We [Fraction and his wife, Kelly Sue DeConnick] were pregnant at the time, and while I was out there I started to realize that if I had a daughter, there would come a day when I would have to apologize to her for my profession. I would have to apologize for the way it treats and speaks to women readers, and the way it treats its female characters.
I knew that if we had a daughter, because I know my wife and I know the kind of girl she wants to raise and I know the kind of girl I want to raise, she was going to look at what I did for a living and want to know how the fuck I could stomach it. How could I sell her out like that?” Fraction continued. “That conversation is still coming, and I’m bracing for it in the way that some dads brace for their daughter’s first date or boyfriend. I became acutely aware that I had sort of done that thing that lots of privileged hetero cisgendered white dudes do. ‘I’m cool with women, and that’s enough.’ It’s not enough. It’s embarrassing to say, because we somehow have attached shame to learning and evolving our opinions, culturally, but I became aware that there was a deficiency of and to women in my work, and all I could do at that moment was take care of my side of the street.
Writer Matt Fraction on his role on expanding the profile of female characters in the Marvel Universe.
Bucky Barnes: The Winter Soldier #4
Fake death, cheap resurrections, and dealing with real grief: a heartbreaking take on the often emotionally-manipulative use of character death in popular culture.
Killing Spock at the end of Wrath Of Khan works, because the characters, and the movie itself, treat it as real. Contrast that with the cowardly handling of Kirk’s “death” in Star Trek Into Darkness, with J.J. Abrams and crew milking the moment for fake emotion while desperately foreshadowing that everything’s going to be okay. For Abrams and his writers, death is little more than a screenwriter’s tool to evoke emotion, and that cavalier attitude toward one of the universal human experiences makes everything about his film feel hollow.
Tilda Swinton photographed by Juergen Teller for Hobo Magazine Spring/Summer 2014.
What is a ghost? A tragedy condemned to repeat itself time and again? An instant of pain, perhaps. Something dead which still seems to be alive. An emotion suspended in time. Like a blurred photograph. Like an insect trapped in amber. A ghost is me.
El Espinazo del Diablo (2001), director: Guillermo del Toro
A little gem from the ever educational Wall Street Journal