I am starting this with an uneasy feeling as I aim to do something a bit different, a bit more personal. My previous articles have been pretty thematic but lately my brain has not ejected enough coherent ideas to do a full report on any subject.
I blame it on the so-called “cosplay mode”, when my sewing machine and a bunch of pins have more appeal than a computer screen. But that means you expect cosplay-related posts in the near future.
Less self-centered-ly, I have been gravitating today from webpage to webpage starting from the Wired article on Tomorrowland (the film looks exciting but I cannot say much on it yet) until I stumbled on this :
How did I got there you may ask ? The wired article mentioned something on the recent Hugo awards nominations which led me to another one of their articles on the SFF scene polarisation that led me to G.R.R. Martin posts on said controversy which linked to an earlier controversy unraveled by Laura Mixon. Phffeeeww …
I could give you my thoughts on all those topics but, 1. that would take forever, 2. those have already been covered extensively and I could only add my support to some or another opinion already expressed by people much clever than me. What I wanted to share however was this wonderful quote from Laura Mixton :
Why does this [the representation of human diversity in the SFF scene] matter? It really does. Most of us who read SFF, regardless of our demographics, know that feeling of displacement, of alienation. We grew up feeling not-quite-right, among our more mainstream peers. That’s our shared bond. SFF is the fiction of the Other. If we can’t find room for all the Others here, where can we find a space?
Those words describe so perfectly how I feel about my favourite genre ; what drew me in originally and why I think it is so important we allow our communities and fandoms to warmly welcome people from the entire spectrum of human conditions. I am grateful today that I have discovered Laura Mixton and I will endeavour to read her books as soon as I can.
In other news on the film side this tide, I went to watch Disney’s new Cinderella and I was pleasantly surprised. Cinderella is far from being my favourite fairy tale and the 1950 version, though visually impressive, never was an inspiration to me as a child. Besides, several other live adaption of the story have been released since, some even gathering a devoted fandom among a more modern audience.
Cinderella-esque narratives are also bound to be a perfect war-horse for any feminist as a potential interpretation of the story is that young woman only have to keep at their gender-designated chores while hoping to be pretty enough (and get their hands on pretty enough shoes) for a wealthy Prince to sweep them away to a life of abundance. Not to mention the obvious foot fetish implications.
However, the cynical in me some times just need to shut up, sit back and let the 7-years-old kid enjoy the show. And it is exactly what this new ‘Ella did to me. The film beautifully reunited the awe-inspiring graphics of the original classic to the true moral core of the story. It reminded me that Cinderella is not [only] about pretty gowns and pretty princes but about resilience, optimism and a kindhearted approach to life. All the characters were well developed, believable and well-acted giving a new dimension to this story all know so well. For instance I had never wondered why the stepmother had become wicked ; the film raised and answered that question to remind us that kindness is not a natural disposition but a choice to make in the face of adversity.
Sometimes I doubt, but moments like this prove me my innocence is not entirely dead, and it just feels good to indulge in it a little.