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Meanwhile, the relentlessly dull, surprisingly sexist, and borderline-nonsensical Marvel punchfest Age of Ultron made over $495 million (far outdoing Mad Max s $300 million) even though I didn t know a single one that walked out of the theater fully glad with the movie. The refusal to let him really utter a mild curse word, like a real person of his age and station undoubtedly would, insulted me more than any blatant sexism: I was instantly, painfully conscious that I was watching a tv show that expected me to suppose and react like a very small youngster or a really stupid adult. All of them have buildings which might be weighed down and rendered borderline-nonsensicalby cross-overs and tie-ins (a problem that plagued Age of Ultron so thoroughly that Thor had to basically wander out of the plot for half the film in order that he might set up a sequel). All of these are actual, widespread symptoms of sexual and relationship trauma, and they re normally airbrushed out of media depictions. That is what precise feminist media looks like: Not simply plotlines by which abusers are villains and feminists are heroes (it s true, but it s additionally such an apparent point that one shudders to assume we nonetheless should make it) but the depiction of lifelike, difficult, attention-grabbing women dwelling in a real-ish world.
And that i nonetheless suppose we re obligated to support, and even privilege, non-Marvel feminist and genre storytelling, partly so that Marvel could have good stuff to steal. Even in case you don t have any issues with Marvel s enterprise strategy, its storytelling has been an issue for some time. It s not even Marvel s first dip into the feminist-hero waters; that could be Agent Carter, which aired final January. But when even the most highly effective and noxious style-fiction media conglomerate on this planet has lastly absorbed the lesson that stories about real, fascinating ladies make for good, interesting tv, nicely, it appears churlish to object. Most of it, apparently, has to belong to Disney, one of many larger and more overtly evil media companies on this planet, which has now bought Star Wars, Marvel, and (experts estimate) approximately 34 % of your private sense of childhood wonder. And it s still so rare that we need to praise it wherever we discover it, even when we discover it in the one place we least want to reward.
It s not even opprobrium. It s telling stories about girls, with out working them by means of a lens of male fantasies or fears. And whereas it s refreshing that the majority of the most important plotlines deal with girls, that there are graphic sex scenes targeted on feminine pleasure, and that (in the phrases of 1 massively viral Tweet) the males are either unhealthy or eye canohh, all three of those things are even more true of Netflix s own Orange Is The brand new Black-and OITNB options extra women, focuses on them more exclusively, and depicts extra queer characters and relationships. It digs down arduous into all that slow, talky psychological realism and ethical ambiguity that Marvel thrives on ignoring, and it by no means abandons it, even when the characters are literally punching one another by way of walls and flying throughout the room. And, if considered via a sufficiently jaundiced lens, Jessica Jones might even feel like proof of how excruciatingly gradual feminist progress has been: Things that Buffy did 15 years ago, that Veronica Mars did 10 years ago, and that Orange is the new Black did three years ago, are still thought of radical sufficient that feminists are grateful for them in the present day. Though Jessica has Veronica Mars s job and Buffy s superpowers, her psychology is extra clearly and realistically delineated than either: As played by Krysten Ritter, Jessica just isn t ennobled or martyred or quirkily toughened-up by her years in an abusive relationship with Kilgrave, she is actually broken.
The premise of Jessica Jones-a sarcastic female non-public investigator, living as a social outcast, and coping with the trauma of her personal rape – is ripped phrase-for-phrase from Veronica Mars. Plenty has already been written about Jessica Jones as a feminist triumph. But lots of the feminist improvements in Jessica Jones aren t a lot new as they are new for Marvel. It is a sin that Jessica Jones by no means commits. So, no: Jessica Jones will not be a watershed moment. OITNB also centers the action largely on ladies of shade and options a significant function for a transgender girl, which Jessica Jones, to this point, does not. So what I actually respect, about Jessica Jones, shouldn t be the big, loud feminist moments, but the incremental enhancements: The fact that, together with being a feminist parable, it apparently feels obligated to perform pretty much as good Tv. Marvel doesn t infantilize males any less totally, of course – if something, they re the ones who re most closely targeted by all this – but I nonetheless felt condescended to, which isn t a superb search for feminist artwork. For all that I found Agent Carter ham-handed in its gender politics, I need to admit that the moment I really tuned out was during the pilot, when an offended, exhausting-drinking, womanizing billionaire (Howard Stark, after all) mentioned darn it as an alternative of damn it at the top of a tirade.
