Guide Revenge is Best Served Steaming (Gender Swap and Feminization)

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Table of contents

• Walking, Talking and Playing with Masculinities in Firewatch
• What is pegging your boyfriend like?
• The 25 Best LGBTQ Movies on Netflix

Cole even compares his teen guardian to Mad Men 's Don Draper, a subtle nod to the more commonly male antiheroes of recent pop culture, perhaps. We learn almost nothing about Silverstone's Jennifer, who appears almost exclusively in the men's erotic fantasies most of which inexplicably end in her accidental death, adding to the film's already voyeuristic premise a touch of domineering creepiness.

Bee's reversal of the power dynamics of the babysitter and her male voyeurs feels like more than a coincidence. Something's up with women in the horror game. To understand what's going on with the genre, VICE turned to Eugenie Brinkema, an associate professor of contemporary literature and media at MIT whose research focuses on violence, sexuality, and horror, among other things. For Brinkema, motivation is a key component in this shift to killer women. It's not that women haven't killed before, it's just that their reasons aren't what they used to be. You kill your children as an act of aggression against your boyfriend or your mother.

You kill out of revenge for a society that's not going to punish your rapist. Or the feminized vengeance of Carrie or Teeth also fit the bill. Not that Bee has no reason to kill, it's just that her reason is narratively irrelevant. She spills the blood of the innocent as a sacrifice to some unknown higher power, but really it's the pleasure she derives from the kill that stands out.

Her friends casually talk about making the sacrifices "go viral," as though a social media boost is all the motivation needed. This same theme carries Tragedy Girls , in which doing it for the likes functions as a comically thin driver for a gruesome killing spree.

Walking, Talking and Playing with Masculinities in Firewatch

And here, instead, it feels like a rebellion against more abstract social conventions," says Brinkema. And so the gleefulness of that is just a strict refusal to conform to a perfect stereotype of young female goodness. And as soon as you start to rethink who can be a killer, you're forced to reconsider who can be a victim. Aggressors and victims. Things that go forward and things that retreat. Imagining new forms of violence means imagining new forms of vulnerability. So far, we haven't seen too much of a departure from traditional victimhood, though it is tempting to think about who could be targeted next.

There's a real potential for radical horror here. As much as subversive, feminist horror exists, these newer themes are now seeping into the mainstream— The Babysitter comes to us courtesy of McG, director of Charlie's Angels and co-creator of The O. Culturally, it's also not so weird to see women portrayed like this, as men's equals on the level of unprovoked murderousness. Brinkema links this to the very public revelations of abuses at Abu Ghraib prison in Iraq, where American soldiers—some women—were found to have tortured and sexually degraded prisoners.

The soldiers took celebratory photos, the most notoriously well-known of which featured an enthusiastic woman named Lynndie England smiling and giving the thumbs up while posing with the men in her charge. The traditional images of women in wartime—as nurses, caregivers, grieving wives and mothers—were suddenly replaced in our collective psyche, Brinkema says. When the book was published in , fledgling VR companies quickly adopted it as both bible and vision.

Vast troubles beset the physical world in the late Anthropocene. Most people live in squalid conditions, making the escape to the Oasis desirable to everyone we encounter. It provides an alternative habitation from a collapsed society and a devastated planet. The Oasis gives order, meaning, and an endless source of spectacular stimulation to the people of It fulfills many needs for the human inhabitants of a deeply traumatized world.

Upon his death, the co-creator of the Oasis, James Halliday, ceded his company to whoever could find three keys hidden inside the world. IOI are corporate villains intent on transforming this place of escape into an advertisement-filled reflection of the bleak physical world, fueled by the forced labor of indentured cyber-serfs.

It is a male tale told by and for male industries; the future it imagines for VR is no feminist utopia. Contrast this VR SF imaginary with other recent ones that unfold on the small screen. Our analysis focuses on a sample of four stories that center on female protagonists in speculative futures. She finds comfort amongst other psychologically hurting peers in the virtual world Azanda, only to find actual healing through connection with these online friends in the physical world.

Two years later, an old friend hires her to use an experimental social VR program—and her pain—to connect with other users who refuse to unplug. These stories position VR as an almost everyday tool that people use to cope with pain. In so doing, they recognize that it will not take an ecological and societal collapse to motivate some people to seek an alternative world.

Focusing on the lives of traumatized women who enter VR in search of a sense of home and healing, they ask what role the technology might play in how and where we care for ourselves and one another. But even more consequential than this is that the narrative constructs heroism in a way that unwittingly celebrates exclusionary elements of hardcore fan culture, especially in gaming communities. To save the Oasis, Wade quests for three keys each clued by a riddle that Halliday has hidden.

