Whether they’re keeping busy as mistresses of all that is evil or simply threatening to get you and your little dog, too, bad witches in film have it rough. Hollywood’s villainous witches are often driven to cruelty by the sheer power they wield. More than that, they’re often portrayed as figures of irrational hysteria next to their cool male counterparts. But tired portyals of witches on-screen get a refreshing shock this summer: Disney’s new dark fantasy, Maleficent, succeeds in complicating the image of the bad witch.
You may have heard of the classic story Alice in Wonderland. In the 1951 Disney film version of the Lewis Caroll tale, Alice finds herself in a newfound world, where she meets a cast of rude characters with outlandish customs, including a hookah-smoking caterpillar. Now what if instead of falling into Wonderland, Alice were kidnapped and taken to Arabia?
Last Monday, ABC Family, a division of Disney, announcedthat this was precisely the plot for a new pilot called Alice in Arabia
I have so many thoughts on this film, and only maybe one of them is good. But I think we need to start off with this: The Lone Ranger is just a bad movie. It's 2.5 hours of a film with an identity crisis, not knowing if it's supposed to be funny, campy, dramatic, "authentic," or what. At points it was very hard to separate the stereotypical and hurtful from the bad script, bad editing, and bad character development of the movie itself.
At one point in Disney's new The Lone Ranger, Tonto turns to his companion and describes a massacre against his people, "The rivers ran red with blood." Well, so will this review, because all I felt for a two hours and 29 minutes was anger.
In an issue that will go on sale in August, Archie Comics will feature a kiss between two openly gay characters, Kevin and his boyfriend Devon. The gay kiss (because just like "gay marriage," it can't be just a "kiss," right?) shows how much the 72-year-old Archie Comics company has evolved amid America's cultural changes.
There are all kinds of women warriors in pop culture: The Wonder Woman Amazon, the Black Widow martial arts expert, the Lara Croft tough-as-nails adventurer. And then there's the including equestrian heroines, like Xena: Warrior Princess (1995-2001) and Mulan (1998). Numerous factors influenced the design of these characters—like how well they could be turned into merchandise—but it's interesting that both Xena and Mulan address the same issues of feminiity that female heroes have been have been dealing with since Ancient Greece.
Many young girls are horse-crazy, and advertisers have tapped into this attraction to sell everything from toys to cartoons to bedroom sets. But how do they manage to appeal to rough and tumble tomboys and girlie-girls alike? And where to these ads fit among the feminine stereotypes being sold to young girls?