Monday, 21 March 2016

Against Me!'s Laura Jane Grace To Release Memoir


The lead singer and front woman for the punk rock band Against Me!, Laura Jane Grace, has announced that she will be releasing a new book.

The memoir, 'Tranny: Confessions of Punk Rock's Most Infamous Anarchist Sellout' is set for release on November 15th this year, and has been written with the help of  Dan Ozzi.  The book is reported to include 'never before published journal entries, which reach back to childhood'.

Dan Ozzi told Entertainment Weekly 'The book mixes narrative about Laura's life - growing up with dysphoria and playing our generation's most influential punk band - with amazing journal entries she's been keeping since she was a kid.'


Laura took to Instagram and Twitter to talk about the upcoming book.  'Big announcement!!!!  On November 15th, 2016 Hachette Books will release a memoir titled Tranny: Confessions Of Punk Rock's Most Infamous Anarchist Sellout.

'Written with much help from music writer Dan Ozzi (thank you Dan!), cover art by artist Chris Norris (thank you Chris!).'

Laura tweeted about the book, stating that it is in 'no way what-so-ever about self glorification or hero worship', she went on to tweet that 'Any trans person who has written a book in effort to elevate themselves onto a pedestal, well I want my book to be anti-that'.

She also spoke about the title, explaining why she chose a potentially charged term that many in the trans community see as a slur.


Laura has also been using Twitter to respond to users who have taken an issue with the book's title.


So far reactions to the announcement have been largely positive, with many fans of Laura's work taking to social media to express their excitement at the project, and their support of Laura.


Amy.
xx

The Walking Dead 'Twice As Far' Review


This review WILL CONTAIN SPOILERS for the episode to be discussed, if you do not want certain plot points or story spoilt, please do not read further.


The Walking Dead has been building up momentum the last few weeks, with the group meeting the survivors at Hilltop, the attack on the Saviours and the kidnap of Carol and Maggie.  So when 'Twice As Far' began with a sequence that showed the routine that had set in around Alexandria, of people going about their day to day business again and again, it felt like the episode might have been a downshift.  For the most part it was, with much of the episode taking the time to explore two of the smaller, often overlooked characters, but events in the last ten minutes proved to both the characters and the audience that you should never lower your guard.

The main bulk of the episode followed two groups of survivors outside the safety of Alexandria, Eugene and Abraham, who were searching for a workshop where Eugene believes that he can produce bullets, and Denise, Rosita and Daryl, who were searching for a stash of medication.

Whilst both of these groups had some of the resident bad arses of the group present, they also had two of what could be considered the cowardly characters in the shape of Eugene and Denise.  Whilst some would argue that Denise has been growing as a character over the course of this season Eugene is definitely a man who has relied on others to protect him in the past, even overtly manipulating people to ensure his own survival.

Giving both of these characters the time to shine and prove that they are capable outside of the walls of Alexandria might have been a slight failure for them, Eugene was unable to kill the metal headed walker and Denise almost got herself killed over a can of soda, the facility where they can make bullets and the extra medical supplies were all earned by them using their brains to find a solution other members of the group wouldn't have.

Both characters are given a lot of room for growth in this episode.  Eugene believes that he's adapted and is in 'stage two' of being a survivor, that he's not just using his brain to survive anymore, but is just as capable as physical action to save himself just as much as any of the other members of the group.  At first he's proven wrong when he attempts to kill a walker that's had molten metal poured over it's head in the past and now essentially has a big metal skull.


Abraham is forced to jump in and save Eugene when he's unable to dispatch the walker (but to be fair, he would have done it quite easily if not for the metal skull), which leads to a division between the two men.  Their relationship has been quite strained since Abraham found out Eugene lied to him when they first met, and Abraham's recent changes have left his a little more 'delicate', so when Eugene tells him his protection is no longer needed Abraham takes it incredibly personally, leaving Eugene to find his own way home.

Denise, and her journey in this episode, is a very different animal to Eugene.  Where Eugene has hidden away from danger and relied on others by choice Denise seems to be the character who has had others protecting her whether she wanted them to or not.  She was sheltered in Alexandria, Carol saved her from the wolf, and as the town's only medic they've kept her clear of the front lines to keep her alive.  

In this week's episode we get a sense that Denise wants to be in more dangerous situations, that she wants to prove that she isn't someone who needs the protection of others, more for herself than anyone else.  I got the sense that she had grown sick of being sheltered from what was beyond the walls of Alexandria, and that the trip for medical supplies was her way of proving to herself that she had more to offer than just being a doctor, and that she was stronger.

Sadly this is The Walking Dead, and people are often robbed of their chance to grow or find any kind of happiness, so when Denise finally proves to herself that she can protect herself (and also finds the can of soda she's been trying to get for Tara for weeks) she's killed in the middle of a passionate speech.

