Zombeavers is a goddamn masterpiece

I knew, as soon as I saw the first trailer for this movie, that I was going to love Zombeavers, so I was super excited when it showed up on Netflix relatively quickly. There’s no way that this movie won’t be great, I thought, and I was not disappointed.

From the opening scene, Zombeavers is frequently laugh out loud funny. It’s got an appropriate level of cheaply produced gore. It’s got a charming cast of insufferable college kids who are all pretty much terrible assholes, but who are great fun to watch and make it obvious that they had a great time making this movie (a short blooper reel at the end confirms this).

The beaver jokes are present, as one must expect from this sort of flick. Even including visual gags, there are just enough for a drinking game but not enough to kill you with alcohol poisoning.

The real stars of the movie, though, are the beavers themselves, who are these delightful animatronic numbers who steal every scene they are in.

Basically, if you like zombie animal movies, you will love Zombeavers and should probably watch it immediately.

Zombeavers-Poster

Rereading Jonathan Strange & Mr. Norrell: Chapters 28-29

Strange_BlackAfter checking in with Lady Pole, we’re back again to focusing on Strange and Norrell and the ways in which they can participate in the War. These chapters have some of the most impressive acts of magic in the books so far, as well as just generally being more action-oriented than the previous third of the book.

The End of 1810

By the end of 1810, basically everything is terrible.

A princess has died, the king has gone mad, the war is a quagmire, and no amount of spells cast by Strange and Norrell seems to make things better. Everything is a mess, and people are becoming decidedly disenchanted with magic.

Horse Sand

When a ship runs aground near Portsmouth, it’s an opportunity for magic to save the day again, and Jonathan Strange gets a moment to really shine. Most of his magic so far has been done in tandem with Norrell since arriving in London, but here Strange is alone and forced to rely on his own more creative sort of magic.

Taking inspiration from the name of the spit of land where the ship has run aground, Strange creates dozens of horses out of sand and sea water, with the idea that the horses should be hitched to the ship to pull it back into the water. Between the displaced sand and what little help the horses turn out to be, the ship is rescued, and it’s all very impressive. While it’s debatable just how useful the spell was, it does serve to get people excited about magic again, and the idea occurs to the ministers that, while they could never send Norrell abroad to help with the war, perhaps Strange would be just the man for the job.

Books

At first, Norrell is vehemently against the idea of his student being sent to the continent, and he’s even more upset when Jonathan Strange brings up the matter of the books he will need to take with him on his journey. Knowing that all the magic books in England are Norrell’s, Strange even manages to broach the topic of books in such a way that Norrell is obliged to agree to loan them.

It’s only when Norrell learns of a likely book sale that he becomes anxious to get Strange out of England. Norrell may miss the forty or so books that Strange intends to borrow for the trip, but Norrell is glad to remove Strange from having the opportunity to bid against him at auction. Even still, Norrell must bid against Arabella Strange, although it turns out that Norrell is able to outbid her every time.

Jonathan Strange reports for duty.

In the Lines

From pretty much the moment he lands in Portugal, Jonathan Strange finds himself a little out of his depth. When he finally makes the acquaintance of Lord Wellington, Strange is told outright that a magician is no use on the front and that the “help” he and Norrell have provided thus far has actually been no such thing. Dejected, Strange goes away, but he is still determined to contribute somehow or other.

Over several weeks, Strange submits proposal after proposal to Wellington, but all are refused. The chaplain is some help in encouraging Strange to find a way to make himself useful, but it’s only after he starts getting to know the soldiers that Strange starts having good ideas. Finally, he settles upon the idea of making roads for the troops to march down more easily. Wellington is thrilled with this idea, and the chapter ends with two happy images: Jonathan Strange riding down his magically-created road at Wellington’s right hand and enemy troops refusing to use perfectly ordinary roads for fear that they are magicked.

 

Game of Thrones Recap: Season 5, Episode 7 “The Gift”

Well, that could have been worse. A couple of interesting things happened in this episode, they skipped Arya (which is a nice break from that snoozefest), and a couple of plots moved along nicely, but there was another incident of gratuitous (though not particularly graphic) sexual violence, some truly nonsensical stuff happening in Dorne, and Sansa actually manages to end this episode worse off than she begins it. A mixed bag is still better than last week’s shit sandwich, though.

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Ser Alliser does not approve.

