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filmmakerdreamst · 3 years

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Why Xena: Warrior Princess Was Groundbreaking

If you remember Xena: Warrior Princess, you probably do for a few reasons. The tiny, tight-fitting costumes worn by its lead characters. That circular spinny thing Xena threw at people (it’s called a chakram). Xena’s fabulous ululating war cry. The bizarre mish-mash of history the show threw together (though the producers knew their stuff, deep down – Rob Tapert later produced the rather more accurate Spartacus for STARZ). What you might not remember, or might not know if you’re unfamiliar with the show, is just how important and ground-breaking Xena was when it first aired between 1995 and 2001.

The first and most obviously groundbreaking thing about Xena: Warrior Princess was, of course, the gender of its lead character. Xena wasn’t the first female lead of an action-adventure series – Charlie’s Angels and Lynda Carter’s Wonder Woman, for example, had enjoyed success in the 1970s, while non-action-adventure shows led by women had been common for quite some time, with 1990s examples including Ellen, Blossom, Sabrina the Teenage Witch, and Cybill.

The way Xena presented its female hero, though, was a bit different. The opening narration describes how “a land in turmoil cried out for a hero” and then presents the hero in question with an emphatic “she” as we see Xena riding into battle. Lucy Lawless, aside from being likable and charismatic, gave us a heroine who looked like she could physically handle a fight (rather than a super-powered waif-like heroine) while still being extremely attractive (as the costume department and directors were keen to emphasize!). She owed a lot to Carter and Wonder Woman, but Xena’s capability, confidence, and independence were a breath of fresh air in the 1990s SFF television landscape.

Xena’s portrayals of race, gender, and sexuality may seem fairly normal or even disappointing now but were highly progressive at the time. While the show was white-dominated, there was a clear effort made to introduce a more diverse cast. One of Xena’s early love interests was a black man, something hopefully no longer of note, but still relatively unusual at the time. The show also cast a black actress, Galyn Görg, as Helen of Troy, the most beautiful woman in the world, offering a nice change from the usual blonde, blue-eyed Helens we’ve seen on film and TV for decades. Similarly, Cleopatra was later played by Gina Torres. The series also set several episodes in Asia, featuring Asian guest characters.

The most significant relationship on Xena was, of course, that between Xena and Gabrielle. To a modern viewer, their relationship probably comes across as frustrating and disappointing, as despite many hints, frequent sub-textual references, and great chemistry between the two actresses, their relationship was never officially clearly stated to be romantic. They did, however, kiss as early as season 2.

Back in the 1990s, two characters of the same gender kissing was still a huge deal. Carol and Susan on Friends were restricted to hugging even at their wedding, while Willow and Tara’s first on-screen kiss on Buffy the Vampire Slayer was eventually worked into the deeply emotional episode “The Body,” after almost two years of subtext and more hugging.

On Xena, in the grand tradition of SFF TV (see also: Star Trek‘s “Plato’s Stepchildren”), a way was found to make the kiss more palatable to the networks. Xena was occupying the body of a man, Autolycus, at the time, so we see Xena’s spirit and Gabrielle’s come together for the kiss, played by the actresses, and then cut to Renee O’Connor’s Gabrielle kissing Bruce Campbell’s Autolycus, so the image actually broadcast is that of a man and a woman kissing. This may look like pandering and queer-baiting to modern eyes, but for the 1990s, it was a major step forward and the kiss was hugely important to LGBTQ Xena fans. Throughout the series, tricks like this were used to create a romantic story by the back door, so to speak. In another plot arc, Xena and Gabrielle’s reincarnated souls married each other.

Both characters had relationships with men throughout the series as well, but a reading of the show as led by two bisexual female characters who were in a relationship with each other was positively encouraged by numerous hints. In 1997, the same year as Xena and Gabrielle’s kiss, both Ellen DeGeneres and her namesake character on her own sitcom came out, something which sent shock waves through the entertainment industry, so this was a genuinely progressive move. And Xena told progressive stories about gender in other ways as well. Also in 1997, the episode “Here She Comes… Miss Amphipolis” featured a transvestite character winning a beauty pageant (in which Gabrielle acts as Xena’s “sponsor,” surrounded by men “sponsoring” their girlfriends).

Xena was groundbreaking in its format as well. Like contemporary show Frasier, Xena was a spin-off based on a character from another series and this produced a setup that might not have sold without its head start from Hercules: The Legendary Journeys. Our hero is not a pure and innocent champion of good, but a former villain trying to redeem herself for the bad things she’s done (this may sound familiar, but remember, the show pre-dates Angel!). This setup ensures that Xena never slips into standard Strong Female Character tropes. Strong she certainly is, but she is also fully three-dimensional, flawed (always trying to balance violent impulses and a desire for peace), looking for ways to use her violent skills for good and burdened by guilt. And then there’s her counterpart, Gabrielle – resisting physical violence for a long time, interested in art and literature but unable to tear herself away from Xena and the violence inherent in Xena’s lifestyle.

The show also popularized some of modern SFF television’s most beloved tropes. It was not the first show to break the fourth wall, or do a musical episode, or do a time loop episode, or any of the other tropes that show up. However, it did do a lot to popularize more experimental episodes like “A Day In The Life” or the famous first musical episode “The Bitter Suite” – which took the musical format completely seriously, a move unusual at the time – as the show used these in a manner and with a frequency that were unusual at the time (along with its parent show, Hercules).

The X-Files, for example, produced some great format-bending episodes, but usually only once or twice a season (with the exception of season six). Xena showed that a series format could be seriously flexible, including multiple episodes set in the twentieth century, hundreds of years away from the main setting of the show, as well as a wide range of other stories. Again, it was not the first or the only show to do so (Doctor Who is the most obvious example of a show with a seriously flexible format) but it made this type of television seem viable and popular.

Xena has had a huge influence on SFF film and television over the years. It takes only a brief look at a basic description of the show to see how much Buffy the Vampire Slayer (which debuted as a television series two years after Xena, in 1997, though the 1992 film pre-dates Xena) and Angel owe to Xena, and the debt was acknowledged in Buffy’s “Halloween” (“She couldn’t have dressed up like Xena?”).

It’s also worth noting that, before The Lord of The Rings showed the world how beautiful the New Zealand landscape was, the cast and crew of Xena and Hercules were ignoring the distinct lack of any similarity between the geography of New Zealand and Greece and showing the scenery off as best they could on relatively low budget television. Many of the cast and crew worked on the Lord of the Rings films as well – notable examples include cast members Karl Urban and Martin Csokas, costume designer Ngila Dickson (whose departure in 1999 presumably allowed her to focus on the films), and Richard Taylor and Tania Rodger, co-founders of Weta Workshop, who worked on a handful of early episodes.

In some ways, Xena: Warrior Princess hasn’t aged too well. The special effects can look a bit ropey (not surprising considering the show’s era and budget), the stories are often cheesy, and its episodic format has gone out of fashion. But the show is well worth a watch if you haven’t yet caught an episode. It has heart and heap-loads of humor (every episode ends with a joke disclaimer about who was or was not harmed during the making of it) and managed to balance dark and light pretty well, veering between pure comedy and deeply serious material with relative ease. The current SFF TV landscape wouldn’t be what it is without Xena and her chakram.

- Why Xena: Warrior Princess Was Groundbreaking by Juliette Harrisson

#xena: warrior princess #xwp #xena warrior princess #xena and gabrielle #xena/gabrielle #xena x gabrielle #xena #tv show #article #quote #passage #xena & gabrielle #gabrielle #gabrielle/xena #lgbtqia #lgbt #lucy lawless #renee o'connor

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insanityclause · 4 years

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I've only just been introduced to Zawe Ashton and she turns to me and whispers, "Let's make a run for it!" The actress has been holed up in her publicist's office for the past few hours. Her minders are just out of earshot. "I need some natural light," she says as we scarper out the front door and head down a Soho street to a cafe. "I'm going to get into so much trouble," she laughs.

Ashton is very much a woman on the move. And she likes to do her own thing. We might know her best for her portrayal of the wannabe punk Vod in Channel 4's student-life sitcom Fresh Meat but there is far more to her than acting. She also directs, produces, and writes. Over the past decade she's been energetic in theatre and film, and soon she's going to be published. There's just no holding her back, and here she is again, coffee ordered, keeping one step ahead.

