One Year After Captain Marvel: A Comics Retrospective

This month marks the one-year anniversary of Kelly Sue DeConnick’s Captain Marvel. A lot has changed in a year. When we first started the blog, Marvel had one woman with her own title: blog-favorite Alejandra of the ill-fated Ghost Rider, who wasn’t even really the lead after the first few issues. Now, there are so, so many books with female creators and/or characters that are making me remember what’s so great about comics:

Ming Doyle and Brian Wood’s Mara; Kelly Sue DeConnick and Emma Rios’ Pretty Deadly; Gail Simone’s Red Sonja, and the upcoming anthology that features genre greats like Tamora Pierce, Mercedes Lackey, Marjorie Liu, Rhianna Pratchett, and Kelly Sue DeConnick; a Matt Fraction-penned genderswapped Odyssey adaptation (file that away under Ideas I Wish I’d Thought of First); the all-female group of D&D-like adventures of Rat Queens; X-Men; Fearless Defenders; Captain Marvel; titles like Uncanny X-Force that feature a mostly female team; the best decision DC has made in a long time: Amanda Conner and Jimmy Palmiotti’s Harley Quinn ongoing; Greg Rucka’s Lazarus.

And these are just the books I can think of off the top of my head. There are even more than that.

All of this change is obviously good, and I’m hoping these positive alterations to the comics landscape continue. Yet, some things haven’t changed much at all. Most of the women in that list up there are white.

The closest the Big Two are getting to Thinking About Race are Gail Simone’s The Movement and the upcoming relaunched Mighty Avengers featuring Luke Cage, Falcon, White Tiger, She-Hulk, Spider-Man, Blue Marvel, Monica Rambeau, Ronin, and Power Man. Both of these books are trying intentionally to be racially inclusive. Executive Editor of Mighty Avengers Tom Brevoort, “who acknowledged that the idea for the new title was first discussed during Black History Month, cited [Dwayne] McDuffie as an inspiration for the series. The editor said he wanted to help create a team book that McDuffie would have made himself, with a cast comprised of at least 50% non-white and/or non-male characters.” [x]

While the subject of gender has been broached with varying levels of success, no one wants to talk about race. As Joseph Hughes of Comics Alliance wrote in his excellent, important piece “Outrage Deferred: On The Lack of Black Writers in the Comic Book Industry,” “So where is our collective outrage about our current situation? Why isn’t any of this being discussed more? There are certainly many reasons behind that, some of which go well beyond the comic industry and reflect America’s current climate and the changing (and perhaps diminishing) discourse on race, but the biggest factor may simply be a lack of voices… In short, the women at the forefront of this discussion, by making their voices heard, have improved the industry.” During the past year, the comics industry has been made just a little safer for white women. While there is still great resistance among some readers and executives against anything they deem “PC,” many others have responded positively to the acknowledgement that women are a part of comics, too.

So how do we make comics a little safer for everyone else? By talking about it. By pre-ordering the titles that are trying. By demanding more that try. We need to normalize the idea that people of color also read comics and also deserve to see themselves reflected not just on the pages of their comics, but in the list of credits. Women have been at the forefront of the conversation changing gender in comics, but we shouldn’t have to wait for the voices of people of color to be heard before white people try talking, too. If you think the inclusion of white women in mainstream comics is important, then you have to feel the same way about the inclusion of people of color. And you have to talk about it, not for people of color, but with them.

As Joseph Hughes is right to point out, the lack of discussion about race in comics is indicative of the country’s disinterest in racial discourse more generally. But wouldn’t it be great if the comics industry could be more progressive than the rest of the country, instead of perpetually right of center? And wouldn’t it be great if in the future, comics movies lead the way in fighting both racism and sexism by making the Black Panther, Carol Danvers, Wonder Woman, Storm movies the world would love? Wouldn’t those SDCC announcements be less disappointing than this year’s? Change starts somewhere, and it doesn’t start with colorblindness or silence.

-Joanna

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On Rage and Invisibility: A Reminder

Invisibility is a tricky subject.

