Where Does Hollywood Go From Here?

Written back in June of 2020, this article explored how Covid-19 would, if at all, grace our screens. Now that time is here. But is Hollywood ignoring or leaning into the pandemic?

Ae Padilla

Before the eye rolls and online brigades commence, I know writers block is a problem I am lucky to have. 

Unlike many I am working remotely, and my family (for the time being) is healthy. I worry about unemployed friends and my pair of physician sisters daily, but while they are out on the “front lines” I get to do the easy work and write in the free moments of my day job. 

But the issue I’m now faced with is: what about?  

The internet is scattered with a few published articles of mine, but my actual passion is fiction. I do not write about dragons or dystopian societies. My novels live in the real world, and the one I am currently tackling takes place in this upcoming year – 2021. The premise, involving five seniors in high school, was originally meant to be a realistic portrayal of what could happen after a hard night of drinking and some bad decisions but I question now how realistic it is that a book set in 2021 could exist without mentioning the pandemic the world dealt with in 2020 – and most likely will still be confronting in the upcoming years. 

Writers say it often: there is no need to place your book in a specific year if it is not relevant to the plot.  

But what about now? Covid-19 has the potential to affect all plots as it has affected, whether gravely or not, all lives. The only stories lucky enough to escape it are period pieces, animated shows, and The Mandalorian.  

The reality is the future of television, movies, (and literature) will change. Apart from delayed filming schedules and the eradication of mega Hollywood premieres, an inevitable discussion will arise about whether some of the stories we love will live in a universe with or without the coronavirus.  

Will a show like Ozark, completely entrenched in the real political and drug climate of the United States, with a main character who worked on President Barack Obama’s election campaign, ignore the realities the virus would inflict on these characters? A struggling cartel, homeschooling, and failed tourism on Marty Byrd’s lucrative casino boat would be the sensible fourth or fifth season for Ozark – but are these stories viewers want to see? 

There are many thirty-minute sitcoms that could easily gloss the virus over, and I envision most will (as I’m certain rom-coms directors would prefer two main characters not fall in love with medical masks stretched across their face.) 

The predicament of how to incorporate a pandemic into the remaining entertainment world is not something Hollywood has ever faced nor expected to. 

When someone mentions the Spanish influenza, our minds are filled with black and white images of dying people from long ago. But in a world where trends are captured and reflected to us in what we stream each week, where do we go with something very much in the present – something we do not have the luxury of forgetting? 

What will America want to digest in their future pastimes? And will that desire change as Covid-19 plays out as an ever-present threat? 

Ultimately the reality of seeing the coronavirus as the latest plot point of a program we watch a year and a half from now may hit too close to home, incapable of being part of a show without sucking up all of our energy (at the end of the day, I don’t invision many viewers would want to see Marty and Wendy struggle to homeschool Jonah and Charlotte as they navigate whatever mess they have found themselves in with Navarro.) 

But, conversely the systematic wiping away of a couple of years of history only to replace them with “the normal, nothing really exciting mid 2000 years” could feel like a slap in the face to most citizens – particularly those who have lost someone to Covid-19 or had their life’s plan completely derailed due to the disease. 

And in reference to how we view this first year of this new decade, will the reflections or premonitions of the year 2020 from movies already released feel jarring, not unlike seeing the World Trade Center in the futuristic shot of Stephen Spielberg’s A.I – Artificial Intelligence? 

It all boils down to this: how exactly do you document devastation apart from a documentary? 

When the September 11th attacks occurred, Hollywood scrambled to put together specific tributes. Shows set in Manhattan filmed their cast in patriotic episodes, highlighting the bravery of first responders who rushed into the twin towers. Characters recounted their involvement with the attack in flashbacks (Brothers & Sisters) while other writers took the approach of ramping up the threat of terrorism in their fictional world to mirror the real one (The West Wing.

But September 11th was one day. It was memorable to Americans, but it will never compete with a global pandemic. Coronavirus shifted our entire perceptions of what normal life looks like. It made concerts and theatre outings a thing of the past. Weddings and funerals obsolete. The normalcy of a grocery run, non-existent. This ever-changing virus has led us to a profound sense of unknowing and featured citizens lack of physical necessities rather than a threat of national security. 

Our painful stories, the real fleshed out lives of all of us surrounded by this disease, might hold too much weight to be flippantly mentioned in a few words or special episode. “The drinking and driving episode” or the “cutting” episode cannot accompany the “Covid episode.” It demands more. 

Right now, the threat of the coronavirus is real. How will families who are hungry find their next meal? How will people pay their upcoming rent? Even if these crucial issues are resolved, minor ones will still exist. Because despite some Americans who have dismissed social distancing – the future still looks riddled with masks and six feet markers. Will reading about a main character eating in a busy café be distracting? I speak only for myself when I say I am certain I will be caught off guard by an onscreen handshake, not being able to remember when the last time I participated in one was. 

I know this reflection arises from the privilege of being safe, but I look forward to creatives potential risks – those who realize art, even hour-long dramas, are how many Americans can tackle through their own issues. 

The arts can be simultaneously an escapism and therapy session. There is catharsis in seeing the vulnerability of characters tackle something “regular people” deal with it, be it divorce, abuse, addiction, complicated relationships, and maybe now Covid-19.  

I’m not sure where my book will go from here. On one hand I know the plot will not suffer simply by never mentioning a graduation year for my teenagers but I am still aware of the position I have as an author to tell the story of how an under represented group (adolescents) feel about a real issue apart from its effect on their prom.  

The realties are college bound students and young adults face the threat of potentially closed campuses, job insecurity, and an uncertain future for their at-risk parents and their own health. They too are also struggling with loss, to even scratch the surface of circumstances might be worth it.  

One certainty moving forward is that publishing houses and Hollywood cannot ignore the coronavirus any more than the media currently does. We can live in fantastical universes where it simply would never occur, but we cannot expect to not acknowledge it at all. Sooner or later, beyond the Tik Tok videos of applying contour to a mask – and an article about making the perfect loaf of homemade sour dough bread – Covid-19 will become a part of pop culture. It must. The question is to what significance.  

The Nation is Burning and All I Can Do is Write Trump this Open Letter

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(First photo: protestors outside of the White House on June 1st. Second photo: Trump standing outside St. Johns Church after using tear gas on said crowd to clear the way for this photo op — both NYT photographs. Erin Schaff/Doug Mills)

Ae Padilla

I bawled the night you won the election. I am a Hispanic female, and I knew I was on the bottom of the totem pole of the groups you would soon rank. I feared everything you could do once you became President. And you didn’t disappoint.

You started off slow and incompetent, a reality TV show star on his biggest platform. But wherever you went you carried your racism and sexism there with you. I watched you the way one watches a child, discovering all the influence you can have – testing your boundaries with no one to put you in your place.

I’ll admit I assumed you would be subtle at first, but your dog whistling politics screamed out at anyone who wasn’t holding their fingers to their ears. And you came for everyone. Children at the border. Scientists who dared to believe in climate change. Families of mass shooting victims. Media doing their job. Women you still like to compare to dogs.

You should be happy knowing I watched you constantly, I was addicted. It was part one of my one-sided relationship with you. I reposted countless stupid things you said, retweeted articles with “can you believe this guy?” and I slyly held your incoherent yelling matches over the people who told me I should give you a chance.

Wasn’t I right? You hated both candidates, but you must admit Hillary would have been a better leader.

I think this is because I’m the type of person who is obsessed with true crime because I’m terrified of an intruder murdering me in my house. I like to surround myself with the things I fear most so they don’t hold even more power over me.

And in time you became it. My biggest fear.

I was afraid of what you could order upon the undocumented immigrants shoved in an old Walmart one mile from the house I grew up. I feared the racial divide you bolstered. Like many I was worried you were the start of the next civil war. I now firmly believe while you may be the catalyst for the public resurgence of the KKK and new Alt-right groups perpetuating the same bigotry, all your followers were not sucked in by your eloquent passionate speeches amidst charming facade.

You’re not Hitler. And the worst part is you don’t have to be.

Americans will follow your typo riddled rants into the oblivion – you represent something smarter and more powerful than yourself. You unleashed what was always there in them. What a wonderful gift to use so poorly.

I think one of the more unsettling facts about your presidency is just that. How many people you exposed in the woodwork. You cast a net for all those old confederate flag wavers, and you ended up with a bunch of middle age white women and misguided young men.

You made me see just how much bullshit people in my life can eat up with a silver spoon. I was able to view acquaintances (and more disturbingly, people close to me) turn their back to politics, because of the “liberal media” that controlled the world. I didn’t need to see the Make America Great Again signs in front yards to realize they indirectly supported you with statements like “at least he says it how it is.”

But how is it now Donald? After four years of being on your soapbox, saying anything you desired, can you now confidently state you got what you wanted?

And while you are up there, can you answer a few pressing questions I have? Do you, in all sincerity, want the white house for another term? Is it just to say you could get it? Because Obama had it? As someone who is aware of how many things, daily, I am bad at, I wonder if you have any of that self-awareness — do you know you are a terrible president?

Or are my sociopathic instincts about you accurate? In your world you will always be the brightest one in the room. The most zealous. The best business owner. The one who can grab any woman by the pussy.

Sometimes I think if you are incapable of true empathy, you might get absolved of all of this. At least in my mind. You’re sick and you can’t ever get better. What else then did anyone expect of you?

I’ll admit, when Covid-19 came upon us, I was once again frightened of your potential lack of leadership. I have two sisters who are physicians. I knew this was going to be a big deal when you did – about a month before anyone else found out. Of course, ultimately you decided not to act on it – fitting the script perfectly.

My original thought, however, was that maybe you might do the right thing. Let people who are more experienced than you take the lead and then take all the credit when cases in the country were scarce. But that would mean trusting the science you revoked at every opportunity throughout your term.

I believed if you took precaution, ordered social distancing, and closed your mouth these things would win you the re-election I assumed you were destined for. Saving lives and “saving” the economy? You really would be the republican’s white Jesus!

I was caught in this very ugly battle of thoughts for a split second I am not proud of having: “Trump won’t get reelected if this turns into a shit show.” Of course, cynical as I was, people came first. And once the death toll started pouring in, when it reached 20, 40, 80, 100 thousand I was shouting at you through my TV to once again listen to the experts and doctors and take all the credit.

Take it all. Bathe in it. Proclaim you are the best. Get a thousand public libraries named after you but I can’t hear of more people dying for literally no reason. TO HELL WITH IT, BE THE SAVIOR.

I will say I’ve minimized you on screen; I’ve stopped bringing you into my house as much. I still read your transcripts. I watch condensed clips. But I stopped with full videos of you over a year ago. I began to realize how much pain you would cause me every single day when I did view them. I would be driving to work and hear your voice on a podcast and then be fuming as I entered my office. I would see your press conferences on Twitter before bed and be unable to fall asleep.

I would revel in my ability to do nothing, wondering if this is really how dictators rose to power.

All the rest of us see this country is screwed but we can’t stop it. And we have to pay our bills. I want to save everyone, but I can’t even save myself.

Don’t worry though, I can never truly avoid you. One thing you will love to hear: You’ve made this nation spin around you.

We are all chasing you. The journalists run with their cameras. The critics flock to an orange spectacle. Your supporters’ worship at packed conventions. You have the whole world in your hands.

But you’re so hyped about this you aren’t sure what to do with that power anymore. You yell hate for the sake of inspiring more of it.

You’re crushing us all to death.

Yet you’re making us all apathetic. My constant slew of emotions, when energized enough to reflect upon, are a precise replication. Anger, sadness, apathy, just to turn around and live through it all in the next hell hole of a day.

Is it Monday or Friday, March or June, does it matter anymore in this burning nation?

You’ve divided this country so much I worry it will be another hundred years before anyone can unironically say America is the best nation on earth. Then again, maybe we shouldn’t have been saying that in the first place.

We are a country built on rape and pillaging and false nationalism to distract us all from the lack of rights we certainly do not possess. Donald J Trump maybe you are our comeuppance.

Now in this election year with a staggering unemployment rate and protests at every end of the country we’ve turned into the punchline joke of freedom.

You’ve turned off the lights of the white House and for that I say – good.

I wanted a leader, everyone did. People who might not even admit it these past three weeks have been looking for someone to put us at ease, to remind us everything will be okay. We’re finding it in governors from random states we don’t live in, and from former Presidents website editorials. But not you.

You couldn’t even feign a fake unity speech for us. We gave you one last chance and you squandered it with a mocking photo op holding an upside-down bible. The symbolism rears its ugly head.

I wanted everything from you. I wanted your sorrys. I wanted your justification. I wanted your greed spread across the United States for all to see. I wanted you to finally just own your racism. Your assaults. I wanted you in jail – not pardoned. I wanted you to live out your days in that cell thinking about all the hashtags discussing what a failure you really were and I wanted it to burn even 1/100th of the way you have hurt me and the American public.

I still thought (even up until last week if I am being honest with myself) in some fairytale world that was possible. I believed in the Cinderella story of democracy.

But now? You win.

Leave. Resign. Be a stain on America’s history, a flop in the index of textbooks, suffer nothing for your crimes but just go.