She is down from Manchester, where she's been filming the fourth – and final – series of Fresh Meat. Sam Bain and Jesse Armstrong's brilliant creation has helped turn Ashton into one of television's most striking new actresses, but now she is moving on. A new Channel 4 comedy drama – Not Safe for Work, which begins at the end of the month – is going to show Ashton in a very different light.

Following the chaotic personal and professional lives of a group of dysfunctional government employees who have been forced to relocate from London to Northampton, Not Safe for Work sees Ashton playing Katherine, a recently divorced woman coming to terms with her displacement from the capital and having to live in a flatshare at an age when she thought she'd be having babies.

At first the show might seem like a big departure from Fresh Meat; Ashton is playing a proper grown-up, who wears a suit and actually washes. It's a role in which she speaks in her natural voice, too; still low but not as deep as Vod's. But look closer and it's evident that many of the issues facing Katherine and her co-workers are not that far removed from those affecting Vod and her fellow students at the fictional Manchester Medlock University; all are just trying to find their place in a world where things seem less certain than they used to. They're part of a new lost generation immediately recognisable to Ashton.

"My first impressions of Katherine were how on-the-money her struggles are in terms of a lot of people I know," she says. "That postgraduate-in-the-age of-austerity sort of thing. I know people who are moving back home, who can't afford to live in London any more, have long-term relationships breaking down, and are suddenly single in the age of the internet and wondering if they can still meet anyone at work. It felt really well observed."

Ashton has just managed to buy her own place, describing herself as "very, very, very lucky" when so many people her age (she is 30) and older are in no position to. "Living with the notion that you might never have a permanent spot in the world is really quite a powerful metaphor," she says. "I feel it really looms large and it becomes a symbol of lots of other things." Whether it's your career, your relationship, or your home, for people of a certain age, Ashton suggests, nothing seems permanent any more. "There used to be this lovely kind of linear flow."

Not Safe for Work was created and written by DC Moore, a former star of Channel 4's new-talent strand Coming Up, who, like Ashton, attended the Royal Court Theatre's prestigious Young Writers' Programme. A superb cast also includes Sacha Dhawan as Katherine's coked-up boss, and Sophie Rundle as The Most Irritating Girl In The Office. Ashton is not wrong about the show capturing the cultural zeitgeist.

Public-sector cuts are the reason for Katherine's relocation to Northampton so there are implicit politics in Not Safe for Work, but that's not an area Ashton wants to get into. She won't tell me how she voted in the recent election – she offers a firm but jovial "No comment" – but on cuts to the arts she is as forthright as you would expect from someone who, as a child, paid £2.50 to attend weekend drama classes at the Anna Scher theatre, a community-based drama school in Islington, which in its time has also welcomed Kathy Burke and Dexter Fletcher through its doors. Later she joined the National Youth Theatre, itself a registered charity, and she worries about how the next generation will be able to develop if such inclusive facilities disappear. "For students who are attempting to have their life be about something that isn't vocation based, it's harder to just explore your depths," she suggests.

Ashton's family were always supportive of her decision to work in the arts. The oldest of three children, she grew up in Hackney. Her mother, Victoria, had emigrated from Uganda as a teenager and became a teacher in London. Her English father, Paul, also worked as a teacher before moving to educational programming at Channel 4. The considerable amount of time she spends with them is, she admits, "embarrassing". Her newly purchased home is close enough that she can call by whenever she wants.

It was Victoria, in particular, who encouraged young Zawe – pronounced Zow-ee – to try out acting, and she bagged her first role when she was eight, as an extra crossing the road in the Channel 4 sitcom Desmond's, which happened to be Ashton's favourite show at the time. She went on to win parts in children's television programmes that included The Demon Headmaster before graduating to, among other things, Holby City and Casualty. She made her big-screen debut in St Trinian's II: The Legend of Fritton's Gold. Prior to Vod, perhaps her finest moment was in Dreams of a Life, a documentary about Joyce Vincent, a 38-year-old woman whose decomposing body had lain in a north London bedsit undiscovered for three years before it was found in 2006 by council workers. Ashton played Ms Vincent in the recreation scenes, her performance winning her a nomination in the Most Promising Newcomer category at the 2012 British Independent Film Awards.

