Dear @mehdirhasan

Dear Mehdi Hasan,

I literally don’t know where to begin with the torrent of how wrong you were in your piece about being anti-choice and left-wing. I say anti-choice, because I noticed you said you didn’t like the labels pro-choice and pro-life, and anti-choice reflects better what you really are.

I guess we’ll start with the piece. Now, I really think the first thing you should do is read this from Vagina Dentata who explains eloquently why you’re completely and utterly wrong about how it’s possible to be a lefty and anti-choice. Make sure you read the whole thing, but this is the crux of the matter:

So no, you cannot be left-wing and pro-life. You cannot be left wing and “progressive” if you think half of the world’s population can hang-on or sacrifice or just stop being so bourgeois for demanding that they are treated as equals. To fight for equality is at the very least, to acknowledge the biological difference that keeps women oppressed and fight to overcome that. Women’s sexual and reproductive rights are part of our struggle for survival and will not be trivialised or ignored by men who claim to fight for equality.

A few more points on your piece. I’m very disappointed in you, seeing you repeating the anti-choice porky pie that France and Germany have a 12-week limit, so the UK should too. What these countries actually have is a law which allows abortion on demand up to 12 weeks, i.e. you go up to a doctor, say “I’d like an abortion”, then you have your abortion. After the 12 weeks, the legal situation resembles that of the UK: you have to jump through hoops, provide reasons, see more than one doctor.

The rest of your argument, I’m afraid to say, is a hot mess of appeals to authority. You’ve just listed the few people who agree with you who aren’t thoroughly objectionable, many of whom died centuries ago. I’m also rather baffled by the fact that you’re not ashamed to agree with Jeremy Hunt, a man who has what I like to call the Copro-Midas Touch. Literally everything that man touches turns to shit. Are you genuinely comfortable with agreeing with a man who hides in trees to avoid being seen by journalists?

You’re also repeating the tiresome “it’s a baby” myth. Again, I’m going to refer you to one of my sisters, because pretty much everyone’s already said what I want to say, but please read this heartbreaking post from Fearlessknits about life at 25 weeks gestation.

I’m also rather concerned about you believing bodily autonomy to be “selfish and individualistic”. Mehdi, I hate to say it, but you’re really edging into fascist rhetoric here, constructing reproduction as some sort of common good. There’s good arguments in favour of the anti-choice position itself being inherently fascist, and I find your appeal to collectivism as an excuse to invade women’s bodies rather a good example of this.

Now let’s talk about your reaction to the whole thing, Mehdi. Now, I’ve noticed you’ve been whinging rather a lot about being called sexist for your views. The short answer is, that’s because you are being very sexist, Mehdi. Appallingly so. Once again, I’m going to refer you to a sister for this, as Reni Eddo-Lodge has explained beautifully why you’re a sexist.

Here’s why Hasan’s piece is anti-woman. He attempts to reframe the debate on his terms, snatching it out of the hands of people who can get pregnant, insisting on the premise of ‘ethics’ rather than women’s rights, and consequentially betraying his male privilege and over inflated sense of entitlement.

When he ponders which member of our society needs a voice more than the mute baby in the womb, he takes women out of the equation, completely; women’s thoughts, our hopes, our dreams, our aims and our goals—which may or may not include children.

You see, Mehdi, you’re silencing women. You’re telling us our rights don’t matter, our views don’t matter. Don’t think we haven’t noticed that the vast majority of supportive tweets you retweeted were from men. Don’t think we haven’t noticed you playing the time-honoured dog-whistle “reverse sexism” card. Your views are sexist, no matter how much you love your wife and daughters.

I will give you a bit of praise, for coming up with one of the most risible defences of sexist views I have ever seen. I’ll admit I laughed long and hard, because I’ve never seen anything quite so silly. You said:

This is indeed a “women’s issue”, yes, but is it ONLY a women’s issue? No wider ethical implications? (Oh, and no male foetuses??)

Mehdi, what about that meatsock incubator that’s holding the male foetus? That meatsock incubator is almost always a woman (sometimes it is a man, and these men can get a say about abortion too, as they’re affected by it). Ultimately, people with uteruses don’t like to be thought of as meatsock incubators, but your view constructs us as such.

Of course, you might dismiss my views as I’m a woman, and therefore, in your book, a selfish and individualistic babykiller. So just in case, here’s a really good piece by a man, Jonnie Marbles. Make sure you digest every word of this.