The moment comes out of nowhere, and (for me at least) scares the shit out of the audience.  One minute she's talking, the next there's an arrow sticking out of her face.  It's also a sad moment, because Denise was one of those smaller characters that had just started coming into the foreground, and was very likable.  Her relationship with Tara was genuine and sweet, and it makes her death even more devastating knowing that Tara left on her supply mission unsure about telling Denise if she loved her or not.

The death was also a surprise for fans of the comic, as in the book this scene took place with another member of the group taking the shot to the head, Abraham.  In the books Abraham is killed by Dwight with a crossbow after he breaks up with Rosita.  What with Abraham getting a lot of focus lately, with his mental stability being a little 'shaken' all season, and him having finally ended his relationship with Rosita I believed that he would be the next member of the group.  Instead the show writers chose to dispatch Denise in order to shock those fans with a knowledge of the source material.  


The fact that a death happened the same way, but the person killed changed is sure to add to fan speculation that Negan might not be making the exact same entrance that he does in the books, and that any one of the cast might be lost in the season finale.

The audience and the characters are given little time to mourn Denise though, as Daryl and Rosita are ambushed by a dozen members of the Saviours, who have a captured Eugene in tow.  The saviours admit that they know where Alexandria is, and try to get their prisoners to take them there and let them inside the walls.  Thankfully Abraham is close at hand to turn the tables though.

In a moment where we're led to believe that Eugene is trying to save his own skin yet again, he tells the Saviours that Abraham is hiding behind a pile of old barrels, giving Abraham the chance to attack them from a different direction.  In the ensuing fight Eugene proves that he has indeed stepped up to stage two, as while tied up and on his knees he bites Dwight in the crotch and seriously wounds him.

It's a little surprising that three members of our group, and a tied up Eugene with a mouth full of dick (not being crass, he really does have a mouth full of dick) actually manage to turn the tables on the Saviours and either kill them or drive them off.  If it wasn't for the death of Denise the threat of the group would be seriously questionable.  Unfortunately we lost one of the most likable characters on the show to prove that they can be a danger to our heroes.


The episode ends with Daryl doubting and blaming himself for what happened, believing even more that he should have killed Dwight in the burnt woods when he had the chance (way back in the first half of the season for those struggling to remember).  It's possible that in the next episode we might see both Eugene and Abraham blaming themselves too, as both of them are in a way responsible for Eugene's capture by the Saviours, but I think the show will move on from Denise until Tara returns to the community.

The episode ends with Carol leaving a note for Tobin telling him that she's had enough of the killing, that she doesn't want to be the person that kills people anymore.  Unfortunately she knows that she will kill to protect the people she loves (the whole of Alexandria) and feels the only way to save herself from being a killer is to not love anyone, and as such leaves.

I really, really hope that this isn't going to be the last we see of Carol, and I hope that she doesn't end up in the hands of the Saviours to be killed.  We'll have to wait until next week to find out what happens next, though I can't see Daryl letting her go without a good try at bringing her home.


Amy.
xx

Sunday, 20 March 2016

'Boy Meets Girl' Review



'Boy Meets Girl' follows Ricki, a young woman living in rural Kentucky, working in a coffee shop whilst she waits on hearing back from a fashion school in New York, where she wants to go to follow her dream of being a fashion designer.  What sets this film apart from a lot of others is that Ricki, and Michelle Hendley who plays her, is transgender.

Ricki's life is thrown out of it's routine when she meets Francesca, a local girl whom she becomes good friends with, but starts to develop romantic feelings for.  Francesca's marine fiance is dead against her friendship with Ricki, for reasons that goes beyond standard transphobia.

Whilst 'Boy Meets Girl' takes a lot of story beats and character moments from a lot of other films in the romance genre, the fact that the central protagonist is transgender adds a dimension that is not normal seen in other films.

There is a lot of discussion between the characters about sex and sexuality, whether it's characters trying to figure out if they're straight, gay or bisexual when they find themselves attracted to someone that they'd not thought they would be, to Ricki asking her best friend Robby how to go about having sex with someone who has a vagina.


The scenes where Ricki and Robby talk about sex and sexuality are some of the highlights of the film, with the interaction between the two of them filled with touching moments and laugh out loud banter that not only sell the fact that they are childhood friends, but hints at a closer intimacy between the two of them that will be important later on in the film.

The casting of Michael Welch is a great choice, with his delivery of lines, comedic timing and physicality in these scenes feeling brilliantly naturalistic.  More than once when watching him during the course of the film I found myself seeing him in an almost young Nathan Fillion light.

Despite having a lot of comedy and with relationships being the key focus it's hard to just see the film as a romantic comedy, as there are some genuinely upsetting and dark moments within the narrative.  The venomous transphobia that Francesca's fiance Michael uses are horrible to watch, with his character using some of the worst language possible to describe trans people.  The sentiments Michael makes about Ricki, calling her a tranny, a freak, refusing to acknowledge her identity, are all things that trans people have to face in their lives, and the film doesn't shy away from showing this reality.

Dotted throughout the film are also flashes to an old video that Ricki made during her teenage years, where she talks about being trans, how she feels that her mother left because she was ashamed of her, how she's been close to suicide.  Perhaps it's because I've seen these kinds of videos for real, or perhaps it's because I've felt very similar myself at times, but these scenes were more than just hard to watch, they were heartbreaking.


Despite some darker and painful moments there are moments of happiness and levity to make the journey feel worth it, with an ending that actually leaves you feeling uplifted.  The cast all play their parts well, with Michael Welch stealing the show with his charm and comedic timing.

Praise has to be given over to the writer/director Eric Schaeffer for not only writing a piece that manages to capture some of the least looked at aspects of being transgender and some of the hate that members of the community face, though some of the confusion around what constitutes as gender and what constitutes as sexuality can be frustrating.

The casting of Hendley is also something that cannot be overlooked.  With so many cis actors being cast in trans roles it's pleasing to see a filmmaker make the point of casting someone with actual lived trans experience in the role.  It's massively important for trans representation to give trans people the chance to tell their own stories.

'Boy Meets Girl' might not be to everyone tastes, but for something that's a little different from your standard romantic comedy and something that shows a small fraction of the struggles faced by the transgender community this film is definitely worth the watch.

Amy.
xx

'Crimson Peak' Review



For the most part I'd consider myself a fan of Guillermo del Toro, I think that he's made some films that tell brilliant stories (Pan's Labyrinth), some great entertaining pieces (Pacific Rim) and some truly stunning visual masterpieces (Hellboy 2).  Sadly, I felt that Crimson Peak didn't work in any of these ways.

I've seen so many reviews praising the film's visual style, some even calling it a masterpiece in gothic horror, but I'm finding myself having to disagree with that.  The almost over the top gothic style tended to distract me from my immersion more than anything else, where I would often find myself looking at a particular set or a costume and thinking that it was too over the top.  Whenever Edith was on screen in her nightgown all I could look at were the ridiculous puffy shoulders.

Del Toro seemed to fill the screen with over saturated and almost animated colours that seem so out of place and over the top that I found myself unable to take things seriously.  The deep red of the ghosts at Crimson Peak itself were just too red and plastic looking that they had no scare factor of threat to them.  They looked like they were made out of wax and that a good hit would make them snap.

The ghosts in the film were without a doubt some of the worst I can remember seeing, with no consistent style.  Some were see through and dark, looking like they were made out of smoke, whilst others were solid and bright red.  Is there a reason for this difference in the types of ghosts?  If there is del Toro doesn't feel the need to explain any of it.

Once you strip away the visuals there's not really much the film has going for itself that actually separates it from any other film.  The script is very bland, with many of the plot points being so obvious and cliched that they can be seen coming at least half an hour earlier.

I'm finding it harder and harder to find this 'great' film that people were saying 'Crimson Peak' was.  The visuals are bold but over the top and feels wrong for a film that is supposed to be a gothic horror.  The characters are flat and unimaginative, with little to no characterisation or development.  The story is a by the numbers fair that doesn't try to break any new ground but plods along from from cliche to the next.

The only thing I can think of that made anyone pay any real attention to it is the inclusion of Tom Hiddleston, which was guaranteed to make the Hiddlestoners come flocking and heap praise on the film just because it has him as a part of it.

I might get some hate for saying this, but I think that 'Crimson Peak' has been coasting on the fact that it has Tom Hiddleston in it and doesn't actually offer up anything of any real substance or content itself.


Amy.
xx

Friday, 18 March 2016

'The Forest' Review


This review WILL CONTAIN SPOILERS for the film to be discussed, if you do not want certain plot points or story spoilt, please do not read further.


The Aokigahara Forest in Japan is a real place, the story of the forest is deeply disturbing and unsettling, with many believing it to be one of the most haunted places on earth.  Even those who do not believe in the supernatural and ghosts find the forest to be an unsettling place to go.  

Aokigahara is known as the suicide forest, as each year dozens of people travel to the location to take their own lives.  The suicide rates in Aokigahara are so high that the beginning of the forest trail has a sign urging people visiting the forest to think of their families, and to reach out to a suicide prevention helpline.  Each year authorities perform annual body searches to retrieve the bodies of those who have taken their lives in the forest.  Despite not publishing the figures any more to downplay the forest's association with suicide, based on previous numbers it is believed that between 50 to 100 people take their lives their each year.

It's hard to hear about the nature of Aokigahara without feeling a disturbed, and on paper it makes a perfect location for a horror story.  Especially when you factor in the density of the forest, that cuts out almost all outside noise and daylight, and the area's large iron deposits that makes compass navigation impossible.  The forest becomes a dark and spooky maze that even seasoned hikers can get lost in.

With so much real world fear, and the troubling nature of Aokigahara it's amazing that none of this atmosphere has managed to translate across onto film for 'The Forest'.


In the film 'The Forest' the filmmakers use Aokigahara's association with suicide to drive forward their narrative.  When Sarah, played by Natalie Dormer, has been told that her sister Jess, also played by Dormer, has gone missing in Aokigahara she is determined to find her before she takes her own life and travels to Japan to try and find her.

Once in Japan Sarah searches through Aokigahara with the help of Aiden, a travel writer and journalist who thinks the search for Jess will give him an interesting article, and a local tour guide.  The guide warns them that Aokigahara is home to many spirits of those who have taken their lives there in the past, and tells them not to trust everything that they see.

From here the trip into the forest becomes a descent into madness for Sarah as she tries desperately to find her missing sister, whilst being haunted by the spirits trapped in the forest.

There are some big problems with 'The Forest', its story and pacing are all over the place, and the characterisation shifts dramatically for no apparent reason, but the biggest flaw is that the film just isn't scary.  For a film set in this location it should be easy to generate enough tension and fear to keep a 90 minute film going.

Instead, 'The Forest' relies on jump scares and things running at the camera screaming to create what should be scary moments, but just come across as overly loud extra's making arses of themselves.  Jump scares can be good, but only if the film builds up the tension first, yet 'The Forest' fails at doing so.


There is one genuinely tense and creepy moment as Sarah is walking through the forest as a voice whispers to her to turn around again and again, with ghostly figures watching Sarah from the trees as she passes, getting gradually closer to her like grotesque, decomposing Weeping Angels.  Despite the good build up, even this scene ends poorly by resorting to loud screams instead of the tension it had already built up as it's fairly poor conclusion.

'The Forest' tries to sell us on the idea that Sarah is descending into madness brought on by the spirits of the forest, and this could have worked if it was done over a longer time, but in the timeline of the film she's in the forest for a single night before the spirits drive her to breaking point, a single night where nothing much actually happened.  Once again it feels like a misstep, as this idea would have worked if used over a longer period of time.  As it is her sudden turn to madness feels very forced and unexpected, and makes her character a lot weaker for it.

The film tries to use a twist ending to surprise the audience, as we discover that Jess is alive and well and manages to make it out of the forest at the same time that the spirits have tricked Sarah into suicide, making her another of the ghosts that haunt Aokigahara.  By the time this 'surprise' ending came about I had become so bored by the sudden shifts in character, the poor narrative and the terrible jump scares that I genuinely didn't care about the characters or story anymore.

'The Forest' is only 90 minutes long, but feels like a much longer film when actually watching it.  It has bland and boring characters, whose actors aren't given the time or opportunity to do anything interesting with.  The scares are few, far between and so dull that it hardly feels like a horror film at all.  Unless you are an avid horror fan who feels like they need to see every horror film that comes out this one might be worth avoiding.


Amy.
xx

Agents of S.H.I.E.L.D. 'Inside Man' Review


This review WILL CONTAIN SPOILERS for the episode to be discussed, if you do not want certain plot points or story spoilt, please do not read further.


'Inside Man' feels a bit like a filler episode, not much actually happens to move the plot forward (bar an end credits scene that actually does do something) but that doesn't mean that it isn't an entertaining filler episode.

Adrian Pasdar returns as General Talbot, this time assigned to be head of the ATCU by the President, and will be working for/with Coulson, depending on which of the two men you ask.  The episode sees Coulson and Talbot teaming up to attend an international conference discussing Inhumans, and attempting to discover the inside man planted by Hydra.

The two of them work brilliantly together, with their brief but confrontational past playing out like a classic buddy comedy as Talbot steamrolls his way round the conference, being loud and slightly rude, highlighting everyone as a potential Hydra agent as Coulson tries to spy his way through the mission.

The back and forth between the two of them is great, with some subtle comedy moments that actually helps to flesh out the two characters and their relationship together, especially with Talbot refusing to describe their working relationship as Coulson being his boss, despite that being how the President described it to Coulson the week before.

The revelation that Talbot is the Hydra informant is definitely a surprising turn, as it feels completely against everything we'd seen and learnt about the character over the last two seasons.  It's only at the revelation that Malick had kidnapped his son in order to get him to cooperate that it begins to make a little sense.

Sadly the whole situation is introduced and resolved in the very same episode.  Where this could have been a story line to play out over a number of episodes, and could have been a great way of putting Talbot in an interesting situation it's all resolved within 45 minutes.  We could have had multiple episodes of watching Talbot having to work for the enemy organisation he hates in order to keep his son alive, of watching him fighting with his ethics and morals and getting to explore his character, but now he's back to being the grumpy general who sometimes teams up with Coulson and S.H.I.E.L.D..  It feels like a misuse of a potentially interesting story.


Some of the best stuff in the episode is the reintroduction of Carl 'The Crusher Creel, AKA The Absorbing Man.  A one off villain from the start of season two, it was great to see him back, this time working with Talbot as his personal bodyguard.  His power set is a great one, and gives the writers and effects team a lot of creativity to produce some awesome looking versions of the character.  One of my favourite ones is still the rocky concrete version in season two.

Having another super powered being that S.H.I.E.L.D. can potentially call on is good, especially as he's not just an Inhuman.  It's unknown how much more we'll see of the character over the rest of the season, but as Talbot says he doesn't go anywhere without him, hopefully he'll appear a few more times and won't just be sidelined like Deathlok.  (Seriously, the team should have Deathlok helping them out way more than he does.)

The best use of Creel in this episode wasn't in his powers though, but the effect that his reappearance had on the team, especially on Hunter, whose friends were killed by him in season two.  Hunter not trusting Creel and wanting to kill him at points felt perfectly in character for him, and was the perfect response for him to have, and the resulting barbed dialogue between him and May because of this was a high point.  It helped to point out that despite being a main part of the team now Hunter still has incredibly selfish motivations for staying around, and isn't always fighting for the same ends.  It's an aspect of the character that the show doesn't always have time to explore as much as they could, so it's inclusion here is good, and fits well.

The reintroduction of Creel also brought in a potentially very interesting storyline as the team discover that his blood might hold a vaccine to Terrigenesis.  Whilst his blood can't cure anyone who has been through the process and unlocked their Inhuman powers it will stop potential Inhumans from going through the process.  Very obviously taken from the mutant cure plots used in most of the X-Men media, it's more than likely going to come into play at some point again in the future, and could even act as a division amongst the team.  Hopefully it will be done a lot better than the plot for X-Men: Last Stand.


Elsewhere we also get to see more of Hive, the Inhuman entity possessing Ward's body.  Lucio, the Inhuman with the power to paralyse people that was introduced last week, is brought before Hive, where we discover that his powers don't affect him at all.  Hive performs the same strange smokey thing he did to Giyera in the previous episode.  It's still not clear what it's doing to the Inhumans, it's definitely getting them to follow Hive's orders, though it doesn't appear to be mind control.  My money's on that he's beefing up their powers in some way, but we'll have to wait to see.

Hive gets Giyera and Lucio to gather him a group of humans, he then uses them to rejuvenate his decaying body.  The Marvel Cinematic Universe tends to stay away from the openly gory or bloody parts of their universe, so the bloody skeletal remains of Hive's rejuvenation process is a moment that packs some serious shock value, especially when we realise that Hive is back in peak physical fitness.

'Inside Man' might not be the best episode of the show, and it doesn't move the plot forward greatly, but it packs enough fun character moments (especially between Coulson and Talbot) and interesting plot ideas to stay relatively entertaining throughout.


Amy.
xx

Thursday, 17 March 2016

Star Wars Rebels 'The Forgotten Droid' Review


This review WILL CONTAIN SPOILERS for the episode to be discussed, if you do not want certain plot points or story spoilt, please do not read further.


After the Jedi fuelled events of the previous episode it feels a little strange that Star Wars Rebels would go from such faced paced and dramatic storytelling to another character of the week episode.  'The Forgotten Droid' is definitely a slowdown from the episode before, and feels like it was shown out of the correct order.  That being said, the first Chopper centric episode of the series is definitely an enjoyable caper.

With the Rebel fleets carrier ship low on fuel the crew of the Ghost go on a mission to steal a shipment of fuel from the Empire.  When they arrive at their destination Chopper spots a local merchant selling a droid leg that matches one of his, and wants to get it to swap out for his replacement leg.  

Hera tells Chopper that he has to stay with the ship whilst they steal the fuel, but Chopper disobeys orders, steals the leg from the merchant and ends up stranded when the rest of the crew return to the Ghost and leave without him.


From here Chopper stows away aboard an Imperial freighter, where he befriends a downtrodden and badly treated droid, AP-5, who he manages to convince to join up with the Rebellion.

Managing to capture the vessel Chopper and AP-5 find the fleet moments before they jump to a new system where they are hoping to find a safe planet to set up their base.  Using the information from AP-5 they find out that this planet is a trap set by the Empire and find another base instead.

This won't be an episode to everyone's liking.  It's not as bad as the droid centric episodes of Clone Wars, where things were so childish and cutesy and annoying that it made you pray for the end credits,  No, some people will dislike this one because Chopper is the most unlikable member of the Ghost's crew.