Later that year she also won the award for Best Breakthrough On-Screen Talent at the Creative Diversity Network for her work in Fresh Meat. With Vod, just as it is with Katherine, the fact that Ashton is mixed race is never made out to be an issue that needs to be addressed in storylines. It simply isn't mentioned. Anyone of any ethnicity could have played these characters. Was that a sense that she had strived to achieve? "I'm glad it seems effortless," she says. "It's something that I've worked really hard at. I think I've always felt that I want to do a very specific type of work and I've made informed decisions. You know, hopefully be part of a quiet movement or revolution." She pauses to giggle. "Without sounding too Che Guevara about it."

She says that as a child she would hand back scripts to her mother and tell her that she didn't like how certain characters were represented. At the same time, she doesn't want her background to be ignored. "I don't want to be 'de-ethnicised'. I hate it when people say, 'Oh I don't even think of you as a woman', or, 'I don't even think of you as a black woman.' Well what do you think of me as then? A loaf of bread? But any actor of any race can tell if a part is well written or not. It's really just about reading stuff that feels well-observed and truthful."

I spoke to DC Moore, Not Safe for Work's creator, about Ashton as both writer and performer. "She really responds to scripts," he said. "There was the odd moment when she sniffed out something that didn't feel right. There's always a difference in someone who performs if they also write. It really informs the conversation. And similarly if you're a writer who has done a bit of acting. It helps to understand the processes."

In the past Ashton has directed two short films and written plays. She has just delivered another, For All Those Women Who Thought They Were Mad, to the National Theatre. She wrote it six years ago for the Royal Court and it was shortlisted for the Young Writers' Festival but nothing ever came of it. It has now been updated and she hopes it will finally make it to the stage.

Then there's the feature film that she is writing and will direct, details of which she says she can't tell me. You get the impression that in the current climate, Ashton is keen to create her own circumstances and opportunities. As with so many of her peers, she pursues numerous outlets because who knows when one might be taken away? Moore says he understands that urge. "It broadens your scope to take on so many things, but it also means you've got other ways of playing what is essentially a big game. It's a wise move."

And there's yet more coming from Ashton. One of the things she is most excited about is the book deal she recently secured. "How can I describe it?" she says. "You know these books of essays by female voices that are very in vogue ? Well it's not that!" She laughs. "It's a mixture of fact and fiction and kind of based on some of the awful character breakdowns that you sometimes receive as an actress – that are really two-dimensional."

Acting, screenplays, directing, books. I can't help but marvel at how prolific she is. "It's quite funny because it's so much more natural in the States to do so many things and, having spent a bit more time there, you just fit right in if you do many, many things. I'm just coming to terms with the fact that I will always do lots of different things and I can't really stay in one place too long."

Our time is over. Ashton politely excuses herself to return to the office and, presumably, call off the search party. Through the window I see her rushing up the street. Will she find her permanent spot in the world? Who knows. Maybe she'll never need to.

#Zawe Ashton #career #Character Breakdown #for all the women who thought they were mad #interview #2015

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writinginstability · 6 years

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Deviating Love Affair - Part 2

PART 1

Soulmate AU with DBH Connor

Pair: Connor x Female! Reader

Prompt: In this universe, you are supposed to receive a tattoo of your soulmate’s name on your 18th birthday. However, you being the lucky winner, never received one on that special day. After years go by, you began to accept the fact that maybe you were never destined to have a soulmate until one day, on August 5th, 2038, you see a certain individual’s name gets written on your wrist. Not only is it odd that your soulmate tattoo wasn’t given to you on your 18th birthday but that in reality, your soulmate isn’t even human.

Word Count: 1749 words

A/N: Hi friends! I’m back with another part! Just an FYI, I skipped through “The Nest” chapter since I didn’t think it really fit with how I wanted the characters to develop so we are just going to pretend that never happened. I’ve also skipped through some other chapters from the game that I thought were too boring and I really don’t want to bore you guys. This part and the next one are going to be kind of slow but I swear it will pick up a little....hopefully...I don’t know.

