pinkacadessays - Tumblr blog

pinkacadessays · 30 days

Text

Jackie, Marilyn, and Elle: Comparing and Contrasting two ICONS to remind us that Warner was WRONG

Too BLONDE?? An Introuction

Elle Woods’ iconic journey in Legally Blonde is prompted by Warner Huntington III breaking up with her.The comments made are how Warner needs to be “serious,” and the deep blow of how if he’s to be a senator, he needs to marry “a Jackie, not a Marilyn.”

While in the musical, the scene adds an implication that Warner thinks Elle is “tacky,” Elle’s thought process leads her to summarise Warner’s viewpoint as being that Elle is “too blonde.”

Warner sees Marilyn Monroe and Jackie Kennedy as being two polar opposites- one the sultry actress knows for ‘bimbo’ film roles, and the other the respectable wife of the President of the United States.

But Elle can’t fathom differences between these women aside from their appearance.

Let us analyse what can be compared and contrasted between two iconic women.

In the climax of Legally Blonde, Elle discovers that Chutney Wyndham is the real perpetrator due to her knowledge of hair care. As Elle notes, “any Cosmo girl would’ve known.” It is Elle’s feminine knowledge that guides her to victory in her very first trial. With that in mind, let us examine the feminine knowledge of Marilyn and Jackie as our real-life role models to Elle Woods, and uncover just why she sees so little difference between these fascinating women.

A note before we begin: this is not a competition. But Warner sees it that way, and the purpose therefore is to remind him just how wrong he is.

Marilyn Monroe: Political Powerhouse

Firstly, Marilyn Monroe is known to most as either the glamorous actress of 1950s films- such as the notorious Gentlemen Prefer blondes, which certainly could have influenced Elle’s mindset, especially with the pink drama of the Diamonds are a Girl’s Best Friend sequence. Others may know her from regularly recreated images, such as her holding her blowing-up skirt from The Seven Year Itch, or the pop art portrait by Andy Warhol.

Either way, the most prominent images in the heads of many in regards to Marilyn Monroe are glamorous, sexy, feminine- and blonde and pink, of course.

Famously, like Elle, Marilyn’s femininity and sex appeal lead her to being boxed into roles of the comedic blonde bombshell, though the fought to be out of her typecasting.

After the success of “Gentlemen Prefer Blondes” and “How to Marry a Millionaire,” Marilyn was offered what would have been a third ‘dumb blonde’ in “The Girl in Pink Tights,” she not only refused, but CNN’s article ‘How Marlyn took the male-led film industry and flipped it on its head” notes that she reportedly labelled it “Trash.”

In that same article, Mira Sorvino is quoted. “She was the main attraction,” the actress notes, saying “she was the reason people flocked to the theatre. So it was insane that she wasn’t in a more powerful position in terms of salary.” The reference here is to Marilyn’s discovery that Frank Sinatra, her would-be co-star in “The Girl in Pink Tights” was offered $5000, while Marilyn was offered $1,500- a third of Frank’s pay.

The article points out that Marilyn’s contract was changed after the snub, showing Marilyn to be valuing her feminine charm and wiles that made her studio so much money and garnered them so much attention. Is this why Warner does not wish for Elle to see Marilyn as aspirational, given she was something of an upstart?

Not to mention, Warner doesn’t seem like the biggest advocate for equal pay…

A lesser-known contribution that Marilyn made to her society was in the civil rights movement, drawing attention to Ella Fitzgerald.

The Biography article by Sara Kettler titled “Ella Fitzgerald and Marilyn Monroe: Inside Their Surprising Friendship” opens with a photo of the songstress and the starlet smiling together in conversation. Kettler notes how Marilyn helped Ella get a gig in Mocambo, the famous LA nightclub. Marilyn “promised to come every night” that Ella was booked, and to “bring along other celebrities.” With this promise of publicity, Ella was granted several weeks employment at the famous club.

Kettler also notes that, despite Ella’s success, some clubs would hire Ella, but still have her enter through the side door “due to the colour of her skin.” In order to combat such prejudice, Marilyn “refused to go inside unless both she and Fitzgerald were allowed through the front doors.

Marilyn may not have been dying on the front lines of the civil rights movement, but she was using her status to forward the career of someone directly affected by said movement.

Marilyn used a name built as a blonde bombshell in order to be an influential activist, just as Elle Woods being a Cosmo girl is what won her her first legal trial.

Have we emphasised enough that Warner doesn’t know his rear end from his elbow when it comes to powerful women? Perhaps Warner doesn’t want a Marilyn, not because she’s blonde, but because she was an upstart who knew her own mind and fought to make her own way in the world. Is that just too much for him to handle?

Jackie Kenney: First Lady of Fashion

On the side of Jackie Kennedy, later Jackie Onassis, she is of course best known due to her time as First Lady of the United States. She was from a respectable family, studied French literature in university, and is perceived largely as classy, elegant, and educated. To this day, she is cited as an image of grace, with This week in Libraries magazine writing “In the realms of elegance, poise, and grace, one name reigns supreme- Jackie Kennedy.”

While Jackie’s other accomplishments are not to be overlooked, let us focus on traditionally feminine aspects of life that she has embodied to remember the value of both aspects of her, and of Elle.

As Vogue writes, “Before Jackie graced the halls of the White House, she trod those of this very magazine,” referring to her job as junior editor of Vogue, immediately showing that, like Elle, Jackie not only had political potential, but fashion icon potential early on in her life.

It should be noted that Jackie “quit by mid-morning,” as the environment was not suited to her goals, however, she is still heavily associated with the magazine as she contributed to salvaging the Temple of Dendur, which has played host to the Met Gala, as noted by Vogue.

This Week in Libraries also notes Jackie as a “Style Icon,” praising her boucle suits, pearls, and, of course, her pillbox hats- the latter being described as “synonymous with her name.”

It’s also not just her connection with Vogue that cements Jackie’s name in the world of fashion, as countless articles have addressed her style as “timeless” or “iconic,” so why exactly does Warner have such an issue with committing to a woman with a degree in fashion merchandising?

Town and Country’s list “11 Brands Jackie Kennedy Loved” notes how Gucci named the Jackie bag after her, and I wish for that kind of influence for Elle Woods, which I thibk highlights just how much of an influence that Jackie would have potentially had on Elle.

Warner, your Jackie was in front of you all along.

And of course, while steeped in tragedy, it is nonetheless fair to say that one of the most iconic images of Jackie is of her pink suit on the day of her husband’s assassination. Loathe to overlook the horrors of such an event, but be that as it may, it emphasises that Jackie Kennedy is just as pink and pretty as Marilyn Monroe.

In the Legally Blonde sequel Red, White, and Blonde, Elle even sports a tribute to this suit, which really sends home how far Warner is from the mark.

On that note, let us now discuss beautiful pink outfits worn by Jackie to intensify how connected Jackie can be to Elle. Firstly, the aforementioned suit became an iconic moment of defiance as Jackie bore the bloodstains, cited as saying “let them see what they’ve done.”

She also had a similar sleeveless suit designed by Oleg Cassini, as well as a matching coat and hat worn in New Delhi.

One of her other beautiful pink moments was a floor length, strapless Dior gown worn with white opera gloves. Other pink outfits include a dress with a unique pink bow detail by Joan Morse, and a high-collared suit by Oleg Cassini. The point here is not to simply list pink outfits, but to remind us that a woman- such as Elle- can be fashionable, elegant, and bright pink, AND be a force of change.

Elle Woods knows that Marilyn and Jackie had it all: fashion girl status, and cultural and political know-how; and frankly, it’s lucky for her that Warner knew less about these iconic women than she did.

Always have Faith in Yourself

And to my masculine girls, you’re the real winners here, because Warner would probably be threatened by your vibes. Not only are you valid, but take comfort in not attracting Warner Huntington III.

Let us remember to value our own self worth, just as Elle did when she shows us all how valuable she could be- and she did it in a playboy costume.

WE DID IT!! To Conclude

In conclusion, my place is not to overlook one woman, or pit her against another; it is not to overlook one woman’s achievements and put them against the achievements of another woman; it is not even to claim traditional femininity as a pinnacle of achievement, or to explore what it means to be a feminist, or anything so grandiose.

My intention here is just to remind us all, whether we relate more to the story of a Marilyn or a Jackie, to always have faith in ourselves, and to always remember that the Warner Huntington III we have in our own lives is a bonehead.

#essay #pink academia #pinkacademic #pink academic essays #elle woods #legally blonde #marilyn monroe #jackie kennedy

21 notes · View notes

pinkacadessays · 6 months

Text

Literally only seeing this now because it was left in the tags! Thank you so much, I really appreciated reading this!

Literally, this is such a good point, thank you!

Twilight as a Spiritual Successor to Dracula

She's a problematic queen, but she didn't deserve the flack, and neither did the teenage girls having fun...

In the year 2005, Stephanie Meyer published what would become a teenage girl’s favourite fantasy novel, and a teenage boy’s favourite punching bag: Twilight, the first book in what would become a four-book, five-film saga, and then go on to add two more books to the series. Twilight, though much beloved by its target audience was criticised for many reasons, but the most pertinent being that it was a far-cry from the expectations held by fans of vampire fiction… but is it? Although certainly it has its differences to the vampiric standards set about in nineteenth century gothic horror, there are many aspects of it that can be seen as twenty-first century mirrors to the ancestral tradition epitomised by Polidori, Le Fanu, and, as discussed in greatest detail here, Stoker.

In analysing the first novel of the Twilight Saga, simply Twilight, there are a great deal of similarities to be seen in how the character Bella Swan interacts with the world of the supernatural, as well as the mutable parallels that can be drawn between Edward Cullen and various aspects of Dracula. The connections range from the oft-mocked as lacking vampiric qualities in Twilight, to the oft-overlooked romantic qualities of Dracula as percieved by the very audiences who suddenly became experts on the genre in order to antagonise Meyer and her work.

Now, though, it has become even more apt and timely to discuss the nature of both Dracula and Twilight and how they compare. Twilight had a resurgence in the last few years in the form of Twilightcore aesthetics on TikTok and Tumblr, and with Dracula Daily being two months into its second year, it is more than fitting to reexamine the connection between what is considered the quintessential vampire media and the mid-noughties laughing stock as herein lies the attempt to prove that maybe they’re not so diffrent after all.

Isabella Marie Swan Cullen

Let us begin with our gothic heroine Bella Swan, and her position as Twilight’s answer to Jonathan Harker.