On one hand, those who are truly invisible in our culture tend to be the ones who suffer most. Yet the factors that reinforce this suffering are also, by necessity, invisible. If people never see injustice, they will never realize that it is there. If they never know it is there, they will never do anything about it. And so on. Ad nauseum.

For example, take this ordinary, everyday scene. It demonstrates how tiny aggressions, seemingly meaningless moments, can render you invisible.

After meeting Ming Doyle on Free Comic Book Day and getting a quick sketch of Mohawk Storm from her, I showed off my spoils to someone I know. This someone is male, and was with his male friend. He turns to his male friend. “Is that who draws Saga?” I answer, “No, that’s Fiona Staples.” There is a split-second pause. His friend replies, “No, that’s Fiona Staples.” Then, and only then, does he nod and acknowledge this answer. The friend was deemed more knowledgeable solely because of his maleness. He was not the one who had just stood in line, beaming, to meet a favorite artist. He was not the one who answered first.

Taken on its own, this incident is small. It perhaps seems petty to dwell on it, to force upon it some significance about gender and the geek community. But this incident will never exist on its own. It sits among a wide array of minor offenses, all of which made me feel devalued and underestimated because of my gender: in the 7th grade, during a spat regarding The Return of the King, I was told by a boy in my class that I was wrong because I was a girl. On countless visits to Game Stop, staff speak only to my boyfriend, never to me. The same man from the incident above once offered to lend me some comics, thinking he could get me into some books I’d never heard of (although I had), as I was “suddenly into comics.” Despite the fact that the first time I met him, I was dressed as Delirium from the Sandman.

I remember these incidents, because they reinforce and practically verbalize the cultural messages we receive every day: Girls don’t know anything about Tolkien. Girls don’t play video games. Girls don’t read comics. Again and again and again. These words are intended to make me and my lived experiences invisible. They are intended to force me to devalue myself. Sometimes the microaggressions hurt more than the big ones, the obvious ones. When someone says women should shut up about equality until they’re ready to sign up for the draft, or that women can’t be in leadership roles because of their periods, or the countless other overtly hostile messages we hear every day, it is almost less hurtful. Long ago, I conjured an armor made of eye-rolling and quick-witted replies to defend myself against these attacks. But there is a part of me that still doesn’t know how to deal with the smaller offenses. When a comic store employee ignores me waiting in line so he can talk to some boys about Magic: The Gathering, there will always be a part of me that wonders if it is all in my head. I don’t have the right armor for this situation, and I don’t know the best way to forge it.

When we talk about all the factors, micro and macro, that reinforce cultural notions like racism, sexism, homophobia, classism and myriad other ills, the burden of proof always lies on the victim. Someone will always ask you if this incident you describe is an isolated incident. It never is, but you can also never explain the compounding of all the insults, huge and small, that has shaped your understanding of this incident. It is impossible to describe, because it is the story of living every day, since birth, in an unequal world. When a stranger says “hey beautiful” to me on my way to lunch, it is not that particular man I want to break in half, but all of the men who have ever, since I was a preteen, shouted things at me or stared at me in public.

The same problem arises when you critique media. People inevitably try to argue that it is an isolated incident, that it isn’t that bad because it’s just this one movie or book. It’s just one employee in one comic shop. Or they rely on individual interpretations: oh, well, when I read that book, I pictured this character’s dark skin as meaning a tan white personHe was just giving you a compliment, you should be happy. These tactics are both themselves invisible, and a method for suppressing complaints, rendering justified criticism invisible. The people who make these arguments do not realize that they are enabling oppression, because most of them would deny that oppression exists.

Some people in the US think racism ended with the Civil Rights Act and that feminism became obsolete after Roe V. Wade. To suggest otherwise is to force people to consider their own, personal relationship to inequality. It is difficult to face reality. Sometimes knowing the truth about our world makes me not want to live on this planet anymore. But it is so much healthier than pretending to be too cool for politics, or whatever bullshit helps people avoid seeing what is happening around them. When people bemoan the apathy of others, they are really upset about the forces that keep us and our lived experiences invisible, and that, in turn, keep the forces themselves invisible.