I fear the United States will never recover if you do not. And I care more for its people than the way historians view you or the “justice” we would get to see after you were rightfully defeated in November’s polls.

You did it all, you got what you wanted. For a short time, you even had the bunker.

See I used to think people who were abused needed to be heard and stand up to their abuser but really, they just need to be safe first.

Run as far away as fast as you can and don’t look back. Let us pick up the damage and find some sort of twisted way to move forward together.

I promise you, on your thin veiled promises to find justice for murdered Black Americans in this country, we won’t shoot you in the back when you do.

 

BoJack Takes A Bow (And Leaves Behind One of the Most Genuine Online Communities in Existence)

bojackhorseman

(BoJack Horseman is available to watch on Netflix. Created by: Raphael Bob-Waksberg)

The subreddit for the animated BoJack Horseman (a dramedy about co-existing anthropomorphized animals and humans in LA) has become more about its users than its show.  

Ae Padilla

It was in the hiatus between the third and fourth season of BoJack Horseman that I started watching. At this point it was 2016 and I was procrastinating on endless resumes with no results – I was also bored and depressed. This was the perfect time to watch a show about a washed-up horse actor from the 90’s hanging out in the LA hills with his couch surfing “roommate” Todd.

As much acclaim as I heard from friends and critics alike, I still did not expect BoJack to become my favorite show. I rushed through the first few seasons with ease. Mr. PeanutButter (the enthusiastic yellow lab), Diane (the snarky opinionated writer I related to with ease), Princess Carolyn (the perfectly pink feline talent agent) all grabbed my attention. BoJack too, with his rash decisions and self-deprecation galore appealed to me in both: I want to be nothing like him, but I see him in parts of me. Is he funny loveable or just an asshole I’ve been conditioned to like?

Although set on the west coast, at its heart BoJack appeals to the damaged individual in all of us no matter our location.

It’s a sign of both great writing and character development (once again in an animated show about co-existing humans and animals) when people find themselves deeply relating on a personal level to the characters, but with BoJack Horseman the results of this can be a diagnosis of sorts.

This is due in part to the tonal shift somewhere around the second season when BoJack got – for lack of a better word – dark. Sure, the show had debuted with wit, tongue and cheek humor, capable of making light heartened and somber jokes all in the same scene but then it became heavily depressive. It relied on the audience to sympathize with the main characters on the internal mental hurdles that plague someone like BoJack – which meant that most of the times those that connected to the show were those who had experienced a mental illness of their own.

These people, like me, found each other on the r/BoJackHorseman subreddit and formed through similarities a place to scrutinize their own struggles, which often covered situations both large (sobriety) and small (less than ideal life choices.) The BoJack Horseman subreddit became a place to talk about BoJack’s depression and then it became a place to talk about the viewers depression (anxiety, ADD, OCD, and in BoJack’s own words: continuously acknowledging how much of a “stupid piece of shit” you can be while doing nothing to help that warranted or unwarranted claim.)

The subreddit, and the entire online community, became a cultural touchstone for those mulling over the next possible plot point in future seasons while also reflecting on how they could one day do the impossible and “be better.” It became a sort of talk therapy, a genuine place for people looking for connection during troubling watches and personal tragedies.

People sought help from each other by realizing that each character in the show describes the many ways depression and addiction can emulate itself.

Whether it be like Mr. PeanutButter, who hides any perceived sadness through complete denial of the problem to Diane who revels in her own damage and believes everyone who does not is taking the easy way out, to BoJack who like Diane possesses self-awareness but does nothing more than just talk about his problems for most of the show’s run.

Those who inhabit the BoJack Horseman online communities ask many questions about how they have perceived their own grind. Who in this world (Hollywoo) would you be? Who do you understand? Who gets on your nerves?

This broad question meant to gather information from everyone mimics quick polls that transcends fandoms. Are you a Harry or a Ron? Zoey or Zelda? Arya or Daenerys? Are you a Diane or Mr. PeanutButter?

The results of tests like these are usually condensed into: you are the more outgoing one, the dreamer rather than doer, the optimist rather than pessimist. But in relation to BoJack it becomes “this is the character that most identifies how you deal with your mental illness.”

The BoJack Horseman fans, through the characters people love, created a unique way to narrow down their mental health struggles to a way people across the fandom can comprehend. They helped it become easily quantifiable even if it is not strictly one character (whether that is good or bad is not the point.)

IE: I have the chillness of Todd but like BoJack can garner self-awareness while still being stubborn about actually fixing myself.

Relationships to characters like these created a more enriched fandom that let viewers see the stories as almost directly relational to their own. Mistakes the characters make are ones they make in their personal lives. What happens to BoJack is what happens to them and likewise his comeuppance is what they deserve too (depending of course on their own screw-ups).

Fans of BoJack take accountability for their actions through a direct result of BoJack taking accountability for his own, but that decision was not without a fight. BoJack emotionally and physically abused women. Single handedly contributed to someone overdosing. He almost had sex with the seventeen-year-old daughter of his ex. He drank and popped pills constantly accumulating in being both a terrible friend and brother.

The show and the fandom wouldn’t be the same without BoJack finally realizing the bad decisions he made and electing to take responsibility for those misdoings. Once BoJack accepts he has gone too far he has to further accept that therapy and sobriety are the only things to make him a truly better version of himself.

So too have the people on the BoJack Horseman subreddit – who frequently talk about what they have learned from the show, one of the most important lessons being the acceptance of responsibility as phase one in the process.

For some people in the community the constant cycle of fail, try to get better, fail again, mirrors BoJack’s constants cycle of struggle and quick to burn perseverance. For others who might not be as deep in the trenches like this character, they recognize that the person they want to become will not appear unless they work at it every day. It’s going to be hard but that’s the point.

Every day, it gets a little easier. But you gotta do it every day. That’s the hard part.

Members of the BoJack Horseman subreddit have commented multiple times about how the online space has given them a place to lament on their own journey and seek out help maintaining it in a healthy way.

It’s often that for every ten posts about the show you have one from someone discussing going to rehab or finally making an appointment with a psychiatrist. All those replying in the comments are helpful, willing to give insight into their own problems to help OP with theirs, and most of all encouraging people’s small steps.

BoJack has allowed a community of people to talk openly about their mental health and their desire to try to fix themselves through therapy, good mental health practices, being active, and most all constant commitment to the personal goal.

The online forum is a carved-out space in a land of aggressive subreddits (I’m looking at you r/Austin) — subreddits whose communities are often tainted quickly. The BoJack Horseman base does not give into this (although there is no shortage of sarcasm and discussions that occasionally lead to heated debate particularly when it comes to the likability of Diane). Instead the community can recognize the seriousness and sincerity of posts that say “I want to kill myself” — a title which would normally be flagged as a cry for attention rather than a cry for help. It does not call people who post similar quotes or tattoos on a weekly basis “karma whores.” Fans acknowledge that each piece of work is an expression of genuine respect for the show but also a way to bond.

Even if fans disagree on what certain parts of each episode mean they never take digs at those who post online asking for support. In this way BoJack enthusiasts (and lurkers) have a sacred space on the internet that rarely exists anymore – somewhere they can get mental health reassurance without getting trolled.

This is perhaps the best part of the subreddit. BoJack fans are unfailingly kind when they could be rash and have the “pick yourself up by your bootstraps” mentality to newcomers who discuss their lowest points. They are empathetic but not willing to put up with people who defend BoJack or themselves when the defense is simply excuses.

A lot of them have been there. To them (paraphrased) BoJack made them feel less alone. BoJack was an experience. It provided a good demonstration to me and others how someone with mental illness treats themselves. BoJack changed them.

It would be hard to fully encapsulate what BoJack means to me, although it can go without saying that I have thought about it a fair amount. The last time I considered myself part of a “fandom” was when Harry Potter was at its peak (the 5th, 6th, and 7th books were not yet out.) I was engrossed. I cared more about the story than almost anything in my life, I visited online message boards trying to make sense of small bits of book information I most certainty thought were clues on how the series would end. I contemplated getting a tiny lightning bolt tattoo – an ode to my sister and I’s trips to the Wizarding World of Harry Potter and my deep-seated understanding that the series really pulled me out of my depression.

Now as young Harry Potter fans become millennials, I see tattoos of the series on everyone from former coworkers to friends. Deathly hallows symbols, quotes, characters, you name it. Some of these people sporting ink read the series with their families, others used it as a crutch during the difficult time of adolescence, and still for others the tattoo represents their first love (or renewed love) for reading and the world of fantasy.

With BoJack I find the fandom, and the art that springs from it – an almost admittance that all of us are in some ways BoJack. Even to the point where people fear that whatever he does they are destined to do (the amount of if BoJack kills himself in the season finale does that mean one day I will posts are telling).

Having a BoJack Horseman tattoo is a declaration of love towards the show and its creators. But it is also something to always look at – a message hidden plain as day to carry on in the face of insurmountable struggle. BoJack has tried and if he has then you most certainly can.

It can’t be quantified but this fandom is different. Unlike large fandoms (Harry Potter or Game of Thrones) BoJack exists for 90 percent of committed watchers as their own story. Proof that they were finally seen.

BoJack Horseman taught me the truth about myself I knew deep down but failed to truly acknowledge. It warned me the dangers of fetishizing my sadness. It told me that there can be more than the person I accepted I was always going to be – that the voice inside my head was lying to me. I have everything to offer the world and myself, but I must work on myself every day to get there. What I am in my heart is nothing. It is only my actions. There is no audience that sees all the thoughts that play in my head every day and congratulates myself when I do one thing right to move the play along. There is no moment in the future when everything will “click” because life is just a series of decisions that makes you – you. The xerox of a xerox of a xerox existence that I live is not a life. I can be pessimistic because life sometimes is shitty, but I can’t feel superior for being a pessimist. That uniqueness, that spark of specialness that’s engrained in some people from birth is a defense mechanism. The currency of my life is not based on how original, authentic, or damaged I perceive myself as. You can be terrible and judgmental; you can be nice and change the world.

BoJack took me out of my depression and simultaneously also forced me into it to examine it for what it really was. Symbolic significance over small things is just our brains way of trying to get through this crazy thing called life. Be, don’t think. You’re not better than everyone else at the party. You’re constantly capable of being better. You can fuck up and that’s okay, but you must continue forward. Always. Your mental health is not an excuse.

BoJack ended Friday, January 31st. At the time of writing this article I haven’t watched the eight final episodes. As dumb as it sounds, I’m scared to say goodbye. But I know that ultimately the creators will give BoJack what he deserves and will give us the tools to deal with how the show ends.

They’ve accepted the responsibility in creating this art and I trust them immensely. They get it. They’re not letting us off the hook easily and we shouldn’t either with our own conflict.

BoJack’s greatest lesson was to always go on no matter what. The fandom will too.

 

I Can Hate My Country and Still Be Patriotic

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(The Walmart near Cielo Vista Shopping Center in El Paso, TX)

*At the time of writing this article 22 people have died in the El Paso shooting and 9 in the Dayton shooting.

As always I try to write words when sometimes there are none. My heart is devastated for the people of this bordertown. I know it easily could have been my own. I am so sorry the injustices, prejudice, and racism of this country caught up to you.

Ae Padilla

“20 dead in mass shooting in El Paso. I hate this country.”

This was the text I sent my family group chat. I had meant to send it to my sister, but in my race of emotions I instead texted my two sisters, mom, and dad. I typed a quick “sorry wrong person, but the sentiment still applies” upon realizing my mistake.

After abandoning my phone for a few hours on a sunny Saturday I now was reaching out to friends and family, updating myself on the news. Here was the new American shooting. Facilitated by a white supremacist in my home state of Texas. As trivial as it sounds any fun times hanging out in the pool catching up at a birthday party just minutes before was gone. I felt that devastating feeling in the pit of my stomach that unfortunately now only permanently stays when the kill count is above ten.

It wasn’t long, mistake aside, before I got a reply message from my family chat. I opened it up anticipating: “Horrible right?” “I hate that this happens so regularly.” I thought I might receive a sad emoji or even from my sarcastic father “welcome to America.” But instead what I got was shockingly different.

My dad, a Mexican man who is neither a Trump supporter nor a self-proclaimed liberal like myself texted back “This happens everywhere in other countries, we just do not talk about those shootings.”

In a second I went from sad to angry. “No dad,” I responded. “This does not happen everywhere. This most certainly is NOT normal.”

The conversation flew back and forth before I realized it was not worth arguing about. I could say I hated these shootings. I could say that guns need to be harder to buy. I could say that white male anger and the platform it has been given is what is helping normalize the shooters to their own plans. But the damage was already done. What really bothered my father was the line I hate this country. Which means…I hate America.

And I couldn’t follow that up with anything that could remedy it.

To a conservative “I hate America” is the worst statement you can utter. And even to my dad, who is not part of the Republican party but has found himself becoming more conservative as he reaches his late 60’s, it is the only line you cannot cross.

Let me set something straight. I know “hate” can be a very decisive and loaded word. I know that most of the time it evokes extremes. But hate to me does not mean to be blindly upset by something. Hate instead is grandiosely synonymous with angered with, disappointed in, fed up with almost to the breaking point.

Yes, I do hate America at this moment. But I also love America. Like the relationships with the most important people in your life, “hating” something only occurs because you once fully love or respected it.

America is my home. It is the place my mom immigrated to from Mexico with her family to have a better life. It is the country that gave me an education and an identity. It is the nation that taught me diversity was a way of life – something to be proud of instead of something to actively avoid. It was, as a child, the land for free and fair election. It is also the land that has been attacked in my lifetime for celebrating that freedom.

Make no mistake about it. I respected the United States. Respected.

If you asked anybody who knew me growing up about my love for the red white and blue, you would hear comments like “she is the most patriotic person that I know. It’s a bit ridiculous.”

And I don’t mean patriotic as a country music loving citizen who carried around the constitution in my back pocket. I mean I loved learning more about the history of our republic. I loved government. I loved me even a good American flag bikini with one of those cheesy country songs. I was smug to live here. When my best friend became an American in her twenties, I threw her a citizenship party with those small American flag toothpicks (topped on cheeseburgers of course.) I volunteered in political elections. I always sang proudly The Star-Spangled Banner.

But as our country and political climate have turned into something else my once bright desire to sing America’s praises went away. I had always been aware of the United States issues and its reputation in other countries, but with a president that now actively encouraged Americans to be their worst selves and to act in their worst ways, I began to dislike what the United States had become – and how it presented itself to the rest of the world as a powerful nation not to be reckoned with in light of its acceptance of racism, prejudice, and intolerance.

How could I hold onto the love I once had for the United States without also starting to be repulsed by it?

This is something some conservatives and republicans cannot understand. If they could hear me say this, they would probably call me a traitor. I like to believe they would not yell a racist jab at me, but I am not sure. They sure as hell would say if I hate it so much just to leave.

But despite vague threats about “leaving the country” that I did utter the night of the 2016 election, I know that I want to stay and fix this mess we have found ourselves in. I am hopeful we can live in a country that’s on the front lines of solving climate change. I am hopeful we can be a powerful nation that leads by examples about how diversity makes us stronger and not more alienated. I want to see the United States back on the moon and Mars. I want to live in an America that prioritizes education over war. I want to be a citizen of a United States that wakes up to a maximum of one shooting a year instead of the daily attacks that just recently occurred in El Paso and Dayton.

In other words, I believe in America. Being a proud America does not mean I must blindly adhere to patriotism which says that I am not allowed to critique the very place that I live. To a liberal like myself that is not “love,” that is loyalty for the sake of loyalty. And that is dangerous.

Unfortunately, that blind patriotism is the space my dad occupies. Having been raised in this country in a radically different era by parents who were immigrants he was taught to love the United States at all costs. To him it represents an opportunity he might not have had if his parents decided to stay in Mexico. The vague word of “patriotism” represents a borderline superlative way of being, either you love America or you want to destroy it. A former judge and lawyer the flag hangs in the courtroom he frequently visits as a reminder of how on its best days our justice system is one of the best in the world. America should be applauded not cut down, especially by those who have the privilege of living in it.

And yet, my expression of distaste towards America is my distaste at those who lead in politics but who sit back idly not realizing that same justice might not be given to black men who are unfairly stopped, search, and beaten by some police officers. Justice is not being unhealed when women are stripped of the choices over their own bodies and their reproductive health. And justice most certainly seems fleeting for a six-year-old who died in their classroom and cannot be at the very least a catalyst for a law that makes killing another six-year-old just a little harder.

I do hate America. I am allowed to hate America. And I also love America as well. Being born in the United States but growing up in the border town of Brownsville I straddle a line between both being American and identifying with a Mexican- American culture. I still am more patriotic than ever, because I believe in our people.

But with that patriotism comes anger. Unlike my mother and father I do not need to be indebted to this country. I was born in this country. I have as much of a right to fix it and to call it out as any of the white men who claim to want to “make it better again.” I believe in peaceful protest. I believe that not standing for the national anthem does not make you a terrorist. I believe that questioning if your government cares about you doesn’t mean you are a criminal. And I believe if you get shot in a Walmart with twenty other people it’s NOT normal.

I assume congresswomen representatives Ilhan Omar of Minnesota, Alexandria Ocasio-Cortez of New York, Rashida Tlaib of Michigan and Ayanna Pressley of Massachusetts might feel the same way. Although I have none of the political influence they have I feel akin to them. When the crowd in Charleston turned on Omar and yelled “send her back” she probably thought “I am already home. This is home. I am trying to change it in a positive way. That’s why I’m not going “back.”

Omar is not here to change America for the worst. Omar is as protective of her country as the narrow-minded people who chanted at her – if not more. She just differs in being part of the positive future that awaits it.

I hope liberals, especially minority liberals, will agree with me that in the past few years I have started to feel as if the American flag has been hijacked and refurbished to fit a very coded view of what “being an American patriot” is. Sans the 4th of July, wearing a shirt displaying the American flag on it and hanging an American flag on a truck has become a right-wing radical prop. It now is linked to white nationality and attacks of people who look like me (despite whether they entered this country as undocumented immigrants or not.) I say we start to reclaim our ownership of our flag once again.

This country is more than the land we stole to make it. Hating the United States does not mean hating the landscape or the cultures of others that made it the melting pot it was always meant to be,  it means hating the actions, the new “normal,” it means hating the unhelpful laws or lack thereof. It means hating people who facilitate hate crimes and then hating that most politician’s responses to those crimes lie in apathy.

So yes I may hate America now, but it is up to me to get it to the point where I can love it again and take real pride in it. It requires the effort of other like-minded people to get there. We see the problems and now we must work on fixing them. I haven’t broken up with this country yet.

Sorry Dad, I’m not apologizing.

It’s Not Cool to Hate Your Wife Anymore

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(Carroll O’Connor as Archie Bunker and Jean Stapleton as Edith Bunker)

And for the record it’s not just sitcoms. Everyone thinks Skylar White is a bitch for getting in Heisenberg’s way. Including – her own husband – Heisenberg.

I might be a “bitch” too if my husband started selling meth behind my back.

Ae Padilla

I cringe every time I hear a husband talk about how now that his wife is gone on her business trip he can finally have fun with his friends. My eyes roll to the back of my head when a man talks about how he can’t, no matter how hard he tries, catch a break from his girlfriend or fiancé nagging him about emptying the dishwasher or taking her on an “expensive” date instead of letting him play video games for the night. Often after a comment like this he takes a swing of whatever he is drinking and waits for his surrounding buddies to nod in agreement about their own significant others.

I imagine if he had to stare into a camera at that point, he would say something akin to: “women, you can’t live with them, and sometimes you do want to live without them.”

Whenever a male alludes to something of this nature in my presence, I want to yell, from the top of my lungs at the tallest mountain of the world “then why did you marry her? Why aren’t you single right now?” “You know you can file for divorce too right?”

But men still do, and have historically, bonded over their shared annoyance with demanding women in their lives, the type of woman that habitually goes out of their way to stifle males “deserved” fun. Soul suckers. The women you see on tv who always manage to make a man fall back down to earth just when he is at his highest.

And I’m not sure which came first – the perception that women do this being implemented through media (which is still so heavily controlled by men) or that the heavily dominated film and tv industry created, directed, and written by men personified sexism from home to the workplace.

I can almost certainly say though that media helped villanize and trivialize women – sitcoms being the most at fault. What we perceive as the American household has always shown through a light in our living room, and it is only up until recently that is has started resembling more of the diversity of what an American family or romantic relationship can be and is.

Television, the most affordable entertainment, has brought us the most loaded and coded understood statement of romantic relationships: it’s perfectly normal to think your wife is a bitch sometimes.

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Before we entered the golden age of television, the family unit looked a lot like Leave it to Beaver, The Andy Griffith Show and then to follow Married with Children and All in the Family.

The focuses of these episodic programs revolved around a nuclear family. 2.5 kids. Raised by a mom but led by a dad.

It was these shows which casually brought the personality of men (and the personalities given to women written by men) into an almost constant loop which changed only slightly every week. Unlike films, mostly seen just once in a theater, Americans were now silently interacting and relating to the actors on their screen as much as they did with the neighbor down the street.

In the movies which preceded these times, ones released in the 60’s and 70’s, men were often painted as the adventurers or entrepreneurs (think John Wayne’s westerns, the rise of Jaws and Star Wars or gritty tales of mobsters like The Godfather). Men needed to leave women behind before they faced the real journey destined for them. Women were too fragile or emotional, and likely would have stood in their way and prevented the man from accomplishing all he could on his quest.

Even movies lacking the stereotypical journey to a faraway land, one instead that dealt with building a financial empire around the confides of the city they lived, were sorely lacking females on screen that did anything more than marry the leads in a montage. Movies of this era go as far as literally shutting the door in women’s faces as their closing scene.

But as television shows grew, and syndication with it too, it was impossible to ignore the rest of the family – including the maternal figure – in shows now centered around domesticity.

With the transition to households, a private place taken care of by women, men had to be written into and find their space within the sugariness slump of a post war life.

It was around this time, where the introduction of Archie Bunker as the opinionated (slightly funny, often racist) man of the household came to be. “Archie’s” of sort, although failing to live up to the character’s iconicness of the man who now has his chair in the Smithsonian, begin popping up in lieu of the more cookie cutter roles of Ward Cleaver. And their wives did too – women who lacked a permanent dazzling smile on their face but still had to have dinner prepared every night.

During these decades’ women developed more agency – working, attending school regularly but also occupying the same space with their husband. The result was that women once again found themselves in a role in which they’ve only barely been able to escape – that of someone who threatened the comfortableness of men in their house.

Now suddenly the “nagging,” always present wife, was becoming a trope that television still has trouble shaking off today.

Shows in the 70’s capitalized on an audience that was being conditioned to enjoy jokes at a women’s expense. Likewise, sexist undertones also existed in excess (IE: think women want to take your money, women over-communicate to the point of hysteria) and would go onto do so as the comfort blanket for writer’s rooms.

Archie Bunker – the now recognizable antihero – was portrayed as a humorous stubborn man who was by all means “wrong” for blurting out bigoted comments but still entitled to homophobic and racist rants to the listening ear of his son-in-law, daughter, and of course wife – who Archie bordered on hating for perhaps no discernible reason other than that it created cheap conflict.

It could be argued Archie at the end of the day did love the very chipper voice of reason Edith Bunker, but this underlining sentiment comes few and few between.

All viewers saw was Edith Bunker continuously getting the short end of the stick. Asking her husband for an allowance he denies her, trying to defend her volunteer work, being told to “stifle yourself. “Apart from the complex thoughts of what she brought out in her family through general observations of political change, lest we not forget the very liberal daughter she helped raise, she was never able to have those complex thoughts without being reminded that she was still flighty, submissive, and easy to laugh at.

Edith was also always the butt of Archie’s jokes.

He berated her intelligence, going so far as to call her a “dingbat,” he spoke vulgarly about her body – her cleavage to be exact, and he constantly criticized her for the universally considered “normal expectations” she wanted out of their marriage. In one instance, he spends the length of an entire episode complaining because Edith wants him to take her dancing. He begrudgingly does it, ranting relentlessly after the fact, and yet Edith is still presented as the “nagger” for suggesting it.

Archie, by way of the show, paints himself into another very stereotypical image of “the man on the couch” who does not want to be bugged by “women’s problems” which seem to be centered mostly on the benefit of their partnership through bonding rather than the “alone time” Archie unhealthy craves. (Make no mistake about it Archie is not valuing alone time to get to know himself better; he directly wants his alone time because he never wants to be around his family.)

Married with Children, arriving years after All in the Family but still maintaining a not so subtle nod to the former show, also comes with its own problematic protagonist, a man who is depicted as perpetually annoyed with this wife – and her simple presence in his space. (This is a space I would say he feels is solely his as both women in these sitcoms are housewives.)

Married with Children might not be so blatantly dismissive of the wife of Al – a strong character named Peg, but the stereotype of “trapped men” is still prevalent in the jokes he fires bitterly at his wife. These jokes have unarguably a snippet of truth in them. In one episode where Peg is absent from the house for the day, she returns and asks Al whether he missed her in her absence. “With every bullet so far” he replies. Cue laugh track.

Al, and most men of this generational shift in television, always revel in the amount of time they have away from their partner. They also frequently put down their wives in front of others – Al in the specific case where he refers to his wife as getting purposely pregnant so she does not have to work anymore, thereby dismissing her agency as a woman who can take care of herself and presenting himself as a “good man” who provided for his partner when push came to shove.

In the not so subtle context of both shows it’s easy to see these men are not only annoyed by their wives but I’d venture to say they dislike, hate, and feel resentful of their spouse.

But because Hollywood has a faulty but still tangible moral compass these men are not violent, nor do they cheat on their wives. The producers of these shows are not stupid, they know an audience would ultimately draw a line in the sand at these offenses. A good husband can hate his wife, degrade his wife, and in the case with Married With Children slut shame his own daughter in front of his wife but these men are hailed by a large amount of viewers as an inherently good partner because they don’t physically hurt their significant other. They still stick around, and their presence can be counted on by what they monetarily provide.

The reality is that the most significant relationship, one of marriage, is completely disregarded as a place where two people talk to each other and feel at best companionship even if they cannot detect passion or love anymore in their union.

It’s in sitcoms like these where women acknowledge to their husbands’ things needs to be done around the house, responsibilities need to be attended to (or even worse their emotional needs are not being attended to) that spawn vicious unsubstantiated claims of wives being “a pain in the ass.”

Raymond from Everybody Loves Raymond exhibits this new wave of defiance against a wife’s reasonable expectations, almost to a tee. In most of the series Ray is often at his last ends. His self-control teeters back and forth as he blames his wife for practically everything he can get away which seems to be, if self-awareness was a trait in these men, complete mediocrity.

A man as the perpetual slob and the woman as the voice of reason, particularly within this comedy, is so inherent it’s almost difficult to know if the writers did this on purpose as a message on the culture surrounding TV marriages. But I won’t give that much credit to a show which still places the button on a twenty-minute episode with a kiss (or conversation in bed) between the wife and husband just to make sure the audience knows they are “good” and more importantly that Ray is a fine man who dislikes his parents and is thoughtless but for some reason still does it for Barbara.

If sitcoms should be chastised for anything, it’s letting us believe that prettier, smarter, and genuinely more interesting women do not just always settle but are head over heels in love with unimpressive men.

The only time when men in sitcoms of this era are allowed to showcase their grateful genuine emotions for their wives is when a woman has to “win” in the argument occurring throughout the A or B plot of the episode, simply because occasionally we do like to poke fun at the man and throw the woman a bone. These shows wants us to believe what is not true, that the man values or respects his wife at all and then more believable. sometimes she does know best but he must hide that revelation because he is emotionally crippled and afraid to give her the “upper hand.”

The only other blatant time when a man likes his wife or exhibits any kind of tangible love towards her is when he is trying to manipulate her into having sex with him. Suddenly now the wife is useful. Our main character can’t have an affair. He can flirt at a bar while he insults said wife with his friends, but he needs to come back home and be only sexually committed to her, otherwise the viewers would fly off the handles. And while I do give credit to Married With Children for having Peg comment about wanting Al sexually, be it for whatever unlearned reason, most shows like Married with Children or Everybody Loves Raymond write a sex-crazed husband who is constantly turned downed by his wife and who presumably hangs around putting up with her “antics” because this is the one thing she, and she alone, can provide him.

And yet even with that power dynamic there is even a lack of respect and love of the female body, feelings associated with sex, and sexual autonomy. Men do not like their partner enough to care about their pleasure. Al Bundy famously says, “What was I thinking when I said, ‘I do?’ I’d already had sex with her; I didn’t need that again” when refereeing to his sex life and subsequent marriage. His wife says the following when giving her own daughter a talk about sex “Once you do it though, you’ll never have to do it again and there will come a time when your husband comes home smelling like beer and wanting some loving, you’ll follow that fat butt up the stairs because you’ll know that no matter how disgusting the next five minutes may be, it’s still better than work.”

Although these lines are played for laughs at its core it is damaging to women who watch these conversations enough. It presents the lie that sex within marriage is unenjoyable and furthermore it touches on expectant marital coercion. It’s as if the underlying message is: men want sex from other women, but they will settle for you their wife. As a woman you must give this to them because you took a vow and you don’t want them breaking it because you said “no” one too many times.

Taboo sitcoms of thirty to forty years ago couldn’t bother to make women or men multidimensional characters. They placed women into boxes of worrisome, frigid, and controlling. They unfairly portrayed men as lazy, entitled, and perpetually lacking in commitment. All of which developed into a self-fulfilling prophecy of how society labels heterosexual couples, down to the trivial topper on a wedding cake of a wife “choking” the groom as he bolts for the door of singledom he left behind…where he is “free.”

As television has changed so too have the stereotypes. In the past we’ve had examples of “perfect” almost unrealistic families, as in the case of Leave it to Beaver where the wife kisses the husband at the door as he returns from work and leads him into the kitchen for supper and polite conversation about their days (although its crucial to remember the woman still serves her family and tends to her husband’s needs before serving herself.) We’ve also had crude but supposed “loving” relationships between the middle-class American duo as mentioned with All in the Family. But it’s not until the turn of the century that we have seen a shifting narrative of the dad and focus of marriage which actually actually might have started in the last year of the 80’s with the progressive animated series The Simpsons.

In The Simpsons, Modern Family, or Malcolm in the Middle we see wives as competent, taking on the more emotional taxing and mundane aspects of marriages (and kids). (Picture the “normal” view of a wife: she’s picking up groceries, while talking to a friend about how her husband doesn’t seem as happy recently, this is followed by helping the kids with homework and then slipping into something sexy at night.)

But with men we see a new caricature, a loving but comic relief of the household. He does not do it all.

Male protagonists are usually compared in part to their more collected and confident wife – who tends to be type A. As though without that trait housework would never get done and husbands would have unrealistic expectations to attend to it.

Sometime during the golden age of television men have turned into downright fools. They are present in their family’s lives, spend a lot less time on the couch, but still cannot manage to feed a kid and get them out the door in time for their bus. They love their wives but simply can’t express it to her in any way without reaching out for an entire community’s support on the simple decision of what to do for their anniversary.

Phil Dunphy, from the hit ABC TV show Modern Family, is this character. He defines a trope so prevalent it has its own name – “bumbling dad.”

Phil is a good man and attentive father. He supports his family financially, never blatantly holding it over Claire’s head as a housewife who later in the series returns to the workforce. He is also a jokester, teaming up with his young son Luke to perform random pranks and engage in spontaneous quidditch matches. He’s the more irresponsible one who encourages his children’s mishaps, who gets eyes rolled in his directions for his antics and who must be reminded by his wife to parent more firmly with their kids as she borderline parents him.

Unlike most shows we do see Phil care about his marriage. And it’s refreshing to see a man portrayed as treating his vows with sincerity instead of dismissing or mocking them. After all there is one episode where the main plot of twenty something minutes is Phil finding out his neighbors, similar in age, are getting a divorce. After he discovers this, he becomes panicked and irate at the idea of Claire leaving their relationship in the same way because she might not be happy. The episode ends with Phil realizing his freak out is unwarranted, but it strikes a chord. Marriages are worth caring about – and men should be a part of their upkeep.

But Phil and Claire Dunphy still have their own issues. Phil does not hate his wife, but Phil is annoyed by her inability to “let herself go” which he interprets as being a quality of someone who cannot enjoy life. He sees it as his own job to “free” her. Often, he is in “humorous dismay” about the person she might become if he was not around stating “sometimes I don’t know if I love how much I fear Claire or fear how much I love her.”

At the end of the day, each partner must go back to their roles within their marriage that seem little to do with organic personality traits or the understanding of a conversation about who brings what to the relationship but more to do with the critique that women have been doing substantial work in marriages/relationships for so long and have been given no credit for it. They now need to be depicted as capable of being the glue that holds all relationships together. Needed, but incapable of joking around or initiating sex beyond her husband’s birthday, certainly not the type of wife who lets her husband do the cooking and whose problems and livelihood are connected to work outside the home (or worse her relationship with her husband instead of her kids.)

Phil must be the dumb dad who is loved but maybe not as respected. And he must submit himself to the idea of a modern man who spends time with his babies but won’t be trusted enough to handle them when a diaper needs to be changed. The reversal of stereotypical roles is never highlighted more than when a woman can’t be the stupid or dismissed one so now the man needs to step into this role (although men’s work outside of the bedroom or household is never criticized, further cementing the idea that succeeding in work is critical for a male to hang onto his last ounce of self-esteem.)

Phil and Claire love each other, and it’s charming to see their small bickering amidst their general respect but like Marge Simpson, at the end of the day Claire brings Phil back to the real world. She centers them in their relationship apart from the aspect of “fun.” She makes him a better man.

It’s difficult to find a modern show where two personalities co-exist as equals in almost all aspects of their relationships and where interaction is not decided gendered norms of what they both like/do and how they express their affection. But shows where married couples enjoy each other’s company, without their marriage being the joke itself, do exist.

The Cosby Show (screw you Bill Cosby) never failed to show joy and appreciation of the marriage between Heathcliff and Clair (the glorious feminist before feminist became the “f word” – that had as much of a successful career as her husband who, very openly, supported and was attracted to her drive and stance on working women.) Growing Pains managed to find a balance between believing that Maggie and Jason Seaver appreciated each other without piling on the cheese while using their own relationship and trials in life to give advice to their three kids. But these are only two in a parade of sitcoms that at their best treat marriage in a show about family as completely pleasant but void of real conflict or humor (The Brady Bunch). Two roommates living with each other that do not have problems of their own outside their kids.

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There’s no way to know exactly how shows of the future will continue to tackle married couples but if the diversity of sitcoms in this decade gives light to anything it is that real authentic relationships are taking precedent in how writers form their family units and partnerships. Less “sitcomy” shows mean not producing the cheap laughs that come from having one character as the routine comedic “bitch” or “prude.”

Through the rise of feminism and more women writers in Hollywood the stories and intricate marriages of women are now being written by women themselves. And that’s important, television watchers in the future will have a different context of what marriage looks like and what women want and fairly expect from it. (Equality within a space featuring someone of your choosing that does not see gaining a spouse as gaining another mother, be that good or bad.)

I can only hope this will help men resist the urge to label their spouses under the dangerous words of “nag” or “difficult” and instead focus on the partnership together away from the constant labels which so casually appear in the lexicon of our lives.

As real-life mirrors television or vice versa I hope talk within men’s circle changes, particularly around the notion of marriage as “throwing in the towel” and the plain disgusting sexist real life trope that it is.

Loving your wife is not weak.

Sometimes there is a moment in conversation that occurs when men get ragged on for hanging out with their girlfriends or wives too much – as if the man that has been historically placed on a pedestal of power – cannot simply say no to the suggestion of his wife to join her at their house instead of going out with the guys again. I think the reason this happens is because men feel the subconscious pressure to choose their men and manhood and to stick to the script of time you should want away from the woman and family. There is an insistence to talk about the upsetting things that a wife does because this has been, and continues to be, one of the historical pillars of male bonding.

Choosing a wife over men for “fun”, beyond the sexual nature and societal norms of “always protecting her because that is what a man does,” goes against the essence of historic male alliances. Enjoying the company of your wife, proclaiming her as go-with-the-flow and sexy without using the tired “cool girl” image and her sexual appeal in relation to how great a man he must for being able to have sex with her when no other man can, is undoubtedly progressive.

Whether that is disappointing or not must be cast aside.

Men are trying to navigate a world which still values dominate alpha male conundrums (subtle or not) while also giving rise to the idea that being vulnerable in your relationship and agreeing with the guy who is proud of the fact that he flirts with women who aren’t his wife and brags about babysitting his own kid for the “brownie points” are just plain pathetic.

 

HASAN MINHAJ’S Stand Up Opened the Door to the Immigrant Conversation You Haven’t Heard. And Here’s Mine.

 

(Minhaj in Homecoming King, My mother and I after voting during the 2016 presidential election)

Before anyone says a thing, my parents are wonderful people and I am proud to be their daughter. All of my respect goes out to them, Minhaj, and the daily fighters.

My mom and I voted for Hillary Clinton at the same time. We stood happily as my Dad, who also did not vote for Donald Trump, took our photograph outside of Brownsville, Texas’ courthouse. Weeks later during a phone conversation leading up to the inauguration they encouraged me to support our new President. “Give him a chance,” they repeated. The more I voiced my disapproval and resistance of him the more they viewed me as irrational. And even though they dislike Trump and his rhetoric, his morals, teachings, and choices for America they still stay silent. And the truth is I think they wish I would too.

An article on these trying times.

By Ae Padilla

Because I was not one of those people who adamantly believed Donald Trump would win the presidency, I cried the night of the election.

Did I think it would be a closer win for Clinton than I would like? Yes. I wasn’t delusional. But I did not, in the back of mind, actually think she would lose.

As I choked back tears on the phone the night Trump would end up giving his acceptance speech as the 45th President of the United States my mom asked me concernedly “what’s wrong?”

As dramatic as it sounds the question felt like someone asking you “are you okay?” as your house burns down directly behind you.

My mother, along with all my family, knew of my dislike for Trump and his followers. It was no secret I had volunteered for the Obama campaign. That I was “a liberal who went to a liberal university who now still resided in the liberal city of Austin, Texas.” It was also not a secret I had talked openly about the dangers of the rhetoric spewed by our now President.

But I don’t even think my parents realized how dramatically my nerves and fears were detonated by a Trump win.

“Stripped reproductive rights, the snowballing of hate against minorities, a collapsing economy,” ran through my head.

How could I do anything else but cry?

I had done my part and voted; I had done all I could do and now I was hopeless. And my parents, who were supposed to be on the right side, our side, did not act hopeless with me.

Instead my mom was merely disappointed, but ultimately calm, about the news. My dad was more accepting, more dismissive. “Everything happens for a reason,” he said definitively. “That’s democracy for you, the American people voted him President.”