Bella’s connection to Jonathan starts from the very opening of the book as she relays her personal thoughts in first person. Her narration reflects the epistolery style of Dracula, mimicking Jonathan’s personal journal as the internal and emotional conveyance of both characters’ experiences comes immediately to the forefront.

Even the way Bella and Jonathan narrate bare similarities in their styles.

Taking as an example one of the most iconic lines from Twilight, the lines that even made it to the blurb, Bella relays: “about three things I was absolutely positive. First, Edward was a vampire. Second, there was a part of him- and I didn’t know how dominant that part might be- that thirsted for my blood. And third, I was unconditionally and irrevocably in love with him.”

The above mirrors the following passage from Jonathan’s journal from th 16th May:

“Of one thing I am glad: (…)As I look round this room, although it has been to me so full of fear, it is now a sort of sanctuary, for nothing can be more dreadful than those awful women, who were—who are—waiting to suck my blood.”

Firstly, as Bella begins with “about three things I was certain” in her analysis of Edward, Jonathan, in his analysis of his encounter with Dracula’s brides begins with “of one thing I am glad” as the first similarity in their narative patterns. Next comes their assesment of fear, as Jonathan describes his room as a “sanctuary” from the vampiric, and Bella’s second thing of which she is certain is that Edward thirsts for her blood; that phrasing also mimics how Jonathan thinks of the brides as “dreadfcul” and “awful,” and as “waiting to suck [his] blood.” The verbs “thirst” and “suck” both conjure an animalistic and dangerous image that relays the power of the vampires over their victims, but also has a sensual implication- more on that later.

Similarly, the first chapter brings both characters to the start of the metaphorical journeys, of course, but also the literal journeys into the unknown, leading to the danger of the vampiric. Jonathan’s is across Europe to Romania, with his description of his journey further and further East featuring the descent into the chaos of the trainlines, beginning his journal entry for 3rd May with “Left Munich at 8:35 P. M., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late.”

Jonathan’s necessity to comment relays how affected he is by his new environment, even already a few days into his trip, emphasizing how different his life gets before he has even encountered the Count. Conversely, Bella is leaving the chaos of her scatterbrained mother Renee and travelling with the semi-professional baseball player Phill, for the stability of her dad Charlie, the Chief of Police in the small town of Forks, Washington. Bella muses on the drizzle, stating that when she’d arrived in Washington, it had been raining, and noting that “[she] didn't see it as an omen — just unavoidable.” She also mentiones comedically that “she'd already said [her] goodbyes to the sun.”

Saying her goodbyes to the sun show the stark contrast of her home in Arizona to the drizzly small town for which she is bound.

Ultimately, both characters are approaching the new and diverse from their comfort zones, with Jonathan studying the cultures, albeit somewhat disparagingly, of Eastern Europe with fascination at their differences to England, and Bella’s incomprehension at the constant rain away from sunny Arizona.

Both Bella and Jonathan are alone in the world of the other, isolated from the world they know, and completely unaware of the darknss their respective new frontiers are hiding. This puts them in the perfect position to be victims of their respective vampires.

But they are not entirely alone.

On his journey to the castle, Jonathan is approached by many locals during his stay in Romania most notably including the old woman who ran the hotel in which he stayed the night of 3rd May, who knowing what could await Jonathan at Dracula’s Castle, wept for his safety and “taking a crucifix from her neck offered it to [him].” Although Jonathan would still face all the horrors at Castle Dracula’s disposal, the crucifix- and the kind act of bestowing it upon him by the old woman- kept him safe.

In much the same pattern, while Bella’s human friends in Forks never learn the truth of what lies just under all their noses, members of the Quilleute tribe are a great aid to Bella’s discovery that something is afoot with the warning that “The Cullens don’t come [to La Push beach].” It is from members of the tribe that she learns of the legend of “the Cold Ones,” and begins the research into what Edward is, leading to her uncovering the truth.

Finally, it is their positions in their respective stories that marks them as parallels, and shows that Bella is Jonathan’s spiritual succesor. Jonathan Harker and Bella Swan are both the gothic heroine of their stories, taken in the night by monsters into the world of the supernatural, and helpless to its allure, as well as caught up in the inescapable romance of the mysterious.

The blog halfmystic.com in positing what a gothic heroine was gave the following line: ”she will have simultaneously multiplied and withdrawn, a hundred women into one, a single woman fragmented in the shards of the memory and tragedy to come.”

Neither Jonathan nor Bella are the same after their adventures in the world of the vampires, with both of them having rushes with death before the last pages of their books are turned.

Jonathan starts his journey as a non-believer in the supernatural, a good, sensible, upstanding member of the Church of England, and of society. He states in the very first entry “I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some sort of imaginative whirlpool.” “Imaginitive” diminishes the notions that any of these “superstitions”are anything more than old wives’ tales, and though he seems to find them interesting, as noted by his memo to “ask the Count,” which is of course also a foreshadowing to his own fate, he does not initially believe in any of what he may have heard before the 3rd May. But by the 29th June, he is a quivvering mess, crying out onto the pages of his journal: “I came back to my room and threw myself on my knees.”

He has truly “fragmented,” his former self shattered, and he has become a manifestation of the “tragedy to come” in his dramatic linguistic tendencies.

Bella also can’t comprehend the mysteries of Edward Cullen, baffled that one being could be as fast and strong, comparing him to superheroes as she cannot fathom him. However, at the beach, when a member of the Quilleute tribe says “The Cullens don't come here,” Bella’s mind starts turning, and while she’s already found Edward to be beyond her comprehension, that line triggers her imagination truly, as Jacob Black tells her the stories of "the cold ones,” which pricks Bella’s ears. halfmystic.com also describes that “a gothic heroine moves slowly, then faster, lured away from any semblance of safety by that quiet promise of something new.”

Bella’s journey from intrigue to a full-blown deep-dive into the supernatural starts slow, but soon after her encounter with Jacob and his friends from his tribe, Bella ends up committing a great deal of time and energy into researching online, “lured way from any semblance of safety by that quiet promise of” knowledge, no matter how dangerous.

All in all, Bella is not only Jonathan’s spiritual successor as a gothic heroine, but as a character, a reimagined Jonathan Harker who explores a new world of mystery, with Bella walking in his footsteps, only to step even further by entering fully into the romance of vampirism… though that is not to say that Jonathan’s tale is not one of romantic daliances with the undead.

More on that later, as first, we must explore how Bella’s paramour Edward fits into the Draculaic parrallel.

Edward Anthony Masen Cullen

Edward Cullen is more mutable than his love interest. Where I immediately saw parallels between Bella and Jonathan, Edward’s position changes in relation to the characters of Dracula. He is the gothic hero to Bella’s heroine, but is also the most direct source of Bella’s danger. Therefore the key comparisons for Edward are of course his fellow vampire Count Dracula, and equally Mina Murray, who acts as Jonathan’s hero.

Beginning with the obvious, Dracula is a parallel for Edward, not merely as a member of the same species, but in their role in their respective stories in many aspects. To get the mentioned obvious out of the way first, the nature of their species as marked out by both Stoker and Meyer bare similarities to one another.

Firstly, key characteristics of Edward’s vampirism, and vampirism in general in Twilight, are laid out by Bella as she researches various myths from around the world, including the Romanian Varacolaci , a powerful undead being who could appear as a beautiful, pale-skinned human,” and “the Slovak Nelapsi , a creature so strong and fast it could massacre an entire village in the single hour after midnight,” all of which are traits that Edward has exhibited, though he may not be as inclined as Bella is to call himself “beautiful.”

Now how does this compare to the vampirism of Dracula?

Firstly, while, unless one has an interest in “long white moustache[s],” it is unlikely that Dracula himself is invisionable as “beautiful,” his oft-called brides, however, most certainly are. Two are described as having “piercing” eyes, and the third “as fair as fair can be,” much like Edward, and then Stoker’s language becomes so very romanticised as Jonathan describes her has having “great wavy masses of golden hair and eyes like pale sapphires.” Most beautiful indeed.

As a brief note, they are often described in terms relating to precious stones: “sapphire eyes,” “teeth that shone like pearls,” and “ruby lips.” Edward is often also associated with precious stones as, among the many shades of yellow used to describe his colour-changing eyes, “topaz” shows up with great frequency.

Next, Dracula’s strength is commented upon in the very scene in which the brides are also introduced, as Jonathan describes his “strong hand” with “giant’s power,” and the “fierce sweep of his arm.” Moreover, it is noted that Dracula carried Jonathan back to his room, just as Edward carries Bella to the nurse’s office, with Bella noting that it was “as easily as if [she] weighed ten pounds instead of a hundred and ten.”

And what of speed? Edward’s penchant for speed even translates to his desire to drive fast, stating “I hate driving slow,” even though Bella points out that they’re still going 80 miles per hour. Dracula similarly must travel at high speed to disguise that there are no servants in his castle, and even the other passengers on the 5th May entry reference Burger’s Lenore, “’Denn die Todten reiten schnell’— ("For the dead travel fast.")”

Edward is not exactly the same breed of vampire as plagues the Carpathians, and also makes a point of debunking certain myths that reference Dracula. Bella asks about “sleeping in coffins,” and why she’s seen him in the day, and he simply responds with a monosylabic “myth,” though eventually expands after some probing. Nonetheless, there aren’t as many differences as naysayers would believe.

Moving onto Dracula as a guide into the world of the supernatural, and Edward as his successor in this role. Dracula picked the wrong victim, as it is Jonathan who eventually becomes Dracula’s demise, and had he not exposed Jonathan to the world of the supernatural, he may have succeeded in his evil schemes. Jonathan knows truly what Dracula is, and knows that he is a being of destruction that he wants to stop. In his 30th June entry, Jonathan refers to Dracula as a “being,” implying his monstruousness, and has inferred that Dracula’s plan is to “for centuries to come […] satiate his lust for blood, and create a new and ever-widening circle of semi-demons to batten on the helpless.”

Jonathan states that “[t]he very thought drove [him] mad,” and that desperate insanity in Jonathan’s tone expresses truly the determination he has to move against the “vile” Dracula.

Meanwhile, Edward is equally catalystic, inviting Bella to meet his coven, which gives her powerful friends and enemies alike, but does not cause the demise of either party, instead leading to both parties gaining greater allyship beyond the story of the first book. Her interactions with the Cullens are friendly, with Alice “kiss[ing] [her] cheek” as an introductory greeting, and Jasper’s gift for empathetic manipulation rendering Bella with a “feeling of ease.” It is clear that these two especially will be friends of Bella’s as time passes,a contrast to Jonathan’s interactions with the vampiric, and yet a comparison to how he engages with the rest of what Tumblr affectionately calls “the Drac Pack.” Jonathan interacts with Dracula with rightful loathing one might have for a captor, but with Mina and everyone else as friend.