So, I guess what I’m trying to say is that it is important. It is always important. The offenses great and small that remind you of your place in the social stratum. They are real. They are worth talking about. Even if they happen on a TV show, or in a classroom, or in a game store. They matter. If it makes you angry, there is always, always a reason why.

Stay strong. Stay angry. ❤

-Joanna

(P.S. I just needed a rant today. Early next week, expect a post about Pacific Rim: part cogent analysis, part gushing compilation of Guillermo del Toro quotes.)

Gender and Creation in Prometheus

My quick, spoiler-free review of Prometheus goes something like this: It was incredibly enjoyable, despite a few minor script-related flaws. I want to write books and books of feminist analysis about it, and I plan on seeing it several more times. It was one of the best movies I’ve seen in a while, partly because it managed to deeply disturb me while also raising fascinating questions about creation, creators/the created, and the place of gender in all of this. 8.2/10

Now for the in-depth, spoiler-ridden version:

The difficulty of writing this post

This post has gone through several re-writes, way more than I usually bother putting in for a blog post. (Sorry, blog and blog readers, you’re unique and special and deserve good writing, but I don’t have the time to write the same blog post five times every week.)

The issue wasn’t so much that I couldn’t find the best way to order and phrase my thoughts, though that was certainly a factor. The issue was that, initially my impulse was to write this grand, feminist psychoanalysis of the film, because, after the credits started rolling, that’s exactly what I felt it deserved.

But then I went on the internet. I found out that for whatever reason, Prometheus was as viciously polarizing as Pepper Potts wearing denim shorts around her house. Probably more so. So then I thought, even if it means dumbing down the blog, I must point-by-point defend the (often hyperbolic) attacks on this film! People are overreacting, and damn it I will stop them!

But then I realized that IMDB is IMDB, and me posting that the critics are allowed to dislike the film, but they need to relax about it because this was hardly the worst movie ever, really isn’t going to change much. It definitely won’t change the minds of ultra-super Alien fans who probably wouldn’t have been happy with the film regardless. So now this post is a hybrid analysis/defense/general speculation collection. Enjoy!

All these questions!

One of the primary criticisms launched at the movie is: plot holes/they raised all these questions that were never answered! I think this is partly because Damon Lindelhof is an easy target, having been one of the writers responsible for ruining one of my formerly favorite shows with total nonsense.

One of the enormous problems with Lost was that the writers became infamous for introducing a whole bunch of bat-shit things that they never explained. So from now on, every time Lindelhof writes a script that doesn’t explain every single thing, people are going to wave the Lost flag all around.

I’m not going to say this is entirely unfair. After all, my bitterness about Lost runs so deep that whenever I see that a former writer for or producer of Lost is working on a project, my instincts tell me not to bother. So I can understand where people are coming from. However, there is a major difference between the questions that Lost didn’t answer, and the questions that Prometheus didn’t answer.

Lost made you ask questions like, Where did that polar bear come from? Why are they weaving that tapestry? Wait, so who’s Jacob? Are they all dead? These are all storyline and plot-related questions; questions the writers should already know the answers to. Unless I’m forgetting some major unexplained plot points, the questions raised by Prometheus were more like, What is the purpose of creation? How do the created react when they encounter their creators, and vice versa? How does this relate to real-life parent-child interactions? These are fascinating, thematic questions, ones that I’m sure Damon Lindelhof doesn’t have the answers to. Because no one does. I would have found it condescending of him to attempt to answer these questions, as though he is somehow privy to the secrets of the universe.

There were a few storyline-based questions I had (i.e. what David’s motivation was for putting the worm thing in Charlie’s drink), but I still had enough evidence from the film to allow me to arrive at a few possible conclusions. I may have wanted one particular motive to be hinted at the most, but I’m also content with being able to choose which one I prefer. Similarly, both sides of the “is Vickers a robot?” debate have plenty of logical arguments in their arsenals. Giving the potential for many answers is not the same as giving no answers.

Blah blah realism

Another accusation pointed at the film surrounds the believability or realism of various characters/situations/motivations. This is usually my least favorite criticism of films and books, and it remains so for Prometheus. Ignoring the debate as to whether a scientist actually would approach a strange, seemingly hostile creature on an alien planet, etc., I have this question to pose: Honestly? If we’re going to talk about realism… what is realistic about Ripley taping her two guns together at the end of Aliens? Furthermore, why do I even care about whether or not Ripley could feasibly tape together and carry around two heavy guns, and then fire them? It was incredibly badass when she did. Similarly, I don’t really care how after a present-day Cesarian, no one could run around and what not. Not only is this the future, but it looked badass as hell! I don’t care if Shaw would have been, realistically, fainting or stumbling everywhere or dying out of exhaustion. This is a movie, not real life. And if Ripley is allowed to tape two guns together, Shaw is allowed to run around and be awesome after just having a Cesarian.

Body autonomy, gender issues

This now-infamous Cesarian scene was one of my favorite scenes in any movie. Everything about that scene was horrifying. My mouth hung agape as I watched, and I have a fairly high tolerance for gross things. What I found even more intriguing about the whole situation is how it reflects and comments on the current state of women and healthcare.

This picture describes the current state of women and healthcare.

Like many authoritative men with ulterior motives, David was being rather shifty in giving Shaw all the information about her pregnancy. He was uninterested in giving her a clear-cut objective answer to her questions and request to see the fetus. When she demanded to have the fetus removed, she ultimately had to do it herself because he would not, even though it posed a health risk to her. Sound familiar? Of course, it wasn’t necessarily an abortion, but the subtext of the ability of women to make their own health-related choices despite facing resistance from men was definitely there.

Which brings me to how this “health-related choice” was described as a “Cesarian” (terminology I’m using for the sake of clarity and because I’m on the fence about the whole “abortion” thing). Right before Shaw told the machine the procedure she wanted, I was practically on the edge of my seat waiting for her to say “abortion.” But she doesn’t. She chooses a Cesarian, not an abortion. While that doesn’t erase the fact that Shaw still chooses not to be pregnant, I think it it’s a significant point. Abortion or not, the fact is that she, despite David’s efforts, chooses to be un-pregnant and will be damned if he stops her.

Furthermore, the med pod being programmed only for men’s bodies is a larger statement on the healthcare system in general. The American healthcare system refuses to acknowledge the existence and particular needs of women by allowing special interest groups (like David) to get involved by telling women what they do and do not want to do with their bodies.

So even though that scene grossed me the fuck out, I was cheering for Shaw not just because I didn’t want her to die, but I didn’t want anyone telling her she couldn’t have a life-saving medical procedure done to her body. Of course, the fact that birth/quasi-birth scenes are usually portrayed in film as disturbing and traumatic definitely underscores the idea that to men, the female body is mysterious, terrifying, and very much an Other. The female body is a disturbing place full of gory weirdness. Alyssa Rosenberg at Think Progress made an interesting point about this scene, which was evidently why the rating got pushed from PG-13 to R: “It’s funny, how we have a tendency to treat damage done to women by other people as less threatening than women asserting their own autonomy over their bodies.”

Creation

In addition to raising questions about women’s body autonomy, the movie raised interesting questions about creation and the creators/created. What is the purpose of creation? For what reasons do entities create? What do they intend to do with the created? How do the creators treat their creations? How do creations treat their creators? Is it worth knowing who created you and why? These questions are developed not only through the human quest to discover the Engineers, but through David’s unusual position as quasi-human created by humans. I could write a book on all the fascinating things about David’s character, but I think that deserves a separate post. Suffice to say that, just as sometimes your creators don’t turn out the way you hoped, the same happens to your creations. When David says, “Doesn’t everyone want to kill their parents?” I could have stabbed out my eyes with Freudian excitement (ha, Oedipus joke, get it?). That comment alone significantly raised the quality of the creation subtext.