Even as I bit my tongue, the only action I could take to hold in talks of the “popular vote,” I knew he was right.

Yet for some reason I grew furious with his lack of anger at our new norm, and the belittling way he reminded me of it.

I could understand people who weren’t riled up because they were uneducated. The type of people who do not understand how embarrassing it is to say “I don’t follow politics.” Who wake up every four years on an early November morning blissfully unaware about who is representing them for the next four.

But my parents are both college educated individuals who have always voted, from federal to city level elections. Often times they would get upset with me for not keeping up with Brownsville politics. “It’s your duty to get informed as a citizen about what is going on here,” they would remind me.

Even in college, three hundred miles away from my “permanent address,” they pursed their lips at my lack of absentee voting.

But I understand it.

My dad is a former judge and lawyer with his own private practice. He believes in fairness, justice, and the democratic process. He sees Trump as a man who doesn’t know what it’s like to make his own money, who scammed hard-working middle class Americans out of theirs, a celebrity completely out of touch with how ninety percent of Americans live.

My mom is a special education teacher. An immigrant from Mexico (at the tender age of ten) she summarizes Trump simply as a: philandering pig.

I say all this because I want to paint the picture of my parents accurately. These are two people who would never be seen as unopinionated, ignorant citizens. I paint a picture because it helps you understand my reaction when I called them weeks leading up to the election and they were still annoyingly calm.

Void of any denial. Becoming more complacent with Trump as Barack Obama’s successor. Aware of it or not, their passivity added to my growing anger, all of which came to a head when I spoke to them the night before January 20th.

I had just put the finishing touches on my sign for the women’s march. It was uncharacteristic of me. Big and bright pink, it had the emoji of that sassy girl sticking her hand out – I know you know which one I am talking about.

“Mr. President, I decide who grabs my pussy. Not you. Me.”

I signed it from “a nasty woman”

Apparent even through the phone, I knew my mom and dad were not as on board with it as I – and this was not because of the usual outcry from my mom directed at me about my use of “unnecessary vulgarity” (even though she herself curses like a sailor).

Instead the two were shocked I would be protesting on the day a new president would be sworn in. They were bothered my inability to again “give this man a chance.” They would never use the world unpatriotic but I’m sure if they had to give a word to it that’s what they would settle on.

In their eyes the same unquestionable respect I always owed them I now owed my President. Even just for that day, no matter what, I had to cool down my attitude and sit with deference while Trump stood over the bible in the national mall.

But what respect did I get back from Trump?

Where was the two way street of civility when he called my family racists and murderers? When he bragged about sexually assaulting women? When he then mocked these women’s intelligence and looks? When he made up blatant heinous lies about my former president? When he had rumored relationships with Putin? When he skipped out on his own companies and the money he owed workers? When he opposed progressiveness in almost every aspect?

Screw the presumed respect my parents believed I owed Donald Trump.

When I called my sister about this, still angry at our parents, she assumed I was overreacting. But as a follow up to this conversation two weeks later she ended up agreeing with me. “I don’t know what’s wrong with them,” she said half confused half irritated.

To me a lack of great defiance against the entire GOP and the President was akin to drinking the Kool-Aid.

So how could our parents in some way be part of that group?

For the life of me I could not understand why my sister and I had the same concerns while my parents had none. But I obsessed with trying to find out why.

Was it our age? The fact we might not be as jaded or have lived as long of a life to convince ourselves that at the end of the day who is President does not really matter at all? Or was it our generation and its influences? The unshakable truth that “everyone is a little racist, homophobic, anti-Semitic” does not fly with us as it did with Baby Boomers? (Especially when the person that statement is being directed to is our “leader”.)

For as much thinking as I did, and I sure did a lot, it was Hasan Minhaj’s hilarious and groundbreaking stand up Homecoming King that finally helped me connect some, maybe all, of the dots.

The first time I viewed Homecoming King I fell in love. It was as if instantly I had a new cultural piece of art in my life. The second time I viewed the Netflix stand up my whole family watched with me.

I figured my Dad felt the same about Minhaj’s performance as I when as it ended he shook his head approvingly – about the only way my dad will admit he likes something.

That’s when I knew.

Hasan Minhaj helped highlight and reaffirm everything I was slowly beginning to learn about my parents.

Even though my mother and father are what ignorant people would call “American” (IE: they don’t talk with an accent, speak English at home/work, and offer you cheese and wine when you enter their house) they are still living within, despite only one of them being an actual young immigrant, their own self-made immigrant mindset.

But it is only after the election that it’s showed itself in transparent ways I occasionally oppose and answered questions I always harbored about the two of them.

For one thing Minhaj’s program helped highlight the answer to why my dad could always ignore (or laugh off) hateful remarks about our race, and subsequently Trump’s own similar comments about us.

I realized it was because he expected them.

Much like Hasan Minhaj’s dad (Najme) following the hate attack on his family car (executed simply because Minhaj and his family were Muslims living in New York following the September 11th attacks) my own father acted just as accepting of Donald Trump’s own stereotypes, racist remarks, and hate spewed from his followers that started even before Trump took office.

The way my dad saw it it did not matter that many supporters of the president hurled slurs at Mexicans or other minorities. It wasn’t shocking. It was not the end of his campaign.

It was just the way it went.

Like Minhaj’s own father my father would probably utter very similar words to [“These things happen, and these things will continue to happen; that’s the price we pay for being here.”]

See my mom and dad are not unknowledgeable about the fear Donald Trump has placed into Middle America’s hearts about the “scary immigrants who are taking your job amidst their plan to kill you.” But my parents accept these lies without a need for retaliation – a need to educate stupid people and cleanse their bigotry.

That is because even growing up in a predominantly Hispanic area of South Texas they were not exempt to the trials of racism (if they strayed or stayed in the Rio Grande Valley.) From the in your face attacks to the subtle, still apparent racism of strangers being shocked by “how articulate you are,” to the casual way my dad laments about not being allowed to enter certain restaurants through the front door as a child, the deserved equality of all Americans was never bestowed on them.

But my parents accept it because they were born Hispanic and their family came here willingly.

So the inconvenience, as Minhaj mentioned, is a tax you willingly pay for all else you receive.

[“Like you’re going to endure some racism, and if it doesn’t cost you your life, hey, you lucked out, pay it there you go Uncle Sam.”]

***

Both my parents growing acceptance of Trump came also from patriotism, a national allegiance I struggle not to call “blind patriotism.”

When you assimilate into American culture as an immigrant you are always on the chopping block. No matter the pride immigrants take in receiving the oath of citizenship, they know once they are officially a citizen of this country the judgment begins immediately and the expectations of “Americanism” or rather “the press releases” to prove how American you are, as Minhaj calls it, is inevitable.

If you don’t already know what this boils down to it’s what is expected from Americans as a whole.

It is the expectation of learning English perfectly. It’s the expectation of being able to navigate and master the lexicon of American pop culture, and the culture of national pride – it’s embracing all of the small things that are implied “Americanisms.”

My parents are familiar and cooperate with this assimilation. Without realizing they are constantly showing how patriotic they are. Down to the small examples.

Like when my mom pays a service to have the flag erected in her front yard for all federal holidays. Or when my dad, without fail, takes his cap off during every rendition of the Star Spangled Banner we hear at sports events. And actually gets upset if a flag dare touch the ground.

But more than just supporting the concept of generic “patriotism” with purchases of Old Navy Fourth of July t-shirts, they defend America as a concept, particularly when they assess someone is not being “respectful” enough to it.

A (troubling) example of this comes from my dad.

My father, a vocal proponent of our rights guaranteed to us by the constitution, honors the flag and what it represents so much that even though I have heard him acknowledge and speak out against inequality of Black Americans (who are every day unjustifiably killed more than white men) the last time Kaepernick was brought up in a casual conversation his condemnation of him was immediate.

“How do you not stand up for your flag?” he said in disbelief. “I mean that’s not right,” he said growing more offended.

No amount of me convincing him this was a peaceful protest, a part of the first amendment he often cited, did anything to change his mind. Nor did my quick reminder about Dr. Martin Luther King and Cesar Chavez, two people who helped radically change unfair situations for minorities through the same civil protest.

To my parents it is not a decision if you stand for the national anthem. People who do not follow this simple rule should be reprimanded not applauded.

In other words you better stand for the flag that gave you a chance.

Unlike my parents (mom) I don’t have to “prove” how American I am by saluting the flag. For me it does not represent this better opportunity than the one I used to possess or would be limited to had my parents decided to stay in Mexico. Instead it serves as a reminder of the home I know needs to improve.

***

Times change.

And sometimes in the crazy world (of politics) we live in I fight the everlasting feeling my parents must change themselves and join the side of vocal resistance.

Then again if they are not believing Trump’s lies maybe I would do better to focus my efforts on those who could side with us come 2020?

Maybe it’s up to me to let go of my rooted anger and disappointment I have that my Mexican mother did not support her minority daughter, a survivor of the metoo movement, in my march.

Maybe it’s up to me to not feel that because my mom is a minority woman she has any more accountability than the white men of the world who wrote Harambe in on the ballot because they.just.dont.undestand. what this means for some of us.

Ultimately maybe it is up to me to realize like Minhaj’s father, my parents are always trying to protect their children and this can account for some of the reason of my mom’s resistance to me being part of the resistance.

She was, and is, worried about retaliation of people who see me rocking the boat. She is terrified about people who might show their opposition to me with violence instead of yelling towards me at a rally.

Connected to that same idea of fear, she is worried about this affecting my job, ability to get a new job, or ability to network.

And she is smart enough to know articles like this one live on the internet forever.

At the end of the day I know they fear where our culture, a one they are equally a part of, is going under the leadership of Trump and Pence but no matter what they will never say it to anyone but each other.

Once again they will set up the script for me that Minhaj’s addresses.

[Are you supposed to just put your head down become a doctor, get a house in the ‘burbs, let them call you whatever they want to call you, and then you laugh later?]

Ultimately my parents will dismiss my concerns based on my sensitivity, my inability to brush off news (which is true.) They will hope in the same way Najme Minhaj did that I will keep my opinions and beliefs to myself because they will hurt me in the long run.

They hope I will “get smart enough” to avoid the fray.

***

Both Minhaj and I have played our cards.

Mine was becoming a bartender after graduating from The University of Texas (when I should have found a more stable professional job.) The other was not growing out of my dream of being a writer. And the third, as ridiculous as it sounds, is my open opposition to Donald Trump and the GOP.

Or perhaps, if I wanted to put a blanket statement on this, my card would now read: stating/writing/exploring political social issues against my parent’s wishes.

What this all comes down to is this card, my card, is what my parents view as a direct disregard to their wishes.

Once again as a child of a minority/immigrant I didn’t understand until now that even as a twenty-seven year old woman I am never my own person. I am always still a representation of the two people who made me.

My parents won’t admit this, because they might not know it themselves, but after years of introspection I’m forced to.

Their ownership bubbles to the surface, apparent more than ever, when they start recognizing my anger towards the latest political scandal or scandalous event. Before I have the chance to open my mouth they’ve silenced me quickly – as if afraid other people might hear my convictions, as if afraid what I say is now what they say, they think, and more importantly what they taught me.

***

Make no mistake about it my parents are two of the best people in the entire world. To myself. To others. To the marginalized.

They never let themselves get walked all over or taken advantage of by anyone. Hard working, diplomatic, with the ability to let certain facets of life roll of their shoulders, I strive to embody most of their characteristics.

And of course I strive to be validated by them, who would not want to be validated by two of those most important people in their lives?

As the past two years have dragged on I do get glimpses of the validation I ultimately wanted, but it comes in small bursts.

It’s displayed in a simple laugh from my dad about how the whole Trump family will get indicted. And just as suddenly from him, a truthful frightening remark like “It’s only a matter of time before Roe vs. Wade is overturned.”

Or from my mom, a brief moment at Thanksgiving — just the two of us stuffed, drinking wine, moving in and out of conversation. It’s then when she turn to me and said: “I see this President as a low life, tacky, not like the others. I don’t care for him but I keep that to myself.”

And from them both the recognition of my article in the local newspaper I grew up reading with them about the inhumane conditions that undocumented children face on the border (only miles from my Brownsville house.)

(Although I know if I was being honest with myself I would say the community’s approval of my article is what helped them solidify their decision to be proud of me for this very public stance.)

Despite this I can, almost always, understand their viewpoints. I understand they are people with fully formed opinions of their own brought on by their unique life experiences. I am aware my dad is a lovable cynic and my mom is opinionated but tactful.

I know that second or third generations, or people like me growing up in a more tolerant time and different political climate with a different soap box to speak on can’t adequately fathom the complexities of what goes through the minds of people like my parents.

And I know most certainly that I am their very privileged daughter who does not work in politics or volunteers for as many democratic campaigns anymore but still believes that this is not the time to sit back and say nothing. This is the time to stand up and yell everything.

And my small articles, ones like these, are just another voice to make that sound louder.

Hasan Minhaj faltered, as I, between whether to let all of the injustices, inequality, and corruption of this country roll off his back or instead choose to be part of the process in pushing the needle forward little by little for the next generation.

