I followed the link to the source and came up with |Blake| the Villain (@Enemies_Allies) who originated the image. He also said “This was a very successful tweet. They literally just expose themselves.”
First of all, I haven’t seen the 2019 version of the movie Charlie’s Angels in theaters now, so this isn’t a review. I might have seen the 2000 movie, or some part of it, starring Cameron Diaz, Drew Barrymore, and Lucy Liu, but I don’t have a clear memory. I definitely saw multiple episodes of the television series in the 1970s and 80s, originally starring Kate Jackson, Farrah Fawcett (then billed as Farrah Fawcett-Majors), and Jaclyn Smith. I don’t remember the show being terrifically good, but it’s been a long time since I’ve seen an episode.
The current incarnation stars “angels” Kristen Stewart, Naomi Scott, and Ella Balinksa along side a plethora of “Bosleys” including Patrick Stewart.
The main reason I’m writing this is that I came across a scathing review called Why ‘feminist’ films flop on what appears to be a pretty conservative news outlet. I mean the author Maren Thom really pulled out all the stops. That made me curious about the movie (I wasn’t before and in fact, I didn’t even know it was in the theaters until I looked it up), so I started doing some reading.
Disclaimer: This is NOT a book review. This is a commentary on books, current events, and how all that gets filtered through my brain.
Over a year and a half ago, I reviewed Margaret Atwood’s 1985 novel The Handmaid’s Tale. It has since been adapted to a wildly popular television series on Hulu. I signed up for the one-month free Hulu trial and have watched some old movies and TV shows, but I tend to avoid “Handmaid.” I’ve quit watching all television series because I just don’t have the time to be chained to a streaming service. Plus, I suspect in the era of Trump, the message has been adapted to “white, religious men are all bad.”
No thanks. I have a hard enough time keeping my head above water as a white, religious male, and my anxiety attacks under control.
But I just found out that Atwood has gotten around to writing a sequel called The Testaments, set fifteen years after the original novel. I’m surprised she didn’t do this earlier.
I didn’t want to do this. I still don’t have to, but then again, there’s more hype about this movie than even last year’s Black Panther. When I was anticipating watching and reviewing that film, I was “irrationally” afraid that if I didn’t like something about it, I’d be forever labeled a “racist.” Fortunately I thought it was one of the better Marvel films, and that although it told a story of significant meaning to African-Americans, it also transcended race as the epic tale of a Prince confronting the realities of becoming a King.
However, Captain Marvel (2019) which will have its general release to theaters this coming Friday (March 8th), seems to be getting a lot more press than Black Panther, at least to the best of my recollection.
First of all, according to The Mary Sue (which leans pretty far to the left), the movie is getting tons of bad reviews pre-release, but it’s only being reviewed by misogynistic white males who hate the idea not only of powerful women, but of Captain Marvel (played by Brie Larson) being the most powerful hero in the Marvel Universe, even more so than Thor or the Hulk (okay, I’m exaggerating slightly).
Apparently, the whole “Ghostbusters” thing, the next movie in the franchise scheduled to hit the theaters in 2020 isn’t over yet. In fact, the controversy seems to be just warming up.
As you may recall, a little over a month ago, I wrote about the upcoming sequel to be directed by Jason Reitman, son of Ivan Reitman, director of the original 1984 film starring Bill Murray, Dan Aykroyd, and Sigourney Weaver.
But the announcement that the 2020 film would be a direct sequel to the original, essentially bypassing the very badly received 2016 remake, made a few people angry, as if the younger Reitman’s vision was somehow a slight to that movie’s all-female cast in particular and feminism in general. In fact, actress Leslie Jones, who played Patty Tolan in the 2016 film, got on twitter to express her extreme displeasure (to put it mildly).
Based on my blog post called More on Social Media and University Radio Show “Echo Chambers” and my conversation in the comments section of that post, I felt it necessary to write this one. Let me explain.
I had a twitter “conversation” with someone from the radio show Scene on Radio (possibly producer and co-host John Biewen, but since the twitter “handle” was @SceneOnRadio, it’s impossible to know for sure).
Marleen, one of the readers of this blog, wanted me to listen to Episode 53: Himpathy (MEN, Part 7), originally broadcast in October of this year, because in her words:
I’ve gone and listened to four episodes. I’d recommend the 53rd one. I would hope that if something like that happened to your granddaughter or daughter your response would be that it ma mattered rather than that the thing people should be doing is telling “good” stories (defined as not bothersome).
Since I’ve expressed somewhat of an oppositional viewpoint relative to how the show’s content is presented, and specifically their misuse of Biblical interpretation, Marleen suggested (at least as I understand it) that listening to this episode might help me realize that I don’t necessarily have to “lock horns” with the show or its co-hosts (the other co-host being Celeste Headlee).
This is a (sort of) continuation of yesterday’s blog post Which “Echo Chamber” Should I Choose?, since I’ve had a rather “interesting” encounter on twitter this afternoon.
Actually, it began this morning when I read a Campus Reform article called Duke Univ produces ‘himpathy,’ ‘himpunity’ podcast. Having no idea what “himpathy” and “himpunity” were, I clicked the link I found at twitter and began to read.
Marissa Gentry’s article began with:
Duke University’s Peabody-nominated “Scene on Radio” podcast, titled “MEN,” is currently in the middle of its third season, and it revolves around the issues of misogyny and patriarchy.
Okay. Fine and dandy as far as it goes.
Scene on Radio is produced by John Biewen and co-hosted with Celeste Headlee. They each come with an impressive set of credentials, but given the content of Ms. Gentry’s article, it wasn’t exactly a secret what perspective they probably held regarding the topic of their podcast.
The Campus Reform article quotes the show’s content: