Advertisement Ā· 728 Ɨ 90

Posts by Stefanie šŸ³ļøā€āš§ļø

Preview
Sherlock Holmes Is Finally Free To Be Gay I recently watched the utterly ridonkulous TV show Young Sherlock, which takes some delightfully strange liberties with the character of Sherlock Holmes....

As of 2023, Sherlock Holmes is finally in the public domain in the United States -- which means that Arthur Conan Doyle's heirs and random other rights-holders can no longer insist that the character be free of any trace of homoeroticism.

buttondown.com/charliejane/...

2 hours ago 742 191 23 37
a still of plated deserts from MARIE ANTOINETTE. Sofia Coppola invents instagram

a still of plated deserts from MARIE ANTOINETTE. Sofia Coppola invents instagram

Sofia Coppola’s film about France’s final queen Marie Antoinette bloomed with controversy before the film even went into production. Rumours that proved to be true circulated in online film spaces that she was going to take an anarchic anachronistic approach to the period costume-drama. Her Marie Antoinette would be a deconstruction of period pieces and the mannered style therein—and cast the gluttonous queen in the guise of her career-long examination of the teenage girl as an outsider figure whose behaviour could be explained through Coppola’s tendency to self-identify with the aesthetic surfaces and caged emotions of these characters. It became more obvious that this would not be a studied and faithful adaptation when news broke that she was scripting from Antonia Fraser’s newly revisionist biography of Marie Antoinette as her source material, instead of the more detailed and factual accounts of the monarch from Stefan Zweig’s analytic biography. To make matters more profane, Coppola shot her fantasia of the beheaded glamour queen at her former kingdom—the Palace of Versailles—and she intended to debut her film at Cannes for a French audience.

Sofia Coppola’s film about France’s final queen Marie Antoinette bloomed with controversy before the film even went into production. Rumours that proved to be true circulated in online film spaces that she was going to take an anarchic anachronistic approach to the period costume-drama. Her Marie Antoinette would be a deconstruction of period pieces and the mannered style therein—and cast the gluttonous queen in the guise of her career-long examination of the teenage girl as an outsider figure whose behaviour could be explained through Coppola’s tendency to self-identify with the aesthetic surfaces and caged emotions of these characters. It became more obvious that this would not be a studied and faithful adaptation when news broke that she was scripting from Antonia Fraser’s newly revisionist biography of Marie Antoinette as her source material, instead of the more detailed and factual accounts of the monarch from Stefan Zweig’s analytic biography. To make matters more profane, Coppola shot her fantasia of the beheaded glamour queen at her former kingdom—the Palace of Versailles—and she intended to debut her film at Cannes for a French audience.

She seemed to be courting controversy, and scandal followed the film after the divisive premiere. The film was booed, which is not exceptional for Cannes, but some in the French critical establishment took the film to task for the way it presented the facts of its revisionist history. Agnès Poirier, the critic at the French Newspaper Libération, wrote, 

ā€œThe film is shocking because it is empty, devoid of a point of view, because the person who has made it has no curiosity for the woman she is portraying and the time that her tragic life is set in. The film director seems as unconcerned by her subject as Marie-Antoinette was indifferent to the plight of her people and the world she lived in.ā€. 

Poirier’s frustrations were somewhat tempered by his admiration of the colorful mise-en-scene, and it must be said that not everyone in the French intelligentsia were critical of Coppola’s vision; Jean-Michel Frodon, the editor-in-chief at Cahiers du Cinema found much to admire about Coppola’s film and made an argument for the film with an auteurist take on the material.

She seemed to be courting controversy, and scandal followed the film after the divisive premiere. The film was booed, which is not exceptional for Cannes, but some in the French critical establishment took the film to task for the way it presented the facts of its revisionist history. AgnĆØs Poirier, the critic at the French Newspaper LibĆ©ration, wrote, ā€œThe film is shocking because it is empty, devoid of a point of view, because the person who has made it has no curiosity for the woman she is portraying and the time that her tragic life is set in. The film director seems as unconcerned by her subject as Marie-Antoinette was indifferent to the plight of her people and the world she lived in.ā€. Poirier’s frustrations were somewhat tempered by his admiration of the colorful mise-en-scene, and it must be said that not everyone in the French intelligentsia were critical of Coppola’s vision; Jean-Michel Frodon, the editor-in-chief at Cahiers du Cinema found much to admire about Coppola’s film and made an argument for the film with an auteurist take on the material.