[“But isn’t it our job to push the needle forward little by little. Isn’t that how all this stuff happens? I don’t know. The pendulum swings back and forth for me.”]

Minhaj ultimately answered that question with the premiere of his show “Patriot Act,” his work at The White House correspondent’s dinner, and his unapologetic take on Trump in America.

He now definitively joints the journalists, the rising politicians who never thought they would run for office but none the less feel compelled to, and all the people who are sick of the normalcy that is our country as they try to tackle the radical embrace of extremism.

They are all a voice.

They all provide proof of my favorite uplifting quote, one I return to in the toughest of times.

“We are the ones we’ve been waiting for.”

 

I Finally Watched Spring Breakers After Five Years

spring breakerrrrs

(You never looked so cute killing people)

Ae Padilla

If I had known exactly what Spring Breakers was would I have watched it sooner?

In the five years since the instant “cult” classic debuted I developed a fuzzy idea of what this film was despite one single trailer view. In my head it was a combination of Gigli, Showgirls, and Crossroads – lacking of any substance apart from the questionable acting talents of its four leads – who started their career on the Disney Channel because they were approachable cute kids and stuck around because they became hot adults. Would there be talent in the film to some small degree? Probably. But actual movie time merit? Probably not.

Now that I’ve finally seen it I contemplate my present day film-watching self. I like to believe my taste has been furthered along by the countless film analysis lectures I’ve sat through and mindful separation of Garden State as a “great film,” but in reality with the wave of my un-ironic YouTube watching it has probably gotten worse.

Right off the bat the first thing about Spring Breakers is that it feels dated. I picture myself watching it “back then” with a different set of eyes. It’s simple, but too much time has passed. Now before the opening credits end I want to yell to the young faced Selena Gomez: Do not go back to Justin! I want to tell James Franco not to be an inappropriate sleaze. I want to warn the pink-haired girl she will not be famous.

But alas without my tidbits heard, a story starts.

The film opens with a gratuitous amount of exposed breasts and women being sprayed with copious amounts of beer (implied by the way the cans are held to be ejaculation from men’s penises). In this one shot I know everything that this will end up being. Trashy, over the top, unbelievable. Because I’ve participated in spring break Florida style and even I, as a woman, haven’t see that many nonchalant tits in my life.

The feel, mood, whatever experience you want to call it only gets better when we meet the girls (women?) we will spend an hour and thirty eight minutes with which surprisingly ends up feeling both simultaneously like microwave minutes and not enough time in the same watch.

There is a faith based girl named Faith (Gomez) who smokes like she’s the protagonist of a DARE skit. There’s a promiscuous girl named Cotty (who you instantly know is promiscuous because of her pink tresses) (Korine), a stereotypical “bad” girl named Britt played by Pretty Little Liars Ashley Benson and Vanessa Hudgens,  “Candy” who spends so much of the film covered by her dyed blond hair that virtually anyone could play her.

When I introduce the girls like this, I know the writers, producers, director knew what they were doing down to the cast’s names. It’s the way the cinematographers and visual art directors knew and perfected their own job, the people who who succeeded in capturing a world not too dissimilar to Avatar – a florescent dream which will never match up to real life but that you somehow end up feeling strangely attached to long after you turn off your television.

Everything is an exaggeration. Everything is a fist full of colors. Which of course is the point.

The parody, representation, the feigned ideals of what Millennials (and most people want) all before Millennial hating was a thing. A type of non-consequential Wonderland.

I’ll be honest. As I said before I had no idea what Harmony Korine’s Spring Breakers was about before my watch. Not only did I manage to forgo any accidental five minute viewing my extent of the movie’s plot was: four college students rob a store to afford the week-long American quintessential spring break trip.

It’s easy to see how I thought the villains could have been the quartet. And yet in the illuminated sparkly world the girls reside in it just as easily could have been the characters we would meet along the way who pushed them to partake in acts against their will. Or even the people in their lives who raised and influenced them to turn to such extreme measures. The “others” who brought them up to be, whether they intended to or not, extreme caricatures of humans.

But in the context of this film these people did not exist. At least not as one physical being. And honestly it’s kind of hard to feel bad for anyone, no matter how much they are adorned with neon, when they continuously complain about a lack of funds for recreational activities as they snort coke off each other’s stomach.

Ugh. Writing it is as bad as watching it.

These are barely legal women who waste their education and livers to a point where I (someone who wasted away their own education and liver) wants to smack the “just trying to find myself” Ashley Benson in the mouth.

Britt is nothing more than a rich spoiled girl who finds herself as hit-man #1 in a series of assaults. Prior to her metamorphosis she represents everything a privileged student has and will be: she hates her town (by extension her life) and a week of partying with no consequences is just what she needs so that she can inevitably regain focus and become the lawyer or accountant she’s actually destined to become.

When I view the protagonist from this lens is the whole movie perhaps just a direct attack on the notion of spring break as an escape from escape? A commentary on how ridiculous the “holiday” is? An exploration on the overlooked acts of college students who will one day be the members of society we look up to?

It’s a theme, sure. But it’s not a theme as blatantly embedded and displayed as violence. And in this film violence is everywhere.

Because the brutality of this whimsical progressing road trip flick to the shifting ruthless juxtaposition that encapsulates a classic like Goodfellas is unmistakably important. Equally so is the fact that the perpetrators of this gritty violence are three Barbies and their Hispanic friend who is so white they probably forget that she’s not white.

I was shocked (why was I even surprised at this point by anything the script threw my way?) at not only the ease of escalating violence by the trio but by the reactions of the women to their own violence.

If Britt was a real person she would probably be diagnosed as a sociopath but in this world, at least until she burglarizes a restaurant, she’s simply a brat who gets off on the idea of scaring innocent people. A barking dog with no bite. Right up until she turns a corner.

I can’t be the only one who wanted Faith to say something like “that’s shitty to do to people” when she found out the extent of how much the girls/criminals disregarded people’s feelings while committing an atrocious felony. Perhaps I was so angry at this lack of conversation because I myself wanted to see if given the time to really think about it…they did regret what they did.

Almost at the edge of asking, Faith ultimately succumbs to her pathetic as she is brave character. She says nothing and in an instant we are left with no repercussions for that act but all the money they acquired and the potential activities they can partake in with their winnings. “Rich people” pastimes. Partying, shopping, buying expensive alcohol, buying expensive scooters blowing so much bank I am almost…jealous.

Like when I see the money that all too many celebrities and “personalities” have for the price of being fake, I begin despite their lack of authenticity, to feel a rapid reliability to the dream the girls have. As they acquire more monetary value they hurt and humiliate more too (ultimately to sickening levels). But they have it all. Everything you would be hard pressed to find a Millennial or Gen Z not want. A pot of gold without the search for the rainbow.

The importance of that envy I have and venture to say most people would is that the viewer [me] still feels it even if they are sufficiently aware of how the girls aquired the money.

As a culture we will glamorize violence (even if we exclude ourselves from accountability in relation to the violence) if, and only if, it provides financial results and unmistakable swag. We will most especially applaud that violence if it is at the hands of white busty blonds.

I don’t know if that’s giving too much credit to a film that wants to make us believe a judge would allow college students to get arraigned in skimpy bikinis.

But Spring Breakers is smart.

I’m willing to let itself believe it even knows how white it is although I’m skeptical if it knows (again people love white violence – think Breaking Bad) exactly how cringy the full development of violence and subsequent execution on the few people of color in this film is.

It’s one inquiry in a a list of endless inquires.

See I have questions about his movie, boy do I have them. Most that will never be answered and most that shouldn’t be.

Like how many fucking days have gone by in this break? Why is Alien’s house so ugly that with a hundred dollar Target gift card I could remodel it? (I think I know the actual answer to this but I still need to ask it anyway.) And why the fuck are these girls always naked with each other? Granted my group of close female friends tops off out about five people and we all don’t spend every waking minute together but I’m pretty sure that our fictitious spring break would not suddenly awaken a deep need to lick each other’s navels.

Still one of the main questions I come back to, mostly because its lined with fury, is why the fuck do the white girls get to kill black men (who historically as a race gets so commonly trashed on for their perceived violence in a community)? I mean I know I’m not supposed to be rooting for them to flawlessly carry out their plan but I’m definitely not supposed to be rooting for drug dealer Big Arch, although by drug dealer laws (I’ve just made up) he did lay down claim to his neighborhood first.

Throughout the climax of ricocheted bullets why am I supposed to accept that Alien is due his avenge from a duo of women who, while gaining their agency through plucking a fake cock simulated as a gun into his mouth, get to drive that actual gun into a dangerous black man all the while hopefully sparing the, again, NAMELESS black women (the audience is not supposed to care about) before jetting off to be Bonnie and Clyde.

Is race in relation to the stories we can tell about people the deep meaning that Harmony Korine so desperately wanted from us? Is it that like with romanticized felons Bonnie and Clyde we too can only be told a story about delinquents if it is told this way? A sad, pretty, harmless way that wants you to forget about the fact that firearms blow off your head the same way even if they are used by sexy women?

Who knows? I’ve already established Spring Breakers has a lot of question with not too many answers. But there is value in the discussion of glorification – most of all escapism – the ability for some people to lose themselves in their new lives while still maintaining hold of their old one.

It is the truest fact that a subset of humans get the privilege to return to their lives after making mistakes without the hindrance of being completely defined by them.

It’s SO MUCH but the whole story is also taking place in the paradise setting of “too much.” It’s capable of being a million different things at once. It’s dumb and ingenious, deep and ditsy.

It’s sexist while shining a light on sexism, particularly in the multi-layered sequence where misogynistic rapper Alien gets on his knees and sucks his own gun (presented as a cock) from the girls hands. In a story that Alien has hijacked (IE the main plot was what will the girls continue doing during their vacation?) Britt and Candy manage to take their story and agency back (if only for a moment.) The two dominate the satirical Riff Raff. They “make him more of a man” by forcing him to show gratitude in a stereotypical demeaning way that women often partake in in songs, porn, even the beginning of Spring Breakers itself.

In that tense moment moment where Alien is controlled (literally choking on his own firearm), Alien is “put in his place”, Alien is set free from the conditions he puts on himself, the idea of achieving success he is not quite sure of. The idea of being a man he thinks is equated with media manhood. Money, girls, and guns. Fucking females and not being fucked by them.

If the whole scene didn’t make to so uncomfortable I would have applauded.

I know there is more to say about the film. But a borderline thesis on Spring Breakers feels useless. I’m sure any insightful think-pieces are keeping company with the likes of London Olympics articles and “what Facebook going publicly actually means for you.”

Basically, it’s been too fucking long since it came out. And this angsty teen drama isn’t Citizen Kane.

Although I will definitively say if I ever watch this film again ill absolutely discover more problematic themes but with it more beautiful visuals and nuggets of cultural criticism. I don’t do drugs but goddamn I wish I had for this gem. Of course if I do see it again I’ll probably ready myself with a pack of Q-tips to stick into my ear every time Alien’s continuous “Springggg break” pours out of his grilled mouth and every time I am subjected to the never ending “scardey pants” (that I as a twenty-six year old adult should even write this means kudos to you Benson for saying it non-stop.)

I also still have Franco’s acting to dive deeper into and the internal question to answer of whether or not Alien is the saddest character of all, searching for meaning like all of us but succumbing to the superficial human he is. Losing himself in that “too much.”

Living his (spray painted gold) “American dream,” which this film highlights lies not in comfort as it has until recently but in excess.

We’re the girls, Alien, the “regular” partying college students, even the customers at the diner searching for the American dream? As I have frequently said, is the updated American dream (what Korine believes it to be): your Benz parked in your compound separated by your iron gates — no white picket fence in sight?

And finally I could not finish this piece without discussing and taking a deeper look into Britney Spears who presents a sort of glue and finality by being vocally wedged into one of the most iconic scenes of this film I don’t even have to describe because you know it.

Coincidentally my favorite song by Spears is “Every time.” One because its beautiful and two because I like any song I can cry to.

But if I knew nothing about the plot of this movie then how could I know about the joy and terror of having my pop princess’ melody as the background to a serendipitous mirage of madness?

My life now will always be pre and post the mystical number. The Palms hotel will be replaced with a representation of life that is so stupid, smart, an almost parody of itself you have to stare at in its entirety before you realize that the girls with the pink masks and matching one pieces are a beautiful vice. A Britney themselves who at the time of this films release was dealing with an unhealthy mental state (remember the shaving head incident?) we all unashamedly made fun of her for.

But she came back. After the film. Ironically with a show in Las Vegas. Popularity better than before.

No matter the calls to their mothers I’m not sure I could say the same redemption would happen for Britt, Candy, and Cotty. I don’t know where their comeback story lies.

Then again maybe these characters exist in a vacuum of a luminous drop. To think about them in the real world, the one they can escape from but we never fully can is a disservice to them and a crushing reality check for us. They are pop stars on a stage. Out of grasp. People we watch high. Beyond rules. And us.

Spring Break Forever.

#2

#2

(this is the only picture following…take something symbolic out of this.)

Ae Padilla

Please no sympathies just respect.