Feedback is always appreciated and I know this part sucked so nitpick all you want! (I need it because writing is really not my strong suit).

Connor was facing a dilemma. He knew what his purpose was, how he was supposed to hunt deviants and search for their source of deviancy. He also knew that he was a machine, a machine who was not supposed to feel emotions or disobey his master. However, the moment he met you, everything seemed to change within him. He no longer truly knew what he was or how he was supposed to act. For the first time ever, he did not know what to do.

Connor opened his eyes and was met with the sight of the peaceful Zen Garden. The words, “Talk to Amanda” appeared at the corner of his eye. Connor looked around the area before landing on Amanda’s figure standing on the center island by a wall of roses. He slowly made the walk to her while trying to formulate proper sentences which would not upset her nor make him lose her trust.

Once Connor had reached a comfortable speaking distance from her, he introduced himself, “Hello Amanda.”

Amanda looked over her shoulder before replying, “Connor, it’s good to see you.”

Amanda smiled at him before snipping off a flower in front of her. She proceeded to congratulate Connor on successfully locating the deviant as well as properly extracting a confession. She also praised Connor for his achievements while also asking a series of questions of what he has discovered along the way.

Amanda paused for a moment as she sprayed her flowers with water. Connor had hoped that their conversation would be over so he wouldn’t have to face any more of her questioning, especially ones involving you.

“Both Lieutenant Anderson and Officer (Y/L/N) have been assigned to the deviancy cases. What do you make of them?”

Connor paused for a moment, carefully thinking of what to say. “Lieutenant Anderson seems a bit dysfunctional. He clearly has some personal issues which impact his professional behavior. He also seems to want to have nothing to do with this investigation or Androids overall.”

“Unfortunately, we have no other choice but to work with him,” she replied, “What about the other?”

Connor paused once more, but this time, he was taking more time to properly say what he wanted to say without upsetting Amanda. But what could he say? He couldn’t tell her that he hasn’t stopped thinking about you since last night or that the image of your smile was engraved in his mind. After careful thought, Connor spoke again, “She seems to be very invested in her work, unlike her coworker. However, she also seems to be troubled by something, more troubled the moment I introduced myself to her. Overall, she’s a very intriguing character and I wish to learn more about her.”

Amanda stopped what she was doing and slowly turned around to face Connor. “More and more androids are showing signs of deviancy. If they are not stopped, destruction and chaos will occur. You are the only one who can stop this outcome. There are no room for...distractions,” she ended, clearly referencing Connor’s description of you.

Connor nodded as he watched Amanda walk away.

You anxiously tapped your fingers on your thigh as you sat on your couch. You kept glancing over at your phone which sat face down on the coffee table, taunting you with its presence. You were eager to call Hank and talk to him about the events of last night and what it had felt like to meet Connor; however, you were worried about how he would react which kept you from making the call.

After a few more minutes of you contemplating whether or not to bother your easily-annoyed coworker, you picked up the phone and pressed the dial button on his profile.

“Hello?” Hank asked.

“Do you think, and I’m asking out of full curiosity, it’s possible for someone’s soulmate to be an android?” you asked without warning.

“What?” Hank asked.

“Do you think it’s possible for someone’s soulmate to be an android?”

“Hell no, Androids aren’t alive; they aren’t meant to have soulmates. Wait, why are you even asking this?” he asked, clearly uncomfortable with your question.

“Think about it Hank, my tattoo says Connor, my soulmate tattoo says Connor. The next Connor I meet just happens to be an Android detective working with us, this has to mean something.”

“Oh hell no, you don’t actually think that that plastic cop is your soulmate do you?”

“Just hear me out Hank,” you replied.

“Look kiddo, I don’t have time for this,” he said as he threatened to end the call.

“Hank!” you exclaimed, stopping him from doing so, “just listen.”

You heard Hank sigh through the phone before he replied, “Continue.”

“Last night, when I met Connor, it wasn’t like I was just meeting another Android, it was like I was meeting another human being. And, I don’t know, I just can’t stop thinking about him, how he acts, how he talks. It’s like I’m a teenager all over again experiencing a first crush or something and it’s driving me insane. Last night was the first time I’ve felt like that with anyone in a very long time and I can’t just ignore it,” you said.