Marie Antoinette was always going to garner a sharply critical response within France, because the nature of Antoinette’s monarchy, and the French revolution that followed, is too explosive for a tepid response. Indifference might have been the worst of all possible fates: in Coppola’s own words, ā€œit would have been worse if they hadn’t reacted at all.ā€. It is true that Coppola’s Marie Antoinette presents itself as a hollow endeavor, but its cloistered world of ritual, feminine finery, and glamour at the expense of the noble peasant life of blood and dirt and responsibility and anguish is entirely the point. Marie Antoinette is told in a way that is extremely pleasurable in its surfaces of beauty, and in its elaborate and meticulous and jaw-dropping set-design, but there is criticism within the form itself. Alongside those aspirational qualities that Coppola self-identifies with as a daughter of filmmaking royalty, there is also condemnation and interrogation. Marie Antoinette asks viewers what is at stake when a white woman aspires to this type of lifestyle, and Coppola’s film wonders if there is something rotten when femininity is linked to such exhibitionist displays. However, the film’s brilliance lay in how there is still a seductive pull, and a longing for majesty within her images that persists, even with that critical valve of tension and criticism bubbling underneath the elaborate wigs, and the decadent costumes. With Marie Antoinette, Sofia Coppola has her cake and eats it too.

Marie Antoinette was always going to garner a sharply critical response within France, because the nature of Antoinette’s monarchy, and the French revolution that followed, is too explosive for a tepid response. Indifference might have been the worst of all possible fates: in Coppola’s own words, ā€œit would have been worse if they hadn’t reacted at all.ā€. It is true that Coppola’s Marie Antoinette presents itself as a hollow endeavor, but its cloistered world of ritual, feminine finery, and glamour at the expense of the noble peasant life of blood and dirt and responsibility and anguish is entirely the point. Marie Antoinette is told in a way that is extremely pleasurable in its surfaces of beauty, and in its elaborate and meticulous and jaw-dropping set-design, but there is criticism within the form itself. Alongside those aspirational qualities that Coppola self-identifies with as a daughter of filmmaking royalty, there is also condemnation and interrogation. Marie Antoinette asks viewers what is at stake when a white woman aspires to this type of lifestyle, and Coppola’s film wonders if there is something rotten when femininity is linked to such exhibitionist displays. However, the film’s brilliance lay in how there is still a seductive pull, and a longing for majesty within her images that persists, even with that critical valve of tension and criticism bubbling underneath the elaborate wigs, and the decadent costumes. With Marie Antoinette, Sofia Coppola has her cake and eats it too.

I wrote about Sofia Coppola's MARIE ATOINETTE for my reader's choice series. I dove into how the superficial qualities are actually the entire point of the endeavor and how it's the most complicated film she's ever made. Really proud of how this one turned out.

www.patreon.com/posts/patron...

1 hour ago 37 13 1 0

Melt all the cybertrucks down & do something useful with the metal. I don’t care! Get them off the road so nobody has to see them!

1 hour ago 47 12 3 3

The birth of the edge lord apparently 🤣

2 hours ago 1 0 0 0
the council of weird old perverts in the NIN "Closer" video

the council of weird old perverts in the NIN "Closer" video

everybody in charge of things looks like this now

19 hours ago 45 9 0 2
Preview
The Plague — Exquisite Terror A slow sense of dread, of moving towards violence, is fully realised by a score that draws out the horror lurking beneath the surface.

My review for The Plague. A subtle and stylish debut exploring the horror of boys, men and the excruciating connective tissue between.

4 hours ago 1 0 0 0

My friend @maggiemaefish.bsky.social is making a really cool horror short film that, knowing her, is going to be all sorts of equally feminist and fucked up in the best way. Please go support her Seed and Spark fundraising campaign if you're able!