Moreover, both Dracula and Edward represent another realm to which Jonathan and Bella have little connection: Aristocracy.

Jonathan seems not to be poor by any means, and as a newly-qualified solicitor, he is likely in a reasonably secure financial position, but he is not an aristocrat. And it is Dracula’s introducing Jonathan to the world of aristocracy that emphasises the imbalance of power between Jonathan and his host, aiding his fall to victimhood. Actually, in one of the earliest interactions that Jonathan has with the count on the 7th May, Dracula speaks of how is status will not be percieved in London as it is in Transylvania, but he emphasises that “[he is] boyar; the common people know [him], and [he is] master.” He then almost immediately asks Jonathan about the house he shall be moving into in London, pulling Jonathan into the role of servant, as a reminder that, at least while they are here, the Count is Jonathan’s superior. The Count is in control.

Bella also is not particularly liable to have had financial struggles in her seventeen years of life, but she too is contrasted to Edward and the Cullens and their flash cars, the least flash of which is Edward’s own Volvo. But Carlisle Cullen spent some time among the vampires known as the Volturi, as described to Bella by Edward in Chapter Sixteen. While little is detailed about them in the first book, Edward notes that Carlisle“greatly admired their civility, their refinement,” giving a ghosting of an implication of the Volturi’s status that becomes imposing and dangerous as the Twilight Saga continues. While Bella is not the victim of the Cullens, or, indeed, the Voluturi, by this point in her journey into the supernaturl, she is in the position of an outsider in another way, which puts Edward in such a powerful position by contrast to her, and comparison to the Count.

It goes without saying that the Volturi read as a direct nod to the regal Dracula in his mysterious European castle. Of the three leaders, Bella’s narration describes them as “two black-haired, one snowy-white.” The dynamic of their coloration is a parallel to the brides also, as well as alluding to Dracula himself with their having the title of "Nighttime patrons of the arts.” Dracula’s love of the “sweet music” of nocturnal creatures is similar in tone.

It is through this wealth and power that the idea of Jonathan and Bella as victims of the vampiric, as it is with this wealth and power that Dracula and Edward can exert a control over their respective victims. The powerful and dangerous Dracula in his isolated castle where anyone else would fear to tread but the unknowing Jonathan, alone in the country in which he is a stranger; the rich and aristocratically-connected Edward who drives fast cars, and his only undoing being Bella herself, the one person whose mind he cannot read.

And it is on that note that the connection to characters other than the villain exists deeply within Edward’s parallels to Dracula.

Edward is as mentioned, a parallel also to Mina Murray, as both are the gothic hero to their respective heroine. Beginning with Mina, Tumblr user incorrectsmashbrosquotes, in frustration at adaptations of Dracula percieved not to do Mina justice vented “Gimme an adaptation where Mina loathes this pestilential demon with every fiber of her being.” I agree with this sentiment, as this is the Mina that I too see, and also the Mina that Edward reflects so brilliantly when Bella is in danger at the climax of the novel. Before the chase from the hunters has truly begun, Edward is described with animalistic rage, as Meyer’s language associates him with a non-human wilderness as he “roar[s] in frustration,” and “hiss[es],” exhibiting the traits of a Mina Murray “driven to stamp out this stain upon the world [that Dracula is] as her husband [Jonathan] is,” just as incorrectsmashbrosquotes desires. As Edward saves Bella from James’ venom, Bella notices “[his]doubt was suddenly replaced with a blazing determination,” reminding me instantly of incorrectsmashbrosquotes’ final assessment: Gimme a Mina with all the fury of Hell behind her.

Edward is not just the spiritual successor to Mina, but has moments of being the adaptation across centuries that Mina deserves.

A Comparison of Relationships

Moving onto how these characters interact, we see that there certainly are parallels to Bella and Edward’s romantic dynamic with how Jonathan interacts, of course with his fiancée and later wife Mina, but also how he interacts with the vampires.

Bella and Edward’s relationship builds through mystery to romance, and touches on a ghosting os sexual desire. The earlier stages of their knowing each other emphasize a forbidden allure that Edward associates with Bella, creating a romantic allure from the inherent temptation of forbiddance. When simply inviting Bella to sit with hi at lunch, Edward says"I decided as long as I was going to hell, I might as well do it thoroughly.” Engaging with Bella is seen as sinfully tempting to him, as though it is she who is the supernatural temptress, and not he who is the dangerous creature. Yet, after only a few more sentences are exchanged in that same interaction, he says “But I'm warning you now that I'm not a good friend for you.”

Even early on, this is a forbidden relationship, tempting like the devil to Adam and Eve, as referenced with the bright red apple in Edward’s hands on the classic cover of the novel.

Jonathan is fed temptation as quickly by the count when he asks on the 7th May entry if he may enter the library as he wishes, and he is told in response:

“You may go anywhere you wish in the castle, except where the doors are locked, where of course you will not wish to go. There is reason that all things are as they are, and did you see with my eyes and know with my knowledge, you would perhaps better understand.”

There is extensive detail which is inherently intrigueing, telling Jonathan that he may go anywhere but where he will not wish to go… it is an intrigue, a tantalising temptation that, like is discussed earlier, moves in on him slowly and then quickly, all at once. On th 15th May, Jonathan’s intrigue has been amused so that, as soon as the count leaves the castlehe relays that he “thought to use the opportunity to explore more than [he] had dared to do as yet.”

Despite Edward’s warnings, Bella is still interested in pursuing at first friendship with Edward and then romantic relationship, just as Jonathan is only tempted to explore once he knows he is not to.

Finally, contact is breeched, entering into a sensual engagement between the parties. Dracula finds his emotions overwhelming, and as Jonathan cuts himself shaving, he describes the Count’s eyes “[blazing] with a sort of demoniac fury, and he suddenly made a grab at [his] throat.” Though through rage, Dracula is overwhelmed by one form of passion or another, marking the beginning of a short-lived pattern of behaviour wherein rage compels contact. Edward, however, has his movements constrained by fear- not of Bella, but of what he might do to her, afraid he might cause trauma as his literary ancestor caused to his own mortal counterpart- as he tentatively takes Bella’s hand, saying to her: "That's amazingly pleasant, the warmth." He is unused to this sensation after almost one hundred years without it, astounded by it. Edward and Bella are so aware of their own differences to one another that touch between them is a remarkable thing, reinforced with their first kiss as Bella’s narration notes: “And then his cold, marble lips pressed very softly against mine.”

While Jonathan never overtly kisses Dracula, the next instance of Dracula’s rage fuelling physical contact between them to address has a significant twist of implied lust underscored. After Jonathan’s encounter with the brides, Dracula rescues him from them, announcing:

"How dare you touch him, any of you? How dare you cast eyes on him when I had forbidden it? Back, I tell you all! This man belongs to me! Beware how you meddle with him, or you'll have to deal with me.”

Firstly, the repetition of “dare” highlights his rage beyond his own comprehension. Secondly, he is possesive over Jonathan as he cries “this man belongs to me,” marking him not just as Dracula’s personal victim and prey, but implying a sexual element to the relationship given the nature of Jonathan’s interaction with the brides. It brings to mind one of Twilight’s most famous quotes: “you are my life now,” which Edward says to Bella as they negotiate the terms of their own intimacy. Dracula and Edward’s possesiveness over Jonathan and Bella respectively has an inherit implied sexuality through their possesiveness, and through the conflicting emotions that charge their tactile encounters. From Jonathan’s perspective also, the touch is repulsive yet enticing, as he says “[he] shuddered as [he] bent over to touch [Dracula], and every sense in [Jonathan] revolted at the contact,” which is overflowing with negativity and revulsion, and yet this is the moment where he has to touch Dracula in order to gain his freedom from him. Conversely, Bella yet again refers to Edward’s touch as cold as “his cold lips pressed against [her] skin” as he saves her from the venom of her attacker James. Yet again, this is a moment in which the touch is described with the negative connotations of the cold, but Edward is saving Bella- moreover Bella describes the pain of the venom as like “fire” and the cold is welcome.

The touches between both dynamics are undesirable and yet tantilising, like a forbidden love. It is a lust that no involved party dares at first to admit. And as Bella and Edward confess their attraction to each other from as early as Bella’s admittance in the prologue, Dracula also reminds the brides that “[y]es, [he] too can love; [the brides] [them]selves can tell it from the past,” dragging involuntarily the notion of romantic love back into the conversation even between him and his latest victim Jonathan. In much the same vein, pun most definitely intended, Edward calls out desperately for Bella after finding her attacked, repeating her name ten times before he can help her, emphasising the desperate emotion.

And what of Jonathan and Mina?

With the comparison of Edward to Mina, we see the other side of his relationship with Bella. While the Dracula connection represents the physical and dangerous aspects of Edward navigating his feelings for Bella, his parallel to Mina shows the insity with which he cares deeply and tenderly for his delicate, too-human mate.

Mina’s heroism comes largely from her initiative, organisation, and intelligence as she rallies the group together, but a significant ammount of what makes her admirable is the way in which she cares so compassionately and selflessly for the sickly Jonathan in Transylvania.

On the 19th August when Mina finally receives news from Jonathan, she immidiately makes her plans to rush to him, even when Sister Agatha has warned she may needed away from home for some time as Jonathan is deathly ill. Mina watches over him and tends to him with the aid of the nuns which brings to mind how Edward watches over Bella.

We see that he watches her sleep, as Bella narrates that she “(…) drifted to sleep in [Edward’s]cold arms,” and the next morning she discovers that he has stayed with her and receives the realisation with great joy. Later, when Bella is in the hospital and the following interaction occurs:

"Bella."He stroked my face anxiously. "I'm not going anywhere. I'll be right here as long as you need me."

Like Mina is to Jonathan, Edward is a comforting presence to Bella and is dedicted to her care. Mina is there as quickly as she can be, setting off straightaway to be at the side of the man she loves. Edward is not only Bella’s saviour from James, but he also provides the comfort she needs by being there for her as she recovers from the ordeal.

With both of these relationship dynamics, what is seen is kindness, gentle care and comfort, and one party being willing to look after the other, embodying the tradtional vow of “in sickness and in health,” and showing one of the key aspects of both how Jonathan views Mina and how Bella views Edward: heroic, angelic, and comforting.

By comparing Mina to Edward, we see another interpretation of what the highest form of intimacy is between Mina and Edward, and their respective lovers. For the comparison between Edward and Dracula, touch- particularly sexual touch- is the apex of the illicit engagement between Dracula and Jonathan, and between Edward and Bella. But by seeking comparative aspects between Edward and Bella’s relationship to Jonathan and Mina’s another aspect of a relationship dynamic such as these is brought to the fore: not base, carnal desire and the intimacy of knowing another’s body, but the emotional and intelligent desire and deep intimacy of knowing the other’s mind.

Edward is established to be able to read minds in Port Angeles after saving Bella from unsavoury characters when she is separated from her friends. When he takes her to dinner, he says that he “heard what [the attackers] were thinking,” and Bella narrates her description of how his face contorts when he remembers their vile thoughts, relaying “he growled, his upper lip curling slightly back over his teeth.” Edward uses this ability to protect Bella, saving her from them in the nick of time.

Similarly, Mina, as she approaches the full throws of vampirism can be used as a sort of pendulum to hunt Dracula as she has developed a kind of psychic connection to him. On the 29th October, Dr Seward’s journal notes of how Mina, under hypnosis, has revealed that Dracula is being brought upsteam. On the 2nd November, Van Helsing uses hypnosis again to establish Dracula’s current position via Mina yet again.

Both Edward and Mina can use their vampiric telepathy for the good of others, especially for the protection of those they love, yet both of them share the same blockage to their gifts as neither can read the mind of their significant other. Edward has “one exception” to his gift, as implied to Bella in Port Angeles, and Mina’s connection to Dracula under hypnosis seems to be limited to that specific connection and under those specific conditions.

In order to discover the untimacies of their significant others’ minds, Edward and Mina both have to investigate beyond the use of their supernatural gifts. Edward and Bella talk and try to figure each other out, Bella as a mortal who cannot read minds, but Edward as a vampire who has only one mind he cannot read- the one he wants to read most- which places the knowledge of the mind on almost a higher level than the carnal knowledge of a body.

Edward and Bella make a habit of taking it in turns to ask each other questions to work the other out like a puzzle, and Mina uses her talents as a stenographer to piece together the journals and newspaper clippings and doctors’ logs that have been gathered over the months since Jonathan went to Transylvania, giving special importants to the diary of Jonathan himself.

Jonathan does not trust himself with the journal anymore, as revealed when Mina arrives in Budapest to take care of him. However, he trust her with the deepest intimacies of his most horrified mind. As if to emphasise the high pedestal on which intellectual intimacy is put in their relationship, Mina seals the journal with wax, promising not to read them unless she has to for Jonathan’s sake.

Mina and Jonathan’s relationship is one of trust, represented by the gift of Jonathan’s innermost thoughts, and Mina choosing not to read them unless she has to. Similarly, Edward has no choice but to respect Bella’s boundaries, and so Bella slowly opens up to him as they get closer.

It is the intimacy of knowledge of the mind, and the trust that comes with that.

Conclusion

For over a decade, Twilight has received flack, as have the girls who read it and watched the films, especcially from those who believed the vampires were neutered and that Twilight was too far-removed from the classics of the vampire genre. But by comparing it to the quintessential vampire novel Dracula, we see that Twilight has direct comparisons to the classics, as well as deep connections to one of the most revered contributions to the genre from over a hundred years before its publication.

Twilight acts as a far truer spiritual successor to Dracula than was believed by many, and contributes greatly to the vampire genre, earning its place rightfully.

22 notes · View notes

pinkacadessays · 6 months

Text

Mean Girls or the Modern Prometheus: The Creation of the Monstrous Women in Teen Movies and Rom-Coms

Frankenstein or the Modern Prometheus is part of the cultural consciousness, and has been for so long, and to such an extent that it is virtually impossible not to have been somehow affected by that image. While not intending necessarily to be, many movies aimed at a female audience may have taken cues from Mary Shelley’s masterwork from over two hundred years ago.

Frankenstein is the story of a man who creates a creature condemned as a monster, but questions morality via the question of whether it is the creature or creator who is the monster.

Frankenstein is also a story that symbolically perverts the feminine into a grotesque charicature with its representation of gender and gender roles

Movies such as Mean Girls, Clueless, and The Devil Wears Prada call the same questions forward, and represent similar expressions of symbolism.

These movies are therefore among the Frankenstein adaptation canon by being excellent inadvertent allusions to the same themes.

To expand upon the aspects of Frankenstein that are herein to be explore, we begin with the making of a monster. In the original novel, Doctor Victor Frankenstein, over the course of quite some time, gathers body parts from graves to create his creature- the large, grotesque, and sickly-looking caricature of human life known as Frankenstein’s monster.

Secondly is the perversion of the feminine. The traditionally feminine role of birthgiver and nurturer are twisted inside out by Victor has he, a man, builds a fully-grown man in his attic. The act contrasts a mother growing a child in her womb, which is usually seen as-or depicted as- a beautiful, even holy thing, but Victor has made childbirth into something hideous and monstrous.

Finally, there is the understanding that the creature is not the monster: Victor is. Though part of the cultural consciousness involved the creature’s face associated with the doctor’s name, that is not the case. This misconception is actually symbolic of the perceptions surrounding the protagonists. Is it truly the creature, who did not ask to be brought into this world, and who asked only for love, who is the monster? Or is it his creator, who brought the creature into the world and then rejected him along with his own motherhood, who is the monster?

With these points in mind, we move onto what is quite possibly as quintessential a representation of making monsters as Frankenstein itself: Mean Girls

Mean Girls

Mean Girls has been part of the cultural consiousness for almost twenty years. Though only a fraction of the time that Frankenstein has had in the world, one would be damn near as hard-pressed to find someone who didn’t know about a certain Wednesday tradition as one might be to find someone who hadn’t at least heard of Victor Frankenstein.

While Janis and Damian initially offer her the love and acceptance she craves, they push her towards the Plastics, starting her transformation into the monster that she becomes.

For a large stretch of the movie, Cady is one of the Plastics- one of the monsters- and she is even made of parts of them, just as the Creature is made of amalgamated body parts. In one scene of the movie, Cady and the other Plastics, along with Aaron Samuels, strut down the corridor of North Shore High, and Cady’s outfit has aspects of what the the other three have been shown in thus far.

Yet, though it is Janis and Damian who are arguably most responsible for Cady’s creature transformation, Janis in particular, they get away mostly unscathed. That said, as Janis seems to blame her former friendship with Regina for her own meanness, perhaps there is a cycle to creation and creature status that Cady finally broke.

Nonetheless, the third point is herein addressed, as Janis actually points out that she is aware that she too is “a bitch,” but at least she openly exists as one and doesn’t pretend to be anything other than what she is. Janis is as mean a girl as any of them, she admits it herself. She is just as much the villain of Mean Girls as Regina or Cady, and she is as much the monster as her creation.

Mean Girls parallels aspects of the Frankenstein story from several persepectives, with Regina, Cady, and Janis all takin the role of the creature, and with Janis and Regina taking equal role as creator- both of Cady, and of each other.

Clueless

Mean Girls is not the first of its ilk, and indeed, Clueless tracks its origins back to a book from the same decade as Frankenstein, with Jane Austen’s Emma being actually from earlier. While it is certainly Frankenstein that exemplifies the making of a monster, Emma, and therefore Clueless, take similar cues.

Cher Horowitz is as handsome, clever, and rich as Victor Frankenstein aspires to be, and is as much his successor as she is Emma Wodehouse’s. Cher and her friend Dione take the role of creator upon meeting Tai Frasier, choosing to make her over and turn her into almost a clone of themselves. They change her appearance, her wardrobe, and even how she speaks. And, while at first, it seems that she has evolved and grown in a positive direction, Tai’s transformation takes a turn for the monstrous during the infamous “you’re a virgin who can’t drive” scene in which the creature insults her creator.

It is in that moment that we see the feminine perverted also, in a very similar way to Mean Girls, as Tai’s outfit reflects how Cher has been shown before. She is wearing a matching set similar to Cher’s from the beginning of the movie, however, hers is a pretty pastel pink- exaggerating Cher’s feminine traits and spitting them back to her in a grotesque caraciture. Cher’s attempts at nurturing and guidance, taking that feminine and maternal role like Victor, is perverted because Cher needs nurturing herself.

Notably, Cher is without a mother, which leads her to being unable to impart any motherly wisdom on another, as she did not receive it herself. Cher has to learn for herself to be caring for others in a meaningful way, exepmlified by her volunteering at the end of the movie.

Cher reflects the motherless Victor, who craves to recreate life, by her intentions of nurturing.

Returning to the aspect of Cher’s understanding of what it is to be nurturing, and her development, while Cher is not a villain to the same extent, and is certainly not a monster from her naivite, she still must learn that her actions were wrong, and that she was “totally clueless” about the harm she was doing. Again, it is as a creator that one is monstrous, not as creature.

That said, Tai also comes to her senses later, apologising for her own monstrous actions.

The Devil Wears Prada

Showing that the hubris to shape the world to one’s own desires does not end in high school, the Devil Wears Prada exemplifies Frankenstein’s monstrous feminine in its highest form: the fully realised monster.

The monstrous feminine is obviously Miranda Priestly: the titular Devil, Miranda is the editor of a fashion magazine, which was the highest echelon of stereotypical femininity at the time. She does not pervert the feminine from her position of power- in fact, a woman in that particular position arguably upholds the feminine- but rather, in her molding of Andy, she creates someone just as monstrous as she is.

Miranda does not force Andy’s transformation into her perfect fashion girl assistant single-handedly; she really only facilitates the transformation. Nigel hooks Andy up with the clothes she needs, and Emily (albeit unintentionally) gives her an attitude readjustment.

Andy is unaware of her own status as a Miranda Girl, no matter how often it is said to her, until Miranda herself points out to Andy that she was willing to take Emily down to further her own career. Again,the costume choices reflect her internal transformation as Miranda and Andy’s dresses are chosen to be very similar in their silhouette in order to show the similarities between creature and creator.

Moreover, Miranda has just caused damage to Nigel’s progression, right before addressing what Andy has done. Andy has become not just a Miranda Girl, but thr perfect protege to Miranda- monster creates monster.

This is also how the perverted feminine also takes hold, as Miranda has created Andy, not by being kind, nurturing, feminine, and motherly, but by being callous and encouraging the dog-eat-dog attitude in her employees. Though Victor’s attempts at motherhood were subverted by his own abandoning of his creation, Miranda’s motherhood is present and persisent, and subverted by her cruelty.

As to who the actual villain of the story is, Andy’s boyfriend is a popular choice, but Miranda, while seemingly somewhat softened by Andy, also seemingly maintains her malicious ways after the events of the movie, whereas Andy has grown from her experience but moved on and improved. Thus it is clear, that the Devil is still the monster, and Andy has left Hell behind.

In Conclusion

Frankenstein is the story of a madman who flies too close to the sun by playing God, and creates something that, though it only wants love, seems grotesque; Mean Girls, Clueless, and The Devil Wears Prada, among other teen films and rom-coms, represent many of those same aspects, even if through a tame, pink lens.

Frankenstein is the creation of a creature, and these movies are the recreation of a woman anew; Frankenstein is the perversion of the feminine through subverting meanings of motherhood, these films pervert the feminine through the contrast of their ideals with their aesthetics; Frankenstein is the complexity of morality and who out of creator and creation is really the monster, and all of these movies explore right and wrong from their own points of view.

Just as Doctor Frankenstein was the Modern Prometheus of his era, the women and girls of these movies are the Creatures of his design.

#essay #pink academia #pinkacademic #pink academic essays #mean girls #clueless #the devil wears prada #frankenstein #frankenstiensmonster

5 notes · View notes

pinkacadessays · 7 months

Text

Social Media, E@ing D!sorders, and a Debate I lost in High School: Typed Up Edition

Obvious Warning for Content. I don't necesarily agree with everything herein, its just the nature of debates. Resources for EDs below essay.

Last Warning for those who might be triggered.

An Introduction to Why I'm Doing This

I’ve been haunted by the memory of a high school debate for the guts of a decade since it passed. In class, our teacher paired us up and gave us topics to research, and positions to hold in a binary question- one student for, one student against. To myself and my partner- or rather, my opposition- the question was “does social media cause eating disorders?” and my job was to prove that they didn’t.

Let’s talk a little bit about why I was the wrong person for this as a fifteen-year-old, or whatever the hell age I was doing this, I blocked out most of high school… anyway…

I was a little know-it-all who was sitting on the top-predicted grade in our class, predicted among the top in our year, and that had gotten to my head. I also had an eating disorder and I was in serious denial about it. I’m still working to get better years later…

Oh and also, I knew nothing about social media because I barely used it, and I would delete ALL my accounts over the course of the next two or three years… So, I was NOT educated about either aspect of this topic, are you joking?

But most importantly, I did not do my research, I barely knew how, and I didn’t even get a pity vote in the debate! Hell, I wanted to vote for the other girl- in part because I had a crush on her and no other friends in that class, so there’s that.

So, this is my redemption. I know how to research now, I love doing research, and I’m more willing to confront my own issues head-on… and I’m not going up against my first girl-crush this time, so I might make it work.

An Introduction to the Topic at Hand

Eating disorders are about as much of a part of internet culture as cat videos and vine. It’s not like I’m going to sit here and lie to your faces and act as if pro-ana isn’t a significant community on tumblr, or as if Instagram isn’t a cesspit of anorexia, or any other of the countless problems that could be listed on this topic alone.

But I’m here today to prove to you that the notion of social media causing eating disorders… is bullshit. Social media doesn’t cause eating disorders; it doesn’t cause anything, it’s an inherently neutral force with no biases or agendas.

While I will be addressing the issues, I will also be analysing a history of social media compared to a history of eating disorders, and analysing the benefits of social media too to prove social media’s innocence in the face of this accusation.

Point One: Well, it’s Not Like They Don’t

Not to do my opponant’s job for her, but I’m not going to ignore the evidence just to make a point. There is of course evidence to support the idea that eating disorders are directly linked to social media.

I’m going to confess as well that the only social media platforms I regularly use are among the heaviest hitters…

My point here isn’t to deny that, ot to diminish the horrible affects that are evident here; my point is only to acknowledge that it is not social media itself that is to blame, and that there are benefits to social media too.

Point Two: A Brief History of Social Media

In the grand history of the world, social media is pretty new. We joke about Facebook being for old people and for our grandparents, but its fewer than twenty years old. It’s the oldest on this list, with the newest being TikTok at less than a decade old… are we really going to say the “cause” of eating disorders is something that’s been there for five minutes in the scheme of things?

And yes, I am going to be pedantic about definitions of terms. I have an eating disorder and I deleted Instagram because of it, I need this angle.

Point Three: Eating Disorders Before Social Media

Eating disorders are a whole lot older than Facebook, and even than Facebook’s geriatric userbase, and frankly, the little voice in my head that reminds me to check calories before I get a damn smoothie talks more sense than some of those Facebook mum groups. We need to go a hell of a lot further than twenty years to get the full picture of the true cause of eating disorders, but if we even go back fifty years, we get the true insidious history of these horrible diseases.

In the nineteen seventies, one of the ideal images of a woman, who at the time was the thin, pretty it-girl who would have been as popular on tumblr as Taylor Swift was in 2014. She had the bodytype sought by many in the 2010s. While we’ll touch more on heroin chic later, the highly-romanticised Syd and Nancy have had a social ideal projected retroactively onto their waifish and ill figures- with of course the Sex Pistols being sex icons of the day.

In the 80s, we saw the rise of the exercise video encouraging losing weight from home, including notorious titles such as Jazzercise in 1982 featuring the quote “the bigger the circle, the thinner the waist,” reminding the participants of their goal. I’m sure we’ve all heard of Buns of Steel, even if just referenced by Tai in Clueless.

Speaking of Clueless, we go on now to the nineties and return to the mentioned heroin chic. It Girl Kate Moss really did damage when she practically became of the face of an art movement devoted to people who were skinny due to use of heroin, with a boyfriend of Kate’s, the Libertines Peter Doherty being seen carving into his bare chest in a similar fashion to the previously mentioned Syd Vicious.

Only now do we get into the early days of social media in the early-mid 2000s, and its clear to me at least that eating disorders are a pre-existing condition.

Point Four: But that’s Not All

So, if not social media, then what was the cause of eating disorders? Well, the short answer is that nobody actually knows. But one of the proposed theories is that genetics plays a huge factor in the development of eating disorders from anorexia, to bullimia, and others in between.

Two quotes here from Cynthia M. Bulik and her co-authors on these two papers higlight the truths of genetic factors in eating disorders. “Eating disorders aggregate in families, and twin studies reveal that additive genetic factors account for approximately 40% to 60% of liability to anorexia nervosa (AN), bulimia nervosa (BN), and binge eating disorder (BED).”

The significant role genetic factors play in the development of eating disorders is becoming increasingly clear. It has been suggested that about 50% of eating disorder cases are attributable to genetics.

Other suggestions include a connection to OCD, dietary requirements or coeliac disease, or even personality traits such as perfectionism. There are also theories relatedto child abuse, parental influences, peer pressure, and yes, social media; because again, it would be dense to ignore that social media can have a part to play, but it would be foolish to condense the argument down to a simplistic yes or no.

Point Five: Benefits of Social Media

I also want to point out that there are serious benefits to use of social media too. And I want it to be known that I deleted most of my social media accounts a few years ago… because they were fuelling my eating disorder. Trust me, I’m as skeptical as anyone else. But I’m going to talk about it.

First, generally, the site Digital Citizenship points out that “Social media, when used in a responsible and age-appropriate way, can help children learn, think critically and build the skills they need for the future.”

Moving onto eating disorder-specific uses for social media, while there are certainly harmful parts of social media, there are also aspects that can be beneficial. YouTuber Ro Mitchell, to name an example, documents her recovery from an eating disorder on her channel, and she’s not the only one.

Conclusion

Social Media in and of itself is not to blame. Blaming social media just creates a scapegoat and shoves the problem under the rug. But do they actually cause them? Or do they exacerbate a problem already there?

The Full Video is Available Here https://www.youtube.com/watch?v=m6zdMxb6870

Resources if you or anyone you know needs Help

#essay #pink academia #pinkacademic #tw: ed mention

4 notes · View notes

pinkacadessays · 9 months

Text

Twilight as a Spiritual Successor to Dracula

She's a problematic queen, but she didn't deserve the flack, and neither did the teenage girls having fun...

Isabella Marie Swan Cullen

Let us begin with our gothic heroine Bella Swan, and her position as Twilight’s answer to Jonathan Harker.

Even the way Bella and Jonathan narrate bare similarities in their styles.

The above mirrors the following passage from Jonathan’s journal from th 16th May:

Saying her goodbyes to the sun show the stark contrast of her home in Arizona to the drizzly small town for which she is bound.

But they are not entirely alone.

Neither Jonathan nor Bella are the same after their adventures in the world of the vampires, with both of them having rushes with death before the last pages of their books are turned.

He has truly “fragmented,” his former self shattered, and he has become a manifestation of the “tragedy to come” in his dramatic linguistic tendencies.

More on that later, as first, we must explore how Bella’s paramour Edward fits into the Draculaic parrallel.

Edward Anthony Masen Cullen

Now how does this compare to the vampirism of Dracula?

Jonathan states that “[t]he very thought drove [him] mad,” and that desperate insanity in Jonathan’s tone expresses truly the determination he has to move against the “vile” Dracula.

Moreover, both Dracula and Edward represent another realm to which Jonathan and Bella have little connection: Aristocracy.

And it is on that note that the connection to characters other than the villain exists deeply within Edward’s parallels to Dracula.

Edward is not just the spiritual successor to Mina, but has moments of being the adaptation across centuries that Mina deserves.

A Comparison of Relationships

Even early on, this is a forbidden relationship, tempting like the devil to Adam and Eve, as referenced with the bright red apple in Edward’s hands on the classic cover of the novel.

Jonathan is fed temptation as quickly by the count when he asks on the 7th May entry if he may enter the library as he wishes, and he is told in response:

And what of Jonathan and Mina?

"Bella."He stroked my face anxiously. "I'm not going anywhere. I'll be right here as long as you need me."

It is the intimacy of knowledge of the mind, and the trust that comes with that.

Conclusion

Twilight acts as a far truer spiritual successor to Dracula than was believed by many, and contributes greatly to the vampire genre, earning its place rightfully.

#essay #pink academia #pinkacademic #pink academic essays #twilight #twilight saga #twilightcore #count dracula #dracula #dracula daily #jonathan harker #mina murray #bella swan #edward cullen

22 notes · View notes

pinkacadessays · 9 months

Text

A Condensed Essay on Ken and the Dream Gap

As some of you were interested, I decided to edit the notes for the Ken section of my lecture into an essay unto itself. I considered giving you the whole transcript, but I have decided to put that energy into a wider array of projects instead of just one. I hope you enjoy!