Hank stayed silent for a couple of seconds as he processed everything that you had just said. “Please say something,” you begged, worried of what Hank might think.

“I don’t buy it,” he said.

“What do you mean?”

“I don’t think the universe made you wait this long for a fucking Android. You deserve better than that,” he replied.

Before you could object, Hank had already ended your call, clearly thinking that you were delusional. You leaned your head back against your seat while running your fingers through your hair in frustration. Maybe you were crazy and maybe you were in over your head; however, nothing else could explain these rush of feelings from the night before.

The next time you ran into Connor was later that night when you heard someone knock on the front door to your apartment. You carefully put down your cup of tea before getting up from your seat to answer the door. You truly did not expect to see Connor standing at your door.

“Hi Connor,” you said with a bit of surprise, “What’s up?”

Connor looked at you up and down for a split second, noticing how you had on black rimmed glasses for a -1.00 prescription and you were wearing comfortable loungewear.

“Hello Officer, sorry to bother you so late. I have just received word of another deviancy case just downtown and wanted to inform you. I also thought it would be better if you were with me before I talked to Lieutenant Anderson.”

You smiled and nodded before replying, “Come in, just give me five minutes.”

You took a few steps back, opening the door wider, allowing Connor to walk in. Connor looked around your home thinking to himself that it was very cozy and comfortable for one person (maybe even two).

“I’ll be right back, but make yourself at home,” you said before retreating to your bedroom to get dressed.

Connor took this opportunity to learn more about you, in hopes to better his relationship with you. The first thing that caught his eye was the lonesome white mug on your island which was still steaming. Connor took a second to analyze the contents of the cup. He noticed that you had brewed a cup of tea, assuming it was your favorite, with exactly 15 grams of sugar.

Connor exited your kitchen and came across a photo album which sat in the middle of your coffee table. He picked up the book and noticed a photo of you and Hank with the words, “Happy Birthday” engraved on its cover.

Connor opened the book and flipped through the photos of you and your presumed close friends at the DPD and various locations in Detroit, all of which had you in mid laughter or with a huge smile on your face. Connor found your smile so charming and genuine. He lightly traced the outline of your face with his fingertips, the edges of his mouth turning slightly upwards. He was so captivated by your photo that he failed to notice you had already left your room and was standing next to him.

“What are you looking at?” you asked as you tried to tame the stray hairs on your head and pull them in a proper ponytail.

“I was-I was just looking at your photo album,” Connor said, somewhat startled by your presence.

You laughed slightly before placing your hand on his shoulder, “Sorry for scaring you.”

Connor quickly glanced at your hand, the warmth of your fingers seemed to burn through his skin.

“Do you want to see something funny?” you asked, snapping Connor out of his thoughts.

Connor nodded slightly before handing the photo album to you. You quickly flipped to a certain page of the album and pointed at a picture of you and Hank. Connor studied the picture for a bit, trying to understand the situation.

“Is that Lieutenant Anderson,” he paused, “in a crab costume?”

You laughed inwardly before replying, “Yes, yes it is. This picture was taken on Halloween and we made a bet the night before. Basically, if the Detroit Gears beat the Boston Celtics, I would have to wear a ridiculous costume of his choice; however, if the Celtics won, Hank would have to wear a crab costume. Guess who won,” you said in between laughs.

Although Connor did find Hank’s appearance to be very entertaining, he was completely drawn to your laugh. The pictures he had seen in your booklet did not truly capture the beauty of your smile. The way your eyes crinkled up, how your eyes literally lit up, and how the sound of your laugh was very pleasant to listen to, almost like a melody. Your laughter made Connor begin to smile and for the first time, he had experienced genuine happiness.

SOFTWARE INSTABILITY ^

“Anyways,” you said before your eyes met with Connor’s.

You both froze for a brief second getting lost in each other's eyes. After a few seconds, you shook your head slightly and cleared your throat, breaking the silence between the two of you. You closed the photo album in your hand and placed it back in its original position.

“Ready to go?” you asked Connor.

Connor nodded before following you out of your apartment and into the cold night air of Detroit.

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