21 hours ago 145 31 2 0

Naming my security company after the giant evil eye that, crucially, was too distracted to see the actual threat sneaking in

1 day ago 3115 750 45 1
Advertisement
The cover of "folkish" by kym deyn. Published by nine arches press.

The cover of "folkish" by kym deyn. Published by nine arches press.

Reading @kymdeyn.bsky.social's 'Folkish' and whispering "fuck offfff" after every poem because it's just so good.

7 hours ago 147 17 4 0

Eating corn flakes for lunch because I’m an adult

7 hours ago 9 0 1 0

Absolutely! It’s been wild reading these back to back.

7 hours ago 1 0 0 0

Finished reading the 80s novels for my cyberpunk book... and boy howdy is there a whole lot of transphobia to unpack here. Don't worry, I got receipts.

7 hours ago 15 0 2 0
1 day ago 31 5 0 0
Preview
The Plague — Exquisite Terror A slow sense of dread, of moving towards violence, is fully realised by a score that draws out the horror lurking beneath the surface.

The true horror of The Plague doesn’t arise from its titular affliction, but rather the creeping spectre of toxic masculinity which slowly bares its teeth.

1 day ago 3 1 0 0

HACKERS!!!

And also:

The Princess Bride
A Knight’s Tale
O Brother, Where Art Thou?
Fantastic Mr Fox
Matrix Resurrections

1 day ago 2 0 0 0
Advertisement
Proud Pink Sky — Redfern Jon Barrett About Redfern Jon Barrett's novel 'Proud Pink Sky' – an ambitopia set in the world's first gay state

It looks like Stonewall UK has abandoned trans folk – but gay people in power selling out their BTQ+ cousins isn't new.

I wrote a novel about it! If you haven't read it yet, PROUD PINK SKY explores trans lives in the world's first gay state.

Check it out! šŸ³ļøā€āš§ļøšŸ³ļøā€šŸŒˆ

www.redjon.com/proud-pink-sky

#books

1 day ago 10 4 0 0

Back when I was in school, kids always talked about how we'd get sent home if the sky ever turned the colour of television tuned to a dead channel. Then one day the sky *did* change to the colour of television tuned to a dead channel and we still had to go to class.

1 day ago 23 6 1 2
Preview
Nameless Amazon.com: Nameless: 9798246378373: Wendler, Zoe Ann: Books

Pssssst I wrote a book, and it's pretty dang good. You should check it out--it's got queer found family, growing out of your trauma, and a cat with a prosthetic leg.

www.amazon.com/dp/B0GKX6C2ZR

1 day ago 15 10 1 2

Amen!

1 day ago 1 0 0 0

Progmata, is this a thing?

1 day ago 3 0 2 0

You know you’re getting older when even blowing your nose makes your back hurt

1 day ago 6 0 0 0

This is something I’ve felt and noticed too.

Also that, for some reason, within transmasc community we seem under-networked. Like it’s harder for us to find and connect with our fellow transmascs.

If anyone else agrees or there’s any investigation into it, I’d be very interested.

2 days ago 11 1 2 1

Never!

1 day ago 1 0 0 0

You know it šŸ˜‰

1 day ago 1 0 0 0

The day I’ve waited eight years for has finally arrived! I’ve started reading my daughter The Lord of the Rings.

2 days ago 14 0 2 0
Advertisement

Victorian slang for winning a prize is take the egg and I want to bring it back

2 days ago 5 0 0 1

On the anniversary of Tim Curry’s birth I would just like to say that there are few actors who are as good as him at putting exactly the right amount of unhinged overacting and camp into a role to make it memorable.

The man is quite literally an acting genius and we are all better for knowing him.

2 days ago 1276 119 2 8
Screen grab from Qubuz showing the album cover for Savage Imperial Death March by the Melvins and Napalm Death. The song playing is Comparison is the Thief of Joy

Screen grab from Qubuz showing the album cover for Savage Imperial Death March by the Melvins and Napalm Death. The song playing is Comparison is the Thief of Joy

Napalm Death and the Melvins get it

2 days ago 3 0 0 0

The Sad Trans Lesbians would be a good band name.

2 days ago 24 3 2 0

If you like Nine Inch Nails, vegan food, and sad trans lesbians, this might be the book for you.

2 days ago 25 12 1 1