I expected “The Gift” to start right back at Winterfell, but it doesn’t. Instead, we begin at Castle Black where Jon Snow, a few loyal friends, and Tormund Giantsbane are departing for Hardhome. Alliser Thorne still thinks it’s a terrible idea, and Olly is angrily pouting at Jon the whole time as well.

Sam, at least, is sad to see Jon go, and he sends Jon off with a bag of dragon glass daggers and a hope that they won’t be necessary. Seeing these props in the light of what passes for day up at the Wall, I don’t think I like them. They’re supposed to be obsidian, which is a common material and well-known, but these look like they are made of smoky gray plastic–which I imagine they actually are. It’s a tiny thing, I suppose, but they don’t look real at all, which is distracting.

Meanwhile, Maester Aemon is not doing well. He’s not quite wandering in time, but he’s very weak, and he seems lost in reminisces of his youth. In a moment of clarity and presence, though, he warns Gilly to take her baby south “before it’s too late.”

vlcsnap-2015-05-25-11h54m24s47We do make it to Winterfell early in the episode, at least, but Sansa isn’t doing well. As Theon brings her some food, we see her curled up in bed sobbing. When she stands up, she’s pale, tear-streaked, and covered in bruises. However, she doesn’t seem broken, just desperate as she begs Theon to help her. This is the scene that was teased in the trailer for this episode, and I had some hope that it might mean the writers weren’t going to completely screw Sansa over. However, instead of helping Sansa, Theon goes straight to Ramsay and rats her out. Before we leave Winterfell, we see Brienne of Tarth still watching from outside the keep as the tower stays dark.

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Brienne has nothing to do yet, but she looks ready.

While I’m more than a little frustrated with how this is going, there are some things I like about it. It’s nice to see Sansa being a little more forceful, and it’s nice to see them making some use of Sophie Turner’s imposing physique. She’s a strapping girl and can be physically intimidating when she wants to be, although she doesn’t quite match the stature of Gwendoline Christie. For the majority of the show, Sansa has been very passive, and her body language and actions have all backed up that perception of passivity, so I kind of like that we’ve gotten to see her do quite a lot more this season. That said, I’m not sure I trust the intentions of the writers, either, and I have a feeling that they are mistaking the appearance of physical power and strength for agency. When Sansa stops Theon from leaving her room and stands over him to make him listen to her, it feels like the writers and directors are trying to make us feel girl power where, really, there’s a desperate, abused woman with very few options.

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Maester Aemon’s funeral pyre.

Back at Castle Black, Maester Aemon dies what is perhaps the first natural death in the history of the show. I’m not sure exactly what could have been done better here, but I just didn’t have that many feelings about it. The severe truncation of the various Castle Black plots versus what was in the books has, I think, led to a sort of general glossing over of basically everything that is important. I think I just haven’t seen Maester Aemon enough on the show, especially in the last couple of seasons, to really get too broken up over his death. Which is too bad, because Aemon’s death in the books is really, really sad. On the show the sadness is also cut short by Alliser Thorne’s apparent need to menace Sam literally during Aemon’s funeral.

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Sansa always looks her best when she’s subtly mocking evil manchildren.

Later, at Winterfell, Ramsay has Sansa come out to walk around the castle with him while he explains all their defenses. You know, as supervillains do when they think the hero is really trapped. Because, obviously, spilling all your plans to your enemies always works out well. A+ job, Ramsay. As they walk, Sansa picks up some kind of sharp pointy thing off a worktable, and then she starts in on the same kind of passive aggressive commentary that she had some success manipulating Joffrey with, and which seems to get under Ramsay’s skin as well. Ramsay does manage to control his anger, although he lets slip that Jon Snow, Sansa’s half-brother, is now Lord Commander of the Night’s Watch–another big failure on Ramsay’s part to keep pertinent info away from the woman he apparently beats and rapes on a nightly basis. It also turns out that the real reason Ramsay wanted Sansa to walk with him is so he can show her the flayed corpse of the nice old lady Sansa met when she first returned to Winterfell.

I really have mixed feelings about the Sansa stuff in this episode. On the one hand, I’m not sure how I feel about the way they are portraying Ramsay’s sustained abuse, and I feel like the writers are really trying to get us to believe that this is all somehow part of Sansa’s plan, which completely disregards how few options the character has actually had so far. On the other hand, I think that Sansa and Ramsay’s interaction in this episode was really compelling, and I thought they did a really nice job of capturing Sansa’s own mixed feelings about her situation as well as showing that even though things are pretty dire for her right now, she’s still an intelligent and resourceful person. That said, I also feel like they’re showing Ramsay to be so stupid that he couldn’t organize a secret trip to the bathroom, much less run a castle during a war, so even if Sansa does somehow triumph here it’s not exactly some great achievement? It’s not that hard to outwit someone who is constantly feeding you all the information you need to outwit them and who is so lax in their supervision of you that you can easily arm yourself with sharp objects that are just laying around in plain sight.