The questions about creation can all be further applied to gender theory, since women are traditionally seen as the creators. (Despite Judo-Christianity telling us that a man made the universe.) Speaking of that: the gender or lack thereof of the Engineers is rife for exploration. Were they actually intended to look male? We saw no genitalia, but the Engineers certainly had a typically masculine look to their bodies. Was this an attempt at gender-neutrality, or were we supposed to assume they were in fact male? If they were genderless, we would need to decide why a genderless race would create a gendered species. If they were intended to be male, we would need to figure out why female Engineers were absent, other than because Hollywood is sexist. Was it an intentional inversion of the typical notion of women as creators? Was it a thoughtless omission of women? Was it meant to make a statement about patriarchy? I can’t really answer any of those questions, but I find them interesting to consider.

Men with boobs

One final gender-related thought: There were some complaints that Shaw is nothing to Ripley, Shaw’s two-dimensional, would get her ass kicked by Ripley, etc. etc. Ignoring the obvious “she wasn’t supposed to be Ripley” and “I don’t see why Ripley would fight Shaw unless Shaw started murdering her crew” arguments, I’d like to pose a question: Are those people angry because Shaw isn’t Ripley, or are they angry because, unlike Ripley, Shaw displays more “feminine” characteristics?

I like Ripley, I like her a lot. In fact I love her. I think she’s one of the greatest examples of how to write an effective female lead in an action role. Effectively, Ripley is gender-neutral in Alien. We don’t see her being overly-macho/purposefully unfeminine (see: Men with Boobs) or being overly feminine. Even the motivation in Aliens of saving a child is sometimes shared by male leads.

More women in movies should look like this.

However, Shaw is very much a woman, sometimes doing the kinds of things that men mock women for doing. She cries about being infertile (this was actually a scene I hated, but not exactly because of what she was doing), she has a visible male love interest, she displays the irrational aspect of negative female stereotyping because she holds on to her faith, etc. And, as important as un-gendered female action stars are, it is perhaps even more important to write action protagonists who are consciously women. I mean to say that instead of ignoring the fact that the character is female, embracing her feminine qualities, for example the ability to create life (another big theme in Prometheus). Now, this isn’t to say that I think all female action stars should paint their nails while wearing frilly pink dresses and reproducing. They don’t have to be caricatures of femininity, and certainly the apparently inherent link between women and motherhood is one that not all women desire and does not describe all women’s experiences with femininity. I’m simply saying that I commend Prometheus for being daring enough to occasionally remind the audience that the hero was a heroine, rather than ignoring it.

Furthermore, the fact that some people mocked Shaw for not being supa-tuff like Ripley reflects the way society stigmatizes female and/or feminine behavior. They don’t want to see a woman in an action role acting like a woman. They want to see a woman in an action role not acting like a woman.

There are practically a million other things I’d like to say about this movie, and about gender in it. Perhaps, upon a second viewing, I will revisit this topic for a later post, one that includes Vickers.

But for now, I a million percent agree with Tally Art:

-Joanna

#YesToFemaleDoctor

Internets! I just found the most amazing website ever!

Doctor Her is a website dedicated to fan posts about Doctor Who from a feminist perspective that is also concerned with not alienating (dis)abled, trans*, genderqueer, GLBQ people, and people of color. They paraphrase bell hooks in their About page! They use the term “kyriarchy!” I can’t handle this!

I stumbled across a totally awesome post Courtney Stoker wrote called “NuWho, poverty, and class: Or, the poor women are totally screwed.” In it, she examines the lives and fates of Rose, Martha, and Donna, arguing primarily that Donna and Rose get totally shafted because of their lower class status. If you’re interested in insightful anti-oppressive commentary on Doctor Who, visit this website. Now. Well, finish this post first. But then go.

And now to explain the title of this post, I also found out today that SFX Magazine started #yestofemaledoctor and #notofemaledoctor.

These two basically sum up my position:

https://twitter.com/erinpuff/statuses/184043723674488833

I would also add that I’m sick of lazy science fiction that is only willing to challenge norms like “Time travel’s not possible!” and “Aliens aren’t real!”, but never heteronormative assumptions about gender and sex. (I also just realized that Courtney Stoker, author of the aforementioned article, also is responsible for that first tweet. Is she just the coolest person ever?)