Anyway, I’ve spent rather a long time engaging with your arguments, and this is because what you’re saying is fucking dangerous and terrifying, an attempt to shift the Overton window further into our uteruses. However, a part of me thinks you were given the platform to espouse those worrying views, poorly argued, because the New Statesman are trolling for links. It works so well for the Daily Mail, and I can thoroughly understand why the NS might want a slice of the linkbait pie. That’s why I never linked your article, Mehdi. I don’t want to encourage anyone to continue publishing articles like yours.

Hope you’ve learned something from this, and will keep your opinions out of our wombs in future.

Stavvers xoxo

Why I can’t support @SlutwalkLondon any more

I’ve always supported the aims of the Slutwalk movement: sticking two fingers up at rape apologism.

The thing is, the London Slutwalk Twitter account has gone miles off message. Their anti-rape campaigning, it seems, only extends to clothing. If you happened to have been raped by a powerful man, on the other hand, they don’t give a shit.

Yesterday they tweeted a statement about Julian Assange. It featured the standard foil-hattery about the extradition to the US, and ended with a suggestion that he should stand trial–but in the UK.

Now, this is all well and good if you don’t care much for rape survivors. Imagine if you have been raped, and your rapist skips the country. You are told you can only get justice if you go to a country far away, and face a legal system with which you are not familiar, with a trial in a language you don’t speak (but your rapist does).

How is this in any way standing up for people who have experienced rape?

I can’t support Slutwalk London when they continue to engage in coded rape apologism. Rather than destroying rape culture, they are actively contributing to it. They’ve made it clear their support does not extend to all women, all survivors. And I will never support movements which stand for this.

ETA: Slutwalk Britain have disowned Slutwalk London. This is a positive step; I’m glad to see these views aren’t thoroughly entrenched across the whole Slutwalk movement.

Update 28/9/12: Slutwalk Toronto–who started the Slutwalk movement–have responded to Slutwalk London’s comments, finding them unacceptable.

No matter who Assange is, his political involvement and status should never be used to discredit or cast doubt upon his victims or protect him from being accountable. Suggesting otherwise goes against what we believe SlutWalk is.

Update 30/09/12: One of Slutwalk London has taken responsibility for the comment, saying:

The recent views expressed regarding the extradition of Julian Assange were my own rather than those of SlutWalk London. I apologise for using this platform to express these views and hope they do not deter from the purpose of SlutWalk, which is to send the message that there is never any excuse for rape and to demand protection and justice for all rape survivors. – Anastasia Richardson

This late in the game, it smacks of desperate backpedalling to save face. I’ve asked Anastasia if she sees how she (probably unwittingly) perpetuated rape culture. I’ll let you know if I get a reply.

 

 

Savages: not the kind of poly representation we need

This post contains spoilers right to the end for Savages. If you haven’t seen Savages yet, read this and save yourselves the price of a cinema ticket and two hours of your life. 

I went to see Savages today. The film has generated quite a bit of buzz in the poly community, as it’s a mainstream poly film wherein the relationship between the characters isn’t the main focus. What could possibly go wrong? Well, absolutely everything.

Our protagonist is a woman called O–which is short for OMG PLEASE STOP DOING CAPTAIN OBVIOUS VOICE-OVERS IT’S PRETTY GRATING–and her two male partners, Nice Boyfriend and Violent Boyfriend (I think they had names, but to be honest, this was the depth of their characterisation). They’re in a V-relationship (or as the mainstream media reviews tend to put it, O is their “shared girlfriend”).

Nice Boyfriend and Violent Boyfriend run a cannabis operation, where Nice Boyfriend does all the nice bits and Violent Boyfriend does all the violent bits. Meanwhile, O is just sort of there. Then one day, some mean Mexicans decide they want to take over the Boyfriends’ business, and because they’re the baddies, they kidnap O, and the Boyfriends work together to rescue her. Lots of violence ensues.

There’s a lot wrong with this film. So much that it’s pretty difficult to know where to start, so excuse me for being kind of stream-of-consciousness, because it’s so intersectionally awful that I’ll probably end up tackling it all at once.

Firstly, it’s pretty fucking sexist. There are two major female characters in this film. The first is O, who is our standard passive Hollywood damsel. She lets the men get on with their business while she just does… something. It’s not clear what she does, what she likes, anything. Awful, cardboard cutout characterisation is a hallmark of this film. O just provides a droning voice-over at various points in the film where the writers can’t be bothered to show rather than tell. She gets kidnapped and raped, and is largely a rather grating McGuffin so the men can do their thing.

