Tag: Popular Culture
Scholarship and Affect: Merging Critical and Fan Identities
[7-10 minute read] Take an adventure with me through my affective and critical experiences with a few texts I encountered during my first year and a half of my Ph.D. program: ***** I am sitting in the theatre in the last showing of the night for Star Wars: Rogue One. I have just come from
“What more does the Traveler want of Me?”: Destiny 2, Ghaul, and the Sci-Fi Villain
[7-10 minute read] As its title screen fades to black, Destiny 2 (2017) sets itself up to follow the familiar science fiction trope of moral disambiguation. After destroying the last vestiges of human society on the planet, the new villain of the series – the not so subtly named Ghaul – has just thrown your
Seduction and Devastation
[10 minute read] In my final foray into Hannibal, I will examine the final season and its tragedy and seduction. After the violence of “Mizumono,” the season two finale, Hannibal escapes to Italy, his pursuers scattered and recovering from their injuries. Driven by vivid hallucinations and a grisly murder, Will sails the Atlantic to seek
“Remarkable Boy…I Think I’ll Eat Your Heart.”
[7-10 minute read] The exploration of queer representation in Hannibal allows for a greater understanding of the conventions of gender and sexuality within the thriller genre. Highly-fictionalized thrillers such as Hannibal thrive on extreme relationships, but also rely heavily on non-traditional erotic relationships to further depict the extremes of personalities in its central characters. The
The Erotics of Evil
Among the harmful tropes of Hollywood, the figure of the Sissy Villain is one tainting LGBT representation in film and television. Despite the improvements of LGBT rights outside of film, the image of men in women’s clothing is one that pervades the genre of horror in particular. Such figures at Buffalo Bill, Cillian Murphy’s John/Emma
The Queer Response to Trauma in Silence of the Lambs and Hannibal
The representation of queer figures in cinema is politically fraught, with the anxieties of difference manifesting in portrayals of queer figures. These anxieties are particularly keen in the horror genre where the other is demonized. This other represents the danger of the unknown: race, religion, sexual orientation, and gender presentation. Within horror, these characteristics of
Monster and Men Part II: Healing Toxic Masculinity, Disney’s new Beast
!Spoilers for Disney’s new live-action Beauty and the Beast follow! Last week, I discussed Gaston from Disney’s new live-action version of Beauty and the Beast. I was interested in how the film makes space to complicate Gaston’s character while opening into a discussion concerning trauma and scenes of toxic masculinity. This week, I’d like to talk about
Monsters and Men Part I: Gaston, Trauma, and Toxic Masculinity
!Spoilers for Disney’s new live-action Beauty and the Beast follow! Gaston rears his fist back, he’s intent on striking the man in front of him, Belle’s father, who has just said that Belle will never be with him. This is the most glaring example of his raging temper up to this point in the narrative.
The Rhythms of Limitation: Learning about Self-Care in “Stardew Valley”
It’s six in the morning, on the dot, and Pabu wakes like a cuckoo, leaping out of bed, suspenders already clipped on, to face the day. It’s windy outside. Leaves of orange, red, and yellow are dense in the air and Pabu makes his way from his modest front porch to the neighboring coop, almost
“Bring in The Crows to Peck the Eagles:” Rewriting the Politics of “Coriolanus”
Compared to a number of Shakespeare’s other tragedies, Coriolanus does not frequently enter into the popular consciousness. While T.S. Eliot may have called it Shakespeare’s “[m]ost assured artistic success,” the play has not historically been viewed as one of Shakespeare’s great tragedies. Despite this, the play has long been the subject of critical scrutiny over