot of that story. Denial is a story about a love that shouldn't be, about cheating and about passion. Without spoiling too much, the two main characters of that story tries to burn out the passion they have for each other. They give in and let it "burn" in the hopes that it will finally lose its power that way. Like I mentioned the dialogue to this scene is very similar to that reasoning, granted in this they are (supposed to be) talking about the wound on Kahlan's thigh, but it is ridiculously easy to read between and behind the current context. Lets just look at some of the things they say.

CARA: I’ve made a promise to Richard..."It’s" infected. We need to burn the "wound" closed.
KAHLAN: We don’t have time to "make a fire".
CARA: We don’t need "fire".
KAHLAN: I’ve been struck by an "Agiel" before.
CARA: Not like this.
KAHLAN: Do it!

It really isn't much of a stretch (or well a little bit of one, but stretching life is what makes it so interesting) reading this scene as an attempt to ease and vent some of the frustration and attraction that's been building since Marked. When the ~~faun~~ cat's away, the mice will pain-play - old jungle saying.

The meaning aside, the truly beautiful aspect of this scene is the eye-contact, it’s what pushes it over the edge of just being a scene of plot-furthering to being exclusively subtextual porn. Even if the writers didn’t know what they were doing when putting it on page, the director and actresses sure as hell knew exactly what they were doing putting it on screen. The look on Cara’s face shows as much pleasure, if not more, than during Broken when she boinked random tavern dude. And even though the scene is centred around pain, when you see the kind of look they share and how they almost appear to be urging each other on through their eyes…

Okay, I should stop. But before we continue lets clear our mental palates of the lingering arousal. Turn your thoughts to Margaret Thatcher naked on a cold day and watch this video. Once again captain of your own bodily responses?

Then lets move on.

Now we've come to what might actually be my favourite scene of the episode. After a morning of travelling the blonde tells Kahlan, who's still clearly in pain, to rest. The Confessor refuses to admit to exactly how much pain she is in and in turn Cara quickly flexes and tries a different approach. She tells Kahlan that she herself needs to rest. With an amused look on her face Kahlan calls the bluff.

The scene continues as Kahlan is distracted by a peculiar cloud that raises her suspicions. She shares her hope with Cara and tells the blonde that she believes Zedd to be alive and what they are seeing is a tracer-cloud. Cara disagrees and the bantering turns into a small argument. An argument that I can't really describe why or how, but does indeed remind me of a lover's quarrel. I think it might be the slight disappointment in their interactions though. They feel almost disappointed in having such differing views, a disappointment in not being able to share a world view. A disappointment in the gap between them. They're not arguing because they are angry at each other, they're arguing because they want to protect each other, in their own ways (i.e. Cara wanting to teach Kahlan emotional strength and Kahlan needing Cara to believe in hope).

The entire scene is one smörgåsbord of deliciously familiar banter between the two. They argue and you can see frustration in both their eyes and body language, yet there is something else there. It is frustration tempered with affection. Even though they drive each other to the brink and have problems communicating there is no ill-will or anger in their interactions. Merely a frustration born out of a need to understand and care for each other. The way Cara also turned the tables in the beginning of the scene and claimed she was the one in need of a rest was another one of those moments that show how much they do care. Also interesting to see Cara, the ultimate badass with an extremely warped sense of emotions and fear of weaknesses, fake vulnerability just to save Kahlan from more pain.

Plus the dialogue from their argument should also be noted, because it's things like this that are the fundamental building blocks of subtext; i.e. "you're not seeing what's right in front of you" and "you need to be strong enough to accept the truth".

The reason I love the scene so much is because of their relaxed yet vibrant and vibrating chemistry. They feel more like old lovers than new friends. And that there makes very little sense in relation to the story, but is damn beautiful nevertheless.

Damn beautiful.

ps. What's with the surplus of sisterhoods in this verse? And when will we get to see the Brotherhood of the Almighty Billy Goat?

Desecrated 2x16 - (Legend of the Seeker)

2010-04-12T03:02:00.000-07:00

The 2010 Femslash Award for excellence in Sapphic Subtextual Storytelling goes to Legend of the Seeker episode 2.16 Desecrated. For their advancement in the art of having their cake while eating it.

I’m a little speechless after having watched Desecrated. The reason for the speechlessness is rooted in gratuitous exploitation (is there any other kind of exploitation?) of homoeroticism. Because instead of using a plot that could have further established the two female leads as friends, given them a solid ground to stand on in their newfound friendship, we are treated to straight up graphic subtext.

As I watched the promos for the episode I thought that the writers would finally sit these two down and have them deal with their problems and thereby defuse some of the extreme tension that’s been building between them, while possibly handing us a few cute and subtexty scenes. That was not the case. Instead we were treated to a series of short scenes that all continued to fuel the sexual tension between them, and continued to build on the existing pain is pleasure and fighting is sex principle. But I’m jumping the gun, lets go back to the start and have a look at it step by step.

It all began with a celebration of Richard’s birthday. We are handed some cutesy scenes between Richard and Kahlan where they smooch and dance and play out the happy couple role rather adorably. Meanwhile Cara intently watches from the sidelines and refuses to take part of the festivities.

As a local Conjurer performs his tricks our four main characters all take a front row seat and look on with various levels of excitement. Take a close look at their body language, Kahlan is turned towards and has her attention on Richard, but at the same time her arm is glued to Cara’s side (“any time you see two women standing very close to each other you immediately assume…lesbian” – Leslie Knope & her entourage are <3. But I’m digressing.). And the “it’s crowded” excuse just won’t work when you see how much room there is between Zedd and Cara. Sure you can call it cinematic prophecy, or foreshadowing of what to come plotwise, but you can also call it subconscious affection or Sapphic subtext.

Cara is then picked by the Conjurer to take part of his trick. Her immediate response is a look of dissent followed by a short and precise, “I don’t think so”. But after a pointed look and a few choice words from Kahlan, Cara agrees and makes her way onto the stage (it's called pussy-whipped and it exists even in magical worlds of fantasy.).

And what a trick it is. Kahlan and Cara are transferred to the Tomb of All-Consuming Sexual Frustration where they learn that they have 24 hours of air left and unless Richard finds a way to save them, they will be drawing their final breathes inside those four walls.

Dum-dum-duuuuu!

While Richard gets to fight corruption and a mummy, the Tensionable Twosome gets to spend some quality time together. But instead of opening up to each other or having a conversation dealing with their problematic past (Cara killing Dennee for example) we are treated to scene upon scene of upped sexual tension.

To begin with Kahlan realizes the torches lining the upper walls of the tomb are eating away their oxygen. So the two tries to extinguish the flames. Naturally Kahlan takes off her jacket, stands on Cara’s shoulders and waves the cloth around till she is glistening with sweat and has Cara grunting from the strain. Kahlan’s flayling about finally has her falling to the ground.

Cara has her back to the wall, watching Kahlan trying to get her breath back, with a look on her face that can best be described as the lovechild of fear and flushed. In an almost staccato rhythm she then goes about telling Kahlan that the flames are using less air than they are when trying to snuff them out.

My jaw literally dropped the first time I watch this scene, I mean are we allowed to be this exploitative on television? Kahlan on the ground, sweating, showing off a fair section of thigh and breathing heavily as Cara looms over her with desperate self-restraint etched into both her face and tone. Remember that thing I said about subporn, well so does TPTB, as a matter of fact they appear to be working towards the perfectioning of it. Anyhow the scene cuts off as Kahlan does some more heavy breathing while staring intently into Cara’s eyes (!).

Next time we return to the tomb the two are standing side by side looking up, commenting on how the air is growing thinner. Kahlan then turns to Cara and tells her to kill her. The Confessor continues arguing her point, telling Cara that she can bring her back with the Breath of Life (second time she’s asked for the Breath of Life from the Mord’Sith) once Richard finds them. Cara will have none of that and turns the tables offering her life for Kahlan’s. Once again the scene is cut short and we’re not allowed to see Kahlan’s reaction to Cara’s comment, “Better one of us than both of us”.

As we then are allowed to return they are now sitting down, seemingly relaxing. Tentatively Cara then begins to tell Kahlan how much she means to her. And even though she’s been trained to hate all Confessors, but for some reason she doesn't hate Kahlan.

CARA: I don’t want to die without you knowing….that I consider you to be…my friend.
KAHLAN: I think of you as a friend too.

And this exchange reminded me so much of the ending of the Xena: Warrior Princess episode Deja Vu All Over Again. Somehow I've got a feeling that was exactly what I was supposed to be reminded of as well.

Kahlan then wraps Cara up in an awkward hug. At first Cara is limp in Kahlan’s arms, but slowly pulls the brunette closer and closes her eyes (and allows herself to dream?) for a moment. It should also be noted that there is probably good reason behind Cara's awkwardness when it comes to hugging. It is quite possible this is one of the few hugs she's ever been involved with during her adult years. The Mord'Siths were not famous for the huggability or their touchy-feelyness. It really wouldn't be a stretch to suggest that the number of hugs (born out of affection) Cara has received could be counted on one hand. Something that even further adds to the importance of this scene and what's to come.