Our other woman is Elena Sanchez, played by a Salma Hayek who looked a little young for the role she was shoved into. Elena is the head of a Mexican drug cartel, who starts out as a cardboard cutout female baddie, right down to the red dress. At this point, I’d thought the character was put in to detract criticism from the passivity of the other female lead, but it is later revealed that she’s so evil because her husband and sons were killed. And then motherhood turns out to be her major weakness, which is exploited by the Boyfriends who kidnap her daughter in order to get O back (they literally stuff this woman into a fridge during the kidnap).

Because O is so horribly badly characterised and lacking a single trait other than vapidity, it’s hard to see why the Boyfriends want her back. Perhaps it’s because she’s the only person in the world as one-dimensional as they.

You might have noticed that the baddies are Mexican. This is not handled in a way that is anything other than really fucking racist. We are presented with two sides. On the one side, we have the white, blonde O and the white Boyfriends. They are the GOODIES. On the other side, there’s a bunch of Mexicans. They are the BADDIES. The GOODIES describe the BADDIES as “savages” occasionally, presumably as the scriptwriters give each other a self-congratulatory pat on the arse for having managed to name-check the title so clunkily. Meanwhile, the BADDIES think the GOODIES are savages because they’re in a poly relationship. Yes. They say that. They actually say that.

As well as Elena Sanchez, there’s also two other Mexican baddies of note. One is played by Benicio del Toro, and his character is a rapist and a murderer and generally a thoroughly unpleasant human being. The other is a young guy who ends up getting killed by Benicio and I’m not entirely sure why. They’re all just cardboard cutouts, with various stereotypes about Hispanic people tacked on for good measure.

Also present is benevolent sexism. Nice Boyfriend is shown to be nice because sometimes he goes to Africa and cuddles brown children.

Now, it’s worth looking at where the characters end up to lay bare the fucking mess of sexism and racism in this fucking film, but this matter is complicated by the fact the film has two endings. It has a sad ending, wherein everybody dies, and a happy ending, which is the “actual” ending. This isn’t some alternate ending deal, though. It’s like they decided this film was so shit that nobody would shell out for the DVD so just stuck both endings in the film, with the sad ending being something O and her irritating voice-overs have just made up.

In the “actual” ending, Elena gets arrested along with all the other Mexicans except Benicio, who has quite a nice ending and lives happily ever after. The (white) cop who does the operation does really, really fucking well for himself. O is rescued by not one, but two men, and our protagonist triad go and live somewhere remote and cuddle brown children.

Among all the racism and sexism, it isn’t even that good a depiction of polyamory. This might be somewhat related to Hollywood’s general aversion to sex, while it embraces violence. We get teased with the beginnings of a threesome scene which fades to black before the clothes even come off, while we are treated to, among other things, a kneecapping scene and a shot of a big fucking hole in the back of someone’s head. So perhaps this goes some way to explaining the utter clusterfuck of the main relationship.

O explicitly describes her two partners as being equivalent to one–each representing a “half” of something she needs. Nice Boyfriend is nice; Violent Boyfriend is violent, and a voice-over informs us of exactly how they are opposites of each other and the only thing they have in common with each other is O (and their drug business, which O has conveniently forgotten for the purpose of the voice-over). Um, right.

In the bad ending, Nice Boyfriend is shot in the neck and Definitely Going To Die, so the other two commit suicide and they all die together in the desert, because apparently the writers couldn’t possibly imagine any other way for a poly relationship where one partner dies could end.  Meanwhile, in the happy ending, in another of O’s fucking voice-overs, O informs us that she isn’t sure if three people can ever love each other in a way that is balanced, and that they’ve become savages and she’d rather not live like a savage. And they cuddle some brown children, and they cuddle each other. In both endings, they pay their dues for their sin.

So, in short, it’s a terrible film. Yes, it depicts some characters who happen to be poly, but quite frankly if it’s happening in films that awful, I’d rather we stayed invisible.

“You’re polyamorous, right? Like in the execrable Savages?”

No. Nothing of the sort.

What has feminism done for Jenna Jameson?

Before I start, let’s get the obligatory link to the scene from The Life Of Brian out of the way.

Jenna Jameson is a former porn performer and a millionaire businessperson. She also doesn’t think feminism and women’s organisations have ever done anything for her.