Anyway. I didn’t hate the Winterfell scenes in “The Gift,” but I’m also not completely sold on the way things are going. Like some of the other story lines in the show, I feel like this one is suffering from being dumbed down so much that a not particularly clever dog could see its plot twists coming from a mile away. Still better than last week’s Winterfell scenes, though.

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Winter is coming all over Team Stannis.

Somewhere between Winterfell and the Wall, Team Stannis is bogged down in snow already. They’re losing dozens of horses every day, there are sick men in the camp, and a group of five hundred mercenaries have deserted in the night. Davos advises that they should turn back to Castle Black and wait out the winter there, but Stannis is determined to press on to Winterfell. After Davos leaves, Stannis turns to Melisandre for reassurance, which she gives. However, she also has a recommendation: sacrifice Shireen in order to ensure their victory in the upcoming battle. This is Stannis’s hard limit, though, at least right now, and he actually sends Melisandre away because he’s that upset by her suggestion.

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I honestly feel worried when even Melisandre looks desperately afraid.

I liked the scene a lot, but I’m really curious to see where Team Stannis is going. I think it’s actually unlikely that we will see the battle in the snow before next season, as I feel like there’s still a lot of ground to cover in the next three episodes of season five. I also think it’s unlikely that Stannis will actually give in and sacrifice his daughter, as that would make him so monstrous that I’m not sure anyone would want to watch him at all anymore. Stannis’s greatest strength on the show has always been that he’s a sensible man with a pretty strong and steady moral compass, and him sacrificing his daughter would be incredibly out of character. What does seem likely is that Jon Snow will be “killed” at the end of this season as he was at the end of A Dance With Dragons, and some popular fan theories require that Melisandre is there when that happens. My best guess at that the conflict over Shireen is going to break up Stannis and Melisandre and she will go back to the Wall by herself before the end of this season.

Back at Castle Black, again, we get a nice bit of absolutely gratuitous and nonsensical sexual violence, apparently as a reason for Gilly to pity fuck Sam. This is the part of last night’s episode that made me angry when I saw it and angrier the more I think about it. Basically, Gilly is moving some wet blobs of cloth around like she’s an extra in Monty Python and the Holy Grail when a couple of Night’s Watch guys come in and start harassing her, pretty obviously with the intention of raping her. She’s unarmed and alone with them, and when she resists they get physically violent with her. Then Sam comes in and tries to rescue her, but the other two men just beat the shit out of him. He manages to stand up and threaten them again, and then Jon Snow’s dire wolf, Ghost, pops in to scare the rapists away. Later, while Gilly is tending to Sam’s beaten up face, she straddles him and they do it. I pretty much hate everything about this whole bit, because:

  1. We already know that Gilly is not exactly safe at Castle Black. She’s been sent away once (to Mole’s Town) and just in this episode Maester Aemon warned her to take the baby and go. There’s really no need to reiterate that again.
  2. We know that Sam’s position is precarious and that he’s not really capable of physically protecting Gilly on his own. Even in this episode, we’ve seen Alliser Thorne threaten Sam, and we’ve also seen the other men of the Watch stare at Sam like they want to kill him (again, in this very episode). This was not new information that we needed to have shown to us.
  3. While Sam’s refusal to back down from the fight could be considered to show some character growth on his part, this could have been shown in some other way than having Gilly almost raped. Again on this show a woman is subjected to sexual violence in service of a man’s story. Why not just have Sam harassed and attacked on his own and then go to Gilly for treatment afterwards?
  4. If they really wanted these two characters to have sex, why not just have them driven together by their shared grief for Maester Aemon? This would have been more true to the spirit of how things went down in the books, and it could have been a genuinely sweet and romantic moment that was untainted by the specter of rape that the show’s writers seem to want to keep hanging over their female characters.
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    Plot convenience wolf! And it’s not even a good plot.

    Finally, where did Ghost even come from? What is the point of Jon Snow having a wolf at all if the thing only shows up as plot convenience demands? I mean, a huge white wolf looks pretty cool, but the show seems to use Ghost in only the silliest possible ways.

