Though it is in fact a Sexualized Saturday, imagine with me for a moment that it is Transformation Tuesday. The delicate wallflower blossoms into a stunning beauty just in time for her senior prom, the second-string nerd transcends his former self to become the leading man he was always meant to be—all with the simple removal of a little apparatus: eyeglasses. Glasses form the basis of tons of tropes, though perhaps none as infamous as “The Glasses Gotta Go”. From Princess Diaries and the quintessential Magical Makeover in She’s All That, to Tobey Maguire’s Spider-Man transformation, pop culture has been helping nerds achieve their sexy potential by liberating them from their bespectacled prisons. Join me as I delve a little deeper into the intersection of sexual capital and corrective lenses, and the problematic territory we find there.
Arrow’s treatment of Sara’s death has been one of my bigger criticisms for the show this season. I didn’t like the ableist way Laurel handled it by refusing to tell Quentin—though that’s at least changed these past few episodes—but the bigger issue that a lot of people have pointed out is that Sara was an established bisexual character. She was complex and intriguing, and good bisexual representation is really hard to come by in our media.
Her lover, Nyssa al Ghul, swears revenge on Sara’s killer. Unfortunately for Nyssa, Oliver Queen decides to take the blame for what happened. To Deliver Grief is a oneshot that takes place after Oliver’s duel with Ra’s. Nyssa, knowing Felicity’s feelings for Oliver, and feeling a bit of kinship with her because of both their losses, decides to go back to Starling City to tell Felicity the truth about what happened to Oliver.
There’s a slow but exciting change occurring in popular media, these days: lots of creators are finally beginning to show female friendships in their works. That’s not to say that there have never been friendships between ladies in the public eye before the last few years—Wicked comes to mind, among other things—but the message seems to finally have gotten out to the world at large. We want more than one lady in things, and we want those ladies to understand each other, not for them to antagonize each other.
Arrow comes back tomorrow, so I will be the first to admit I’m cutting this trailer review a little close. That said, I’ll also be the first to admit that I’m psyched as hell for Arrow Season 3.
It’s been something like six weeks since the final episode of Arrow’s Season 2 aired, and this is no longer remotely timely, but here, finally, is my review thereof. My review of the first half of Season 2 was pretty complimentary, and I stand by my opinion: the show has been doing way way better this season both from a writing and from a feminist perspective. There were definitely some ugly moments toward the end of the season, though. Let’s get right into it.
We haven’t spent much time talking about Arrow here. Okay, there was that once, but that was a review of the very first episode, so we’ve definitely got some lost time to make up.
I never really bothered to review the show during its first season because, well, I didn’t think it was much to write home about. Much like my decision to keep buying the Fearless Defenders comic, I tuned in weekly more out of a desire to give a hopeful, just-starting-out superhero show good ratings so that the CW would continue making superhero shows. (I was apparently successful, as they’re planning a Flash spinoff series. Dammit, CW, make a show about a lady superhero, not another white guy.) The writing was sort of terrible, the plots were sort of predictable, and at least half of Oliver’s manpain was based on the fridging of his illicit lady-love. The only character who had consistently decent dialogue for the entire first season was our hero’s go-to hacker Felicity Smoak, a queen among women.
Anyway, I’m glad I gave the so-so first season a shot, because the second season is pretty much kicking it in the ass. Spoilers below the jump.