It’s a nice delusion, and a comfortable one, thinking you are where you are in life entirely down to your own hard work. It’s easy to believe when you’re fed the myth of BOOTSTRAPS your whole life, in combination with various cognitive heuristics which make you think you did everything yourself and are better than average. Now, Jameson’s achievements are not to be sniffed at. She’s done exceedingly well for herself, and much of it is down to hard work. The thing is, without feminism, she couldn’t have done it at all.

Jameson got famous through the sex industry, specifically stripping and porn. These industries have been made far safer by campaigning from women’s organisations. Jameson has her preferences in her porn performances, opting not to do any anal sex or double penetration scenes. Thanks to feminists banging on about sexual consent, her wishes have been respected and she has not been coerced to break these hard limits despite these being fairly profitable performances in porn, with anal sex becoming almost a default part of a performer’s repertoire.

Jameson has been married twice. Thanks to feminism and women’s organisations, on neither of these occasions has she been considered the property of her husband. She has been able to make her own money–and keep it–thanks to feminism and women’s organisations which gained women the right to own their own property.

For the 2012 US elections, Jenna Jameson has endorsed Republican candidate Mitt Romney. Now, this probably isn’t the finest of ideas for a woman. Jameson rejects the notion that her chosen candidate is part of a war on women (and says this war does not exist), which is all well and good, as long as she doesn’t use contraception, want an abortion, or mind that in her chosen candidate’s eyes she is a whore of Babylon. Still, she can vote for who she likes. And she can vote because of feminism and women’s organisations.

All of these women who came before Jenna Jameson have helped her get to where she is today. They did not do it specifically for her, but for all women. The fight will go on and on, and continue to improve the lot of women–including Jenna Jameson.

In which I feel ever so slightly sorry for Louise Mensch

“Always forgive your enemies. Nothing annoys them so much” -Oscar Wilde

Last week, I was entertaining the chilling possibility of Louise Mensch one day becoming Prime Minister. Today, in a surprising twist, Mensch announced she would be resigning as an MP.

For a fleeting second, it felt like today might be the Best Day Ever, starting with a robot comfortably landing on Mars and immediately sending back a grainy photo of its wheels on alien soil, and then the resignation of arguably one of the worst people in politics. But my hand stayed on the metaphorical cork of my metaphorical champagne bottle when I saw her reason why.

To spend more time with her family.

Now, admittedly, this is a highly flexible excuse for quitting and can mean anything from “I want to spend more time with my family” to “I just accidentally  destroyed the economy through my sheer incompetence and I’m jumping before I’m pushed” to “I shagged a goat and I want to spare my party the embarrassment”. However, given Mensch’s background, it seems likely that her reasons for resignation lean closer towards the actual wanting to spend time with family end of the spectrum.

And I feel kind of sorry for her over this: her husband lives and works in New York, and she and her three children frequently hop across the pond to be together, until now juggling this with her work as a politician. And of course, living under patriarchy, it was Mensch who had to quit her job to make the move.

Tory feminism has failed Louise Mensch. Even with all of her privileges, she couldn’t have it all.

On Twitter, I asked why Mensch’s husband couldn’t have been the one to quit his job and move to the UK to support his family. While a lot of people agreed with this sentiment, there were two reasons given (mostly by men) that this set-up would make no sense whatsoever.

First was the notion that Mensch’s husband’s job earned more money. Perhaps so, but in the grand scheme of things, the potential career progression for an MP is somewhat better: running a country is arguably better than booking hotel rooms for the Red Hot Chili Peppers. Even being an MP has a higher degree of social capital than making sure Metallica get on their plane at the right time. For those who believe in representative democracy–and I’m assuming Mensch did–her job was better and more important than her husband’s.

Second is the idea that the kids weren’t his. This is such a grimly archaic view of families that it doesn’t really require much comment, save to say that if this factored into the decision at all, Louise Mensch would do better to get a divorce.

It was patriarchy that killed Louise Mensch’s career in politics, and for that reason I can’t feel as happy as if she’d resigned for other reasons, such as being a chronic liability due to monumental hubristic failure, or as a post-revolutionary head-on-a-spike. Somehow I doubt she’ll see it that way: the lens of Tory feminism refracts these decisions into nothing more than personal choice.

I don’t know why this nice racist hasn’t got a girlfriend.

