I jokingly thought before that reading Junie B. Jones as a kid turned me into a feminist, but unironically, it kind of did.
I honestly think it comes down to the fact that Junie B. was not only allowed to be "weird," but her character arc never concluded like other girl characters would. In other media featuring "weird girls," the girl always ended her arc tamed - by force or convince, she would be prettied up, she would smile and be polite, and she would never speak out of turn. She would be perfect then, and would shed her veneer of individuality with the freedom that is conformity. As a kid, I noticed that girls weren't permitted to be "weird" like boys were. So when I read Junie B. Jones, I loved that she was frankly just fucking weird. She said things out of turn, she was rambunctious and imaginative and she was a realistic portrayal of a little girl. I loved reading those books because the narrative taught her lessons without punishing her for being weird, if that makes sense. So often, narratives punished weird girls for the crime of being a socially unacceptable girl, not for any true wrongdoing like lying.
Anyway, I just think it's interesting, because I watched and read a ton of books and shows and movies featuring girls and women, but none of them truly empathized with (or even tried to empathize with) weird girls on their own merits and capabilities and terms, or embraced the idea of a "socially inept/unacceptable" girl without punishing her in some way for her supposed ineptitude.
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This chapter hits harder when I realized what the assault attempt of the brides to Jonathan meant if we take his expressed love, safety, and comfort for the feminine.
Jonathan has been expressing how the mere idea of being in a room in which a lady was writing letters gives him a sense of calm. He looks up to the fictional heroines of his novels to give him strenght, and ideas in order to survive Dracula's façade. Jonathan comforts himself in the memory of Mina, and his love for her. He even goes out of his way to disobey the Count, and sleep in the unlocked room, why?
Because Jonathan feels safe in the ladies' chamber. He has the themes of a gothic heroine, so Jonathan is comforted when he is sure that he is surrounded by the soft, and protective femininity, instead of being within the grasp of Dracula's aggresive masculinity.
"I determined not to return to-night to the gloom-haunted rooms, but to sleep here, where, of old, ladies had sat and sung and lived sweet lives whilst their gentle breasts were sad for their menfolk away in the midst of remorseless wars."
"I want to get away from the Count, and this ladies' room is unlocked. It's old yet beautiful because women have lived and loved here. So, if I stay here, hidden, with the memories, and ghosts of these ladies as company I feel safe, and away from that man."
And then, the brides appear in front of him. Jonathan recalls the incident on his journal with fear, and rage, yet there is a point of his writing prose in which he stops his fear, and instead feels... Sad.
The brides appear, and the first thing that Jonathan calls them is ladies. The strong adjectives that he used with Dracula are gone to give room to a softer tone to describe their appearances. How Jonathan admits that he felt attracted to them, with shame since he feels he is betraying Mina. The way Jonathan immediately starts to use words like "repulsive" and "animal" when he realizes that the brides are going to do what Dracula has been implying for a long time.
How Jonathan passed out of horror when he realized that the brides were going to kill a child.
The femininity that Jonathan loved, and felt comfort in is now tainted by the monsterhood of the brides. He realized that not all women are going to be soft, and give protection to the unprotected, how these vampire ladies would have killed him if not for the Count arriving. If Jonathan can't go to the brides, and their femininity for safety, then the Count and his masculinity is the only thing that is keeping him safe.
"As I look round this room, although it has been to me so full of fear, it is now a sort of sanctuary, for nothing can be more dreadful than those awful women, who were—who are—waiting to suck my blood."
Jonathan is now alone, without anything to comfort him, and the Count has him exactly where he wanted him to be.
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at the asian american studies sponsored movie screening i run out of my seat to press a button for the presenter and you look away, not in shame, but in anger
go make your own movie.
One where you’re the star
and everything’s my fault
the way you want it to be. I know, it’s easy
to let someone else hold this grief
and sit in the bathtub,
all dressed up to go to the party.
Maybe in this movie it’s your party
and I the party crasher,
holding cymbals and a baseball bat, et cetera.
But we don’t stop getting older when we’re angry
and you’re only twenty,
can’t listen to lullabies at night,
can’t sleep without a blanket
over your head like you’re scared
of your own shadow. God, go
write your own movie.
You could do it,
you’re still
pretty. Angry? Me too.
The bathtub’s overflowing,
the bathroom’s flooding
with whatever you couldn’t say
to the poet with their palms glued shut
in a cheap simulacrum of prayer.
Didn’t you say you were tired? Angry? Me too.
Upset? Unhappy? Me too. Hungry? Lonely? Me too. Me too.
Standing barefoot in the grass
I remembered the month of bad weather.
How I parted the fog with broken hands each night,
looking for your voice.
Oh, I will not forgive you.
Not like this.
With your fingers splayed
against the brute February sky,
lips cracked open like windows,
waiting, like you always are, for me to say the first word.
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One thing I really hope we get to see in S5 is Claudia (and Viren, but especially Claudia) learning that Callum can do primal magic without a primal stone.
While it's possible she learned off-screen and just doesn't care, I hope that's not the case because it just doesn't feel realistic to me. In S2, Claudia justifies her use of dark magic to Callum by saying that "[humans] were born with nothing." She felt, understandably so, that humans couldn't do primal magic on their own, and that dark magic was the only available option to them. (And we see Claudia use the primal stone when she has it, so I think that, back then, she would have connected to an arcanum if she thought it possible.)
But now we (the audience) know that's not the case—that humans CAN connect to arcanums if they're willing to put in the work. And I want to see Claudia reckon with this, because I think it's going to be an emotional tornado for her, for several reasons:
The justification for dark magic she has relied on for years has just gone out the window; humans CAN do primal magic, even without primal stones, meaning that dark magic ISN'T the only option
If it wasn't the only option, does that mean it WAS wrong for her to do the things she's done? From killing fairies to make pancakes to killing at least one human soldier to revive her father?
But it's too late to think about any of this now, because she can't undo it, and just because one human can use primal magic doesn't mean they all can, and dark magic is far more versatile and powerful anyway, and Xadia is still wrong for never telling humans this was possible (nevermind that Aaravos could have told her but didn't—)
Basically, I see Claudia being shocked, confused, guilt-stricken, hurt, and ultimately digging her heels in because holding onto a sunk cost fallacy and blaming others is easier than admitting you could have made other choices. And I want to see Claudia go through this, because we can already see her shutting her eyes against her atrocities in things like her recent Reflections story; I think it'll be interesting to see her go all the way with it.
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