If you have a Twitter account, please tell the world, Yes to a Female Doctor! (I’m not going to be mad if you say no, but I will wonder why you read this blog.) Even if this is never, ever going to make the producers of the show let the Doctor regenerate into a woman, the world needs to know you support challenging heterosexist norms that place men at the center of the universe! (That’s right, the whole universe!)

-Joanna

P.S. If I seem a little excitable today, it might be the cold meds talking.

A Dash of Pessimistic Encouragement on Sluts Day

Happy International Women’s Day! Or, in other current parlance, Happy Sluts Day!

Don’t you hate that we still have to have a day that celebrates about one half of the population? That the US legislature is seriously having to consider whether women deserve access to basic reproductive healthcare? That women who require this basic reproductive healthcare are sluts? That single mother households ruin lives? (I’m sure the reason why I’m an effed up Feminazi has something to do with being raised by a single mother.)

I wish I had a more uplifting message for this Women’s Day post, but since I live in the US, it feels like nothing good is happening for women right now. For some reason all the crazy that was being held back for years has resurfaced, rendering it impossible to have an intelligent political conversation.

I’m sick of culture wars. I’m sick of having to argue about whether I deserve the same basic rights that the rest of US citizens get. I’m sick of misogynists throwing veils of “Religious freedom!”  and “Why should employers pay for stuff they don’t like?” over their woman-hate. I’m sick of everyone pretending that the current political climate isn’t actually steeped in misogyny. Right now the US is bitter, bitter sexist tea.

It all makes me feel like a 1890s hysteric being tortured with a vibrator.

I guess my message today is that, as frustrated as I am, as exhausted as I am of having to fight for what should be mine, I will not stop. I can’t stop. This is one flaming skull of justice that is not going to stop burning any time soon. Especially not as long as we keep trying to torture women for being born with reproductive organs that aren’t penises.

So, to inspire you to keep fighting the good fight, I’m posting this wonderful suffragette-themed parody of Lady Gaga’s “Bad Romance.” (Isn’t it depressing that this is actually relevant?) Despite the amusing “I want to wear pants!” line I actually find this video rather heart-wrenching and inspiring. So, enjoy! And remember to keep laughing or you might just start weeping!

-Joanna

Wonder Women!

If you’re interested in finding a timely, relevant superheroine documentary, look no further!

Wonder Women! The Untold Story of American Superheroines is currently raising money for the World Premiere at the South by Southwest Film Festival in Austin, TX this March. The film, originally titled The History of the Universe as Told by Wonder Woman, traces the history of Wonder Woman and “looks at how popular representations of powerful women often reflect society’s anxieties about women’s liberation.” They’ve interviewed a wide variety of people involved with Wonder Woman, comics generally, as well as important “real-life superheroines” like Gloria Steinem and Kathleen Hanna. (A more complete list of major contributors can be found here.) It looks awesome, especially for those of us who are skeptical of Wonder Woman’s exalted status among feminists.

They’ve completed the actual making of the film, so now they’re raising money to “to professionally sound mix and color grade the film and prepare a festival print.” If you’d like to support a woman-made film intended to “introduce audiences to a cast of fictional and real life superheroines fighting for positive role models for girls, both on screen and off, and remind us of our common human need for stories that tell us we can all be heroes,” stop by their Kickstarter page and donate some money! Plus, if you pledge at least $25, you get cool stuff. So not only are you helping to start a discussion about the importance of kick-ass women, you get to smugly wear a T-shirt that lets everyone know you’re a total badass who supports female filmmakers.

I personally look forward to hosting and/or attending a screening once they finish the film. Because who doesn’t love superheroines?