  6. Oh, and ALSO Sam is like “I don’t know what [those attempted rape guys] would have done.” Really? REALLY. This sort of danger has literally only been talked about ever since the first time Gilly arrived at Castle Black, but okay.

A scene that in the book was about mutual love, shared grief, and healing (especially for Gilly, for whom this is her first consensual sexual experience) becomes something very different on screen, and it’s very disappointing.

On the other side of the world, Jorah and Tyrion are being sold at a slave auction actually in sight of the walls of Meereen. Tyrion manages to get himself bought by the same man who buys Jorah, and they are led off to their new life.

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Daario is really harshing on Dany’s mellow.

Within Meereen, Daenerys is busy enjoying herself with Daario, who is full of advice. First he suggests that the Sons of the Harpy have only stopped their attacks (apparently that has happened) because Dany is marrying their leader. Then he tells Daenerys that she should marry him instead of Hizdahr, and he seems a little hurt when she says that she has no choice. He insists that everyone has a choice, but she disagrees. His final bit of advice is to round up all of the masters and slaughter them, but she rejects this as well–she’s a queen, not a butcher. “All rulers are either butchers or meat,” Daario replies, and then we’re off to King’s Landing.

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Olenna’s down, but not out.

Lady Olenna has come to speak with the High Sparrow about Loras and Margaery, and she’s prepared for everything but what she finds. Like Cersei, Olenna can’t quite seem to wrap her head around this man’s honestly and deeply-held beliefs. I’m glad to see the show add this context for Cersei’s actions, to be honest. It’s easy, I think, for people to just think Cersei is stupid or that she’s making amateur mistakes, but I think the truth is that, while Cersei is not always entirely rational, her biggest mistake so far has been one that even the legendary Queen of Thorns makes. Both women are laboring under the assumption that anyone can be bought. As Olenna leaves the Sept, frustrated, she’s stopped by someone carrying a message marked with a mockingbird seal.

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Mother of the year.

At the Red Keep, Tommen is furious that he can’t do more to help Margaery, and Cersei is there to comfort him. Some things, she says, are just entirely outside of their control, and probably this is all just fate. Tommen rages a little more, even threatens to go to war with the Faith, but Cersei talks him down and offers to go talk to the High Sparrow herself. Placated, Tommen finally relaxes, and Cersei gives a lovely speech about how much she loves him and how dedicated she is to doing whatever it takes to protect him and make him happy. I’m not always thrilled with the writing for Cersei, but I like this. This fierce love for her children is perhaps the only truly authentic emotion that Cersei has, and I never doubt Lena Headey’s performances of these scenes.

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Ugh, you just. don’t. GET. it.

In Dorne, Jaime meets with Myrcella, who stomps her foot and declares her intention to marry Trystane and stay there forever. She’s been there for years, she reasons, so why the hurry to bring her back to King’s Landing now? I didn’t love Myrcella’s scenes with Trystane last week, but I kind of like the new actress here. Her tossing a “you don’t know me!” at Jaime and flouncing out is so wonderfully full of teenage temper and angst (and, honestly, perfectly sound reasoning on her part), it’s great.

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Me, too, Nym.

We finally get to hear the end of “The Dornishman’s Wife.” While Jaime is dealing with Myrcella, Bronn is sitting in a prison cell right across from the Sand Snakes. I guess because the show wanted to meet their boob quota or whatever, we get to see Tyene strip down in order to get Bronn to tell her she’s the most beautiful woman in the world, which gets her to give him the antidote to the poison that she cut him with last week. This all gets big eye rolls from Obara and Nym, and I concur. What an anti-climax. All that meaningful lingering on Bronn’s injury in last week’s terribly done fight scene, and Tyene just gives him the antidote because she kind of likes him? Ugh.

Back in King’s Landing, Littlefinger is moping about his destroyed brothel when Lady Olenna shows up for a talk. She’s furious, believing that Baelish sold Loras out to Cersei, which is apparently true. Olenna reminds Littlefinger that his fortunes and those of the Tyrells are deeply intertwined, what with them having killed a king together and all. Littlefinger replies that, though he did have to cooperate with Cersei, he has brought Olenna a gift as well–of the same kind that he gave Cersei.

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Who says romance is dead?