As they pull apart Cara tells Kahlan she will make sure Richard has enough time to find them and dives for Kahlan’s dagger in an attempt to take her own life. Kahlan desperately pounces on the blonde intent on not letting her kill herself. What ensues is…well fight!sex really. We are treated to a fight sequence that has the two in a strangely carnal dance and it rather quickly feels like both of them forget the reason they are fighting. It is an extremely difficult scene to describe, because violence is not affection, there are far too many people who suffer because they make that mistake, yet when you watch this scene…these two don’t hate each other, they’re friends. They clearly care for one another; they care to the extent where they both are willing to risk their lives for the well-being of the other. And even though they are physically hurting each other during this fight scene all you can feel is passion. It’s a quickly mounting passion that makes your breathing irregular and quicker, makes your nose tingle and your blood hotter.

Between all the grunting, open handed slapping and grappling you suddenly become sexually frustrated on the behalf of these two characters. Because in a world and verse where these two could never have each other, fight!sex becomes the closest substitute for more conventional forms of intimacy. And as the two then collapse, once again breathing heavily due to the strenuous activities and lack of oxygen, you can’t help feeling like a hardcore voyeur. But as they hold hands while preparing for death you cannot look away no matter how much of a perv it makes you feel like, because this- this is so damn complex, tragic and beautiful it has you completely under its spell and you can’t tear your eyes away for a moment. Instead you rewind and watch it all over again, eyes riveted on what is, but can never be.

As always the hero saves the day and this time also saves the two temporary damsels in distress. And the final scene of the episode has a small exchange between Kahlan and Cara where the Confessor tells the blonde that her life is extremely important. Which is followed by the following exchange;

CARA: About what I said back in the tomb.
KAHLAN: Yeah, it really meant a lot to me.
CARA: Forget I said it. I was delirious from the lack of air.

So here we are, back at square one, only the tension having managed to grow tenfold and suddenly you find yourself wondering what else could have been said in that tomb. What really happened between the few and way too short scenes we got to witness? And what exactly did Cara refer to in her final words?

And now I'm gonna go find a cold shower and hope this vicarious and fictional frustration can be washed away.

Kahlan/Cara Manifesto [Legend of the Seeker]

2010-03-31T14:42:00.000-07:00

Disclaimer: The following post will include adult language, fictional lesbians, subtextual porn and LOTS spoilers up to episode 2x08. Proceed at own risk.

Introducing the Madonna & the Whore
Legend of the Seeker is based on a series of books by Terry Goodkind. And without spoiling too much, Kahlan and Richard, the two main characters of the show are a canon couple both on the show and in the books. In theory there is no room for any doubt. There are problems along the couple’s way, big problems and obstacles to be overcome, yet they are the definition of a canon pairing. So how come the femslash is so luminescent that it outshines the canon? Lets move towards an answer to that question by introducing the two main players.

Kahlan the Mother Confessor & Cara the Mord'Sith

On the one hand we have Kahlan, the Mother Confessor. A magical/mystical woman with the powers of extracting the truth out of anyone, or enslaving them through a single touch. It’s not a Rogue kinda deal where all skin contact is a no-go, no this is a touch with intent only kinda deal. In many aspects she is the spiritual, virginal and pristine representation of traditional femininity. Yet beneath the surface of her goodness lures a darkness, a power that threatens to tear down her self-discipline and create a dark, but powerful queen of a tyrant. That’s the beauty of her character, in one scene you feel her calm and can see the goodness in her eyes. The next scene you can see the barely controlled raged in those beautiful eyes of hers. Surprisingly attractive actually.

On the other hand we have Cara, a former Mord'Sith currently working as the Seeker’s protector. She comes from a leather-clad sisterhood specializing in homoeroticism and pain. The Whore next to Kahlan’s Madonna. She is portrayed as the carnal woman who lacks inhibitors when it comes to both sexuality and the infliction of pain and death. The blonde femme fatale who will lure you to her bed and strangle you with her thighs after having spent numerous hours giving you an extensive BDSM lesson with her magical ~~dildo~~ Agiel. Yet there is a caring nature to her, a loyalty and goodness slowly peaking through and gradually growing.

They are part of two sisterhoods that are mortal and historical enemies. And to make matters worse Cara was the one who executed Kahlan’s blood sister. However the mystery that is life has these two women join ranks and battle for the safety of the Seeker. Yeah, I know from a feminist perspective it is a very ugly picture where these two stereotypes of overt and fierce femininity are “tamed” by the patriarch in the form of Richard Cypher, the hero who wields his Sword of Truth (this show is big with the phallic symbolism, more on that later). But if we disregard the problematic aspects of the show and simply watch it out of queer perspective it becomes extremely entertaining.

As I mentioned Cara comes onto the show as an enemy of the main characters. There is great mistrust on Kahlan’s part and she even falls into a vengeful rage where she is forced to be restrained in order to not kill Cara with her own two hands. This intense hatred in itself is more electric and tense than the interactions of the canon-couple that has had a full season to develop. And even during the early times of their relationship they do not appear to be able to keep their hands or eyes off of each other.

Then something happens to Kahlan and Cara's relationship. The two grown closer, they are forced to become allies and slowly the hatred is stripped away, yet somehow the passion never leaves. The passion shrouds them and stays with them like a guardian angel making you wonder whether or not it was ever truly born out of hatred. No, because when you start looking at the cracks (and no that’s not a metaphor for boobgling) you see the story, the true story that is hidden behind the, still rather oppressive, heteronorm.

Impossible Love
From the very first meeting Cara shows a great interest in Kahlan and her reactions. And it doesn't take long for her to needle her way under Kahlan's skin, and the way she repeatedly looks at the Confessor can best be described as hungry. Kahlan on the other hand keeps her distance, or tries to, yet there seems to be this invisible attraction that draws her to the blonde's side. Cara represents everything Kahlan is not, and everything Kahlan can never have. There are a lot of hungry looks of unadultured passion passing between them.

Cara and Kahlan’s story is one of forbidden love, on so many levels. Both in the sense that it can and will never happen, because it would be destroying the original material the show is based on. But if you remove reality and look at it from the inside of the verse, it is just as forbidden and impossible. Not only does Kahlan desperately need to take a mate (as in copulating and breeding) in order to make sure her magical powers and the line of Confessors doesn’t die with her. To make matters even more complex, the Confessing (the act of intently touching that I mentioned in the introduction) of a Mord'Sith automatically leads to their death. An extremely painful and anguishing death. Ah-ah, it doesn’t stop there, but if a Confessor is to be intimate with someone they love their self-restraint would be removed and their intimate touch would automatically lead to a Confession of their partner. So you see, these two are fucked. Not just a little fucked, but extremely fucked. The kind of fucked where Romeo and Juliet had nothing on them. In short, so fucked they'll never fuck.

"For someone to look into our eyes and see something worth dying for."

These two star-crossed lovers are forever denied romance and intimacy, both by convention and by the physics of their universe. Sharing an intimate touch would literally mean the death of Cara. But that will in no way diminish the entertainment value or depth of the subtext, rather the opposite. Like how there is a thin line between love and hatred, there is an equally frail thread separating pain from pleasure. And when love is denied and when intimacy and pleasure cannot be found in the more conventional ways, well there’s always an alternative. The administring and enduring of pain become their only way of exchaging intimacies and to let their repressed love climax. Something that can be seen on numerous occasions throughout the show in scenes that can best be described as subtextual porn (with dildos, moaning and climax/release included).

This is definitely not the most obvious case of lesbian subtext I’ve come across and it does exist alongside overt heterosexual canon, but I’ve never seen such passion make its way into the subtext before. And I have definitely never seen subtextual porn before.

So close yet never together.

I'm thoroughly enjoying it so far, how about you? What are your favourite moments of subtext between the two?

The Balance 1x18 - (Justice League Unlimited)

2009-08-09T11:06:00.000-07:00

@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.

Ice Age 3: Dawn of the Dinosaurs

2009-07-05T02:50:00.000-07:00

@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.

The Phantom (1996)

2009-06-27T11:18:00.000-07:00

@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.

Bride Wars (2009)

2009-06-03T05:36:00.000-07:00

@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.

Miss Congeniality 2: Armed & Fabulous (2005)

2009-06-02T09:29:00.000-07:00

@IMDb

This is the sequel to a very classical Sandra Bullock rom-com in which she stars as the rough FBI Agent Gracie Hart who gets to go undercover as a beauty pageant contestant. In the meanwhile the tomboy Agent learns to be more of a girl, befriends another of the contestants and falls in love with her male partner. Yeah, like I said the first one was pretty straightforward in every way.

As this film begins everything is twisted just a little bit and we get to see something classical, but in a very new format.

After a failed mission because of her newfound fame and a devastatingly cold break-up with her boyfriend it is time for a new start for Gracie Hart. That new start comes in the form of an embracing of her femininity as she dons the position of a public representative of the FBI. In the process she acquires a bodyguard in the hostile and ill-tempered loner Sam Fuller. Together the two will then have to solve the kidnapping of Gracie’s best friend and the current Miss United States. And this is where it gets interesting.

Gracie Hart & Sam Fuller

As the movie begins one of Hart’s colleagues tease her about her relationship with another agent (the male partner from the first movie), and he makes comments about how the two are “friends and coworkers, friendly coworkers” as well as mentioning how sweet it is to see “two agents in love”. This is a very interesting start put into the context of the rest of the story, it draws our attention to the friends and coworkers aspect which in turned was transformed into love. An aspect that is worth keeping in mind as the story unfolds.

Only a few minutes into the movie Hart’s boyfriend dumps her over the phone. A crushed Hart tries to understand why, and in a voice breaking with insecurity asks him if it was the sex. Something that clearly indicates that this was quite possibly one of her own insecurities and doubts in their relationship. Perhaps it wasn’t living up to her expectations, perhaps she felt she couldn’t live up to the expectations. Either way the mere mentioning of their sexual interactions in relation to their break-up is enough of a seed of hetero-doubt. The fact that she briefly after this break-up and self-examination decides to take her life in a new direction, an act that sows the seed. Then some highly nourishing fertilizer is added to the seed as she meets with her new style consultant, an obviously gay and flamboyant man who doesn’t beat around the bush, but comes out and asks her, “Are you open to new experiences?” - Enter Sam Fuller.

From Gracie and Sam’s very first meeting the two hit it off, literally. Sam walks straight into Gracie without as much as an apology or look back. Gracie whose nerves are fried already because of her bad break-up immediately takes offence and verbally goes after Sam. The two orally battle each other and a physical fight is only prevented by the agents around them. The beginning of a beautiful relationship.

The movie then skips 10 months into the future, months during which Fuller and Hart have been working closely together. We get to see that the animosity and tension is still very much intact. Hart condescends Fuller, and Fuller appears to be ready to kick her arse at the blink of an eye. Fuller finally gets enough and walks away from her assignment at Hart’s side. Unfortunately, or perhaps fortunately, the fates would have none of it and as Gracie’s best friend Cheryl is kidnapped Fuller and Hart are once again forced to work together. Their FBI chief who apparently thinks “the two have a bond” assigns Fuller as Hart’s bodyguard as they head out to Vegas to work on the kidnapping case.
Neither of the two agents are too pleased about the turn of events and are once again up in each other’s faces at the airport, but despite the tension they both make their way to Vegas. Once there and installed at the hotel Sam takes a tour of Gracie’s suit only to exclaim, “You can fit my entire room in your steam shower”. At which Hart playfully with an almost flirtatious tone replies, “Feel free to move in there”. Later on in the same scene Gracie barely holds it together as she sees her best friend tied up and forced to deliver a ransom message. For the first time in the entire movie Sam’s eyes soften and her voice becomes gentle as she urges Gracie to relax and focus on her job. We are shown that beneath that façade of tension and conflict there is something more, something playful and something gentle.

Despite Fuller’s advice Hart single-handedly throws herself into the case and without reporting to anyone goes off chasing leads. As she returns she is met by a clearly angry and upset Sam who starts digging into her for leaving without telling her. This argument culminates in an incredibly hot and dysfunctional bathroom scene (aren’t they all!?). Alone in the bathroom the two go at each other, verbally sparing and being in each other’s face until Sam actually hits Gracie. The two get into a physical altercation that only offers a temporary release to a constantly building tension.

Body language when it's smokin' hot

After an embarrassing interlude of Hart attacking a celebrity the two are dismissed and about to be sent back to NY. However at the airport Gracie gets another lead and direction to take the case in and ends up begging Fuller to stay on with her. Originally Fuller was completely content to go back home, but as Gracie pleads with her, her resolve crumbles and she gives in. Sam might constantly be in Gracie’s face, but when those big brown eyes beg her, there’s nothing to do but to fold. Fuller might have anger management issues, but she’s still whipped.

The begging scene is followed by a moment of almost tranquil domesticity and intimacy. Gracie and Sam end up spending the night on a sofa and slowly open up to each other. The darkness makes masks of stoicism pointless and the two share childhood memories and tales of their deceased parents. They both reveal that they’ve read up on each other, and Sam even says she’s read Gracie’s book. And on the dubious content of the ghostwritten “memoires” Sam stated that she “liked the pictures though”. A tranquil moment of intimacy in a comedic action-fest, it stands out.

The case-solving continues and as the pairing is getting yet another break while they’re working undercover at a retirement home Gracie in a moment of excitement wraps her hand around Sam’s arm and pulls her closer. In itself it is merely a nice moment of touching, however only minutes later one of the local Vegas agents, who is helping the duo, finds his fiancée giving another man the exact same arm-touching. In his case it sparks his suspicions about the pair and it is also revealed that the two touchers were in fact involved in an affair. Something that then adds importance to Gracie and Sam’s previously innocent touch.

This is another moment of comedy, but it has an underlying message of *wink, wink, nudge, nudge*. As the duo are threatening a man to make him help them Fuller tells him to, “Be a man!”. At which Gracie retorts, “Yeah, like Fuller”. It’s very tongue in cheek and silly, but it shows an awareness of how butch the portrayal of Fuller is and also making us aware that it’s not a coincidence, but intentionally.

Despite their best intentions of helping out on the case they are shot down by the SAC in charge who ends up personally humiliating and belittling Hart. Something that doesn’t sit right with Fuller who is immediately on her toes defending her partner. Unfortunately they are dismissed and this time it is up to Sam to convince Gracie to stay. After having found yet another lead Sam taunts Gracie until the two of them actually get into a physical fight. The two rumble at the airport and in-between arm-twisting and chokeholds Sam manages to convince Gracie not to give up. Coming to a truce the two pull away and decided to create a diversion and get back out there to solve the case. As they are forming a plan Sam reaches over and straightens up the fake boobs that were part of the disguise Hart had been wearing at the retirement home. I’ve got no comment really, so I’ll just write it again; Sam takes it upon herself to straighten up Gracie’s dangling fake boobs. Yeah, let’s leave it at that.

The final scene of the movie was what cemented my need to go back and do one of these analysis the first time I saw it. It plays exactly like a male/female love-story would and it just feels as if the role of Sam Fuller was originally written for a man, but instead of changing anything (other than scrapping the final kiss) they went with a woman. I like it, I like it a lot.

After having rescued her best friend from a watery death and gotten some just friends time with her, Gracie seeks out a lone Sam. The two tentatively make sure the other is alright and Gracie thanks Sam for having saved her as she got stuck underwater during the climax of the movie.

Gracie: Thanks for coming back for me.
Sam: It’s not like I love you –or anything.
G: I know.
S: I was just doing my job.
G: I know.

They give each other a lingering look while Gracie gives a Sam a faint smile.

S: But I gotta admit, that when you were saying that stuff back there about not having any friends…I know what you mean by that.
G: You got a friend…Yeah. *pauses* Agent Johnson over in Mail Fraud, I think he likes you.
Gracie starts snorting and laughing like crazy and Sam joins her.
G: But you know if that doesn’t work out, then…you’ve always got-*she points at herself*

The two end up in a big hug.

On the surface they speak of friends, but the tension and looks are simply a little too intense and a little too lingering for me to be able to completely dismiss it as BFFs. No this feels like the "friends and coworkers, friendly coworkers" from the opening scene, and from that there's only a very small step to "two agents in love".

The movie then ends on Gracie and Sam being teamed up as constant partners. That’s what we call a metaphor and a beginning.

As if the relationship between Gracie and Sam was not enough, the entire movie is filled with events, lines and actions catering to a queer audience. One of the minor characters, Joel the style consultant is portrayed as a stereotypically gay man with a sense of self-deprecation but without the mocking that is so common. Then there is also a substantial and important part of the movie that takes place on a drag club where the agents have to mingle with both patrons and performers. The movie doesn't preach, condemn or mock, simply uses the club as its setting. And as if that wasn’t enough Gracie actually jumps a woman and while straddling her starts poking at her boobs. The straddled woman just so happens to be Dolly Parton who gets to deliver the following line which we've all been wanting to ask Sandra Bullock (in our dreams), “Why are you on top of me?”.

Like I said, it’s a gay romp with drag queens, Vegas glam, subtexty tension with innuendos and physical interactions as well as beautiful women wearing suits and masculine shoes while waving guns.

If you're looking to read some subtext, this is definitely the movie for you.

Basic Elements of Subtext

2009-04-08T09:14:00.000-07:00

Basic Elements of Subtext
- Or Lesbian Subtextual Archetypical Behaviour

Disclaimer: This following post concerns lesbian subtext. The clips included are taken out of context to highlight how easy and at times rewarding it is to pump heteronormative culture full of subtle references to queer characters and life-style. I in no way mean to proclaim this interpretation as an absolute truth, it is simply an alternative way of enjoying a culture which has very little regard to what you as an individual would find relatable. It’s like that old saying; if Mohammed won’t come to the mountain, the lesbian will turn to subtext.

In order to help facilitate this little crash-course in subtext, I have taken liberties with these two characters.
Sabrina Duncan

& Kelly Garrett

They can be found on a campy show from the 70s called "Charlie's Angels", which truly is a Mecca for anyone interested in either subtext and/or the evolution of gender roles.

1.) Read the text.
2.) Watch the clip.
3.) Go out into the world and apply on other shows.