Ken and the Dream Gap

The Barbie Movie is a materpiece that manages to balance the pastel pink psychological horror of Stereotypical Barbie’s journey into existentialism with Beach Ken’s Greased Lightnin’ Kenergy, and equally Ken’s destress from his journey from radicalisation to self-acceptance and Barbie’s fun, energetic adventure with her new friends.

The key conflict of the Barbie movie stems from how Ken feels upon discovering patriarchy after being subject exclusively to matriarchy for his entire existence.

If Barbie is Everything, where does that leave Ken? Well, according to Ryan Gosling, Ken is face down in the mud next to a squished lemon, which is where he found his daughters’ Ken doll. Every day is a good day for Barbie, but Ken only has a good day if Barbie looks at him. Luckily for Ken, Barbie is inclined towards looking at him, but it sets up Ken’s position from early on. Ken is just Ken. He means about as much to Barbie, and every Ken means about as much to every Barbie, as their purses or their shoes because Ken is an accessory. Jokes have been made about how his legal name is “and Ken,” because he only exists if he’s with Barbie. Barbie admits having no idea where Ken- and the Kens in general- live.

When Ken gets to the Real World and discovers the Patriarchy, he is seeing for the first time a world in which he can see people who look like him in the positions usually held by people who look like Barbie. Ken represents something greater than he would ever think he could in this movie: the Dream Gap.

The Kens

Beach Ken is not the only Ken, and we have to address the Kens because of how the hierarchy of Barbieland is revealed through them.

Simu Liu’s Ken exists as a rival to an accesory, so where does that put him in the hierarchy? Ryan Gosling’s Ken’s job is “beach,” which doesn’t mean much, but he does have something he’s good at. Simu Liu’s Ken is Ryan Gosling’s Ken’s rival for Stereotypical Barbie’s affections, but what is he aside from that? And what of the other Kens? Do they have jobs? One of them is a lifeguard at a plastic beach that it’s impossible to drown in, and is inhabited by merfolk. They exist to be looked at and admired, but Barbie admits to not being in love with her Ken.

If every night is girls’ night, do the Kens have the autonomy to have Boys’ night?

The feminism of the Barbie movie is pretty obvious from the earliest introduction of Barbieland: there’s a woman as president with a team of women behind her, and that’s just one of the positions from a female-dominated world. The feminism is intersectional too with one Barbie with a golden prosthetic to match her golden accesories, and a Barbie in a perfect pink wheelchair. Hari Nef, a trans woman, plays Doctor Barbie, and the Barbies come from a number of races and ethnicities, as well as body types. The Kens are also equally diverse in appearance.

But the point is that the feminism is imperfect, because just as there are issues with gender equality in the real world, the highest ranking Ken seems to be Lifeguard Ken.

Is it any wonder that they fall so quickly victim to the patriarchal mindset, seeing what it could represent for them?

The Dream Gap

The key conflict of the Barbie movie involves the Barbies taking Barbieland back before the Kens can complete their coup d’etat. What spurns Beach Ken towards the coup in the first place is his discovery of the patriarchy within the Real World, a place in which he sees men- like him- in positions of power, something that he recognises as different and unusual compared to Barbieland.

This is not Ken trying to create the toxicity of patriarchy; as made clear by his belief that horses are such a big part of patriarchy, he doesn’t fully understand it and just wants the same level of respect that he perceives the men of the real world to have, and that the women of Barbieland have.

Ken has never before seen a man in any of these positions. His job is to stand on the beach and look pretty. Ken is the embodiment of the Dream Gap.

The Dream Gap stems from girls seeing the breakdown of society, and how that works against their progression. Seeing women in positions of power encourages girls to seek and desire positions of power, and Ken has never witnessed that.

Lesson 5 of the Dream Gap curriculum is The Career Compass which “encourages kids to believe that they can be anything and explains why exploring lots of careers is important!”

If the Kens had that lesson, would Beach Ken have seen the men of the Real World as powerful or as overpowered compared to their female counterparts.

If little girls had this message generations ago, would The Dream Gap Project be needed today?

Don't Pit Kens Against Each Other

Part of the Barbies’ plot to take back Barbieland involves them working on the Kens’ jealousy towards the other Kens based on certain Barbies’ affections. This pitting of the Kens against each other did work in the Barbies’ favour, but it speaks to a wider societal problem of women being pitted against against each other- for positions in society and jobs, or worse, for male affection.

This isn’t about sports or games, or even about going for the same promotion; this is about desiring for another person to fail where you succeed.

The blog the un-edit says: It’s been ingrained into our society that girls should be jealous of other girls. We should always be unhappy about a girl who is more popular than us. We flip through magazines, or scroll through social media, feeling bitter about any girl’s figure we rank above our own.

Why does it seem so bold to say that, we should not only stop with the comparisons, but we should actually feel good about other peoples’ successes?

Going back to the film, what happens to the Kens? The Barbies pit them against each other in order to regain their positions, and have them compete for female attention. We learn by the end that Stereotypical Barbie is not interested romantically in Beach Ken, and seemingly not in any Ken, and yet the Kens’ feelings for the Barbies’ were so crucial to saving Barbieland.

In Conclusion

Ultimately, the Kens are a metaphor for how women feel in the Real World: failed by a societal system designed to work against them. We need to feel seen in important societal roles frm bin collector to president, to astronaut to ballerina, to mermaid; Ken had never seen a man do any of those things just as women are so rarely part of those real-life conversations. It is magnified by other issues such as race and ethnicity, class and economic status, ability, and gender and orientation, and ultimately is the point is, we need to see ourselves to feel seen. Ken is as much the victim of the Dream Gap as a little girl in the Real World might be, and its up to everyone together, on equal footing, to close it.

#essay #pink academia #pinkacademic #barbie 2023 #barbie movie #barbie #ken

11 notes · View notes

pinkacadessays · 9 months

Text

My Take on the Barbie Movie

youtube

#essay #lecture #pink academic essays #pink academia #pinkacademic #barbie #barbie movie #barbie 2023 #ken #Youtube

1 note · View note

pinkacadessays · 10 months

Text

If you can, I'd appreciate it x

4 notes · View notes

pinkacadessays · 10 months

Text

“I’m Wicked Through and Through,” Wicked’s Elphaba and Internalised Racism

The musical Wicked has been a Broadway and West End hit for over fifteen years, telling the story of the Witches of Oz from before Dorothy fell out of the sky. It follows their school days, how they became involved in the political landscape of Oz, and most importantly, it tells of their friendship and love.

For Elphaba, who would go on to become the Wicked Witch of the West, it is also a story of how she became a scapegoat for the citizens of Oz despite her good intentions. Though there are many factors for her descent into wickedness, one that she can never get away from is how she feels about the emerald green colour of her skin.

Her skin colour causes other people that she encounters to stare, to laugh, and to fear, and it is an obstacle to acceptance that Elphaba tries desperately to overcome.

This is a story of flying monkeys and broomsticks, of witches and wizards and whirlwinds, but also of race and how it affects how a person is seen by others, and most importantly, by themselves.

She’s a Terror, She’s a Tartar

Wicked serves as a strong metaphor for external racism, as seen by how others interact with and view Elphaba, and it is no wonder that she might feel so negatively about her own colouration when she is faced so frequently with such attitudes. To begin with, her very birth is seen as “atrocious,” “obscene,” and “unnatural,” as stated in No One Mourns the Wicked, with her father crying “take it away, take it away,” and ingraining negative self-perception from the moment Elphaba was broght into the world.

It does not go away as she ages, and, as she arrives at Shiz, her fellow students call her “a terror,” “a tartar,” and the Ozian coinage of “disgusticified.” What is this Feeling continues to announce the entire student body’s “loathing, unadulterated loathing” of Elphaba with the only reason they have chosen to do so being the colour of Elphaba’s skin.

Finally, it is stated by Madam Morrible in an attempt to make a her an enemy of an Oz that “her green skin is but an outward manifestation of her twisted nature,” before at last calling her “the Wicked Witch.”

It is clear that Elphaba has every reason to feel thusly about herself when she faces a barrage of prejudice with the only exceptions being Glinda, Fiyero, and a rather complicated relationship with her sister Nessa-Rose

“Would it be alright by you If I de-greenify you?"

Elphaba spent her whole life internalising these thoughts and wishing to look like her sister and her peers. Upon meeting her Shiz classmates, she’s so used to years of silly questions that she introduces herself with pre-prepared answers that she was born this way and didn’t eat grass as a child. As Suzanne Lipsky describes internalised racism as “turning upon ourselves, upon our families, and upon our own people the distress patterns that result from the racism and oppression of the majority society.” Elphaba is exemplary of this definition, as she notes that she is used to he father ‘not being proud of her’ and her sister ‘acting ashamed’ as described in “The Wizard and I.” Except, even her own family are in her case part of her problem, as Elphaba is the only known green witch.

As The Wizard and I continues, Elphaba’s internalised racism comes truly to the forefront as she imagnes a scenario in which the wizard changes her skin colour to a non-green- or, more acurately, to “de-green-ify” her. She’s hoping that, because she is “so superior” in her magical abilities, that her appearance should match, showing how she feels inferior to her peers due to the colour of her skin, despite her impressive skills in magic. She equates it with ‘goodness’ also, foreshadowing the later association of the colour of her skin with wickedness as the musical.

The Milk Flowers

Elphaba’s internalised racism continues to be a prevalent issue in her life, even as she gains more acceptance through Glinda. Though Glinda resigns herself to being Elphaba’s “pal, sister, advisor” in Popular, it is after Elphaba has confessed that she believes it to be “[her] fault” that her sister Nessa Rose is “they way she is,” referring to her disability. As their father had his concerns that Nessa would “come out green” as Elphaba had, he encouraged the girls’ mother to eat milk flowers, which is believed to have caused Nessa’s premature birth and disabilty, and the demise of their mother.

While surely it should be clear that, if anyone is to blame at all, it is Elphaba’s father and not Elphaba herself, it was Elphaba who shouldered, and internalised the guilt for her whole life. Elphaba’s father, the governor of Munchkinland, expresses these views for all of Elphaba’s life, and, to take a brief pause for speculation: as an important political figure in Oz, the governor could have used his influence to spread or fuel existing prejudices- not to mention ableism against Nessa Rose which aids his discriminatory practises towards Elphaba. It should be noted that there is little basis for the accusation, other than the language used around Nessa’s disability being unfavourable, Elphaba’s treatment from her father, and his position in society according to the musical.

That said, the point remains that Elphabas home life was influential in her self-loathing and internalised racism.

