Nothing much to report this week, except that I don’t think I’ve ever seen so many movies in a week before.
Hey, remember Galavant, that fantasy comedy musical ABC is apparently making specifically for me? Rutger Hauer and Weird Al Yankovic have been cast in it.
Jess Plummer’s Great Disney Blogathon has reached Sleeping Beauty! It’s amazing, as always, and draws heavily on Taxi Browning’s reading of the film as a ballet, which is fascinating.
Saturday Night Live paid tribute to Don Pardo with a single card during its season premiere; this video tribute, made for a private party in his honor several years back, is much better.
Part of what made it work was that neither character — and by extension, the audience — had their reactions or vulnerabilities mocked or belittled. Why shouldn’t Jamie be nervous? What groom doesn’t wonder if his presents — and his performance — will be acceptable? Why wouldn’t a man be turned on by a woman’s willingness to teach him new things? Why shouldn’t Claire want to look at him — and why wouldn’t Jamie appreciate being seen? Why wouldn’t he appreciate her body right back? Why wouldn’t the camera want to see all of that? Isn’t it weirder for the camera not to look?
Women are sexual scavengers: we cobble arousal out of things not intended to stimulate us because we’re not considered worth stimulating. (Cue the old saw about women not being visually aroused—give us a chance, would you?) That means there’s plenty of good looks on “Game of Thrones” that we can construct some kind of erotic pleasure around. I can’t speak for what most women like, but I enjoyed it whenever Drogo was on (he was Other, so the camera felt more comfortable shooting him shirtless and objectifying him), when Daario 1.0 was looking at everything like he wanted to lick it, and when Oberyn was onscreen. But these aren’t quite the same thing—all three of these men are lovely lookers, and by that I mean they are men whose gaze seems extremely erotic. That’s great, but if you’re a woman, that means the feeling of arousal has to go through a mirror: rather than directly enjoy a man’s body, you’re supposed to look at a looker who you can imagine looking at you. It is, shall we say, less visual.
Stephen Chbosky may be scripting Disney’s live-action version of Beauty and the Beast. (Side note: if this spate of Disney live-action adaptations of their own movies just turns out to be a radical feminist trilogy, based solely on Maleficent, I WOULD BE SO DOWN.)
Dominic Cooper is definitely going to be in Agent Carter. I mean, we all knew that, but now it’s confirmed.
Besides, the Grill Sergeant told me, that incident — the one in which she referred to the man who allegedly robbed the bank where she worked as an N-word — was 25 years ago, in the 1960s. People used different words then. This is a thing I’d hear very often: that 25 years ago was in the 1960s, that it was a different time. Over and over, people on the boat — in the Deen group but also at large, who saw my lanyard identifying me as part of the Deen group — would bring up race and say what a different time it was 25 years ago in the 1960s. It was just at the dawn of the civil rights movement, after all. Malcolm X, Martin Luther King, Jr., all that. Actually, I’d point out, 25 years ago was just about 1990. For perspective, here’s what was going on in 1990: pregnant women knew not to smoke; Beverly Hills, 90210, was on; the Internet existed. 1990 was pretty recent, in fact.
Every new edition of Every Frame a Painting requires linkage. It is known. This week’s installment focuses on David Fincher, per Friday’s release of his new film, Gone Girl.
My review of Gone Girl will go up on Friday, but have this amazing BuzzFeed debate about the film while you wait (and after you see the film or read the book).
This New York article about Airbnb is fascinating, looking into the ways it can actually increase rental prices. Also, they let users—supposedly home owners renting out a room or a bed—list more than one listing at a time. I understand it’s so people can rent out two rooms at once, but it’s obviously being abused. Wow.
Added: Goodness Had Nothing to Do with It by Mae West (via Scandals of Classic Hollywood), Genius of the System by Tom Schatz (via Scandals of Classic Hollywood), A History of Sweets in 50 Wrappers by Steve Berry (via work), One Savile Row by Marcus Binney (via work), No Land’s Man by Aasif Mandvi (via work), One Lucky Bastard by Roger Moore (via work)
Added: The Four Horsemen of the Apocalypse, Monsieur Beaucaire, The Plastic Age, Hell’s Angels, Red-Headed Woman, Libeled Lady, Night After Night, She Done Him Wrong, Twentieth Century, The Misfits, The Big Sleep, Ziegfeld Girl, Meet Me in St. Louis, A Star is Born, Bright Road, The Decks Ran Red, Julius Caesar, The Wild One, Guys and Dolls (via Scandals of Classic Hollywood)