Nice guys. They bring the good name of all male-identified people who happen to be decent human beings into disrepute. The nice guy is a whinging mass of benevolent sexism, befriending women in a creepy attempt to get into their knickers then turning hostile as their efforts fail. Usually, they hit the point of tedium where it isn’t even worth commenting on them. It takes a little extra edge to become a truly egregiously awful nice guy.

Last year, I found one who shat in the grave of Pastor Niemöller with a pastiche which began with “When the feminists came for the rapists…” This year’s contender has an image he would like to share with us to explain his emotional state.

The image consists of nine images, arranged in a square.

Panel 1: Picture of a grinning shirtless white man with excessively erect hair doing the double finger-point, captioned “HEY LADIES… HOW’S IT GOING?”

Panel 2: Picture of the same shirtless white man, wearing a patronising expression and wagging a finger, captioned “DO YOU KNOW?”

Panel 3: Picture of some American money (at a guess, and for the groaning pun to work, I think it’s a dollar bill), captioned “YOU’RE SINGLE BECAUSE…”

Panel 4: Picture of a white heterosexual couple frolicking on the beach. The woman is wearing a bikini and is smiling at her faceless lover, who is fully dressed and a bit of a hipster. Captioned “YOU WANT LOVE LIKE THIS”

Panel 5: Picture of six black men wearing street attire, captioned “YET GO AFTER GUYS LIKE THIS.”

Panel 6: Picture of the man from the first two panels, thankfully clothed and wearing glasses. He has a smug look on his face and is holding his chin in a superior fashion, captioned “INSTEAD OF A GUY LIKE THIS”.

Panel 7: Picture of a crying white woman androgynous person, who is apparently called Chris Crocker, captioned “AND END UP LIKE THIS”.

Panel 8: Picture of a frustrated-looking Asian man, who Twitter has informed me is Jackie Chan, captioned “LEAVING US GOOD GUYS LIKE THIS”.

Panel 9: Picture of a black man, who I think might be the rapper Xzibit, smiling. Captioned “AND THOSE GUYS LIKE THIS!”, which neatly clarifies that our nice guy picture-maker seems to have a problem with black people having sex with white women.

I literally have no idea why this charming little racist doesn’t have a girlfriend. Must be women’s fault, somehow. Perhaps more finger-wagging will teach us the lesson we need to learn.

In which I actually write about the Olympics: sexism and racism in the Ye Shiwen doping allegations

My plan for an Olympic-proof bunker has failed. I have been exposed to London in its full dystopian horrors, and been unable to avoid news and stories about a bloody sporting event. I even willingly watched the men’s synchronised diving the other day, though I had to turn off the sound to avoid the Nuremberg-style cheering from the British crowd every time a British person did something that should have been entirely expected of them.

It didn’t escape my notice, then, that a 16 year old Chinese woman has caused rather a bit of a stir. Swimmer Ye Shiwen smashed world records in the 400m individual medley. In the final 50m of her race, Ye managed to swim faster than some of the fastest-recorded male swimmers! Rather than celebrate this achievement, whispers of doping immediately began.

In a statement that smacked of sour grapes, the swimming coach for the USA team did his best attempt at media spin, avoiding an outright accusation of doping but banging on for paragraphs and paragraphs about how Ye’s swim was “impossible” and “unbelievable” while sticking in the occasional “I’m not saying she’s doping, but…”. He then manages to drop this seethingly sexist clanger:

Leonard, who said Ye “looks like superwoman” added: “Any time someone has looked like superwoman in the history of our sport they have later been found guilty of doping.”

That, right there, is the crux of the matter. The fact that if Ye Shiwen had been thrown in a pool with men, she would have beaten them too. Supermen are fine and dandy, and to be expected from a sport. It’s when a woman is as good, or better than a man that something must be wrong. This is made abundantly clear if one compares the Chinese tit-for-tat suggestion that American male swimmer Michael Phelps must be doping, which nobody seems to be taking particularly seriously.

The sexism of the whispers surrounding Ye Shiwen are reminiscent of the story of runner Caster Semenya, who ran so fast that the sporting authorities decided she must be a man in disguise and subjected her to invasive gender testing. It seems completely implausible to society at large that women can be as capable as men of sporting feats.

Indeed, sometimes it seems as though society is actively trying to keep women from reaching their true potential: an example of this comes from the incident which saw runner Paula Radcliffe temporarily stripped of her marathon world record because she had male “pacemakers” who she was racing (and beat). In the end, Radcliffe was allowed to keep her record, but the governing body ruled that women’s records must be set in women-only races.

