I don’t remember how it was I first came across Adam Adamant Lives!, though I suspect it was the culmination of a plot put into motion the day I was born, my sole purpose for existing being so that I might one day discover a British television show about a swashbuckling Edwardian gentleman adventurer who is frozen by his mortal enemy and revived in swingin’ sixties London, at which time he teams up with a hip young woman and resumes his life of derring-do and crime-fighting. It’s as if the creative team at the BBC sat down one day and thought, “Well, some day Keith Allison going to be born, and he’s going to want to see this show.” Continue reading…
Sophia McDougall writes about “sexual assault and ‘Realism’ in popular culture.” (via @Pornokitsch)
“[A]t the age of 41, at about 94 minutes into The Divide,” Drew McWeeny writes, “I reached a breaking point, and I realized that I am pretty much incapable of sitting through one more cheap, pointless, exploitative rape in a movie.”
Monika Bartyzel writes about “softening and sexualizing Lisbeth Salander” in David Fincher’s adaptation of The Girl with the Dragon Tattoo, the pre-release posters and Stieg Larsson and his novel. “There seems to be a relief that Mara’s Salander is a more relatable person, that classic ‘female’ tropes like softness and vulnerability are visible. It speaks […]
What do a riddlemaster on a quest, an undersea utopia gone wrong, and sexual perversion in Sweden have in common? The answer: nothing! But I don’t have a big thing to talk about this month, so I’ll have to make do with a mishmash.