1. The Life of Will Scott, Author of the Cherry Books.
2. List of Italian inventions and discoveries.
3. List of Italian inventions and discoveries.
4. Refine Search Results.
5. Why Women Don’t Code;

Though the Oasis has grown exponentially since Halliday created it as a gaming platform, it still bears his mark through the seemingly infinite places and elements he recreated from the white, male, nerd popular culture he loved as a lonely boy in the s. Additionally, they need to develop comparable video game skills as Halliday in order to complete these tasks. This vision of heroism foregrounds a narrative of rightful succession based on a meritocratic performance.

The person who best demonstrates their identification with Halliday will inherit the Oasis, and potentially save it from corporate greed. The film suggests that Halliday cannot be fully understood—nor the clues deciphered—through the exclusively objective approach to his biography that Wade and others pursue. Like Samantha, these women are written as empathetic and interested in the emotional lives of others.

VR is depicted not as a social world, but as an individualized experience, much as it is in contemporary clinical VR. However, this fusion creates complexity and danger, especially in the ways that the computer interprets human desire and reflects it in the simulation they experience. VR provides a metaphor for drug addiction, as users turn to a technologically mediated escape from reality. The heroic work of these stories is one of care: that of saving users from choosing a world that will destroy them. The work of care is the central drama of these SF imaginaries. These women are not heroic fans and gamers, but rather heroic caregivers: not the soldiers of the virtual world, but the nurses who remedy and sustain its occupants.

The episode follows the story of a policewoman named Sarah in a far future Chicago. When we meet her, she is struggling to move past the massacre of several recruits a year earlier, and still suffering from constant flashbacks and anxiety. But it will be someone based on your own thoughts and dreams, drawn directly from your own subconscious. When she touches the device, its lights up blue, and her pupil dilates. She wakes up in a world several generations before her own time a near future for the viewers.

In her avatar body, the blond midswhite woman becomes George Miller, a black male tech billionaire in his late 40s. Like Sarah, George wants justice for a murder, that of his wife—who looks exactly like Kate—who was killed on a viral video.

When he puts on his near-future headset he awakens as Sarah in the far future. In a story that draws on central themes from Philip K. My murdered wife. I mean, think about it. I literally have a flying car. You have been wracked with guilt over the massacre for over a year and the last thing you said before you started the program was that your wife is too good for you. George, too, is struggling to choose a reality to commit to. He is also struggling with memory, and shocked when his friend Paula tells him they were having an affair when his wife was killed.

Paula asks George which is more plausible: that he is actually a guilty, grieving widower or a married lesbian supercop? In this dark vision of VR, we are asked to consider how VR, as an escape from trauma, could instead become a trap. Heroic efforts to care are undermined by broken channels of communication. Reverie takes places in a near future tech company called Onira-Tech, which makes a VR program called Reverie that allows users to live inside of neuro-cyborg dreams. The chief of security, Charlie is black, while his contact at the Department of Defense an investor , Monica, is a white woman in her mid-thirties.

Its hero, however, does not save virtual worlds, but rather saves people from them. When we meet Mara, she is teaching a course on interpersonal communication and concerned about the role of technology in undermining the skills she values so dearly, especially empathy. In order to save them, Mara joins them using an experimental social version of the program 2. The first three users are white and relatively unmarked, but later episodes include a black woman, an elderly Latina, a Syrian boy, a woman in a wheelchair, and a white man with OCD. The third user Mara helps, for example, is a white suburban man, Nate, who has spent the past two weeks as a bank robber, leaving behind his pregnant wife.

Just when Nate seems ready to talk, he is captured by a beastly biker with a scarred face. Mara researches what this might mean to Nate, and learns that his home had been robbed some months earlier. Reverie , Mara realizes, provides Nate a toxic masculine fantasy of empowerment, allowing him to become what he fears—a violent thief—but fails to help him face the true object of this fear. Both programs suggest that the therapeutic potential of VR must be safeguarded against those who would use it to escape from reality rather than to heal. Its answer to this problem is a revaluation of the empathic caregiver who becomes an SF hero by recognizing the power of VR to harm as well as heal.

VR counternarratives scale down drama from the world to the individual and recast the hero from male savior to female empath. In the counternarratives, home is recast from a site of regret and regression to a site of healing and progress if one is willing to face fear and pain directly.

Consequently, the home, and labor done in the home are devalued. The home be it virtual or physical is the locus of the female hero and a site where a chosen family can be constituted Weston In this future, the virtual world of San Junipero is a place for those who are old or dying to revisit past selves and past eras. We learn that users can visit for 5 hours a week—a safeguard Onira-Tech could use—and, upon bodily death, can opt to remain in San Junipero for their afterlife.