***

• The Difference - ”I’m not like other girls.”
The character expresses a concern or simply states their difference from the surrounding (heterosexual) norm. This can take on two different forms. Either the character is aware of the reason behind their difference, in which case bitterness or a sense of hopelessness often can be found in their statement (either through facial expression, body language or tone). The other option is the oblivious nature, where the character hasn’t quite gotten to grips with their feelings and emotions, yet they do know there’s something not quite “right” about them.

This following clip would be of the second oblivious nature. She is uncertain as to why something that should be so right, feels so lacking.

Something not quite right

• Jealousy.
This is one of the most rudimentary aspects of subtext, and it is also one of the most commonly used and found. One of the characters up for subtextual interpretation openly display an illogical or over-emphasized amount of jealousy in regards to the other character in the subtextual pairing. As soon as a third party enters the picture and hovers about as a potential love interest the jealous party will quite simply act—jealous.

Note how jealousy is displayed through disbelief followed by anger and warning. Up until the moment all is reveled to be a ploy. This clip however is somewhat atypical in the nature that it appears to present an actual couple rather than simple subtextual tension and potential.

Sweet Sweet Subtext

• Flirting.
This one is very straightforward in a subtle way. Queer life is not open, it’s always hidden and subtlety has actually been a must for physical survival. Therefore you won’t be seeing the explicit pick-up lines. Instead you will have to look for a tone, a slight teasing with a touch of something not quite identifiable. Also there will be knowing smiles and a lot of eye-contact (read eye-shagging; see below for definition). You have to find a way of flirting without making anyone, other than the person you are flirting with, aware.

Obvious flirting

• Lack of Private Sphere & Unnecessary Touching.
This is one of my personal favourites (probably because I’ve got issues with gratuitous body contact). Some characters appears to lack a sense of physical propriety, they are simply too close physically. When they stand, they stand a little too close, often touching. They are more often than not up in each other’s faces, and there will be a lot of unnecessary and pointless touching. Touching for no other reason than a need to feel the other character. It is difficult to fully explain, but when you watch the subtextual couple and you see them next to each other, they are not two people standing , they interact; on screen and in each other’s presence, they somehow become one entity.

Unnecessary touching

Also note the play on language in the second section of this clip.

Interactive sharing of space

• Ambiguous Lines and/or Sexual Innuendos.
Each community has their own lingo and way of using language. A sentence that to one person has one meaning, most likely will take on an entirely different meaning by someone from an outside community. Furthermore sexual innuendos are strangely easy to find in most any dialogue, though they in themselves might not have been intended as such. In some cases the sexual innuendos and ambiguous lines are intended, Xena: Warrior Princess is an excellent example of that. Other times the fun only appears when you apply your own language rules and lingo on the characters and interpret their dialogue from your own perspective. This is also a case of context collapse, where the words and wordings spark associations unrelated to the actual context of the scene and/or lines. It is a matter of cutting & pasting and does require a lot of effort from you. But if you put in that element of extra thinking, it is most rewarding.

In this first scene take note of the actual words used, and for those familiar with queer life the associations will most likely cause an unintentional hilarious alternative interpretation.

Straight into the closet

This second clip is of the more ambiguous nature, where the dialogue and the way in which it is presented would fit quite well into a subtextual reading. The characters share a joke/secret which they do not share with the casual viewer, but only those willing to use their own frame of reference to create meaning out of it.

Euphemisms and most interesting acting

• Hurt/Comfort.
It’s a simple concept really. Whenever we are hurt we need comfort. Whenever someone we love is hurt we want to comfort them. Fear and pain often blurs the lines of otherwise accepted behaviour and we more often than not forget to censor our emotions and feelings. That makes hurt/comfort ideal to use when dissecting relationships of a subtextual nature. The blurring of the lines breeds emotion and is very potent source of fanfic inspiration. It will not only result in a lot of intense emotion, but will also often lead to a lot of reassuring (both themselves and the other character) through a lot of touching.

Proper hardcore hurt-comfort

• Eye-shags.
Some people might call it eye-contact, in the subber world it’s eye-shagging. Moments of lingering and a little too intense eye-contact. In cases of severe subtext dearth even simple glances and exchanges of eye-contact will be referred to as shagging, but in theory it does refer to something a little more substantial (time wise).

The look of...

• References to Joint Identity and/or Life.
Not as common and a lot more difficult to spot. However there are cases when the pairing, or one of its members takes it upon themselves to speak for the other part. The lesbian urge to merge in very subtle and throw away lines, yet it means a lot if you are devoted to the pairing and actively read subtext. The more subtle version of this is the clothes swapping, one moment we see one of them wearing something that the next scene (or episode) ends up on the other character.

urge and merge

Variable and personal preference;

• Chemistry.
This builds on all of the above. There is a sense of familiarity between the two characters, something that goes above and beyond the rest of the cast. Either by a relaxed and seemingly comfortable repertoire, or it could also manifest through unexplained tension. However my personal preference is the familiarity. Most of the time it is a result of off-screen friendships. Because no matter how good an actor you are, true affection will always feel fresher and sharper than acted. And so if two actors share a personal bond, that will almost always trump all the faked ones on-screen and the real-life chemistry will shine through and come across most clearly. It doesn’t matter if the bond is a simple friendship one, because on-screen that will feel more real than all acted relationships. Chemistry is chemistry. Granted many people do slash female pairings without this feeling of familiarity or tension, but personally I need this element to be able to truly enjoy.

***

And now that you're aware of all the steps on the LS ladder. See how many of them you find in this clip;

Such a couple

Are there any vital elements of subtext I have forgotten? If so please leave a comment and lets discuss.

Charlie's Angels - 1x15 'Angels on a String'

2009-03-13T01:19:00.001-07:00

I'm jumping around, there's a lot more subtext in-between but I just had to do this one first.
***

Oh, the jealousy, oh how deliciously sweet the jealousy is.

It’s official, there’s no doubt about it, Sabrina and Kelly are most definitely girlfriends.

The Angels go off on a retreat to which one of Sabrina’s idols just so happens to be visiting at the same time. This is not just any idol, it’s a intellectual-crush on a Polish Professor in Politics. Kelly playfully, but with a note of frustration exclaims that “she’s got a crush on a sixty year old man!”. Her voice clearly indicates how absurd she finds both his age and gender, and as Sabrina’s ramblings just won’t stop, Kelly simply hits her over the head with a magazine to get her to shut up. It’s all very cute.

Through a coincidence Sabrina does end up sharing a glass of plum brandy with her big idol and gets downright giddy asking him questions about his work. That giddiness then spreads and afterwards she rushes to find her girlfriend. She finds Kelly showing off her rainbow coloured bikini to Jill and quickly grabs Kelly’s hand to get her closer, and possibly to stop her from flashing their friend (just cause Sabrina has a man-crush doesn‘t mean she can‘t get possessive). With a twinkle in her eyes she tells the relaxing Jill and the very annoyed Kelly about her meeting with the professor. Sabrina hands Kelly a single white flower, a gesture that momentarily takes the frown off of Kelly’s face. A frown that reappears and intensifies as Kelly realises the older man have been in “our room”, the our especially emphasised as she looks into Sabrina’s eyes. Kelly clearly does not approve.

[Gay Pride anno 1977]

[A flower for a lady]

Despite Kelly’s dislike of Sabrina’s gushing, she is not about to let Sabrina suffer from the Professors brush-off later on. The two are sitting alone at a table in the bar and drinking (whiskey and that ring!), when Kelly does her best to make Sabrina forget about it without losing the admiration she has for the man. Now that in itself is a very good indicator of the intimacy of their relationship, as well as the care. At that point one of the bad-guys interrupts by paying for their drinks.

Sleaze: This kinda scenery is rare around here.
Sabrina sigh/snorts.
Sleaze: May I?
Sabrina looks to Kelly who gives her approval with a shrug.
Sabrina: Sure go ahead.

The discussion continues and Sabrina realises the sleaze might be one of the bad-guys and ends up playing him.

Sabrina asking the man: What room are you in?
Kelly looking shocked.
Sleaze: Eight.
Sabrina: Eight? Eight is my lucky number.
Kelly’s look of shock turns into pissed off.

After some more conversation Sabrina goes off with the man to his room, Kelly looking appalled after them. Sabrina sneaks back to Kelly under the ruse of retrieving the bracelet she had intentionally left behind. When she on her own gets back to the table a clearly upset Kelly tells Sabrina, in what can best be described as a warning, “Eight is not your lucky number!”. Sabrina quickly explains the plan, and Kelly goes from fuming mad to simply frustrated over her girlfriends inability to let it go. It’s fucking brilliant. (If you want to see it for yourself, follow this link).

Then for the remainder of the episode there's some looking with intent and general random touching.

[General touching (and Kelly's shirt!)]

[Looking with intent (the shirt again!]

To summaries, these two are girlfriends. There’s really no other way of describing their relationship and their reactions. Kelly most definitely does not approve of playing second fiddle to Sabrina’s obsession with the Professor, but she will always stand by girlfriend, no matter how frustrating her behaviour. That said, I’m thinking the obsession, and the crack about the Professor’s son (end of episode) most definitely landed Sabrina some time in the doghouse.

Coming Up;
The one with all the sex.