Back in 2016 I mastered the Tinder meet-up. Within the span of nine months I went on forty first dates. It ended up being just as exhausting as it sounds, squeezing into skin tight jeans putting on a face full of makeup and sitting down to engage in small talk for the third time that week. But there was also something exciting about it. Meeting a total stranger and finding one thing you can connect over reassured me (just slightly) about the dating world.

Don’t get me wrong, a lot of those dates ended terribly. Some so bad I thought I had been set up for season one of a ridiculous prank dating show.

But all in all most of them just turned out to be unimpressive, ones I have completely forgotten two years later.

And one I can’t.

It was a Thursday night a week and a half after my 25th birthday when I was going about my usual routine. A quick check in on my dating apps while I watched Netflix and tried to write.

A blank Microsoft word page looked back at me with judgment. Every new show seemed unappealing. This regular night I was bored out of my mind.

The only slightly exciting thing about it was a guy who had been messaging me throughout the day. He was visiting from Europe and wanted an American to show him Austin for the night. Now as the night rolled on he and his friend had just arrive on 6th street and wanted company.

I looked at my watch while he tried his best persuasion technique to get me to come out. It was 11 pm and I didn’t have to be at work until 10 the next morning.

Step outside your comfort zone I told myself. You wanted to do more spontaneous things.

After downing a sprite and vodka I called an uber.

It’s not as though I never met a man downtown. I had my occasional first outing at a bar. But this, whatever I was embarking on, felt different. For one thing I hadn’t been talking to this man for the minimum few days, there was not the fake reassurance that the person I was meeting was not going to murder me. For another, I wasn’t going to meet him at one of my go-to restaurants, the places where I could easily walk to my car and get away from the situation in under a minute.

The accountability of 6th street seemed vague at best. Who would remember I was there with him? Who would talk about the girl they saw with the guy that was creeping them out?

I told myself not to worry. To stop living in such a pessimistic world of thoughts.

After all I was being responsible enough.

I was not going to drink and drive. I would stay for only a bit. Besides, as ridiculous as it sounds now typing it, when would I ever be able to party with a group of Brits? If for some reason this guy ended up being a complete asshole or weirdo then I was out downtown alone for a night of people watching. Nothing I hadn’t done before.

At the top of a surprisingly crowded Maggie Mae’s I met Jack. Tall, lean, with glasses that covered half his face he reminded me of an off brand Harry Potter. His accent was heavy and his voice was low, but even with the drink he paid for at the bar and pushed my way I wasn’t especially into him. Yet.

Once his lingering friend left to talk to a group of girls by the dance floor I could finally settle into the wobbly bar stools and really get to know him.

The conversation flowed easily enough. I found out within the first few minutes that he was on a month long vacation of the US. He was halfway through the country and his trip that night.

He spoke in compliments. He loved the food of the south. He loved the weather and the “craziness” of the city, the fact that on a Thursday in Austin tons of twenty something year olds were singing along to throwbacks at a dive var.

What really sealed the deal in our chat was when we both landed on Friday Night Lights as one our favorite shows. Even with a man who lived halfway across the world I could still end up talking about Texas high school football! As far as first conversations go, with a guy you don’t need to be your soulmate, I would say it was going surprisingly well,

We ordered a few more drinks and a funnier more confident Jack began to show. Same with myself. Something happened that had not happened in months despite the slew of dating. I felt attractive, wanted, and intellectually pursued. I’ll say what you’re not supposed to say: it felt good to have genuine attention from a cute foreigner.

In hindsight were there some warnings? Sure. I found him throughout the night to be a little too touchy feely for my taste. (Hand along my backside while we walked, scooting closer because he “couldn’t hear”) but I ultimately dismissed it as a combination of my own conservatism and an acknowledgment that I did not know what was socially acceptable in his culture or upbringing.

Before realizing it 2 o’clock came suddenly. The bars were shouting last call while Jack swept in and gave me a kiss he had been flirting with.

He asked me before he did it. Normally I hate that type of contrived shit but in this instance it comforted me. His lips were soft and his beard itchy.

Ultimately I decided to call it a night as the possibility of a hangover loomed over me at work the next day. When we reached our goodbyes I asked him where he was staying. He mentioned a hostel in west campus he was sharing with three other people. “ Not exactly a five star hotel,” he teased while I laughed.

The discussion that came after that was messy. As in I am not quite sure who decided to initiate we go back to my place, but it does not take a genius to realize it was probably the guy who wanted to get laid while on vacation in America.

He paid for the uber back to my apartment.

Now I know this is where I lose some people. There are those who are screaming at the way these words have formed a story that could have ultimately been prevented if I had just been smarter.

Many will say something like: “I would never go out alone but I don’t think it’s crazy that you did, it was stupid to go home with someone you just met though.”

I know people will say these types of things because they have said these types of things.

I was that person to myself, wondering how the very cautious me had managed to find myself alone with a person I had just introduced myself to that night.

I reassured myself with a few facts. I had watched my drinks all night. I had gotten a good feel from him and his friends, and I had told him flat out I was not going to have sex with him if he came back to my place. We could fool around if I wanted to but it was not going beyond that.

He said that was fine with him. He said this because I assumed he thought what would happen is what happens sometimes when girls say that…they decide to have sex.

Some girls say it because they didn’t want to come across as a slut. Some say it because they weren’t as turned on yet.

I said it that night because I didn’t want to have sex. Plain and simple. I had technically only had sex three times in my life at this point and the last time had been a rape of its own.

So by all that alone the special guy I had envisioned I would finally have great sex with was not going to be the one night buzzed tourist I stumbled into my room with.

That doesn’t mean I didn’t want to do other things though. As we pulled off each other’s clothes I felt vulnerable, but still excited and turned on. Then instantly I felt a power dynamic change in the room I’ve become good at identifying. It’s the changing air in a space when a man becomes aggressive without the permission of a woman.

Where only minutes before he held me down intensely and consensually, he now positioned himself behind me, touching my breast and then without my permission entering me.

It took a second or two before I realized what I was feeling was his actual self and not a hand. Almost comically I asked him what he was doing before attempting to get him out of me. He held me down for a little more than four seconds in his lust while I struggled.

Thinking of how paralyzed I felt and how turned on he did, it’s weird to think that two people can have such completely different experiences in the same bed.

The next few minutes blurred together like a film montage. If you told me today it was an hour I would have to believe you. I managed to jump onto the floor, told him to get his things and leave. I yelled about rape. He looked shocked then guilty then shocked again as if he was hearing for the first time what he himself had just done. He tried to plea with me to stay in my apartment. He mentioned not having a car to drive back. I bit back with a “if you hadn’t put your penis in me without permission you wouldn’t have to worry about that.”

When I threatened to call the cops he took me seriously and walked out.

As he tried to talk to me through the door I cried like someone had cut me open. Alcohol most likely contributed to this. Rape too.

After finally no longer seeing him through my peep hole I gathered enough strength to text him asking him why he did what he did. Aside from the electronic evidence I really did want to know why, I was already wanting answers. Why had he done this?

He replied by saying that he asked permission from me. It wasn’t assault because he had inquired about whether he could put “just the tip” in. I said yes, no, nodded yes. At least that’s what he told me.

To this day I actually laugh thinking about that statement. When would I ever agree to this?

Our messages flew back and forth as I reassured myself my door was locked and the sheets were stripped off my bed. Finally I cornered him into the SVU admittance.

“You know you raped me” I wrote.

“I genuinely honestly did not mean to,” he responded.

“You did it though,” I wrote with more anger.

“And I feel awful about it.”

After a string of other texts he finished by saying he did not need this and was done all together. What happened in my bed was a miscommunication. Maybe it was?

I closed my eyes, focusing on those four seconds he would not let go trying to find validation for an assault all while I had admittance to said assault in my hand.

We didn’t talk again.

The aftermath was predictable although still frightening. Having gone through this once before I scheduled an STD test immediately. I told a few people early that morning, sometime when I like to believe that Jack was walking the full four miles back to his hostel.

Of those bothered with the tale one said what I needed to hear. “You said you didn’t want to have sex with him nothing else matters.” While another close friend remarked after I recounted the whole story “Oh thank God I was so worried I thought it was a real rape.”

Years later and this hurts more than the rape itself. Yes I’m glad I wasn’t held at knife point either in a dark alley but if this was what I had to be grateful for we, as a society, had a long way to go.

I never made it into work that morning. I watched Gilmore Girls for days straight as I sat curled up on the couch skipping Halloween parties. I told everyone I was sick that year and that’s why they didn’t get a look at my “bad hombre” costume. I wasn’t sick.

And I lived with those messages as a weapon I never realized I would not be able to use.

Of course a legal case from the beginning was always going to be impossible. There was liquor and consent up until the exact moment there wasn’t. But I held onto the texts because they gave me power over my assault I wasn’t able to feel with my previous one, where the person would never have admitted to doing anything wrong.

I thought this violation would mean something. That it would be more than a warning. That something good or profound would come out of it. Nothing did. I don’t anticipate anything will.

Every story of assault serves as reassurance that some men will always still see themselves as the nice guy, some women will always pick at the ways they were at fault, and time after time it will all become muddled.

I didn’t start volunteering for helping sexual assault victims like I had before. I didn’t get some revenge on my assaulter. And while I hope, I know in my heart I didn’t help someone from not raping again. I didn’t help someone with their own experience. And the love of my life didn’t run over to comfort me.

I did eventually find amazing safe sex with a wonderful boyfriend but that’s just a nice detail at the end of this story not a result from it.

Sometimes rapes just are. They have no reason because they come from a cluster of bad intentions and ignorance.

The only thing I have learned is that the only good men are the ones who make you feel safe. Not the ones who make you laugh or charm you. This is the mantra I carry close to me, but that doesn’t mean everyone will agree with it.

In a couple of months I will get a new phone, and the pictures at the beginning of my photo library won’t be screenshots of a dating app conversation about forcible penetration. This situation will float further behind me until one day I will look around and it won’t be there at all.

Jack, whose last name I never learned, will continue wandering the streets of London with his Warby Parker sunglasses and a sweet smile like he has done the past couple of years. One day soon he will meet a nice girl who will be impressed by how nice he is too. Over a beer he will talk about his month long trip across the United States in the fall of 2016. He will mention beaches, cities, Broadway plays, and bars.

I will not come up.

We Love Talking About Mental Illness…Once it is Treated

HYPERBOLE AND A HALF

(Allie Brosh’s blogs are the only thing in life I relate to…except for maybe Daria at her best and BoJack Horseman at his worst)

For this article I focused more on depression and anxiety as opposed to other mental disorders. All respect to those who speak honestly about their struggles.

Ae Padilla

I was there when mental illness became “cool.” I saw articles applauding brave celebrities for coming forward with their invisible battles. I saw when people cared about sensitively using the word depression and not in reference to the avocado toast that just ran out at their brunch spot. I was also here when people started writing those articles about how depression shouldn’t be cool or romantic. I actually wrote one myself for this blog. And for the most part I stand entirely behind it.

I’m here to discuss something that surprisingly does not or has not happened with mental illness in the media.

I’m here to discuss how mental illness never lives in the present.

In fact almost all articles on mental disorders live in the past, in that people who express their own fight with diseases such as depression and anxiety are always in a recovery stage. The survivors, or the writers on their behalf, constantly refer to their disorder as an incredible obstacle they have overcome.

Those responsible enough to acknowledge that most mental diseases can never fully be cured, just controlled, still fall victim to the story of a person and their treated mental illness as a “perfect ending” more than a piece that makes up the entire puzzle.

Depression is a good example to discuss this in more detail. And that’s not just because I suffer from the disease but because many people do (an estimated 300 million around the world according to WHO). Also with depression, unlike some other diseases, there seems to be more at stake.

Formerly getting diagnosed with depression takes a lot of work. You have to suffer just enough but somehow find the energy to make your way to a doctor’s office or a therapist to really flesh out your problems. Then if there is still more that needs to be done in order for you to live a productive life you begin with crucial steps. Meditation. Exercise. A dose of anti-depressants. And all of this is not done lightly, it’s a process that can take months, but realistically years, to accomplish.

And sadly it continues in much this same manner until you die.

Don’t get me wrong. That’s not every case of depression. Just in say chronic persistent depression that occurs from genetics or simply luck of the draw.

In some situational depression (a parent dying, an inability to find employment) all these useful steps I mentioned before can help someone move on from their despair and let them live the way they used to, where all in all they had the ability on any day to feel excited about their life.

But in cases like mine, and a lot of people I know, the depression will still linger even if all these steps are accomplished. The constant cloud will simply become a small passing one as opposed to a dark distant thunderstorm.

And that’s where the articles about the “end to depression” or the “end to mental illness” become reckless.

Articles that focus on popular individuals or even the average Joe which start at the end of their journey fail to accurately acknowledge the pain and suffering of an initial episode or relapse.

For the inspirational article wrapped with a bow, the everyday reader wants that happy ending about how the person who almost killed themselves ended up finding the love of their life or the career of their dreams. And perhaps most importantly for the person actually considering suicide, reading about someone’s success with Prozac when they are iffy about taking a drug every day that could ultimately save their life does matter and should not be brushed off as journalist fluff.

