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Posted: January 26, 2011 Filed under: Culture, Essays, Feminism, Inspiring, Quotes, Social Interactions, Social Media, The Book of the Face | Tags: Alien, Heroines, Jezebel, Joan of Arc, Mad Men, Penelope Trunk, Pop Culture, Sady Doyle, Self-Promotion 3 Comments »
PROMOTE! PROMOTE! PROMOTE!
I like this post about how to promote yourself without being a jerk. I’ve been linking CaptainAwkward.com hardcore on the Book of the Face and the Twitter. This is a good reminder that you have to self-promote your work (no one else will), so don’t feel ashamed, but also don’t be such a Dalek about it.
Penelope Trunk is brilliant about “thinking outside the box”, as in, it is a phrase that generally means “I don’t like any of your ideas” and the people who are great at innovating are the ones who spend a lot of time thinking about the box itself.
Sady Doyle has a baseline of being a pretty great writer, but sometimes she even transcends herself. I recently read a critique of feminism right now “a bunch of bloggers writing about the pop culture that’s oppressing them,” can’t remember where, except…it was posted on a blog. Sady writes about how stories shape us and warp us and sometimes save our lives. Here are three great recent things:
1. Running Towards Gunshots: A Few Words About Joan of Arc: ”And I don’t know if I believe in Jesus, but I believe in Joan of Arc… I ended up finding the trial transcripts online. Because I’d never read them before, and I was over the whole religion thing, but I ended up finding out that she was a real person. This real, live, bitchy, funny, charming, smart, obstinate/contumacious/disobedient, gender-inappropriate, charismatic, determined person, who somehow managed to happen, a really long time ago. I don’t know what I believe about the God thing. But I believe that we’re human beings, and that the range of human possibility includes Joan of Arc.”
2. Ellen Ripley Saved My Life:
At a certain point, you have to ask yourself why certain stories are so important to you. Why they become, not just entertainment, but myth: Something you use to explain yourself to yourself, or to explain the world. A thousand times, on Dr. Who, the lady Companion insists that the Doctor will save them, and every time, the people are all “BUT PERHAPS THIS TIME HE WON’T AND WE ARE SCREWED THOUGH,” and every time, the music swells and the Doctor comes and he saves as many people as he can. And you love it, every time it happens. Because that’s the story you need: There is someone out there, someone good and wise and kind, and he will always come to save you. I mean, I get it. Some people go to church for less.
But for me, it’s always been about the girls. Specifically, the Strong Woman Action Heroines: Scully and Buffy, Starbuck in the “Battlestar Galactica” reboot, Ripley and Vasquez and, hell, even Tasha Yar. I love this; I need this; I eat it up. And yet, my relationship with the Strong Woman Action Heroine is… complicated? Let’s say complicated. And let me take a minute, or several, to explain how.
3. No One’s Ever On Your Side: Betty Draper Francis Still Needs Your Love.
“We wanted Betty to read The Feminine Mystique and get her mind blown and rise above; or, we wanted her to stay a victim, so we could relate to her better, or at least keep feeling sorry for her. But sometimes, people just get damaged until they start damaging. Sometimes, people are lost. We hate Betty now because she’s not going to stay a victim, but the truth is, she’s also not going to be saved.
It was the scenes with the child psychiatrist that did it for me. Some will argue that January Jones is a terrible actress, and to them I submit: The scenes in the child psychiatrist’s office. She became an entirely different person for those few minutes of film; you could see her getting softer, and sweeter, and more human, every second. All because someone — a woman, older than her, an authority figure — talked to her gently, and quietly, and responded to her worst, yikesiest statements only with, “that must be a terrible feeling.” You know: It really must be. All of Betty’s feelings must be so, so terrible. But it was clear, even then, that this woman was scared of her, and scared for her daughter. You could see the potential for Betty to heal, in those few scenes. But that wasn’t the message of the scenes themselves. The message was that her chance was gone; she wasn’t a child any more, and she had to be judged by adult standards. She still needs love, so badly, but she just doesn’t deserve it any more, and giving it to her is just too risky. Help came too late. And how many stories is that, really?”
And finally my good friend Manboobz has been making milk come out of my nose with his descriptions (with examples!) of what happens when men who really hate women try to date them.
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