Charlie's Angels - 1x04 'Angels In Chains'

2009-03-12T01:29:00.000-07:00

Dear God, I’ve died and gone to exploitation -heaven and it’s full of homo-eroticism, and butch poses. Please let me stay.

Yours,
the jolliest of Apes.
***
This week the Angels are thrown into prison, and yes you are allowed to moan, but don’t roll your eyes or you might miss all the sapphism. This really is an episode better watched than described, because so much of it is visual. Therefore, I’ve done my best to screen-cap for your viewing pleasure.

As the Angels are stripping down for their cavity-search and delousing (well they didn’t call it that, but I know one when I see it), not only are Sabrina and Kelly turned towards and watching each other throughout the stripping, it also looks very suspicious. The scene is strangely similar to exhibitionism and despite my stalker-tendencies I’d done the same thing as Jill and turned my head.

[Sabrina's raised eyebrows and the following smirk. Priceless visuals]

Not only do we get homoeroticism, but we get a look into the world of butch and femme. Sabrina’s got quite the attitude in this episode and pushes the buttons of one of the guards and gets smacked around a little. Immediately Kelly is at her side and refuses to let go of Sabrina’s leg. As Kelly then asks Sabrina if she’s okay she receives one of those deliciously gruff grunts of “I’m okay” (you know the kind Xena was an expert at). Kelly doesn’t reply but simply rolls her eyes at the gruff brunette and gives Jill one of those looks that obviously says “stoically stubborn butches --can’t live with them, can’t live without them”.

[Strike a pose and keep it butch]

[Holding on and not letting go]

[Strike a pose and keep it butch - take 2]

[How to do the femme/butch while looking beyond adorable]

One more scene to mention before I leave this haven behind. As the Angels are taken out into the country to get killed, the sleazy inbred deputy is talking nasty to Kelly about all the things he’d like to do to her before wasting her. The single-minded focus on Sabrina’s face as he threatens Kelly with rape speaks volumes in itself, she’s basically grinding her teeth. You can just imagine the discipline it takes for her to not lunge forward and try to rip his throat out. It’s sweet.

***
And I just have to mention it, completely unrelated, but they killed the Sheriff with potatoes! Potatoes caused a giant explosion! There are not enough exclamation points in the world for this show!

Coming Up:
The original hurt/comfort?

Charlie's Angels the Pilot

2009-03-12T01:28:00.000-07:00

Sometimes I envy the view-point of those with a completely heteronormative perspective. When they watch a show they can focus on canon, they can so easily ignore f/f and m/m subtext, because they simply cannot see it. Not because they are ignorant or narrow-minded, but because it means nothing to them. It’s a blindness brought on by expectations, assumptions and experience. It doesn’t make their worlds any less colourful, it just makes them more…precise. Therefore I have decided to go about this Charlie’s Angels reviewing in a reversed heteronormative pov. I will disregard any episodes that deal with a possible male attraction and I will turn a blind eye to anything that does not support Sabrina/Kelly. I want to experience a black/white world for myself. Obviously this means I won’t be watching anything beyond season 3. It also means I start watching with the belief of them being lesbians, but due to place/age unable/unwilling to be out. In my mind there is nothing beyond a same-sex attraction and relationship, I will pretend that m/f does not compute in my brain. Men and women cannot be anything other than good friends or family. Or at least when it comes to the characters of Sabrina Duncan and Kelly Garrett.

On to the story -

Charlie's Angels
Subtext review of
episode no.1x00 Pilot
***
This is a story about three young women who left an unfulfilling life in the Police Force to join Charles Townsends’ team of Private Investigators. They are lovingly (or condescendingly) referred to as his Angels.

Whereas Jill Munroe’s (Farah Fawcett) hair stands out, the characters of Sabrina Duncan (Kate Jackson) and Kelly Garrett (Jaclyn Smith) are equally or dare I say even more noticeable. I hadn't even watched through an episode before I started falling for the two, and it appears as if they are falling for each other as well.

[The Angels. Kelly, Sabrina and Jill]

The episode starts off with playful flirting between Sabrina and Kelly, simple looks, smiles and light-hearted banter. The tone between them immediately sets them apart from both the actual character of Jill, but also Jill’s behaviour. When Sabrina and Kelly gain pleasure out of flirting with each other, Jill on the other hand turns the same type of attention to the disembodied voice of the patriarchal Charlie.

To further set the characters apart, this time not only in the way they act, but the way the world perceives them, we have a scene in which Kelly in a black leather jacket rides up to a mansion on her motorcycle (!). Not knowing who the impressive figure with the black helmet and jacket is, the people coming out of the house politely asks her, “Can I help you, Mr?”. Two scenes into the episode and series and we’ve already established how S/K interact, but also how they are set apart from the other characters.

[Kelly. Motorcycle. Leather. 'nuff said.]

Furthermore, as Sabrina joins the con they’ve got going, the first question out of her mouth is, “How’s Kelly?”. Simple, but effective to show the importance of Kelly’s welfare on Sabrina. In relation to this scene, when the two meet again for the first time without having to play their parts in the con, they immediately grab hold of each other and briefly, but oh so tellingly, hold hands. It should also be pointed out that Sabrina does appear to naturally fall behind Kelly and rather protectively peek out from behind her shoulder.

[Physical contact, the foundation of any good relationship]

Before I leave the first episode behind it needs to be mentioned that during their role-playing, Sabrina stated that she thought Kelly was “very pretty”. It's such a random throw away comment I'll accept it as the truth and nothing but the truth, despite their act. And one final cap to close on.

[The ring! The dykey-bike ante has been upped.]

Who knew lesbianism thrived on television thirty years ago and under the rule of Aaron Spelling (again with the exclamation point!), but judging by this -- it most certainly did.

***

Coming Up:
Chains, Butches and delousing.

Subtext Review of "The Quill Is Mightier" [X:WP G/A]

2009-03-12T01:24:00.000-07:00

I'm back with another subtext review, though this time it's an Gabrielle/Ares review of "The Quill Is Mightier".

***
“Stories can be anything you want them to be”

A comedic episode turned into serious subtextual canon of the Gabrielle/Ares relationship.

The episode starts with one of Aphrodite’s temples having been vandalised by kids “worshipping” Xena. A fuming Aphrodite is visited by Ares who takes the opportunity to manipulate, but also to project some of his own problems onto her. He manages to convince his sister that Gabrielle is the true problem behind her new-found vandalism problems. During their exchange it is heavily implied that Ares has in fact read Gabrielle’s scrolls, “Have you read some of her so called stories?”. Talk about having an impressive audience. Clearly it’s not just Xena that fascinates him, Gabrielle has caught his attention enough for him to “research” her.

When Gabrielle is describing herself in her scroll she uses the term “lone warrior”. By doing so she links herself with the head of all warriors, the God of War. It’s a brief link, but it should be emphasised. Furthermore while she is fighting the Barbarians it is clear that she is enjoying herself, the smile on her face is a mile wide and as the fight is finished she’s experiencing the rush of battle lust. Perhaps that link to Ares is stronger than we think?

As she accidentally strips Ares of his powers her immediate response is to try to restore them. At first something very close to fear appears on her face only to quickly be replaced by a determined look and enough confidence and attitude to order Ares around to her liking. Still she never falters in her aim to restore him to his full powers.

Ares first response to Aphrodite in regards to Gabrielle’s new-found powers is highly interesting, “You’ve given her powers of destiny!?”. Is it his belief that given the power of destiny Gabrielle would bring them together and take away his power? From a psychological point of view this is glorious. Subconsciously he fears that it is his destiny to lose his powers to this mortal woman? Not only is it sweet subtext, but prophetic as well.

It’s a brief moment of nothing in particular, but as Gabrielle sends Scabardus to the caves Ares mentions with a voice dripping with sarcasm that “Those caves are gonna start gettin' pretty full”, he winks at her. Simple, but sweet.

Ares and the three go-go!Gabrielles is an entire chapter in itself. However it is better watched than describes, but before you pop the dvd into the player I’ll point out some things to keep an eye on. First we have the obvious pleasure on his face, then there’s the straightforward bum-looking where he compares the dancing ones with the original. Furthermore throughout the entire scene keep watching Ares eyes and hands. They way he’s holding (read squeezing) his sword…yeah, just have a look. Also there’s some beard/moustache stroking which could be submitted to a Freudian oral analysis. I shall refrain, but…think about it.

[Infamous bum-looking]

This would be the stretcher (even in my book), but as Gabrielle wakes up with the necklace on her chest her eyes immediately look in the direction of the sleeping Ares. Was that her first thought? Did her eyes betray a hidden wishful thinking?

Then there’s the infamous bonding-scene. On the surface this plays at their joint fascination of Xena. However if you approach it from a subtextual angle this all of a sudden becomes such honest and beautifully insecure attempts at closeness. As they’re hunting down the peddler and scroll Ares asks Gabrielle where she’s learnt to read trails like that. This is the God of War (even though he at the moment happen to be mortal) what possible interest could he have in from where Gabrielle has learnt tracking skills?! No, this is Ares showing an interest in her, the mortality has gotten to him and he shows a genuine interest in her. He does bring up Xena, but what he does is to brag about what he did for her. He’s sharing his abilities with Gabrielle, wanting her to look up and respect him despite his mortality. He’s using Xena to puff up his feathers. The easy bantering/small-talk continues between them, both of them smiling and sharing easy laughs, up until he voices what they both felt, “We were starting to-- warm up to each other there, weren't we?”. Something that scared them both enough to take a step back. If there had been no honesty in it there wouldn’t have been a need to take that step back.