One Short Day

In her lifetime of overwhelming loathing for herself and the colour of her skin, Elphaba has placed all of her hope in the Wizard of Oz, in the hopes that he won’t be “dumb” or “small-minded” like the Munchkins of Munchkinland, or the students of Shiz. By association, Elphaba falls in love with the Emerald City, a place where everything is a bright, glittering green. The musical makes the crucial visual addition of giving green sunglasses to all of the dancers in the Emerald City scenes. They would never even notice that Elphaba is green if they are seeing everything through carnation-tinted glasses. Instead of discrimination, Elphaba is greeted only by the hoi polloi of the Emerald City, where “it’s all grand” and “it’s all green” as she exclaims with joy.

One Short Day is the heartbreaking turning point in Elphaba’s life as it represents both her highest high and the pivitol descent to Elphaba’s supposed Wickedness. Elphaba gets to walk through the Emerald City, surrounded by green buildings, green dresses, and green-tinted sunglasses. The citizens welcome her and guide her to Wiz-o-mania, and she and her best freind Glinda sing together: “I think we've found the place where we belong!”

But it after that song concludes and Elphaba meets the Wizard as she’s been dreaming of “since birth,” that her world comes crashing down around her and she is set off on the journey that exposes the truth of the oft-quoted statement “one man’s terrorist is another man’s freedom fighter.”

Let all Oz be agreed, I’m WICKED Through and Through!

Elphaba’s internalised racism, blended together with the outward racism of her peers in Act Two, which opens in Act Two when we learn of the propaganda that has been spread since Elphaba’s last defiant stand in Defying Gravity. Citizens of Oz sing that Elphaba is “ev'ry day, more wicked,” and that ev'ry day, the terror grows.” It is made clear that all of Oz has upped their racism ten-fold, claiming that she is “spreading fear where e'er she goes.” And actually, the Wizard recognises the nature and danger of spin in Wonderful, noting “a man’s called a traitor- or a liberator […] it’s all in what label is able to persist.”

Unfortunately for Elphaba, the racism of others has lead the label of Wicked to be the persisting one, and it is only at this point, the point of no return, that she uses it for herself.

In her desperation to save Fiyero from harm in No Good Deed, she transforms him, likely irreperably into the scarecrow as he is known from the Wizard of Oz. This is also after having turned Boq into the Tinman, and allowing Nessa to walk with enchanted silver slippers which will go on to be the last image that exists of her after her untimely demise. She feels at this point that she must be truly Wicked, as even when she tries to do good, she causes bad things to happen, saying:

“Sure, I meant well -well, look at what well-meant did,” and resigning herself to never do good again.

Although just one song previously, Elphaba makes an attempt to claim the word as having a positive connotation when she’s with Fiyero, the chance is gone.

The article 6 Signs of Internalized Racism (and How To Heal) from disorient.co quotes Steve Biko saying “the most potent weapon of the oppressor is the mind of the oppressed.”

To me, this perfectly reflects Elphaba’s attitudes towards her own failings. She breaks the flow of her own spell in No Good Deed to shriek about how she feels it is futile, which, by my speculation, could have caused Fiyero to turn to straw, rather than her own inabilities. But because she has had such a negative view of herself her whole life, she does not consider herself able to save him.

Defying Gravity

But is there a happy ending for Elphaba? Can there be a way to overcome internalised racism for someone who has become a terrorist in her home country? Everything admittedly seems bleak when Elphaba makes Glinda promise not to clear her name, and leaves Oz, intending never to return.

Perhaps I am overly optimistic, but I wish to explore the routes through which Elphaba could find happiness again.

The previously mentioned article, 6 Signs of Internalized Racism (and How To Heal), lists six ways to heal from the trauma of one’s internalised racism. Of those, one that may have some applications for Elphaba’s life after the events of Wicked is number three: “Seek counseling and healing on our memories of internalized racism […]

As previously mentioned, Elphaba does have a brief moment of trying to reclaim her Wickedness in a positive light, which fits well with one of the example prompts as written by Suzanne Lipsky, “What has been good about being Black?”

Elphaba’s being called wicked stemmed only from her attempts to help animals who were being harmed by the Wizard’s schemes, and everyone who worked with him, such as Madame Morrible. Elphaba’s “road of good intentions” really was a road of good intentions. She was just a scapegoat because she threatened to undo the balance in society that had been following the Wizard’s lead since he blew in “on the winds of chance.”

If Elphaba could remember that, and learn to appreciate the good that she did, and realise that she did have “wickedness thrust upon her” as suggested by Glinda in the opening moment of the musical, then hopefully, she can heal.

I like to believe also, by pure speculation, that Elphaba and Fiyero, though having to live low as they are both well-known political figures in Oz… and one of them is rather uniquely green, they still managed to live a simple, happy life, away from Oz.

I also like to belive in the hope that Glinda rebuilt a more tolerant Oz, as the only other person who knew the truth that Elphaba was not wicked, but good. Perhaps they will reunite someday as two best friends should, and maybe they’ll even have more days in the Emerald City together as they deserved.

Conclusion

Wicked is as much about Elphaba’s internal struggles with the colour of her own skin and the stigmas that she’s had to face in relation to that trauma as it is about Elphaba as a witch of Oz. Internalised racism creates such a barrier in her own mind to what she’s capable of, and external racism is what sent her onto the path of so-called Wickedness in the first place. Elphaba is a perfect case study for internalised racism, as maybe the true Wickedness stems from racism.

Ultimately, Wicked is a highly political musical, dealing with propaganda and the complicated nature of what is wicked and what is good, and Elphaba’s struggles are a huge part of that.

It is up to everyone to fight their own prejudices, and build a space where wickedness can be reclaimed for good.

#pink academic #pink academic essays #pink academia #essay

18 notes · View notes

pinkacadessays · 10 months

Text

A History and Legacy of Legally Blonde

(It's done, I can die happy)

An Introduction

For over twenty years, Legally Blonde has been the King- or rather, Queen- of the chick-flick/rom-com world, having reigned supreme over the “girly movies” kingdom ever sinced it first graced cinema screens in 2001. Reese Witherspoon’s wonderful portrayal of sorority president-turned attorney Elle Woods created a veritable zeitgeist of Pink and Powerful. Legally Blonde has become the feminist film that inspires future law students and teenage sleepover-havers alike.

While it wasn’t always intended to be the cinematic masterpiece that it became, and, in fact, started in a way that likely wouldn’t have been quite such the feminist classic, it grew and developed during production; It went from something that could cause questions to be asked as to whether Legally Blonde as we know it should be held on a feminist pedestal, to a heartfelt vision that inspired so many of its regular re-watchers for two decades and more.

Herein is an exploration of the book that inspired the film, how the characters and the story developed as the film was made, and how Reese Witherspoon became so heavily involved- and influential- in the film’s success. Moreover, how the Harvard Class of 2004 encouraged so many young women into following the mantra of “what would Elle Woods do?”

What is the legacy of Legally Blonde? How did it end up with so much staying power? Here is the story of Elle Woods and how she became a cultural icon, and how she created a generation.

A History

The Book

Legally Blonde started its life as the book of the same name, a novelisation of author Amanda Brown’s experiences at Stanford University. The plot is largely unchanged- a pretty sorority girls goes to law school in pursuit of love- but there are swathes of differences in how the novel plays out, from plot details to characterisation of the main character. While the novel is hard to track down, an article by Cracked outlines the major differences between the book and the movie. In “Movie Differences: Elle Woods In The ‘Legally Blonde’ Book Is A Monster,” Amanda Manning opines that “[i]t’s hard to imagine a more perfect person than Elle Woods” in reference to the film character, but that “[l]iterary Elle Woods is manipulative, narcissistic, lazy, entitled, and excruciatingly judgmental.”

In terms of plot changes, Elle doesn’t seem to have the same studious drive, as Manning describes how “Movie Elle is humiliated” by her lack of understanding of the new, more “rigorous” academic world she now finds herself whereas “Book Elle didn't even buy the books and intentionally blew off the reading.”

While what Manning presents is truly a scathing review, it also proves the stark contrast between the Elle that is and the version that once was.

The Film

Just as with the book, early development of the film took the story on a journey that was crucial in it’s becoming something almost separate entirely from the book. Unlikely director Robert Luketic was an edgy film school major, who changed his tone was a ten-minute musical about an Italian woman, Titsiana Booberini who “has a hairy upper lip and (…) works in a supermarket where she battles the prettier girls for the affections of the handsome assistant manager,” according to an article on the Wayback Machine on the Internet Archive, originally from the Denver Center of Performing Arts.

MGM, the company that produced Legally Blonde, were apparently under the impression that the film “was going to be much more wet T-shirts and boobs than it actually turned out to be,” according to Luketic. The name Titsiana Booberini from Luketic’s previous work truly implies that MGM’s assumptions were correct. Early versions of the script were raunchier and edgier and were comparable to American Pie. Kirsten Smith, who along with Karen McCullah, wrote the film has stated "It transformed from nonstop zingers that were very adult in nature to this universal story of overcoming adversity by being oneself,” (Smith).

In fact, the plot originally did not include Paulette or Emmett, and ended with Elle entering a relationship with a professor, likely Callaghan.

While we can never know for certain, I find it highly likely that the original version of Legally Blonde would have become a rather forgettable summer romp in the typical “wet T-shirts and boobs” category, and we can thank God it changed.

Or rather, we can thank Luketic, Smith, and McCullah, and also Reese Witherspoon herself. It was Smith and McCullah who reworked the script, it was Luketic who fought for Reese, and it was Reese who knew her character well enough to make her who she is.

The writing dynamic duo Kirsten Smith and Karen McCullah were great friends before, having written 10 Things I Hate About You. They cite inspiration from Clueless, according to Blue Bear Magazine. Clearly, they knew what they were doing in the world of fun, fresh, and funky feminist films, and creating iconic rom-coms that put twists on the classics. The duo went on to contribute to Ella Enchanted, She’s the Man, and other classics that get referenced at every sleepover since they came out.

Director Robert Luketic, though he started his film education wanting to create something “edgy,” breaking the film school mold with Titsiana Booberini set the tone for him to emerging into a career in rom-coms such as The Ugly Truth, staring Katherine Heigl and Gerrard Butler, and Killers, starring Katherine Heigl again, this time with Ashton Kutcher, as well as episodes of Jane the Virgin, among other projects. While I am not overly familiar with these films, it is clear that Luketic has an understanding for a genre often marketed in Elle Woods-approved pink.

A film of this nature was clearly in good hands, and it is this team that truly made the masterpiece we all know and love today.