But unfortunately it’s not real to life. And I worry it alienates more than helps those in the thick of it.

Because in order for all people who suffer from depression, anxiety, or even anorexia to begin to take the step to recovery they need to be reaffirmed they are living the worst of the illness. The bravery of asking for assistance or mustering up your thoughts into action comes from knowing that some part of you can relate to the deepest hole you can be thrown in. You need to know that someone else might have it just as bad. Not in a misery loves company way but in the sense of forming a community.

Turning towards inspirational stories of happiness/recovery with glossed over passages about the sadness, especially in that whimsical tone we read which too often starts “back when I was at my most depressed, rock bottom…and I didn’t have the hope I have today” perpetuates the harmful way that mental illness alienates you when you are a full-fledged member. Reading passages like those convince you that you can never be that successful person in the future because he or she reminiscing on their miserable moments must not have been in as bad of a place or they must have more resilience than you.

Although there can be no perfect article about struggling with mental illness, if there had to be one it would be the disgusting horrendous truth about the real dangers of people living with them by people living with them.

Maybe that is exactly what we need. Real. Brutal. Full of heart.

I’m waiting for the day when a brave anorexic woman talks about how she has not eaten in two days. And how as she writes her article, in present day, a dress a size to small motivates her to not eat despite the rumble in her stomach. I wonder when national websites will post think pieces from a man who states honestly that he has spent forty five hours in bed before Wednesday because his depression can’t motivate himself to do anything else and there is a good chance he will continue the trend tomorrow. I’m curious as to the direction our conversation about mental health will have to take before I read a real life account about someone stating that they worry they won’t be around next week for their family because they can’t do it anymore.

And these fictitious articles will not live on Tumblr, the anonymous internet where people can encourage eating disorders or suicide. Instead they will live very publicly on more credible sites or in books that allow people to see them as needed documentation of the struggle of mental illness.

If done respectfully, articles from the present and articles about relapse depict a more realistic side of the up and down struggles of being happy.

Of course this does not mean I dismiss all those who came forward to tell their story when they could have just as easily not relived the memories of their emotional (and sometimes physical) battles.

I instead want to highlight from experience the startling part of finding some recovery in a mental illness is realizing you forget what makes up the mental illness itself. And this is threatening to the possible return of symptoms that can surprisingly still feel like a shock even after going through them time and time again.

For those who understand this, the warning in our head we hear at the end of any media piece that we think eradicates our disorder demands to be shared with all who are similar to us. This doesn’t make us cynical, it makes us realistic about all the possible “what ifs…”

Speaking about mental illness through people currently experiencing it can be a unifying experience for those in the roughest of times. Instead of placing emphasis on fixing an entire problem those who suffer will be able to look at more of the physical ways that anxiety or depression can present itself (insomnia, over-eating, lack of showering, paralyzing negative thoughts). In reading about these daily struggles survivors/victims can learn coping mechanisms that are hyper-focused instead of the broad lie “I’ll get better one day.”

Our world, especially our country, enjoys seeing the Cinderella story. In our own lives we speak passionately about someone overcoming every obstacle. We love an underdog making something of themselves. But we don’t like to see it before it becomes a movie. We don’t like to see the first-hand pain some people endure, even those in our own lives.

Often people close to those with severe mental health disorders ignore the blatant signs of those they love who are suffering. It can be because they don’t have enough knowledge about that particular disease, in other instances it can come from the hope that denying a situation is as bad as it is means it is really not as bad as it is. Perhaps in some way looking away until the person is better is sparing themselves the responsibility of facing it head on or giving the other person a warped sense of respect. Then of course there are those who acknowledge stress as a lack of motivation and something they will “snap out of.”

Personally highlighting disorders at their worst, encouraging people to share any of their process, can stop bystanders from remaining inactive and instead give them tools to be a part of someone’s recovery.

It can erase the respect people bestow on someone only when they finish the journey and not while they are going through it.

 

the manic pixie WHITE dream girl

500dayys

(Men still love Zooey Deschanel right?)

Will all my women of color understand the desirability of themselves.

Ae Padilla

Manic Pixie Dream Girl. I can’t say it, let alone write it, without visions of Zooey Deschanel dancing across my head. The brunette with the bangs, the wispy voice and whimsical clothing who serves as nothing more than a muse for the male protagonist of a movie. She is the instigator of passion and adventure the man has always craved (even if he did not know it). More than anything, she embodies everything that is carefree. She listens to indie pop and screams into the abyss, trash bag covering her for no reason.

But the manic pixie dream girl is also white. Almost always white. She’s beautiful, quirky, smart, although hardly ever more financially independent than the man but with a perfect red lip on her fair skin.

I’m not surprised women of color are not the love interest for a white man. They rarely are the love interest of anyone if their race has already not been accounted for as plot, think Guess Who (for those who remember that Ashton Kutcher Zoe Saldana semi-flop). When they are the main love interest in a film the man is almost always not white either (think Hitch). And when both cis heterosexual people are of color, and do manage to engage in romance and sex, the film is usually inclusively “a black film” targeted at black audiences because white people won’t admit they don’t care as much about seeing people of color fall in love in their theaters.

The need for different racial representation has been a heated discussion recently, especially within elite Hollywood and the oh so white Oscars. Romantic-comedies or relationship dramas are usually not the movies that people turn to for said representation, mostly because films about relationships tend to not be heavily favored by critics. Within the context of media, romantic films and novels fall into the same category, a flighty story with minimal merit although exceptions do happen. Gone with the Wind, Casablanca, Brokeback Mountain, Titanic. But they don’t happen often, and the idea of women of color being represented in them is pushed to the back burner.

When romance does appear on the screen, becoming the movies we “hate to love” but watch anyway, the woman does not look like me.

Women of color are never able to be the carefree woman that white women are in movies because racism runs rampant on the screen. I give no credence to the directors who would be educated enough to recognize the real reason is that women of color are never given the opportunity to be the exclusionary woman of a (let’s face it) man-child’s gaze. Often, if true to life, they are too oppressed and too busy fighting for representation to be cute for the sake of being cute. That’s a white woman’s privileged world to be the pretty bow wearing optimist who men dream over.

The carefree woman that the director envisions for this role is a “virginal” white woman. Kirsten Dunst in Elizabethtown, Natalie Portman in Garden State, and the ever coveted Summer in 500 Days of Summer hold sexual autonomy, but their sexuality is never vulgarized. It hides behind petite women with modest breasts. Their butt is small, their face is gorgeous. Women of color aren’t allowed to be the object of desire in this area. While I commend most romantic comedies of this sort for not over-sexualizing women, the brooding intelligent men who are drawn to this women eventually want them as a life partner. They can love having sex with these dainty women because they are allowed to love having sex with them. By society’s standards, the man does not have to justify enjoying the curvaceous bodies that are frequently, but not all the time, women of color’s bodies. The thicker lips, thighs, and butt of a woman who considers herself identifying with a black or Latina culture does not make the big screen when the man who is pursuing her is white, especially in the world that romantic comedies set up – a man who surprisingly does not fetishize the woman he wants but loves her as much sexually as emotionally. A man in a similar film would have to defend his love for a woman of that size and of color. And defend his desire for a future with her.

Women of color are fetishized more often in pop-culture. They are degraded as purely sexual for a man’s pleasure in shows, music videos, and even pornography. Therefor as a romantic lead, the man in the partnership cannot see “end-game” with the woman who is perceived as being overtly sexual. Manic pixie dream girls are hot but beautiful. They are sexual beings that have the privilege of not being sexualized because they are seen as people and not as a stereotype of a feisty Latina girl in bed. This woman has never been called “exotic” or been pressured into doing something the world perceives she participates in.

Additionally, the carefree white manic pixie dream girl, by association to the man who pursues her, is supposed to be an influx of cultural knowledge and creativeness the man has almost purposefully avoided throughout his life. Natalie Portman, Sam in Garden State, is a wonderful distraction to Zach Braff’s inner turmoil of his dead mother. She shows him which songs will change his life. She introduces him to the Shins, movies he would never have seen, and a huge hamster maze for no.fucking.reason. Or Kirsten Dunst, Claire in Elizabethtown who coincidentally helps her new-found attraction get over the death of his father by introducing him to mix-cds and scrap books he obsessively pours over which lead him to throw dirt in the air in the middle of a forest for no.fucking.reason.

Women of color are rarely represented as being creative and by being captivated by music, art, and films which are not isolating to white people. The addition of women of color as a love interest in the manic pixie dream girl role would be to convince the audience of two things. One is that a woman of color can be excluded from the box of perceived musical taste (hip-hop/rap/Tejano). This is to say that a woman with dreadlocks, a woman with dark skin could hold up headphones of a band like Spoon and encaptivate a music-snob man in the making. Or worse the opposite occurs too. If that woman of color is someone who identifies with their cultural influences in art then the screenplay writer, producer, etc. would be unable to fully represent and describe that art in a way which would not be demeaning or dismissive. The result is that white women create less work for the writer to flesh out their character which is hardly even given agency at all.

Finally, white women in the United Stare are still seen almost exclusively as the most desirable mate. To the “misguided” racist viewer who makes up a part (but not all) of the American box office, seeing a white love story is the true epitome of a romance. It is a love story that does not fall into “other category.” Interracial, cultural, diversity.

In an industry which struggles to bring in money, alienating viewers who are unable to stick themselves into the role of the man or woman in the film is potentially dangerous. Although the ethnic makeup of the United States points to the fact that black, Hispanic, and Asian population make up a large majority of our country the narrative script remains, rarely shaken up. White man falls in love with white woman. They have white babies. Their white families expect nothing less.

As a person who has subscribed to the American and Mexican-American culture since birth, I find the context of white romance on screen, particularly quirky romance, as containing a slight coating of unrealistic ideas. When almost every couple does not look like you you begin to wonder if the relationships themselves mirror your actual problems and stories. Other times, you insert yourself into the narrative because you have no other choice, because the normalcy of white-only relationships creeps up on you. But it never feels completely your own. You think to yourself subconsciously, whether you admit it or not, that those are white people living a white life. You understand, know, that people are almost always just people at their core. You are also not that naïve.

When manic pixie dream girls are in a film you decide to watch, it feels like a mockery. While I, and other women of color subscribe to the American culture we are not treated the same as all Americans. Women of color in the United States are empowered and active, but rarely are they carefree, because they have not been allowed to be. They are fighting for equal rights, equal pay, the idea of being seen as “equal” itself. Women of color’s sole identity in life is never what they strive for, nor should it be, but it’s important to remember that women of color live in a different world than white women, even if they inhabit the same physical one.

White women do not understand the struggle of the balancing-act which can frequently occur in the mind of an ethnic woman who is dating a white man. It’s some of the same questions ignorant people have already asked us while single. Why do you sound white? Why do you act white? Why do you not listen to the art/music/etc. that other people who look like you listen to? Is it weird not dating someone of your own ethnicity? And the comment:good for you for landing a white guy!

In entering an interracial relationship with a white man, women of color can feel as if they lose some bit of their racial identity to being the token partner of a white man and a lot of the time a group of white friends to accompany him. It’s a constant stream of questions to provoke debates with yourself. How do I deal with the racist friend my white boyfriend has? How do I deal with strangers who disregard us as a couple or who make subtle racist comments they are able to take back if I call them on? How am I supposed to straddle the line of being chill without being complicit to a culture which regularly insults not only my gender but race more often than white men realize? And how do I react to the inevitable “compliment” of fitting in with my boyfriend from others who were cautious about our relationship because of my skin color?

The questions minority women are asked are not that of a manic pixie dream girl. They create too many “real world” problems a film like this wont explore.

Minority women lack the ability to be as self-absorbed as a white female protagonist, who is able to get away with continuing the limited growth of the man she is in a relationship with who often himself has limited goals. Who needs someone to save him instead of taking the accountability to save himself. More women of color than white women are forced to “grow-up” earlier in life on account of being raised in areas and in situations that come from the systematic pull of racism. The experience of childhood, the wonderment that follows white women in musical montage scenes, stops short with others.

Although not all minority women should be grouped into certain experiences, the fact remains that black and Native-American women are more likely to be sexually assaulted and in domestic abuse situations. They are more likely to be living in poverty and making less money. They are faced with obstacles not all other people face.

Minority women are more than the buzzed karaoke going woman who a man stares at, and all time stands still, and he is lost. They have to be.

Sure, the manic pixie dream girl is never a real woman because a real woman has flaws that do not stem from a man. She possesses a personality that does not exist to serve her partner’s need. She lives outside of how she affects a man’s story-line which ultimately ends up being about him rather than them.

In a world where women of color are constantly tossed to the side, dismissed as taking up less space, the hope for representation exists even in this cliché. Perhaps it comes down to being wanted in a way which men fawn over us as the “ideal” women. It doesn’t make us the ideal woman because a man says we are, instead it reinforces to us that while we may not want to be the ultimately stupidly naïve somewhat weak woman in the film (and this is a good thing) we can be a woman in film period.

Perhaps we are allowed to be the “prize” too.