[Bickering]

As Xena returns we have one of those honey-dripping emotional scenes between Xena and Gabrielle. In the middle of Xena giving Gabrielle the puppy-dog eyes Ares interjects into their seemingly private conversation, drawing their attention back to him and away from each other. Jealous perhaps?

During the finale we have Ares working as Gabrielle’s eyes as to what she should be writing. As she begins discussing the literary qualities of the language, one look from Ares has her submitting to the simpler language. It’s not intimidation, it’s merely him giving her a strangely familiar look of “not right now”. It’s one of those moments that send chills down your G/A shipping spine.

[Doing a good impression of a married couple]

Finally Ares’ powers are restored and while he tests them by torturing the soldiers a little Gabrielle is watching him, smiling and laughing at the look on his face. She finds happiness in his enjoyment. That’s not lust for a God, that’s something more. That’s actual concern and emotion. Also note Gabrielle’s raised eyebrow, faint smile and “hm” in reply to his “I’ve still got it!”.

[He's still got it]

As they then are to part we have one moment of looking deeply into each others’ eyes. Gabrielle obviously affected by the power he once again was oozing, but there was a hint of honesty in Ares eyes. However neither of them was ready for anything more and Ares showed incredible compassion and concern by taking the step back and turning it into a silly joke.

[No smoke without fire?]

It should also be pointed out that during the entire episode Gabrielle and Ares kept close to each other. From the second half of the episode, during which the “bonding” took place they never leave each other’s sides with the exception of a brief moment during Xena’s return. Plus never once during the episode does Ares question Gabrielle. Sure he’s snarky and sarcastic, but never questions her course of action. They’re behaving strangely similar to an old married couple.

[I've tasted blood and I want more]

***

I’ve always thought that G/A works best when you play with the entire angst, deity and forbidden love angle, but at the moment I’m questioning that. In an alternative universe this could actually be a surprisingly sweet love story between a former god and a mortal.

Have I ever mentioned I love overanalysing?

"Criminal Minds" Subtext Season 3, No.13-15

2009-03-12T01:17:00.001-07:00

No.13) Episode 3x18 The Crossing
Don’t know if it’s subtext or not, but where’s the necklace JJ’s been wearing? The one she kept playing with every time she got nervous?

This is the episode after JJ “came out” as a Will lover. Her secret has been revealed, should she not be happy? Shouldn’t having told Will she loved him be bringing a shine to her eyes, a lightness to her steps? Instead she spends the entire episode as close to Emily as she possibly can (“JJ pulled me in early”).

As Carrie (the victim) rushes into JJ’s office Emily gets this adorably confused and slightly protective look in her eyes and the way she acts. It continues for the rest of the episode.

[To Protect and to Serve]

Emily’s concern for JJ is damn sweet throughout the episode, and I especially get a kick out of the scene where they are discussing the bureaucracy of taking on the case and JJ calls Emily by her first name. No pretences, no Prentiss, just Emily.

And throughout the episode JJ looks sad and is behaving generally lost. Something the others pick up on;

Morgan; “JJ okay?”
Emily; “Yeah, she will be”.

Isn’t it glorious how Emily is automatically supposed to know how JJ is.

Then finally the pregnancy news. JJ’s pregnant, and the look on her face when she tells Will (over the phone) is as enthusiastic as she was over telling her friends about their relationship.

[JJ celebrating her pregnancy]

(and if you're interested there's some more Rossi/Hotchner subtext in there)

No.14) Episode 3x19 Tabula Rasa
Nothing special, but now two episodes in a row Emily and JJ get to work together. Which is noticeable cause they are usually never out in the field together.

No.15) Episode 3x20 Lo-Fi
My prophecy is coming true. A marriage?! If they kill Emily I think Rob Tapert should sue. And it should be pointed out that JJ is once again less than brilliantly enthusiastic about Will, and this time about the prospect of marrying him.

Local police dude flirting with Emily; “So profile me, what am I thinking?” he says with a slightly lecherous smile.
She laughs and replies; “It’s never going to happen.”

***
Thus concludes the subtext in season 3. The story of a straight girl with an intense girl crush and a deeply closeted gay girl who’s in denial. It’s such sweet melodrama, if you care to see it. JJ falls for Emily, she flirts and the feelings grow, up until the moment where they actually scare the hell out of her and she then goes down the expected path when Emily shows no signs of reciprocating the feelings. Emily on the other hand is obviously gay, but as the good diplomat’s daughter that she is, she knows how to keep her private life far removed from her professional. As a proper lesbian she also knows to stay away from the straight girls and does her best to be nothing more than a supportive friend to JJ. However every now and then flashes of something else (fear, envy, longing, regret, wishful thinking...) appear on her face indicating that she probably does have a thing for JJ, but she refuses to acknowledge it to anyone, herself included.

[Emily and her reaction to Will in one brief unguarded moment (look at her eyes)]

The subtext truly exploded in this season and I’m now afraid I will be witnessing a backlash with season 4. There’s a baby on the way and the writers have already done the broken family with Hotchner, so I’m thinking they’ll try to paint white picket fences all around JJ, Will and the baby. It does not automatically remove subtext, but I’m afraid that they will be changing the characters previous behaviour (ie JJ will all of a sudden be thrilled about marrying Will and having his baby) in order to fit better with the new direction they’re taking it in. But as long as they don’t give Emily a token boyfriend (lets keep some of that ambiguity please) I think I will continue to enjoy the drama.

***

(enhanced screencaps from Oracle of Quantico)

"Criminal Minds" Subtext Season 3, No.12, a-k

2009-03-12T01:16:00.000-07:00

This is where subtext fails. Not because of the re-introduction of Will, because damnit if not each and every one of JJ and Will’s interactions held JJ/Emily subtext. No, but because of the unequal nature of same-sex relationships in relation to straight ones. Subtext and homosexual undertones might be burning so bright it’s a little blinding, but unfortunately heterosexuality will always trump it (in today’s mainstream media). Heterosexuality does not need a leading up to, it does not need to show compassion, it’s supposed to steamroll over any possible ambiguity with explicit representations of “intimacy”, and this type of visual confirmation is supposed to be absolute truth. And there’s no way to fight back, because a same-sex couple isn’t allowed to engage in the same activities on prime time (unless it’s a supporting character, then only extremely rarely). The story of the episode (In Heat) is the reality of media made into fiction and personalised through one character. The gayness is there and is allowed to work as plot, but he can’t allow himself to kiss or engage in any romantic activities with men other than brief touching. It’s an acknowledgement and a refusal to act all wrapped into one. One hand caressing, the other slapping, very conflicting messages about alternative sexualities.

Heterosexuality is like imperialism, it comes bearing a flag, plants it with no regard to the natives or their history, and we are then supposed to accept it. What do we know about Will other than JJ doesn’t like to take a shower with him? Nothing, no hints, no indications, no nothing. I’m supposed to forget all the hints, all the subtext just because I’m given a boy/girl make-out session? It doesn’t work that way, but what it does is to bring some harsh truths into the light of day.

Romantic subtext and ambiguity would be a truly glorious thing if it weren’t for the basic inequalities between gays and straights. It’s like a race between Michael Phelps and a dwarf missing two limbs, it’s just not fair. I really wish the world was equal already so I wouldn’t have to be reminded of the inequalities and could just enjoy my subtext in peace.

Rant finished, I shall move on to the bountiful subtext moments of this episode.

***

No.12) Episode 3x17 In Heat
Will, a police officer from New Orleans who showed an interest in JJ when their paths crossed in season 2, appears once again. It is also quickly revealed that he and JJ have been in a “secret” relationship for quite some time. Throughout the episode JJ refuses to acknowledge their relationship to the team and looks all around uncomfortable. However one has to wonder if she is not struggling with more than her relationship with Will.

Here’s the list of moments;

12.a) The look on Emily’s face as Will shakes JJ’s hand. It looked like she stopped breathing for a sec. Your reasons for why are as good as mine.

[Emily spots Will]

12.b) Asked whether or not the team knows Will, JJ quickly replies, “Professionally”. And for some reason adds a nod towards Emily.

12.c) After having met up with Will and when the team are on their way inside, Emily is the first one in and up the stairs. Quickly removing herself from Will and JJ’s presence.

12.d) When Will briefly touches her at a crime scene JJ snaps, “Don’t!” And looks around her paranoid someone saw it.

12.e) In one scene Emily brings JJ a bottle of water. They complain about the heat and do the small talk thing. Emily makes a comment about Will being pleasant on the eyes. JJ looks completely stunned and incredulous.

[Lets do a little compare and contrast.]

[Above; JJ's reaction shot to Emily's comment about Will being good looking]

[This on the other hand is the way she looks at Emily]

[And just to drive the point home]

12.f) Not directly related to JJ or Emily, but well worth mentioning. Will’s friend who had just been killed, turned out to be homosexual but was so deeply closeted he had a fiancée. Will then asks Hotchner; “How did I not know Charlie was gay?” Who replies; “Because he didn’t want you to know”.

