Thanks to everyone who submitted to the First Annual Overthinkingit Linda Hamilton Memorial Women In Action Screenwriting Contest. Our judges are hard at work scrutinizing the entries and preparing to
pick the winner!

Expect the big news and discussion in December.

Wow, so, OK, my weekly post on Gossip Girl is almost a week late. Since Belinkie and I are watching tonight’s episode together, which will probably provide fodder for any number of posts (especially considering the day’s financial meltdown), I should probably push this out, huh? For those just now catching up on this series, last week I saw a problem with Gossip Girl. To recap and summarize:

Gossip Girl’s unique claim on our attention — allowing us vicariously to enjoy stratospheric displays of wealth (leaving aside the scantily clad nubile young things, which are on offer elsewhere) — is inherently at odds with its status as a teen soap opera.

The attraction of great wealth is that, at least in theory, it elevates one above the striving, disappointments, and compromises which the non-wealthy must endure. This is why, as F. Scott Fitzgerald points out, wealth changes the wealthy, replacing one kind of toughness, born of character-building deprivation, with another, a contempt for those who have not enjoyed similar advantages.

But this substitute toughness is at odds with the dramatic necessities of soap opera, which demands that everyone act like an adolescent. (With all the musical beds, copious drinking, and absent parents, we can be forgiven for forgetting that the characters are, in fact, nominally adolescents.) You can’t be hardened by life in the upper crust and still pout and sigh like a petulant child when your boyfriend doesn’t call you.

This is all complicated by our relationship to television, over which we exert a kind of sadomasochistic intimate mastery. The point of the wealth represented on Gossip Girl is that you don’t have it. But the point of television is that you do have it, and with TiVo you have it whenever you want it.

This week, I am taking up that other influence, besides riches beyond the dreams of avarice, on our poor little rich girls and boys: their parents. Needless to say, the outlook is bleak. Spoilers after the jump.

According to Wikipedia, on August 30, 2006, Pharrell Williams himself said on BET that the new song he’d produced would not only show off his gangsta side, but also tackle the issue of racial conflict in Los Angeles between African Americans and Hispanics and call for racial unity.

The song he was talking about was “Vato,” by Snoop Dogg featuring B-Real (the guy with the nasally voice from Cypress Hill) as the voice of the Hispanic community. Observe and enjoy.

Does the song deliver? The answer, right here –

This started as a comment in a thread, but now it’s a FULL-BLOWN CONTEST.

There are not enough good roles out there for women.

Women who get shit done and are good characters to boot — more than just lycra-clad eye candy with a miscellaneous set of super-assassin skills or whatever.

So, we can talk about it (which is sometimes a good read), or we can DO SOMETHING ABOUT IT.

Here’s the challenge — to everyone — women and men alike. Write an action movie with good female parts in it.

If you win, we will MAKE IT.

Continue reading for rules and more information…

The title here is taken from a recent post by mlawski on the difference between [Strong Female] Characters and [Strong Characters], Female.  The image is a painting by the French artist Louis-Leopold Boilly, which (according to the exhibit guide at the museum I saw it in) is a symbolic representation of “the phallic mother.”

More chicks with…you know…after the jump.

You know, I said I was going to stop writing about horror so much.  But that was before I found out about the Final Girl Film Club, which just seems like too much fun to pass up.  Basically how it works is a bunch of us film nerds agree to review the same obscure horror film on the same day, thus fostering community, attracting new visitors to our respective sites, and generally making the internet just a smidge more similar to having actual friends.  (By the way, If you haven’t seen Stacey Ponder’s little new-media empire, which in addition to the aforementioned Film Club includes two blogs, assorted facebook gruppen, and an agreeably DIY webseries; it’s all well worth a look.  Provided you like horror.  Which if you don’t, by now you’ve probably already clicked through to one of our Disney Princess posts.)

Devout followers of this blog will have noticed that I have had horror on the brain over the past few months. (To those of you who scare easily, I apologize.) I’ve been taking a class on horror movies, so I was watching a bunch of them, and hey: you’ve got to write about something. Well, the class is over now. I’m not saying you’ll never see another horror post from me, but they’ll probably be few and far between. Before I bid farewell to the genre, though, I want to share one more movie with you all. Ken Russell’s Lair of the White Worm.

As with everything I write about movies, there are spoilers ahead. And if you have even the slightest intention of ever watching this movie - which you TOTALLY SHOULD - please stop reading right now. Lair of the White Worm is so weird, so gleefully bonkers, that a full %70 of my enjoyment of the film came from the surprise factor; from the “Oh my god did that just really HAPPEN?! Am I WATCHING this?” aspect of the experience. And I wouldn’t want to ruin that for you. But if you are never going to watch it anyway - and I’ve got to imagine that applies to most of you - then by all means read on. Note: some images below the jump could be classified as NSFW. Not in the way we usually think about these things, but still… it’s a hard R, you know?