Arguably, Radcliffe and Semenya are “superwomen”, as constructed by the US team coach. In fact, they are just women with the capacity to beat men. This is likely to be true of Ye Shiwen, too, given that the Olympics are generally pretty stringent in testing athletes for drugs.

Ultimately, the US coach’s beef lies in the fact that a woman from a different country swam faster than a man from his own country, and this does not compute. Clearly, there is a tribalism at work here, too, a patriotic belief that his country is better than any others (especially their rival China). It’s the implicit us-and-them mentality which disguises racism.

Some of the reporting, though, is less thinly-veiled in its racism. The Daily Mirror attempts to kindly say that Ye might not have been doping, but unfortunately the only way they can do this is by drawing on stereotypes about China in the most cartoonishly, embarrassingly, excruciatingly racist way possible:

The disturbing truth is that, while her performance may not be drug-enhanced, Ye Shiwen and her Chinese teammates have been manufactured like ­automatons on a cynical human production line, forged by training techniques many say border on torture.

This might not be cripplingly racist if China had a literal athlete upgrading factory, but unfortunately that’s not true. The rest of the article goes on to describe the training techniques which do not sound that far removed from how athletes train. They select promising youngsters, they start young, they train hard.

Then they win, and everyone freaks the fuck out.

That’s all there is to it: someone performed well at a sport. Time will tell if Ye Shiwen was doping, but the rumours and rush to find out speak volumes about prejudice.

It’s OK to like science, girls. It’s sexy now.

Science has a bit of a gender problem. At the higher levels, women are usually disproportionately underrepresented, and it’s probably absolutely nothing to do with our little ladybrains being unable to comprehend the complexities of unlocking the truths of the universe, and everything to do with society.

Having rightly identified that the problem is broadly social, the EU decided to try and get more women into science. Really badly. Really, really, really badly. Check this shit out.

That is not a satire. All the sexy dancing around and pink powder exploding and exhortations about cosmetics are entirely real and entirely how the EU think women will be persuaded to pursue a career in science.

Science, according to the EU, is fun! It’s sexy! Boys will like you! And you can still be a girl. Not a woman, but a girl. If you go into science, you will never have to grow up, and that is sexy. Forget about all the boring research and discoveries and that orgasmic rush of your first EUREKA moment! Who needs that when lab goggles are the must-have accessory for Spring/Summer 2013?

The website is slightly better, in that at least it doesn’t tell us that we’re just children defined by how we look. It provides some profiles of women working in science who actually talk about their research, at least. On the other hand, it also promises a quiz to help you find your “dream job”, because women can’t decide anything without a magazine-style quiz. It also lists areas of science which could do with more women, which focuses very hard on stereotypically “female” traits such as creativity, insight and a desire to help.

All in all, it’s an enormous marketing backfire. Far from showing women why science is awesome and they should get involved, it reinforces some pretty tired stereotypes.

Furthermore, it fails to address one of the major problems facing women in science: sexism. Many branches of the sciences are male-dominated old boys’ clubs at the top, and when high-profile ambassadors for science such as Richard Dawkins merrily declare that sexual harassment is a problem to be solved later, it makes women feel uncomfortable and exposes us further to gender-based harassment. This male-dominated culture leads to other real-world problems, such as many early-career research positions taking the form of short-term contracts, which means you’re fucked if you get pregnant.

It is the culture that needs to change. Women are not avoiding the sciences because science isn’t sexy or fun. It is a culture which is currently not an environment which is accessible for many women. To recruit more women, therefore, what needs to be shown is that this is changing.

Failing that, a video of the ghost of Rosalind Franklin aggressively haunting Richard Dawkins might work better.

On gendered food

I love burritos. There is nothing not to love about a face-sized pocket of joy bursting with meat and chilli and veg. It gave me great dismay, then, to visit my favourite burrito joint for the first time in months and discovering that my gigantic joy-pockets have become gendered. This discovery came quite by accident: most of my vowel sounds are schwas, and when I was handed a disappointingly tiny joy-pocket, I was informed of my error. Instead of ordering a burrito, I had ordered a burrita.

It’s a feminine name. A needlessly feminine noun, because this is a burrito for girls. It’s smaller, see, so we won’t get terrified by the mighty mighty girth of the man-burrito.