Appearance is not everything. You can live a het-life, but still be gay. The lengths to which some go in order to cover up their sexuality and true feelings are amazing.

12.g) JJ and Will argue about her not wanting the team/her friends know about Will. He says; “It doesn’t take a profiler to see who’s got one foot out the door in this relationship”. And when he continues pushing her, asking what she wants, she breaks up with him.

12.h) Right after having broken up with her boyfriend JJ finds Hotchner and delivers this insight into the gay unsubs mentality; “What if he let his guard down because he could finally be who he was. No judgements, no fear...What if the unsub is seeing freedom in his victims that he wishes he had for himself”.

12.i) After JJ’s said goodbye to Will and is ready to let him walk away Emily pops up at her side. What does she do if not tell JJ; “You should go for him”. A piece of horribly misguided advice that JJ takes. – Emily what have you done?!

12.j) JJ’s line; “When it becomes real people get hurt”. This from the woman who appeared to have no problems subtextually flirting with Emily, but as soon as Emily acknowledged her, she began to pull away.

12.k) At the end of the episode where we get a JJ/Will liplock, Emily, Morgan and Reid watch them. In a somewhat chipper tone Emily says; “I thought she was never going to admit it”. The cheerful tone somewhat contradictory with the look on her face and the fact that she can’t wait to get away from there. Reid and Morgan have no problems watching the kiss, Emily on the other hand walks away while they’re still talking to her.

[Excuse the fuzzy caps, but Emily's reaction to the kiss. Look at Spencer and Morgan's reactions as well]

***
As for whether or not this is the death of subtext on the show? Who knows, but what I do know is that it’s just been bumped from sweet fun care-free subtext into a tragic love story of missed opportunities. As the angst fan I am, I couldn’t be more pleased. I’ve enjoyed watching the subtext between JJ/Emily, but not until this moment have I actually shipped them. I most definitely do now.

***

(enhanced screencaps from Oracle of Quantico)

"Criminal Minds" Subtext Season 3, No.8-11

2009-03-12T01:15:00.001-07:00

The subtext has evolved. It was there and it helped build a foundation. Now it’s extended into that phase where things just catch my attention. Not because they are subtext in themselves, but because they provide opportunities to imagine what goes on behind the scenes. So from this point onwards I’ll be mentioning things worthy of attention as well as proper wholesome subtext.

***

No.8) Episode 3x12 3rd Life
Nothing really, but it’s interesting to note that as the team are rushing a building weapons drawn and vests on, JJ once again fall behind Emily. Coincidence most likely, but it makes great building material.

No.9) Episode 3x13 Limelight
Not subtext persay, but I got a total kick out of Emily storming into the local office where JJ and a female agent were talking.

No.10) Episode 3x14 Damaged
This is another weird one. It’s not the type of scenes you normally see, it’s like a soap, slippery to hold onto. I can’t quite get a grasp of it and what possible meaning there could be behind it. I just know that it’s excellent material to build that alternative story from. Penelope who’s dating a fellow analyst (Xander!) goes to see JJ to ask what she’s to do about it; “Were not supposed to date fellow Bureau employees”. JJ on the other hand does not appear to be particularly worried about it and tells Garcia to don’t sweat it. The discussion then turns into joint showers (of the romantic kind, not the after PE kind) and JJ states that they are highly overrated and much better in theory than in practice... Can you feel it? The potential is giving me goosebumps.

[Bangs?! C'mon! Even the stylists are in on it.]

["I have the gift of prophecy" - I am now expecting a marriage, the return of an abusive boyfriend and then ultimately Emily’s death.]

Then at the end of the episode there was this little outburst by Emily; “Just when I thought nothing scandalous was ever going to happen around here”. As if JJ's reluctance to joint showering wasn't enough of a fanfic prompt you have this sentence that practically begs to be made into a gritty little piece of femslashfic.

No.11) Episode 3x16 Elephant’s Memory
Texas brings out the swagger in Emily.

Plus that final shot gliding through the plane. Everyone relaxing, Emily leaning back reading her book. JJ across from her basically laying down in her seat. It’s not that much leg space in a plane that small. I'm just saying.

***

(enhanced screencaps from Oracle of Quantico)

"Criminal Minds" Subtext Season 3, No.6-7

2009-03-12T01:14:00.001-07:00

No.6) Episode 3x09 Penelope
In queer culture, or to be specific lesbian culture, the hand (next to the tongue) is perhaps the most prominent body part in relation to sexuality. It’s not just a part of flesh and bone, it’s a symbol. Therefore hand- holding/touching takes on a whole new level of importance in a budding relationship. I could write a small essay on the meaning and symbolism, but lets just say that if you don't feel it, then you probably should look for another type of subtext than the femslash version.

If you doubt it's relevance, I leave you with this;

Exhibit A) Xena/Gabrielle

Exhibit B) Willow/Tara

Last but not least.

Exhibit C) JJ/Emily

And this was no exception, it was a truly sweet moment. Emily squeezing JJ’s wrist and JJ opening up her hand into which Emily slips hers. Sugar sweet. Also take a close look at Emily’s nails, their short shortness is yet another in a vast sea of hints/indicators to Emily’s possible sexual orientation, but let’s leave that for another day and post.

It's really interesting to note that the both times Emily looks sad and worried in this episode neither is directed directly at Garcia that's been shot, but towards JJ. First at the hospital when she grabs a visibly upset JJ's hand in order to comfort her, and then later on when JJ was in harms way. The reaction shot of the later was a delicious picture of uncertainty and fear.

[Hurt/Comfort Anyone?]

No.7) Episode 3x11 Birthright
Remember what I said about building the story.

This is the second episode after the events of “Penelope” where we had the handholding, but also an episode in which JJ had to kill a man. For some reason JJ is off in this episode, the case gets to her. Perhaps all those emotions inside of her, both professional and personal are what’s affecting her? Does her life feel out of control? Is she scared of what she feels?

At the end of the episode we also have a moment that is so out of character for Emily that I can’t help smiling goofily and loving it. The gang are going out for drinks (“or five”), but JJ declines their offer. In response Emily utters an “Aww” followed by an arm stroke. Emily has been very limited when it comes to body contact so far and she just isn’t the type of character to use “Aww”. It sounds as foreign as snowballs in hell.

As Emily appears to become more aware and bold in her interactions with JJ, the blonde appears to pull away. Coincidence? Has things suddenly become a little too real for JJ? What has her rattled?

Is this the start of subtextual angst?

***

(enhanced screencaps from Oracle of Quantico & Mike's Images)

"Criminal Minds" Subtext Season 3, No.4-5

2009-03-12T01:09:00.000-07:00

***
No.4) Episode 3x04 Children of the Dark
Whoa. Okay the subtext isn’t just sizzling, it’s burning down the house.

The entire episode is filled with looks between the two, the type of looks that are so easy to turn into something more than just exchange of eye-contact. (Side note; no straight woman should do as much raking with her eyes as JJ does of Emily.)

[Here's looking at you kid.]

Then there’s a nice little scene where Emily once again is edging around the body contact as she tries to reassure JJ.

[Can I touch you there?]

But the real money shot is in this exchange;

JJ (talking about Emily taking care of an orphaned kid) -“I think it’s a good idea though.”
Emily - “What’s that?”
JJ - “You.” Pregnant pause. “Kids.” Another even more pregnant pause. “I can see it.”
Emily -“Yeah?”
JJ nods and has once again her finger in her mouth (something about Emily sure seems to bring out the oral in JJ). Followed by a shot of Emily holding eye contact a little longer than propriety would allow, before looking away with a small smile and a contemplative look on her face.

During the interaction Emily is somewhat distant and emotionally detached (oh how I love my Ubers), but JJ has no shame in her body, she’s freakin’ ogling. Honestly the best way that I can describe the way she’s looking at Emily is sultry, and this during a discussion about children. This is really difficult to interpret as anything but lesbian overtones, I mean this is not the type of interaction you have with someone you do not have a sexual interest in. When I discuss children with my friends we make cracks about “laughing all the way to the sperm-bank”, I do not put my fingers in my mouth and offer them a coy smile. I don’t know about you, but that’s just not how we roll.

On the meaning of lip touching see the following blog;
http://www.blog.sethroberts.net/2008/06/19/why-do-we-touch-our-mouths-so-much-continued/

In short; Lip-touching = release of a small amount of pleasure = miniature orgasm in disguise. I can buy that interpretation, though from now on I’ll probably be touching my lips at the most inappropriate of times.

An alternative interpretation of lip touching, is that it is a form of reassurance. We reassure ourselves that we are still there physical and actually existing. It’s a way of warding off nervousness and gaining some confidence that stems from that first lip/nipple comfort we got from our mothers as newborns (though personally I consider lip/nipple comfort a more general concept enjoyed by a large number of homosexual women and straight men, not just infants).

Now pick whichever theory you fancy or make up your own interpretation.

