I've had problems with this video since it was released. In fact, this video made up most of the reason for my not buying Suzie's latest album or even seeking out her other singles. Now that I've got Dear Love on repeat, and it's full of genuinely great and eloquent pop songs, I have to revisit this video.
Possible trigger warning for mistreatment of mental illness.
I guess the problem is that I can't assume the problematic elements are present as a form of satire or social commentary. It doesn't appear that way. A woman who expresses her emotions physically is sent to "Drama Queen Rehab" by her über-rational male partner, where she is manhandled by male orderlies and labeled by a male doctor while surrounded by female patients. Is this a purposeful commentary on the treatment of emotional women?
The sexism is only part one. Part two is the fact that said "Rehab" is actually a psychiatric institution - AND the symptoms described in the song sound suspiciously similar to Borderline Personality Disorder. As a person diagnosed with BPD who has spent time in a psychiatric institution, this video feels like a mockery of my life experiences. (For one thing, the behaviours as described in the song would NEVER be enough to land one in the psych ward.) Either the singer is simply emotionally volatile and appropriating/making light of aspects of life with a mental illness, or she does indeed have/have potential for a diagnosis, in which case... what? The video is a coping mechanism? Coping mechanisms are great and valid as long as they don't hurt other people. I can't say all my peers would agree with me, but I find it insensitive and even (dare I say it?) triggering.
I don't really know who would have signed off on this concept as a good idea. I feel that it encourages the stigma attached to mental illness, especially women with Borderline Personality Disorder, even if that isn't the first thought on every viewer's mind. It reaffirms the idea that dramatic women have something wrong with them, them personally, and the people around them are the victims. Can't we discard this notion? Even therapy for BPD does not tell you to "stop being dramatic."
I actually like listening to the song, as long as I can dissociate it from the disturbing messages of the video, and I like the parts of the video where Suzie is dolled up and smiling, seemingly owning her dramatic tendencies. That's what I like to see! Not marginalization. Not mistreatment. Owning up and using your knowledge of yourself to learn to interpret your emotions effectively.
Can we have more of that, please?
November 23, 2012
June 23, 2012
Feelings on Rock of Ages
I am a person who saw Rock of Ages (the musical) four or five times from the front row; not because I was absolutely in love with it, but because it was in town and had a lottery and starred Canadian theatre actors. For this I went into the movie with mild trepidation and slight hysteria. I never had a rock-solid bond to the show in its purest form, but I do have a fondness for its campiness. Thus, a lot of feelings.
- For the most part, I was apathetic about the movie. I bopped my head to the tunes but I did not care about most of the plot or characters. In the musical I do care, but I'm not sure whether to blame that on direction or sheer proximity or live vs. filmed.
- Tom Cruise was the absolute best part. He should always play slightly-crazy, in all seriousness, with his best interests at heart: play crazy, sir.
- Diego Boneta could be Yvan Pedneault's twin, to the extent that it's absurd. I kept expecting him to speak (and sing) with an accent.
- I do not use this word lightly, but I hated the entire subplot with the mayor and his wife. Every single minute of it was useless and unnecessary. It did not add anything to the plot or the movie. It didn't even make sense; she wanted to close The Bourbon because she dated Stacee Jaxx? That is a complete logical fallacy. I actually hope Catherine Zeta Jones loved the musical and wanted to be a part of it so bad that they shoved her in there, because it had no purpose or value.
- That said, the absolute travesty of the film was Hit Me With Your Best Shot. Okay, I mean no offense to CZJ, but when you're expecting neon track suits and campy stage fighting, a bunch of Stepford wives in a church isn't going to cut it. When they removed the developer/protester subplot, they excised some of the most beautiful camp from the film. Really, really not wise.
- In general, they toned down the campiness. Mistake. This show/movie only works with the most extreme and unabashed disregard for dignity and subtlety. The film seemed to want to be in the middle, and that ruined a lot of things that could have been really brilliant.
- Back to things I liked: The entire bus singing with Sherrie in the beginning. That is one of the perfect moments you can only find in a musical.
- Sherrie actually sang in canon!!! This is major. The musical gets her pregnant while Drew is the one to actually sing on stage. Boo. Sherrie wanted to be a singer and she deserves some of the spotlight. Thumbs up on that one.
That's all I can think of. Overall: A disappointment. Some true bright spots, but on the whole forgettable. Too bad.
- For the most part, I was apathetic about the movie. I bopped my head to the tunes but I did not care about most of the plot or characters. In the musical I do care, but I'm not sure whether to blame that on direction or sheer proximity or live vs. filmed.
- Tom Cruise was the absolute best part. He should always play slightly-crazy, in all seriousness, with his best interests at heart: play crazy, sir.
- Diego Boneta could be Yvan Pedneault's twin, to the extent that it's absurd. I kept expecting him to speak (and sing) with an accent.
- I do not use this word lightly, but I hated the entire subplot with the mayor and his wife. Every single minute of it was useless and unnecessary. It did not add anything to the plot or the movie. It didn't even make sense; she wanted to close The Bourbon because she dated Stacee Jaxx? That is a complete logical fallacy. I actually hope Catherine Zeta Jones loved the musical and wanted to be a part of it so bad that they shoved her in there, because it had no purpose or value.
- That said, the absolute travesty of the film was Hit Me With Your Best Shot. Okay, I mean no offense to CZJ, but when you're expecting neon track suits and campy stage fighting, a bunch of Stepford wives in a church isn't going to cut it. When they removed the developer/protester subplot, they excised some of the most beautiful camp from the film. Really, really not wise.
- In general, they toned down the campiness. Mistake. This show/movie only works with the most extreme and unabashed disregard for dignity and subtlety. The film seemed to want to be in the middle, and that ruined a lot of things that could have been really brilliant.
- Back to things I liked: The entire bus singing with Sherrie in the beginning. That is one of the perfect moments you can only find in a musical.
- Sherrie actually sang in canon!!! This is major. The musical gets her pregnant while Drew is the one to actually sing on stage. Boo. Sherrie wanted to be a singer and she deserves some of the spotlight. Thumbs up on that one.
That's all I can think of. Overall: A disappointment. Some true bright spots, but on the whole forgettable. Too bad.
February 10, 2012
TV: Republic of Doyle
So I've been on this Republic of Doyle kick, and thinking about Jake and Leslie harder than I should probably think about anything on TV. Spoilers ahead.
Subscribe to:
Posts (Atom)