It might sound as if I’m overreacting to the feeble portion of luncheon I was given. This is certainly a possibility, but food is gendered. Take meat, for example. Meat is, apparently, very manly. Meat is marketed at men in a way to reinforce their heterosexuality by making it as deliciously sexy as possible. Meanwhile, salad is girly. Salad is for women to eat while laughing alone.* We’re also allowed to like chocolate and cake in moderation. This photoset shows starkly just how gendered food marketing is.

It’s worth asking ourselves why this is. A few years ago, Salon magazine asked a few experts. Some of the answers are utter bollocks, involving women being more genetically predisposed to sweet things, or men needing more meat to build muscles because thousands of years ago they were definitely the hunters, or mysterious ladyhormones. Salon concludes that this is probably rubbish, and I wholeheartedly concur.

The thing is, it’s not that some food is inherently more palatable to people of a certain gender. Of course it isn’t. It’s just the symbiotic relationship between marketing professionals and patriarchy at work once again. Patriarchy instils a certain set of insecurities and expectations into people. Playing on these existing stereotypes makes the marketing jobs easier, and they can all take a cocaine break and then work out how to make women a little more paranoid about the shape of their earlobes. Marketing and patriarchy feed each other in an ouroboros of tedious stereotyping.

Eating for basic sustenance is not a gendered activity. Neither is eating for pleasure. Yet patriarchy and its PR cheerleaders make it so. I wish they’d keep their politics out of my lunch.

_

*Although, it is worth noting that the marketing executives might have started to worry about men getting scurvy from all the meat they’re cramming into their faces, so decided to make fruit a bit sexier.

How Prometheus could have worked: an attempt at salvaging a train wreck

Warning: this post contains major spoilers for Prometheus. If you haven’t seen Prometheus yet, don’t bother.

I love the Alien films. Both of them. I therefore spent the best part of this year buoyant on little guffs of excitement that its prequel, Prometheus, was on its way and OHMYGOD IT’S GOING TO BE SO FUCKING AWESOME. I was delighted that Ridley Scott was back in his rightful place doing an Alien film and OHMYGOD IT’S GOING TO BE SO FUCKING AWESOME. I yelped with glee on discovering its cast consisted of some of my favourite actors all together in the same film and OHMYGOD IT’S GOING TO BE SO FUCKING AWESOME.

About half an hour into actually finally getting to see Prometheus, the crescendo of crushing disappointment began. It had absolutely none of the subtle brilliance of its predecessor. It was trying to do too much, far, far too much. It was an incoherent arse-splatter of special effects with a bunch of cardboard characters doing stupid things that made no goddamn sense whatsoever.

Ultimately, perhaps, its biggest undoing was its budget. Alien was magnificent due to its shoestring budget forcing it to be all about reaction rather than action. Aliens, while more a straight-up action flick, managed to be great as it was still within the constraints of the special effects of its time.

Meanwhile, Prometheus felt like Ridley Scott looked at his cheque and said “OHMYGOD THIS IS GOING TO BE SO FUCKING AWESOME! I’m going to have a jars of alien-juice and aliens in someone’s eyeballs and a man possessed by zombie-alien-rage and some aliens that look a bit like snakes and an alien in someone’s tummy and gigantic white different aliens and a massive fuckoff facehugger and fuck it, let’s show a whole alien because we can do it with CGI and it definitely won’t look shit.”

Well, Ridley, thanks to all that, your film was a complete pile of shitting arses. And the CGI alien did look like shit.

The thing is, though, there were ideas in that film that could have worked. There were scenes that could have worked. Had Scott been constrained, he might have actually had to think about ideas rather than various high-budget body horrors happening to people we didn’t really care about.

In a conversation with Mediocre Dave–who possibly humoured me in any attempt to salvage that film because I paid for his cinema ticket–I began to think about how it could work. I will sell this pitch to Hollywood for a complete refund of our cinema tickets, a written apology from Ridley Scott for Kingdom of Heaven, and an evening in the company of Michael Fassbender. It will be much better and much cheaper than Scott’s Prometheus.

The premise remains the same: Noomi Rapace and her boyfriend who is probably a famous actor too find another cave painting and persuade some rich dude to let them go to a far away planet to find their ancestors. On this ship are also Idris Elba and Charlize Theron and android-Fassbender (who was by far and away the best thing about that film), and the rich old dude, who can actually be played by an old dude, because I’m not sure why they bothered with covering Guy Pearce with prosthetics. We don’t need to worry about any of the rest of the characters, and Old Rich Dude isn’t hidden away in a box, there in the open, having co-opted Noomi Rapace’s misson for his own, like he did in the film except without some shitty attempt at a plot twist.