Returning again to Tyrion and Jorah, the pair are now at a sort of gladiatorial school, still outside Meereen proper. There is going to be a fight staged, the winners of which will have the honor of fighting at the Pit of Daznak in Meereen, in front of Queen Daenerys herself. Unfortunately, Jorah and Tyrion are both being left out of this particular fight–until Daenerys shows up with Hizdahr on a date–because nothing is more romantic than blood sports. Jorah rushes out to fight, soon followed by the rest of the gladiators that are still down in their little dugout thing, but Tyrion is left chained to the stone benches. Jorah wins the melee, and without killing anyone since he knows Dany’s distaste for violence, but Daenerys isn’t happy to see him. Tyrion manages to get himself freed, and introduces himself to Daenerys as Jorah’s gift to her right as she’s about to send Jorah away again.

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In all seriousness, I’m really happy that Dany was so unhappy to see Jorah. I’d be very disappointed if she was glad he was back.

In some ways, this is the worst sort of plot convenience theater, and the guard inexplicably chopping Tyrion’s chain was downright silly, but this actually worked for me. I think that, partly, I’m just bored with Tyrion and Jorah together, and I hated their stuff last week, so this seems good by comparison. And, partly, I’m just happy to see this story line moving along at this sort of clip. I loved ADWD, personally, but if the show really tried to capture all that stuff, it would run for like ten seasons at least. Between the Tyrion/Jorah show and boring Daario/Dany scenes, it would have been just excruciating if they’d put this meeting off any longer. While it’s not the last scene of the episode, it also works as a nice little cliffhanger and gives us something to look forward to next week.

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Margaery in her cell.

The show instead ends in King’s Landing, where Cersei arrives at the Sept to gloat at Margaery, who looks absolutely miserable in the dank cell she’s being kept in. As Cersei stands over her, smirking, Margaery gets the excellent and thematically important line:

“Lies come easily to you; everyone knows that. But innocence, decency, concern…you’re not very good at those, I’m afraid.”

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Cersei is walking on air as she leaves Margaery.

I know we haven’t even reached the end of ADWD content for this storyline yet, but I kind of can’t wait to see what happens with these two queens next season. Certainly, neither of them will be killed (although poor Loras may not be so lucky), but with the end of ADWD bringing so many changes, there’s really no telling what these ladies will be up to after this mess clears. In the meantime, Natalie Dormer and Lena Headey really are consistently amazing in their roles, especially in their scenes together, of which this may be the most important to date.

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Cersei’s “Oh, Shit” smirk is only one glorious incarnation of her signature expression.
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The High Sparrow’s self-satisfied look is a lot more terrifyingly dead-eyed than Cersei’s usually are.

Cersei walks away from Margaery’s cell with an absolute spring in her step, she’s so pleased by how things are going, and she goes next to speak with the High Sparrow.

This scene is honestly magnificent, and I’m really not sure it could have been done any better. Probably my favorite thing about it, aside from Jonathan Pryce’s absolutely chilling performance, is getting to see such a wide range of Lena Headey’s smirks. We see Cersei go from self-satisfied, to bored, to mildly concerned, to completely terrified/angry, and her expression can reasonably be described as a smirk for about 95% of her time on screen. It’s a pretty great end to the episode, and I hope the show can maintain this pace over the next couple weeks.

Rereading Jonathan Strange & Mr. Norrell: Chapters 26-27

Strange_RedChapters 26 and 27 are largely concerned with updating us on the situation with Stephen Black and Lady Pole. Important introductions are made as well, between Jonathan Strange and Sir Walter Pole and–even more significantly–between Arabella Strange and Lady Pole.

The Music Never Varied

It is now nearly two years after Lady Pole and Stephen Black were first enchanted by the gentleman with the thistle-down hair. Both Stephen and Lady Pole continue to be whisked away every night for various entertainments–balls, dinners, processions, and so on–in fairy land, and we can see that this takes a great toll on their constitutions.

Throughout this time, the fairy gentleman has lavished all kinds of gifts and attentions on Stephen Black in particular, and in chapter 26, the fairy contrives to gift Stephen with a crown, scepter and orb, which are traditional accouterments of royalty. The gentleman is convinced that the kingdom that Stephen Black is destined to rule is in fact England. Stephen, for his part, wants none of this, but finds himself incapable of communicating his problem to anyone.

Mr. and Mrs. Strange

As the Stranges settle in to London, they find themselves quite popular and well-liked. Jonathan Strange is younger and much more agreeable than Norrell, and Arabella is pretty, intelligent and charming. However, the beginning of Chapter 27 finds Arabella slightly at odds with her husband, who seems to have grown a little distant and slightly inconsiderate of his wife. Although she’s sweet and good and patient, and largely indulgent of her husband’s new profession and friends, it’s clear that Arabella is not entirely comfortable with their situation.