If you want to see the “You...Kids" - scene and lip touching for yourself, click the link;
http://www.youtube.com/watch?v=zbLfrvA8fEg

No.5) Episode 3x05 Seven Seconds
Touch-down, we have touching. Short brief, but first time Emily initiates touching. She puts her hand on JJ’s back as she informs them of a new turn in the case.

Then there was JJ’s line, in response to whether or not she had children; “Not yet”. Which in itself means nothing, but in relation to last weeks subtextual solicitation shoots my eyebrow into my hairline. Clearly JJ is a woman who knows what she wants.

*Bonus Subtext*
(Episode 3x06 About Face)
Subtext can be found in the most unlikely of places. At the end of the episode we have a scene were Hotchner and Rossi (the new (old) guy on the team) are looking at each other while music plays over the clip. The lyrics playing at the time is “I’m going home to the place where I belong, where your love has always been enough for me”. They look at each other intently, then Hotchner pats Rossi on the arm and they get into the car, leaving the rest of the team behind. In the light of Hotchner's recently failed marriage (which Rossi confronts him about) this could definitely be built into a little alternative story if one wanted to.

[I can't help the way I hold you]

***

(enhanced screencaps from Oracle of Quantico)

"Criminal Minds" Subtext Season 3, No.1-3

2009-03-12T01:06:00.000-07:00

Another short paragraph on actual subtext before I begin. When reading it you are dealing with a strange mixture of taking things out of context while keeping continuity. One scene can easily be subtextually interpreted to mean whatever you want it to mean. However the truly glorious and effort requiring part of subtext is to tie all of those single moments into a larger continual picture where one moment builds on the next and portrays an alternative story. And it's always about building that story.

Seeing how the Subtext seems to have exploded in season 3, I've decided I'd better post it in sections cause otherwise it would be way too long a post. My actual thoughts on season 3 as a season will be posted later.

***

Now onto the subtext between the personable Jennifer "JJ" Jareau working as a media liason and the stoic emotionally remote Field Agent Emily Prentiss. Yes, this truly is an uber.

No.1) Episode 3x01 Doubt
Walking through the Campus they’re working on, JJ and Emily talk about how young everyone is. JJ then says; “All I remember is trying to figure out who I was”. Followed by a nervous little laugh while looking up at Emily. Emily “the strange” then replies with a defeated look on her face; “You move around enough you get used to being whoever people want you to be”. At which JJ looks at her and touches her own lip for some reason (see No.4 for discussion on meaning).

You get a “figuring out”, Freudian orality and a closeted/private Emily all in one little exchange.

[Here we have screencap subtext during the talk about College]

Not to mention the events following. Where a young brunette throws her arms around JJ thanking her for catching the bad guy. All meanwhile Emily looks very uncomfortable and intently keeps her eyes away from the hugging. Feel free to add your own meaning behind her behaviour.

[Even Spencer in the background knows something's going on]

No.2) Episode 3x02 In Birth and Death
Straightforward touching. Emily’s been conked over the head, JJ does the hurt/comfort thing and asks if she’s okay while doing an arm stroke (you know where you start at the other person’s shoulder and stroke down in a reassuring manner). Not much to say, just a simple action that can be overemphasised and pumped full of hidden meaning.

No.3) Episode 3x03 Scared to Death
Standing outside a suspect’s house Emily says; “Why do they always seem so normal?” At which JJ for some unknown reason smirks.

[An oblivious Emily and JJ whose lips are twitching for some reason]

Why would you smirk at a comment like that? Unfortunately there was no time for a witty comeback as the door opened leaving no more room for private conversation.

***

(enhanced screencaps from Oracle of Quantico)

Subtext Review of "A Comedy of Eros" [X:WP]

2009-03-12T01:04:00.000-07:00

Because I had some spare time last week, I now present you with yet another subtext review, this time on Xena: Warrior Princess.

***
[Episode 2x22] A Comedy of Eros

“The things we do for love.”

No.1) The episode kicks off with some delicious body language subtext. The playful banter and the intrusion of each other’s personal space as Xena and Gabrielle were discussing the Hestian virgins is pure and unadulterated subtext. The looks, closeness and the physical link with Gabrielle's hand on the small of Xena's back. The episode starts off and it’s made clear on a subtle level that these two are very much an item.

[A little light touching in the morning]

During the opening scene Gabrielle also claims, “when it’s right, love can be the most potent force in the world”. Something Xena later on in the episode will show is true, but also a message that encompassed the entire series. The number of times their love has set things right…well they’re as plentiful as they are beautiful.

No.2) The ultimate shock on Gabrielle’s face as Xena kisses Draco, a shock that quickly turns into jealous and insecurity. “It’s part of her plan…I hope”. Followed by more of the same after Draco leaves and Gabrielle grabs Xena and seriously tells her, “We have to talk”.

[Green really is her colour]

No.3) Later on as Xena professes that she “has a weakness for bad boys”, the look on Gabrielle’s face is pure brilliance. Surprise and shock in a mixture that can easily be interpreted as a look of “well that’s news to me, cause I’m neither”. Xena then continues on talking about how to change Draco, make him good, which in relation to her previous statement can mean that she sees him turning good as a possible source of getting rid of the unwanted infatuation. When he’s no longer dark, the temptation of him will go away.

[Bad boys, huh?]

No.4) The look on Xena’s face as she sees Gabrielle tied (next to Joxer on that pole) up should be pointed out as well. This is a Xena under a very crippling love spell, yet she gets that look on her face as Gabrielle is in danger.

No.5) When Gabrielle is hit by Bliss’ arrow the first name on her tongue is Xena. She calls for Xena and turns in the direction she thinks she will be. The events before getting hit would not explain this, but the best explanation for this behaviour is that when super-charged with love she seeks out Xena. Because that’s where her true love lies. Then Joxer steps up and does subtext a world of good. By having Gabrielle fall for him instead of the person her heart really is with, subtext is established as something greater than a possible source of comedy. It shows that Xena and Gabrielle’s love is not the comedic type where on falls in love with the person they would most unlikely develop that sort of feelings for, like your enemy or your cow. No, their love gets to stay intact by not being tampered with by baby Bliss. The fact that despite the mind fucking love spells they continue to show both love and jealousy in regards to each other is only further testament to the intensity and strength of their bond and love.

No.6) Then there is Xena’s reaction when Gabrielle claims to be in love with Joxer, “You can’t be in love with Joxer”. Then when Gabrielle continues on her love rant the look on Xena’s face can best be described as a mixture between jealousy and disgust. Then as they get into a little spat of who’s the better of “their men” we have a really interesting exchange filled with meaning. Gabrielle says, “I would rather be in love with Joxer than a bloodthirsty warlord like Draco” (note the like, which could be taken to mean someone similar to Draco, someone sharing his type of past). Xena becomes almost desperate and fiercely defends the warlord's right to change, and be a new person. Obviously on the surface they are discussion Draco, but what they really discuss (if you read the subtext) is Xena. Gabrielle's comment dismisses their love and Xena as a potential love mate, hence Xena's intense and almost desperate need to defend, not only herself but their love.

No.8) Draco is the next person hit by an arrow and to make the love triangle complete he falls for Gabrielle. As he speaks his love, Xena is there to try to dissuade him by telling him that Gabrielle “is a little” followed by a vague hand gesture. She’s a little what? It’s just a ploy, but also makes one wonder what “a little” she is and how Xena knows.

No.9) As Gabrielle once again is captured by Draco an exasperated Xena exclaims, “This love stuff is a real pain”. Makes me think all those conflicting emotions inside of her are indeed a bitch, and not just in relation to Draco.

No.10) When Draco has them cornered in the temple he in desperation says he’ll burn it down if Xena doesn’t give him the virgins and Gabrielle. We then have this interaction,

Xena: You’d kill the woman you love?
Draco: The question is, would you?

Whoa. I’m not sure if that can be interpreted as anything but a comparison of Draco and Xena’s feelings for Gabrielle. And it’s only one of them that’s affected by a spell, the other has it all in herself. Also interesting that he should make such an observation so early on in the series.

No.11) Then there’s Draco asking Xena why she’s doing what she does, as in messing up his plans and her reply is, “For love”. Love is the reason she goes through all that trouble in order to set the world right again, to make their feelings real again. Furthermore as she’s trying to explain to Draco that he could never change the person he loves she parts with this piece of experienced wisdom, “Gabrielle could never love someone who lives off of hurting others”. This is perhaps the strongest reason behind what keeps Xena walking the straight and narrow path of redemption and the “Greater Good”, love and especially that of Gabrielle.

No.12) In the final scene we are back to the flirtatious bantering between our two leads. A flirtatious banter that ends only as Gabrielle goes off into the darkness of the night and Xena purposefully follow only seconds behind her. What they’re up to alone in the dark as they leave the poor crying Joxer alone by the campfire…your guess is as good as mine. But I can’t help seeing the parallels that can be drawn between this scene and the one that starts off the episode, where Cupid tries to comfort Bliss and get him to sleep so he can enjoy some grown up fun. Only Xena doesn’t offer Joxer a pony.

[Unrelated, but I do so love cherries]

Thus concludes A Comedy of Eros, an episode filled with subtleness. An episode that also firmly establishes that unlike so many others' their love is true and real, and not something to be used for crude and comedic innuendoes.

I adore.