Several themes will be explored in this version of Prometheus, many of which I suspect Scott was attempting at doing if he hadn’t got all overexcited by the myriad ways he could literally ram xenomorphs down people’s throats. It will explore patriarchy, a robot’s attempt at understanding human emotion and the perils of curiosity.

We’ll keep the scenes of the android studying languages, playing bicycle basketball and learning to be human from old films, because they were cool. The aesthetic of the ship, though, should be less swish, as should all the technology: recall this is taking place before Alien, after all. We don’t need any fancy drone-ball things. And when the humans wake up, it would be nice if they could establish some relationships with each other.

So then they all get to the planet, and Noomi and Boyfriend and Space Stringer Bell and Robo-Fassbender go and explore the big creepy Ancestor-Cave. Old Rich Dude and Charlize Theron stay aboard the Prometheus, with Old Rich Dude barking orders of where to go and Charlize Theron being pragmatic. Our characters have a poke round the cave, realise it’s terraformed and start taking off helmets while Charlize Theron perhaps suggests that this is a terrible idea.

But they do it anyway, probably with Old Rich Dude egging them on.

Down in the caves, they realise Something Is Terribly Wrong and the ancestors are all horribly deaded, and the water’s moving, and they get the fuck out of there. Unfortunately, by some accident, Boyfriend ingests some water.

Back on the ship, everyone’s very disappointed, except Robo-Fassbender who is kind of baffled by this. Crucially, though, they never leave the ship again, thus radically reducing the film’s budget and adding some dramatic claustrophobia. Also, this neatly does away with the utterly ghastly “meeting the creators” theme which never works, as is beautifully explained here.

In this version of Prometheus, Noomi’s infertility and the impact it has on her relationship with her boyfriend is better explored and discussed in more depth than a few lines before they have a misery-fuck. In general, there’s a lot more character development and dialogue other than “AAAUGH IT’S BREAKING MY ARM”. But, nonetheless, Noomi and Boyfriend have their misery-fuck.

Trapped miles away from any safety, Boyfriend realises Something Is Horribly Wrong when he notices Alien Eyeball Worms. Naturally, everyone freaks the fuck out over this (except, probably, Rich Old Dude, who is fascinated and curious), and pop him in Magical Medi-Pod, which gives him a once-over and reckons he’s all right. Charlize Theron is sceptical about this. Boyfriend and Noomi are terrified. Space-Stringer just wants to get the fuck out. Robo-Fassbender is politely baffled by mortality and sickness.

Naturally, Boyfriend gets progressively worse, and our characters continue to freak the fuck out as Something Is Dreadfully Wrong. Eventually, this all culminates in him shoving Noomi out of the way and getting flamethrowered by Charlize Theron. Who then airlocks him for good measure, which obviously rather upsets the people who are closer to him.

They check themselves for contamination, and Robo-Fassbender announces Noomi’s pregnancy to Noomi, who, of course, freaks the fuck out. Robo-Fassbender is befuddled, knowing about her upset about her infertility.

Off she goes to the Medi-Pod which is only configured for treating men, and therefore cannot give Noomi the abortion she desperately needs. With the right set-up, this can suddenly be metaphorical for patriarchal access to medical care: my Prometheus has already shown a bit of men exerting their dominance with Rich Old Dude and Boyfriend. And obviously, it’d be better set-up than what I puked out in a late-night blogpost. So she goes for the excruciating abdominal surgery and attempts to immolate the facehugging foetus.

Unfortunately, all this is in vain, as the bastard gets loose and crawls around the ventilation ducts generally causing a menace. We never get a good look at it, we don’t want to.

Ultimately, our characters realise what they have to do. Their ship lacks weaponry, and they can’t survive to tell their story because that’d fuck up the rest of the Alien canon. They discuss this. Perhaps Robo-Fassbender with his confused emotions proposes it. Eventually, they take the decision.

The film ends with the ship exploding and the “last transmission of the Prometheus” playing in voice-over.

In this slice-and-dice, I attempted to preserve as much of Prometheus as possible, while hacking out the very worst. Were I to cut any further, it would be two minutes of Robo-Fassbender walking round a spaceship.