Now, I'm not saying that you can't enjoy Chopper or this episode, but as Hera points out, Chopper is self centred and selfish.  Everything that happens to him this week stems from the fact that his desire to have matching legs trumps his desire to keep his friends safe,  

The mission that the rest of the crew go on goes without a hitch, but he was their backup in case it didn't, and that's an incredibly important role that he ignores just to get what he wants.  I'm sure we can all think of at least one time Chopper has flown the Ghost or the Phantom in to save someone at the last minute, now imagine if instead of doing that he was off shopping.  Yeah, that's the level of selfishness we're dealing with here.

Whilst things work out well in the end, the Rebellion gets another ship, they avoid a trap and they have AP-5 join them, that can't really take away from what Chopper did.  If I were a member of the Ghost's crew I'd be finding it hard to trust him going forward.


Despite highlighting just how much of a jerk Chopper can be, the episode does have some great moments.  When the Ugnaught looks over to find the droid leg missing we expect Chopper to be long gone, instead he's standing a few meters away holding the leg staring out into space it's a genuinely funny moment.

AP-5 is also a great addition to the Rebellion.  Through him we find out a little more about Choppers past, that when Hera found him during the Clone Wars and repaired him he was a military droid, and was shot down in a Y-Wing.  

It's nice to find out a little more about Chopper and why he was on Ryloth during the war, and it helps to flesh out his character a little beyond just being a broken droid Hera rebuilt as a child.  It's also very touching when he describes Hera as his friend, and then later extends that friendship to AP-5, especially when Hera says that Chopper doesn't have friends, before being corrected by AP-5.

Whilst having AP-5 around in the future looks like it could lead to a lot of fun, especially with his relationship with Chopper looking to be the angrier and grumpier version of R2 and 3PO, it did take away from the emotion of the moment when AP-5 'died'.  Sabine repairing him in the very next scene meant that the character can stick around, but it took away from the emotion of his sacrifice.

One other great thing about the episode is the return of Ketsu, Sabine's bounty hunter friend from earlier in the season, who has joined the Rebellion fully now.  Her role in this episode may be little more than a cameo, but it helps to build up the Rebellion as something bigger than just the crew of the Ghost and adds more characters for the viewer to care about.  With her, Captain Rex and Ahsoka playing roles in the Rebellion it might not be long before we see more familiar faces from Rebels and Clone Wars have recurring roles.

'The Forgotten Droid' slows the pace of the season after the previous episode and doesn't add much to the overall narrative, but it gives us a better insight into one of the least developed characters on the show.


Amy.
xx

Wednesday, 16 March 2016

Centre For Hate Studies Launches New Animation


The Leicester based Centre For Hate Studies has launched a new animated short to try and highlight the effect of people who suffer verbal abuse, harassment and physical attacks because of who they are.

The animation takes the time to look at someone who is transgender, gay, disabled and of an ethnic minority.

Real people who have actually suffered through real life discrimination and hate have taken part in the project, lending their voices and their stories.


I'm proud to say that I was one of the people to take part in the animation, and that I hope it helps The Centre For Hate Studies in their efforts to raise awareness of the everyday hate that people who are seen as 'different' have to live through.

The Centre For Hate Studies is asking for people to submit their own ideas for how to challenge hate by tweeting to the hashtag #myresponse2hate .

The official press release for the campaign goes as follows;

'Animated film highlights risk-free ways to support victims of hate crime

New animated film from University of Leicester Criminologists shows how the general public can play a key role in supporting victims of hate crime

• Hate crimes take place in everyday locations such as streets, supermarkets and public transport
• Animated film highlights ways in which people can support victims of hate crime without putting selves at risk
• University of Leicester inviting people to tweet their own ideas for how to challenge hate using the hashtag #myresponse2hate
The animation ‘I Can’t Ignore Hate Crime: Can You?’ is available here: https://www.youtube.com/watch?v=uHKQ5HHEHKo

The University of Leicester’s Centre for Hate Studies has produced a short animated film urging members of the public not to turn a blind eye when witnessing acts of hate and hostility.

The animated film, entitled ‘I Can’t Ignore Hate Crime: Can You?’, showcases the stories of four victims of hate crime whose experiences have been made worse when witnesses have walked on by or ignored their suffering without offering to help.

The short animated film, which was produced in association with Seed Creativity, is designed to highlight ways in which we can all support hate crime victims without putting ourselves at any risk.

Rather than placing the responsibility to report on the individual victim, the animation illustrates what bystanders, frontline practitioners and organisations can do to support victims more effectively.

The Centre for Hate Studies is also asking people to tweet their own ideas for how to challenge hate using the hashtag ‘#myresponse2hate’.

Dr Stevie-Jade Hardy, Lecturer at the Centre for Hate Studies, said: “Hate crimes often take place in everyday locations: in public streets, in supermarkets, on public transport. For victims, seeing bystanders rushing past or turning a blind eye can contribute to a heightened sense of victimisation and isolation.”

