and I was right.
At least there’s the sponsorship storyline.
That moment when you’re reading a book based in 1930’s London and enjoying the sly wit of the language until you come to a racist simile. (p. 48, Elizabeth Bowen’s The Death of the Heart, (c) 1938)
Why that word as a descriptor instead of something else? And in such a throwaway manner? It came at me from left field and disrupted the flow of my reading. I seriously re-read the sentence a couple times to make sure that I hadn’t read wrong.
Now I’m wary of what I’ll find in the rest of the book…
Bays and Thomas have made it clear that they’ll drag mysteries out long past the point where they’re in any way interesting.
you can imagine our dismay when Sojourners refused to run our ads. In a written statement, Sojourners said, “I’m afraid we’ll have to decline. Sojourners position is to avoid taking sides on this issue. In that care [sic], the decision to accept advertising may give the appearance of taking sides.”
ARGH, Sojourners, this is hella disappointing.
I never thought that I’d go all feminist film theory in any of my reviews — I mean, my feminism definitely impacts how I view a film, but I never thought I’d actually refer to “the male gaze” in any review. But, man oh man, Somewhere is all about it! And it’s directed by a female! I don’t get it. Women in the movie are there to flirt with, strip for, and flash their breasts at the shallow main male character. Oh, and sleep with him. If you can find a female character in that movie that is even somewhat dimensional (besides the tween daughter), you let me know.
I’ll post the link to my full Slackerwood review when it publishes later this week…