In the winter of 1809-10, Jonathan and Arabella are invited to the home of Sir Walter Pole, where Pole wants Jonathan to discuss the use of magic in the war effort. While the men go to confer, Arabella determines to sit down and read, only to find she’s really not in the mood. Instead she begins to explore the Poles’ home.

What Lady Pole Said

Arabella soon comes to a lovely room filled with paintings of Venice. As she admires the artwork, she almost doesn’t notice Lady Pole, who is relaxing before the fireplace. The ladies introduce themselves, and Arabella comments that she has heard much of the great service Norrell has performed for Lady Pole.

“Mr. Norrell has been no friend to me,” said Lady Pole in a dry, matter-of fact tone. “I had far better be dead than than be as I am.”

Arabella is aghast, being used to thinking that Norrell’s saving of Lady Pole’s life was a miraculous service, although Arabella herself has no reason to love her husband’s tutor. As Lady Pole continues on, Arabella starts to be concerned, and Lady Pole insists that she has some secret to tell. Unfortunately, much like Stephen Black, Lady Pole is simply incapable of speaking about her enchantment, and all that comes from her mouth is mad-sounding stories.

Sir Walter comes to take his wife away, although Lady Pole greatly desires that Arabella should come back and visit.

“I see no one. Or rather, I see whole roomfuls of people, but not, a Christian among them.”

Arabella of course promises to visit. While left alone, Arabella hears a bell, which strikes her as odd, as Sir Walter told them earlier that the bells no longer ring in their part of town. As they leave, Mr. and Mrs. Strange both describe having odd experiences.

A few days later, Drawlight is trying to pump Arabella for information on Lady Pole, but this only confirms Arabella’s low opinion of the man.

The Ladies of Jonathan Strange & Mr. Norrell

I love these characters so much. Arabella is an absolute delight, but even Lady Pole is a well-drawn character with a personality of her own. Probably my favorite thing about this last chapter is the look that Lady Pole gives her husband, as observed by Arabella:

There was a sadness in it and pity too and, oddly enough, a little amusement. It was as if she were saying to herself, “Look at us! What a sad pair we make!”

I really appreciate that Lady Pole is not a mere object. She’s not simply a damsel in need of rescue or a mystery for a hero to solve. She’s a person, with opinions and ideas and a sense of humor.

By the same token, Arabella isn’t just Jonathan Strange’s good little wife. While she’s definitely patient with him and willing to put up with his eccentricities and the demands of his new career, she’s no pushover. She’s smart and funny and brave and kind, and she’s a fairly decent judge of human character.

It makes me very happy that in a book that is so concerned with the intertwining lives and stories of two men, the author still makes it a point to dedicate time and space in the story to developing female characters and writing their relationship.

Weekend Links: May 23, 2015

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This weekend’s links brought to you by Adventure Time-style Disney Princesses.

On That Scene in the most recent episode of Game of Thrones:

Manic Pixie Dream Worlds on Sexual Violence in Epic Fantasy

The Rainbow Hub on sacrificing Sansa in service of Theon’s story

Feminist Fiction’s take on the episode

Amanda Marcotte disagrees with most of the crowd (and I disagree with her, but this piece is worth reading as a counterpoint)

Your Defense of That Rape Scene Makes You Sound Kinda Gross (a counterpoint to the counterpoint)

On rape, nudity and historical accuracy in general/specific

BoingBoing on Game of Thrones’ hypocrisy

How Real Is the ‘Game of Thrones’ Medieval World? (an oldie but goodie that is still relevant over a year later)

John Scalzi on writing rape at io9 (general rule: don’t)

K. Tempest Bradford on the Historical Accuracy Fallacy

Stuff people have written about Mad Max: Fury Road that make me very sad that my broken foot is keeping me stuck at home and away from the theater:

We Are Not Things: Mad Max vs. Game of Thrones

Kameron Hurley: Wives, Warlords and Refugees: The People Economy of Mad Max

BITCH Magazine Blog: The Ecofeminism of Mad Max

Miscellaneous non-GoT/Mad Max things:

Simon Pegg clarifies his comments on sci-fi infantilizing us and makes some excellent points about the current state of pop culture

Everything you want to know about fancy editions of classic books

On the word “girl” in Supergirl

5 Things That Have to Be in the New X-Files – I’m totally here for Fox checking out Tinder

@QuirkyMPDG is my new favorite Twitter this week

 

 

Sci-fi and Fantasy books, tv, films, and feminism