Professor Neil Chakraborti, Director of the Centre for Hate Studies, explains: “We all have a collective responsibility to do whatever we can to challenge hate and prejudice. Research evidence shows that hate crimes can cause enormous damage to victims, and this animated film has been created to highlight practical, safe and straightforward steps that we can take to offer support.”

Please add your voices to the discussion and share the Centre's work if you can too.

Amy.
xx

Tuesday, 15 March 2016

The Business Bulge Might Be Trying To Make A Good Point, But Fails Miserably


A new campaign launched by Young Minds For Gender Equality aims to shine a spotlight on the pay gap between men and women in many workplaces, but has created a campaign that has left some members of the transgender community feeling insulted and under attack.

The Business Bulge is a 'product' that offers women the chance to level the playing field in the workplace, by making it look like the wearer has a penis.  'Finally, a solution that will get you the respect and salary you deserve' the advertisement claims.

This fake product is reported to be the 'satirical' work of Clark Hoffman and is intended to start a conversation about gender income equality.  Hoffman says on the official website that 'The Business Bulge is a fictional product.  What's not fictional is the fact that in 2016, women still earn less because of their gender.  That's not just wrong.  It's embarrassing.  Politicians aren't addressing the problem, and CEO's need a reason to act'.

The gender pay gap is without a doubt a serious issue, and one that really does need talking about.  But can we not find a way of bringing up the subject without using the 'satire' of a woman with a penis to do it?

The campaign makes the joke that a woman with a penis will get the 'respect and salary you deserve', well I'm sorry, but that argument is absolutely wrong.  No.  Never in a million years would that happen.  Trust me, I am a woman with a penis.

In my last four jobs I experienced transmisogyny and hate in three of them.  I was driven out of two of them and had to threaten to take one of them to court to get any semblance of justice.  All of this, because I'm transgender.

Being a woman with a penis does not mean you get respect, if anything it strips you of it.  Before I began to transition I was able to walk down the street without any issue, now when I go out people stare at me, they laugh and point, I've had people call me a freak, people have threatened me, I've been spat on.  Perhaps you have a different view of respect than I do over at Young Minds For Gender Equality, but I don't see any of those reactions as respectful.

I do not get viewed as male by men, I do not get any of the privileges or respect that men get.  Men (the one's who aren't trans allies) view me as either a freak or a sex object.  I do not get paid the same as them because I have a penis, I am not respected by them because I have a penis.  My penis makes me a target to them.  I have had people literally threaten to beat, rape and murder me because I am a woman with a penis.

As for employment opportunities, the general public are unemployed at roughly 7%, trans people suffer unemployment at 14%.  For those who can't do math, that's double.  Trans people suffer unemployment at double the rate of the cisgender population.  So please, tell me again how I'd have a better job because of my penis, because employers take one look at me as a trans woman and don't want to give me the chance of working with them.

Transgender people are also underemployed at 44%, and are four times more likely than cisgender people to have a household income of under £10,000.  But sure, a woman with a penis will definitely get that pay rise, right?

As a trans woman who has been put in countless humiliating and threatening situations because she has a penis, who has lost jobs because she has a penis, who is struggling to find employment because of her penis, who is struggling to get benefits because of her penis, who is in debt and has literally not a penny to her name because of her penis I say this whole campaign is an insult.

The gender pay gap is important, I'm not saying it isn't, but does this campaign really have to mock people like me?  Does it really have to make a joke out of trans women and make the central theme of it's campaign something that has caused so many trans women to be attacked, raped, murdered or to take their own life?

I know that some of the people reading this are going to turn around and throw the 'it's just a joke' or 'it's just satire' argument at me to deflect away from the real problems with this campaign, but you're missing the point completely.

My life, and the lives of every trans person, is not a joke.  My unemployment is not a joke.  My poverty is not a joke.  There are so many other ways in which this group could have tried to raise the point of the inequality of the wage gap without resorting to 'ha ha tranny' comedy.  It wasn't clever or funny when Sarah Silverman made the joke, it's not clever or funny now that you've copied it.

Young Minds For Gender Equality, please do one of two things.

1/  Learn that gender is more than just cis male and cis female, that gender is a spectrum, not a binary and figure out that 'jokes' and 'satire' like this discount people who don't fit into a binary system and mock their struggles.

Or

2/  Change your name, because you have no right to say that you support gender equality when you throw trans people under the bus for cheap laughs.

Anyone who wishes to express their anger and disappointment at the Business Bulge campaign can contact Young Minds For Gender Equality can contact them via their Twitter page or by leaving a review on their Facebook page.

Amy.
xx

'Steve Jobs' Review


I've never really liked Apple products, there's something about the unwavering and unquestioned loyalty of Apple fans that bothers me slightly, and the idea of a film that idolises the man behind the company in that same way didn't appeal to me.  Then I saw the trailers for the film and saw that the team behind the film were not holding Jobs up as a great man, but an incredibly flawed, and at times horrible, person.