-Joanna

Male Feminist Ally: Joss Whedon

So I’m pretty late to be jumpin’ on the Joss Whedon bandwagon. It’s not like I ever disliked Buffy the Vampire-Slayer or Firefly, two of the TV shows that have canonized him in many circles. It’s just that I didn’t really pay attention until recently, a fact that might betray my youth. But now that I’ve started watching Firefly, and appreciating the genuinely strong, not-tokeny women I see on my TV screen, I’m starting to put the pieces together: Joss Whedon always writes strong female characters. It’s like he does it on purpose or something. But what male writer/director ever cares enough to specifically write women like they’re people? Joss Whedon does.

The more I read about him, the more I love him. According to everywhere on the internet, he created Buffy to be an “alternative feminist icon.” (I can’t find the original source of that quote, but it’s reported on many different sites.) During my research, I came across that quote and wondered about its accuracy. More important, the accuracy of Joss Whedon using the F-word in this context. Despite what I’ve seen of his work, my reaction is usually to be a little nervous when someone says they wrote a feminist character.

This is one example of a time I was wrong. Joss Whedon actually minored in feminist film theory at Wesleyan. In interviews, he says things like, “When people say to me, ‘Why are you so good at writing at women?’ I say, ‘Why isn’t everybody?’ Obviously there are differences between men and women – that’s what makes it all fun. But we’re all people. There’s a lot of good writers who are very humanist, but still manage to kind of skip 55 per cent of the race. And I just don’t get that. Not to be able to write an entire gender? To me, the question isn’t how do you do it? It’s how can you possibly avoid doing it?” Obviously the man understands two vital points: one, that women are people, and two, that feminism at its heart is merely the recognition of that seemingly obvious fact.

In the same article, he describes going from the home of his “radical feminist” mother, out into the bleak, anti-feminist world: “It was only when I got to college that I realised that the rest of the world didn’t run the way my world was run and that there was a need for feminism. I’d thought it was all solved. There are people like my mom, clearly everyone is equal and it’s all fine. Then I get into the world and I hear the things people are saying. Then I get to Hollywood and hear the very casual, almost insidious misogyny that just runs through so much of the fiction. It was just staggering to me.” It’s like he read my soul and repeated it back to me.

Armed with all this new knowledge about Mr. Whedon, I couldn’t be happier that he’s writing/directing The Avengers. When that was first announced, I was pretty indifferent. Now I’m pumped! Maybe Black Widow will be there for more than ass-shots and eye candy.

While we’re on the subject of comics, here’s what Joss Whedon thinks of modern comics: Nowadays I’m really cranky about comics. Because most of them are just really, really poorly written soft-core. And I miss good old storytelling. And you know what else I miss? Super powers. Why is it now that everybody’s like “I can reverse the polarity of your ions!” Like in one big flash everybody’s Doctor Strange. I like the guys that can stick to walls and change into sand and stuff. I don’t understand anything anymore. And all the girls are wearing nothing, and they all look like they have implants. Well, I sound like a very old man, and a cranky one, but it’s true.

I don’t mean to keep filling this post with great quotes, but I just want to make absolutely 100% sure that everyone gets how gosh-darn cool Joss Whedon is. I can’t help but gush about these quotes, because he’s a man involved with comics, sci-fi, shows with supernatural elements, etc who actually, really believes women should be written as people because they are people, and is really outspoken about it. Whedon doesn’t seem to give a damn what anyone might think about his attempts to empower women and girls. He doesn’t care if people reject him and his work because they hate feminism and feminists, because he knows feminism is relevant and more important than playing nice with sexist Hollywood.

And, I mean, look at him.

How could he not be a nice guy?

Interestingly, Joss Whedon’s outspoken feminism hasn’t hurt his career too much. It seems like everything he does develops a cult following, including many people who would never actually admit to being feminists themselves. I think this proves, among other things, that today’s culture has corrupted the meaning of feminism so deeply that people who actually at heart are feminists don’t realize that they are.

I wish I’d been watching Joss Whedon shows and movies all along, instead of now having to retrace his filmography. Still, better late than never, right? As for Joss Whedon himself, I wish him and his genuinely empowered female characters (and his not-sexist-pig male characters) the best of luck. I hope they continue to make the worlds of sci-fi, comics, TV, and film a much, much better place.

-Joanna