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Baby Pfeiffer

Every Wednesday, social media reminds us to celebrate #WednesdayWisdom, #WednesdayMotivation, and #WomanCrushWednesday (or #WCW). When I think of all three, I think of one person first and foremost. I'll give you a second to think on it. Here's a hint:


Oh, okay, I'll just tell you. Michelle Pfeiffer! Surprise!

Life of late has been hectic, busy, stressful, overwhelming, exhausting, relentless, and even at times crushingly depressing. Thus, I've had less time or mental capacity for writing this month. In order to keep this place going, though (Because you demand it! I hope?), here's a little fresh content. It's light on text but heavy on visuals, and when then the visuals are Michelle Pfeiffer photos*, you really can't complain about that ratio.


These are publicity shots of a young Ms. Pfeiffer from 1979. We're talking very early in her career, when she was guest starring on Fantasy Island (I will write about those appearances one day, so stay tuned) an…
Recent posts

Technicolor Love: Revisiting The Love Witch

"All my life I've been tossed in the garbage, except when men wanted to use my body."

"Do you like to ride, Elaine?"

*****


Released two years ago this month, writer-director-editor-producer Anna Biller's 2016 indie sensation The Love Witch remains one of my favorite films in recent memory.


The story is elegant in its simplicity: Elaine (Samantha Robinson) is our titular Love Witch, using what she refers to as "sex magic" and "love magic" to make men love her. She's a beautiful, and beautifully symbolic, metaphor for both the male gaze in cinema and men's innate fear of womanhood, as well as embodying societal linkages between women, love, and sorcery.


The film understands how men have historically viewed women as they wish to see them—beings of pure fantasy, there to serve male desires. The Love Witch spins that reality on its head in wildly entertaining and deliciously subversive ways.


The men are mostly clods and dopes who go …

Overextended and Overwhelmed

Mood.

A pretty good visualization of life these days: everything's more challenging than it needs to be and I feel contorted into a pretzel for reasons beyond my control when all I really want to do is sit comfortably and enjoy a drink.

I just need a minute to think, dammit.

Those minutes are few and far between right now, though. So, posting may be lighter around here than it was in October. I do have one or two pieces in the hopper and almost ready to go. Keep your eyes out for those. Otherwise, poke around almost four years' worth of pop cultural and highly personal musings. You're sure to find something you might enjoy. For example, you like Michelle Pfeiffer? I got you covered.


Before I let you go, if you're in the United States and registered to vote, please do so today. It's important. Thank you.

It Came From the ‘90s: Winona Forever

This series looks back at the 1990s and its influence on the generation of people who came of age during the decade.
Six of the most important words I've ever heard in a movie were written by Helen Childress and delivered by Winona Ryder (as Lelaina) in Reality Bites (1994):
The answer is...I don't know.That moment of recognition, of shared confusion and uncertainty, seeing and hearing what I was feeling up on the screen, was enormously powerful—at least it was to me, and from what I could gather back then and still witness today, it was for a lot of people my age. Every generation goes through this, most acutely of course during their teenage and early adulthood years. But for us it was slightly different. We were the kids raised in latchkey homes whose main source of inspiration and connection during those years seemed to come from television and popular culture—in fact, this very blog is almost entirely informed by my status as a Gen-Xer. That's because we'd already b…

We Are All Laurie Strode

I love horror movies—especially slashers—partly because, through their depictions of terrifying boogeymen, they reflect back my own fears and anxieties. Cinematic horror makes these personal horrors seem a bit less scary, and sometimes even more manageable. It's as if seeing someone experience stress, trauma, grief, or loss reminds me that we all walk that path at certain points in our lives. I am not alone.

And that's important, because I feel alone. A lot. Always have. I'm an introvert/INFJ, an only child, and too easily susceptible to stress—three strikes against me in a world that prizes extroverted traits like confidence and competence.

So when life starts to pile the garbage high and deep, I have a tendency to retreat. Into myself. Away from others. But still I have this need to reach out, to connect with people who make me feel safe and loved and worthwhile. So I never fully retreat. I make an effort to connect with someone special to me, to help myself, to practic…

(Not So) Deep Thoughts of the Pop Cultural Persuasion, Part 3

This being October, there's lots of horror packed into this latest potpourri post. Over at Horror Geek Life, I recently explored the powerful gender commentary layered throughout American Mary (2012). The film was written and directed by Jen and Sylvia Soska (pictured above, #twinning), and opened six years ago. Here's an excerpt from the essay:
At one point, Mary asks her boss at the club, “Do you think I’m crazy?” Is Mary crazy? Or is she a women pushed too far, by financial distress and the constant, daily, ever-present threat of toxic masculinity? 
I think it's one of the best horror films in recent memory, a truly visceral and thought-provoking experience. It also features an exceptionally brave performance from Katharine Isabelle, as Mary.


If you missed it over these last six years, please check it out this Halloween/horror season.


Whereas my first-time viewing of the painfully dull The Prowler (1981) is, as of now, the unmitigated nadir of my Halloween month movie mar…