'Steve Jobs' takes an approach to telling their story that not many films would.  Rather than telling a traditionally structured begin to end story of the rise and fall and rise again of the man, the film is split into three separate acts.  Each of these acts takes place in real time before an Apple product launch, occasionally containing brief flashbacks as characters speak.

The first section of the film is set in 1984, and covers the release of the Macintosh, the computer that would be the company mascot throughout the 1980's.  The middle section covers the launch of the NeXTcube in 1988, where Jobs has parted ways with Apple to launch his own device.  The third and final section of the film covers the launch of the iMac, the computer that would make Steve Jobs a household name and let Apple become the powerhouse it is today.

Each section of the film are filmed on different mediums, and coupled with differences in set design, costume and hairstyles, gives each section their own distinct feel.  The 1984 section is filmed in 16mm, the 1988 section in 35mm, and the 1998 section in digital.  Director Danny Boyle stated that he filmed each section this way to help illustrate the advances in Apple technology across the sixteen years depicted in the film.

It's only after reading about this difference in filming technique and looking back at the film that I've actually become aware of the changes.  Instead of being jarring and disruptive they fit seamlessly into the narrative and helps to show the passage of time.  I remembered thinking at the time that things looked more slick and modern in the final section, but put this down to changes in costume and the background technology, but it's easy to see now how the visual style altered too.


The best part of the film though has to be watching great actors a verbal ballet with each other, using the brilliance of Aaron Sorkin to turn what could have been a dull 'talky' film into a genuine pleasure to watch.  Sorkin brings his flair of passionate and hard hitting dialogue and character building that a film like 'Steve Jobs' needs in order to be successful and entertaining.  Indeed, it was knowing that Sorkin wrote the script that actually drew me to the film the most.  

Every scene is interesting and engaging, whether people are talking about technology, family and personal issues, or even talking about sharks (yes, there is even a great conversation about pictures of sharks in a film about Steve Jobs and Apple) it jumps out of the screen at you and draws you in.  the writing for the film is second to none, and I think that if you're going to talk about truly great dialogue writers like Quentin Tarantino or Joss Whedon, Aaron Sorkin absolutely must be on that same list.

The films' cast are all on top form, and feel perfect for the roles they play.  Fassbender might not look perfectly like the man he's playing, but he brings his charisma and magnetism to a role that could have come across as thoroughly unlikable if played by another actor, and delivers a flawless performance throughout.  Seth Rogen proves that he can do more than play the funny man in a role that I'd not have expected to see him in as Steve Wozniak, the man who founded Apple alongside Jobs.

For me, the stand out performance has to go to Kate Winslet, playing Joanna Hoffman, Jobs' marketing executive, and possibly his best friend.  She plays both his confidante and his conscience throughout, calling him out on his mistakes and challenging him in a way that no other character in the film was able to.  Her performance was so engrossing and engaging (and her hair and costume so brilliant) that I didn't even realise that it was her in the role until the very end and the credits rolled.

Yes, there are certain parts of the film that take liberties with the real events they depict, Steve Wozniak and John Sculley weren't at the 1988 launch event, and the idea that Jobs launched the NeXT flawed just so he could use it to get back into Apple seems to be a falsity made to make it seem like he had a plan all along, instead of just releasing a flawed product.


The biggest departure that I've read about though was the relationship with his daughter.  One of the most compelling parts of the film, his reluctant relationship with his daughter and the way he treated her over the years, gets wrapped up quite nicely in the film when the two of them have a reconciliation at the 1998 launch, and we discover that he's been carrying around a picture she made on the mack in his pocket for the last sixteen years.  From what I've seen this never happened in real life, for one thing Lisa Brennan-Jobs never made her father that picture in 1984.

Perhaps Sorkin felt that he needed something of a happier and uplifting ending to the film in order to make the audience forget, or at least forgive, a lot of Jobs' actions throughout the film.  The sudden shift in their relationship at the end feels very forced and doesn't feel true to what we've seen up to that point.  If it really did happen then that's fine, but from everything I've read it didn't, and it does feel like the most fake aspect of the whole film.

'Steve Jobs' tells a story of a deeply flawed man, and whilst it might not change the views of hardcore Apple fans as to what he was like, it certainly helped shed light onto a side of him that I'd never heard of before.

It's a film about people, there's no goal that drives anyone in this film, no end point that people are trying to reach, it's just a film about people, about the way they act to others and the things that drive them.  The cast is phenomenal, the writing is second to none and the cinematography is clever and unique without drawing you out of the viewing experience.

Even if you don't like Steve Jobs or Apple this is a film that manages to stand on its own and tell its own very human story without having to appeal to the people who buy Apple products.  


Amy.
xx