May 13, 2016 § Leave a comment
Link to Podcast, in which Matilda Dixon-Smith, Will Kay and I talk about The Good Wife’s final episode, the season and show as a whole, and how much we loved Matt Zoller Seitz’s reflections on the show on Vulture.
May 11, 2016 § Leave a comment
In order to escape the cycle of oppression that often seems inherent to society, feminist theory sometimes opts for post-humanism as a means of exploring its concepts. While there are a number of modern day examples—like insulin packs, IVF, birth control, glasses, smart phones, for example—of people using science to overcome human limitations, the true home of exploring people’s potential has always been science fiction. The allegorical, experimental, and often very entertaining nature of these stories enables audiences to see past the veneer of their lives and discuss topics of any nature. One case in point I’ve always enjoyed is American fans’ ability to talk about abortion in the context of Star Trek, when their own belief-systems stymied that debate in real life. The other is the inimitable Mad Max: Fury Road’s Imperator Furiosa, whose mechanical arm renders her beyond human.
The setback is that science fiction is often not considered “high art”. It’s labeled as somehow pedestrian, fanciful and commercial; or any combination thereof that belittles the content and the creator. Sometimes the last laugh is on the naysayers though, as, particularly in the books and television industry, these texts can do quite well financially — science fiction theatre texts are not as lucky. There’s already considerable stigma attached to genre theatre (and even comedy), as though if it’s not serious and seriously dealing with the serious issues then it’s not worthwhile. Musicals sometimes cop the brunt of that distaste but, again, they can do very well financially. « Read the rest of this entry »
May 8, 2016 § Leave a comment
It’s Shakespeare’s 400th birthday, which seems like a good a time as any to take stock of his ongoing legacy. Spoiler: he’s still relevant. Good for him. Good for us too. It gives theatre companies a back catalogue of rights-free repertoire to remount and schools a seemingly endless number of texts to study — even if they tend to stick to a couple of tried and true favourites. So, to begin with, Happy Birthday Shakespeare, you’ve had a pretty big impact on our culture old mate—particularly in terms of language and narrative—and it doesn’t look like you’re going anywhere.
However, there are those who are suggesting that we take a break from the Bard — although, right or wrong, it must be noted that these two articles are written by playwrights with vested interests (full disclosure, I am similarly invested). The arguments are: let’s support local stories—which arguably have more resonance with contemporary audiences—and that a break would give those who love him the time to miss him. The latter point is somewhat erroneous; arguably, people will ‘miss’ him or not as much as they please, regardless of a hiatus. In regards to a ban, everyone naturally gets uppity when you try and censor art in general; no one wants an irl Cahoot’s Macbeth. And so while an outright ban is (obviously) and overstep, the suggestion opens the debate up to the relevance and prevalence of Shakespeare, which leads to a discussion about cultural imperialism, fitting nicely in with the first argument there, that we should support local stories. Without defending and actively supporting new work, the pall of international influence that Australians take from their colonisers will continue to lead to a problematic internalising of the commodities’ themes and messages — more on that later. « Read the rest of this entry »