Archives for April 2010
(You know, out of context, that title sounds like something Gilgamesh would say, and not a way to instantly get me to quote that film in its entirety.) A week ago, I passed a little hobby shop that had Galaxy Quest miniatures in the window. I did a double-take, walked back, pressed my face to the grate until my face looked like a waffle iron, and generally pined for them. It took me a week to get back there at a time when they were actually open. But I did,… Read more »
[This is the second of three movie reviews that were won in the auction, which assists fans of color who want to attend SFF conventions, principally WisCon.] So, the first movie I was given for this auction was The Vampire Effect, which was horrible in sort of a whimsical, amusing way. (Plus, we learned an important lesson about the importance of banana extract in the vampire canon, so you can’t say the movie isn’t handy.) The second movie, I had every reason to expect from LJ comments on the auction,… Read more »
Generally, my movie-watching habits throughout life have been about 70% things I want to see, 30% things I saw under some social obligation. This has no bearing on their quality (obviously – I mean, look at me); it’s just a baseline measurement. And weirdly, it doesn’t change much even after I look at when I started to review movies for real. Sure, I would take back the two hours of my life I spent watching Repo Men (and Legion), but in most movies there is a nice moment, or a… Read more »
"Riverworld" is All Wet
Monday night, SyFy premiered Riverworld, a four-hour miniseries based on the series of novels by Philip José Farmer. The novels chronicled the adventures of those resurrected after death, living on a cultivated river-planet overseen by extraterrestrial powers. SyFy is notorious for hilariously abysmal weekly movies. Their miniseries have fared a little better from additional time and care–not that this tempers the glee with which they can throw a decent cast into a cauldron of plot soup for four hours. (Lookin’ at you, Tin Man, and Alice, and Children of Dune,… Read more »
So, as promised, I reviewed Riverworld for Tor.com. It was…plentiful? I don’t even know what to say about it. They somehow managed to undercut most of their good points by accident (though every once in a while my jaw would hit the floor when something egregious stereotyped through the frame). They did try very hard with the casting, which is generally passable and occasionally enjoyable. Sam Clemens and Allegra the courtesan did very well for themselves, and of course, Peter Wingfield never met an outdoor set he couldn’t halfheartedly stage-fight… Read more »
I went home last weekend to visit the family, and as usual, I tried to clean up a little of the driftwood of my young life that remains in the house, so that eventually it will stop looking like a teenager with no social skills lives in their house. (Now she lives in New York, where no one even notices social skills because they’re too busy avoiding being hit by cars. Upgrade!) There are some really telling things in that house, some of which indicate I had taste (a silk… Read more »

Recent Work

TV Recaps: Elementary, Season 5

TV Recaps: Victoria, Season 1

TV Recaps: Reign, Season 4

TV Recap: Bates Motel, "Hidden"

Fiction: "Everyone from Themis Sends Letters Home", Clarkesworld

Film: How many movies about grief this year? All of them, Legacy.com

Book Review: HIGH NOON: The Hollywood Blacklist and the Making of an American Classic, NPR.org

Book Review: How to Read a Dress, NPR.org

Nonfiction: A Doom of One's Own, Clarkesworld

Genevieve on Tumblr

  • Whether you will, or no

    I wrote a piece for VICE about consent as fantasy element in the 18th-century “Beauty and the Beast,” and a little about what happens to the shape of the tale when a retelling (say, I dunno, Disney) alters those elements: “How Disney’s ‘Beauty and the Beast’ Became the Darkest Tale of All.“

    An excerpt:

    The most powerful force in Beauty and the Beast isn’t magic, or even love, but consent. Most retellings of Villeneuve’s version are careful to keep it. The Beast is clear that Beauty must know what she’s getting into. (In Sir Arthur Quiller-Couch’s 1910 version, it’s still more explicit: The Beast warns Beauty’s father to “be honest with your daughter. Describe me to her just as I am. Let her be free to choose whether she will come or no…”) Later, the Beast asks Beauty herself if she comes willingly. And that first dinner is marked by the Beast’s deference to her wishes. Beauty’s earliest surprise is how much power she wields. Even in his nightly request that Beauty marry him, he defers. Andrew Lang emphasized the power dynamics in 1889’s Blue Fairy Book:

    “Oh! What shall I say?” cried Beauty, for she was afraid to make the Beast angry by refusing.
    “Say 'yes’ or 'no’ without fear,” he replied.
    “Oh! No, Beast,” said Beauty hastily
    “Since you will not, good-night, Beauty,” he said.
    And she answered, “Good-night, Beast,” very glad to find that her refusal had not provoked him.

    Lang was one of many who used marriage proposals for the nightly request (Jeanne-Marie Leprince de Beaumont’s 1756 retelling was the first), but Villeneuve was under no illusions about the story’s undertones. In her original, Beast asks Beauty to sleep with him. Beauty’s power is the ability to withhold sexual consent.

    [Full article]

    03/20/17

2016 Appearances

Emerald City Comicon
April 7-10, 2016
Seattle, WA

Kent State Wonder Woman Symposium
September 23-24, 2016
Cleveland, OH

New York Comic Con
October 5-9, 2016
New York City

World Fantasy Convention
October 28-30
Columbus, OH