Archives for January 2012
Liam Neeson’s Wolfpunch: The Motion Picture came out last weekend. The ad campaign is really pushing the fact that this is a film about a bunch of dudes stranded in the wintry woods and pursued by wolves, largely because I imagine a campaign to sell it as a movie about the failures of airplane engineering was a non-starter. However, in a group interview with Movieline, Dermot Mulroney reminds us all not to forget that the heart of this film is the man on man on man on man on man… Read more »
Red Carpet Rundown: 2012 SAG Awards
The most awkward awards name of all (close second to the Golden Globes) happened last night! This is the one where stylists don’t have to worry about dressing anyone except the actors, which sounds like a gimme, but when an actor is wading through a sea of people trying to Make These Borrowed Clothes Look Awesome, the stakes are high. It’s not the same danger as the Met Costume Institute Gala, when they’re competing against models whose ONLY job is Make These Borrowed Clothes Look Awesome, but there is an… Read more »
So, a few days back I got a phone call informing me I had won the 2012 Crawford Award from the International Association for the Fantastic in the Arts. It might say something about how bowled over I was that I forgot to blog about it here for two days. The ballot this year was incredibly strong, and the list of prior winners is intimidating, and I am truly honored to have been chosen. Thanks so much to everyone who has offered well-wishes; I’ve been smiling for two days straight.… Read more »
So, largely thanks to Jennifer Lawrence practicing her hostage face this morning, the Oscar nominations are out! What a shithole. Shame, which I thought was an obvious awards contender for both quality and General Awardnesness, was utterly ignored. Drive has it even worse, with one piddly nomination for Sound Editing. (Shame at least got a nice clean cut direct; the Academy walked past Drive, turned around, came back, and flicked it right in the nose. That’s why Ryan Gosling’s face looks like that. That shit stings.) In other news, we… Read more »
For a movie that doesn’t try to be anything more than solid, slightly pulpy fun, and that succeeds in the execution, there is a lot being said about Haywire. (Don’t all get surprised at once!) That seems to be largely because its star is MMA all-star Gina Carano, who does her own stunts, and who is under the sort of scrutiny most male action stars never see. (Among some bizarre pearl-clutching about her fight scenes, her acting ability has been repeatedly questioned, which is strange, because I do not remember… Read more »
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,

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

Book Review: How to Read a Dress,

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]


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