Archives for February 2014
This week's Link Roundup!
Okay, a quick morning links roundup, because having spent most of the week away from the computer does a number on your ability to keep up with stuff! (I saw Reign, though, so we’re going to be okay.) Putting together an Oscar prediction list? I have a mildly grumpy one about who will probably win (and who secretly should) at Philadelphia Weekly. If Lupita Nyong’o loses on Sunday I am gonna have words with literally everybody. And at the AV Club, Vikings is back! They’re still working out some stuff… Read more »
A little Victorian Gothic this weekend!
This weekend, I’ll be taking part in another Victorian Gothic event! Last year, we discussed vampires, their absolutely-not-a-metaphor consumption of human bodies, their absolutely-a-metaphor thirsts for young ladies, and their lasting appeal as monsters, during which I tried very hard to read an excerpt from Carmilla without making constant Jim Halpert faces at the subtext. Success: marginal; there’s so much subtext in some places that you can honestly barely wade through it to the actual text. This year, I’ll be reading about Hayward’s lady detective, who I initially began reading… Read more »
"It's all one big crapshoot anyhoo."
Let’s talk about Ned Ryerson. Ned Ryerson has less than five minutes of screen time in Groundhog Day, one of the greatest films Harold Ramis ever made. He’s also one of the most well-deployed comic script beats (and performances) in all of cinema. (If you read the title of this post in his voice or the first instance of his name as “Ned! RYERSON!” then you know I’m right.) Groundhog Day, in which Phil the weatherman learns a lesson through the purgatory of reliving the same day over and over,… Read more »
Pompeii
(The glamour!) I went into Pompeii hoping for the best – when I went to I, Frankenstein hoping for the best, it was amazing, and Kiefer Sutherland as the most Canadian Roman general of all time had some camp promise. Sadly, the movie’s continual moments of camp promise ended up subsumed under the gladiator stuff (a soup of every gladiator thing you’ve ever seen) and the love story, in which Cassia, the daughter of a powerful rich family who end up unable to leverage either of them at any point… Read more »
A Glimpse of 'The Girls at the Kingfisher Club'
By 1927 there were twelve girls who danced all night and never gave names, but by then the men had given up asking and called them all Princess. “Hey, Princess, dust off your shoes? It’s Charleston!” The men would have called them anything they wanted to be called, Dollface or Queenie or Beloved, just to get one girl on the dance floor for a song. But in that flurry of short dresses and white skin and ribbon-tied shoes, Princess was the name that suited; it seemed magical enough, like maybe… Read more »
Red Carpet Rundown: BAFTAs 2014
Red-carpet season continues across the pond, as London hosted the BAFTAs on Sunday! They’re always interesting, with a mixture of UK actors and Hollywood celebs and such a wide range of outfits that I feel as if the Stylists’ Guild classifies BAFTA as a free-for-all and just does whatever. We’ll be making quick work of it – it’s a rising red-carpet presence, so the photos tend not to be of a Golden Globes density yet. It’s still red-carpet, of course, but I feel like this is something of a testing… 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