The trio have worked together also on the previously mentioned The Ugly Truth, which is testament to their teamwork.

But truly one of the biggest contributions to the project was Elle herself, as Reese Witherspoon is truly what made the film and th character both so iconic.

Reese Witherspoon

Luketic actually had to fight for Reese, as, given her last movie had been Election, she was believed by bosses at MGM to be similar to that character. Witherspoon told The Hollywood Reporter that MGM though she was “a shrew,” due to having been typecast in their eyes. However, Luketic remained convinced that Witherspoon was the right choice for the role, despite suggestions including Britney Spears, Katherine Heigl, and Alicia Silverstone among others.

The Hollywood Reporter article, again found on the Wayback Machine, titled “How Reese Witherspoon Took Charge of Her Career and Changed Hollywood,” relays Witherspoon’s involvement in Hollywood, and it is noted that for Legally Blonde that: “[s]he endured multiple rounds of auditions for Legally Blonde, at one point meeting with executives in character (complete with a Southern California accent) to show that she could ace the part.”

It is baffling to think that she had to fight for it. But as Elizabeth Gabler, head of Fox in 2000 noted, Witherspoon “doesn’t give up,” and if that isn’t the attitude of an Elle Woods, then what is?

Witherspoon said of Elle that: “(…)your first instincts is to discount women who put a lot of effort into their looks as maybe not serious about their job or maybe not serious about their relationships ... I think everyone naturally jumps to those conclusions(…)”

To me, there is a clear understanding of where Elle stands in the world, and how she wants to prove that she’s passionate about anything she sets her mind to. What strikes me especially is her telling The Hollywood Reporter in 2001 that, even though the word “fluffy” was used, Witherspoon stated “[she] take[s] it as seriously as [she] would any other movie.” Moreover, she did her research, having dinner with sorority girls in what she referred to as “an anthropological study.”

Reese Witherspoon became Elle Woods because she understood her internally. She immersed herself in the world that Elle is from and learned the differencs between the sorority girls and herself- the good, the bad, and the blonde of it all.

The Legacy

The team behind Legally Blonde truly created a masterpiece- a piece of art that has been inspiring a legion of creative and intellectual minds, and has been constantly doing so since 2001. In 2017, Reese Witherspoon told Wall Street Journal Magazine that “[at]t least once a week [she has] a woman come up to [her] and say ‘I went to law school because of Elle Woods.’”

Witherspoon was also handed a copy of entertainment reporter Lucy Ford’s college dissertation, that, in true Elle fashion, Ford presented to her in a pink ribbon. Elle’s own resumé being printed on pink paper and scented helps her stand out and be remembered, and Elle is a great believer in presentation and details, and it is an excellent lesson to take away from the movie. I’ll confess to personally making my CV pink too, because if it’s Elle-approved, it’s me-approved too.

There are a myriad of ways that Elle Woods has been inspirational to its steams of viewers. The article How Legally Blonde Influenced a Generation of Women Lawers on abajournal.com relays the range of the Elle Effect, noting both a friend of writer Haley Moss’ having bought a chihuahua because of Elle’s beloved Bruiser and the “plethora” of young women on social media. Some of said women were cited to have ‘thought the LSATs were possible’ thanks to Elle, and some of them were ‘just seeking fashion advice.”

So many voices have been added to the conversation about what a woman can be, having been inspired by Elle, as family law attorney Layla Summers told Spectrum News “When I watch the movie now I feel like I'm part of a great club of powerful professional women, like a sorority.”

This is a movie of joining women together from any walk of life and lifting them up.

The Lawyers

People.com also shares the legacy of Legally Blonde in the article lengthily titled “'Legally Blonde' Is 'Still' Inspiring People to Go to Law School – Plus, How Reese Witherspoon is Celebrating the Film's 15th Anniversary.”

It tells the stories of women who went to law school due to Elle and who connected to the character. Beginning with Shalyn Smith, the sorority president says she felt people would underestimate her ambitions for a career in law, “despite the fact that she had a 4.0.”

The article also features a series of tweets to a similar affect such as @kenzamae20 who tweeted at Reese Witherspoon directly saying “If Elle Woods can do law school I think I can too,” and @Gab_Tamburri who tweeted “I relate to Elle Woods in so many ways and honestly want to be like her when I get to law school.”

The Creators

The women of the legal profession have taken to the internet in droves under a pink flag waved by Reese Witherspoon herself too, as many other articles address. People.com spoke to Kathleen Martinez relays how in previous jobs sh was told that she should “dress more ‘consertavely’” and to ‘make [her male bosses] coffee,’” but npw she’s the head of her own immigration law team. She’s the head of a team of largely immigrants who are also mostly pink-loving women too. The article also points out that she held an “over-the-top Legally Blonde themed party” for everyone at her firm, so Elle’s influence and Legally Blonde’s Legacy are blatant and cannot be overstated.

In fact, the legacy is continuing, as Martinez has an impressive internet presence, with viral TikToks with 4.5 million views, and 1 million followers.

Mirror.co.uk also tells the story of Lowri Rose-Williams who spoke on how she feels ‘people assume she’s “an airhead” before they find out she’s a law student. She also relays that her experiences on OnlyFans contribute to the points of view that surround her as “many assume girls who use the app are ‘brainless.’”

Rose-Williams also expresss that “when people actually get to know [her] they change their mind,” which to me is certainly evocative of Elle.

A creator that I am a big fan of is Christina Stratton, who, in an article by Business Insider stated "I think back to the first day of college, and I would have never been bold enough to post an outfit of the day (…) I would have been too nervous about what all of my college friends would think.”

And yet now, she has a follower count in the hundreds of thousands, and is dubbed another “real life Elle Woods,” and while the article focuses on how she makes money from her brand deals, it is from her evocation of Elle Woods that her numbers have been garnered. Stratton wears almost exclusively pink in her videos, has a perfectly Bruiser-like tiny poodle, and has an Elle-tastic perky attitude that shows that she lives like Elle.

There is something about the unapologetically authentic aura of Elle Woods, from her optimism to her feminism, to her pinkness, that just appeals to people in so many ways. Elle Woods is who she is and becomes an even stronger version of herself, never changing for anyone. That’s who everyone who feels connected to her wants to be. Legally Blonde’s legacy is that of women who feel like they can do anything they want to, and do it in a heel. It evokes Dolly Parton’s famous line of “go big or go home, either way do it in a red pair of shoes,” but here they’re hot pink- but equally designed for stomping.

My Girlies

I reached out to my followers too to see what mymost supportive queens had to say, and it was plenty. naranjahtikal said: “I want to go to law school because of Elle! I also want to own a future textile company. I love the internal and external balance that Elle portrays as a woman.”

princessaninhas also responded, saying:

“I always wanted to be a nurse but people always told me that I didn't have the profile for that, they judged me by my way of being and dressing, they said I wasn't smart enough, there was a time when I was the only one who got all the answers right on a test (because I studied a lot) and the teacher said I was "lucky".Elle Woods taught me that we shouldn't care what others think, we should be ourselves and we shouldn't change our way of being to be what others want💕”

It is clear that Elle’s influence and the legacy of Legally Blonde are far-reaching and widespread. Legally Blonde inspires and Elle Woods represents having it all. You can be girly and twirly and kickass all at one, from law school to textiles, “we shouldn’t care what others think,” and we have to do things we want to do for ourselves.

A Conclusion

So, ultimately, what would Elle Woods do? I think the answer is that she would overcome a past that caused her to be overlooked and do what no one expected her to, creating a longlasting legacy for years to come.

Just as the story of Elle Woods is one of being overlooked for being too blonde for law school, only to set her eyes on the White House in Legally Blonde 2, the story of Legally Blonde is that of a movie that overcame murky origins and fought to become a feminist classic and went on to be the talk of the town in it’s twenty-second year since it’s release.

Thank you to Robert Luketic, Karen McCullah Lutz, Kristen Smith, and Reese Witherspoon among everyone else behind this most magical of films, and may we continue as a community of pink-loving, feminine feminists to keep the momentum going for those who came after us, becase that really is what Elle Woods would do.

#pink academia #pinkacademic #essay

89 notes · View notes

pinkacadessays · 10 months

Text

How Barbie: Princess Charm School engages with Class Inequality

Barbie: Princess Charm School engages with class inequality by presenting a story of someone being given the opportunities to escape their class experience. The twentieth film in the Barbie movies franchise of pink powerful (mostly) princesses is the tale of an unwitting princess raised in poverty and “unlocking her princess potential.”

In the fictional land of Gardania, Blair Willows is a hardworking young woman who is granted the once-in-a-lifetime opportunity to attend the titular Princess Charm School and train as a lady royal, giving her the skills necessary for a job in a royal household. It would put her up, likely for life, and allow her to fund her sick mother’s medical care and give her sister opportunities that Blair most likely hadn’t had at the same age.

While Blair does discover that she is in fact the long-presumed dead Princess Sofia, true heir to the Gardanian throne, she actually spends the majority of the movie’s runtime fighting the uphill battle against class inequality as the only commoner among the future princesses and well-off lady royals.

To preface, herein is an analysis of the plot and how aspects of Blair’s class background affects her character, but also brief interludes for speculation, though, as often as possible, it is inspired by or compared to real-life equivelents, due to Gardania being a fictional place.

A Brief Summary of Barbie: Princess Charm School

For those who do not follow Barbie movies as closely as gospel, like I have no shame in doing, Barbie: Princess Charm School is the story of Blair Willows, a young woman who wins the opportunity to attend a prestigious school, and who during her time there, discovers she is the presumed-dead Princess Sofia. During her time in Princess Charm School, Blair uncovers cruel plots by the devious Dame Devin, who is determined to put her daughter Delancey on the throne. She also meets Headmistress Alexandra Privet who tutors her in the skills she’ll need to pass her year in school, and Princesses Hadley and Isla who become her confidantes- and provide the necessary exposition.

Blair also meets Delancey Devin, who goes against her mother’s wishes and helps Blair, Hadley, and Isla to discover the truth, and places Gardania’s Magical Crown on Blair’s head, which reveals her to truly be the heir to the throne.

You can tell she’s Not Yet a Princess

Blair’s background is established from the opening scene of the film, which is a montage to the song “You can tell she’s a Princess.” While obviously the song is direct and blatant foreshadowing Blair’s identity being revealed later, it also sets up the movie’s key ideal that “there’s a princess in every girl.” How Blair shows this is through her hard work.

We see in the montage that Blair opens the Café Gardania in the morning, performing all of the necessary duties such as setting up the tables and chairs outside as well as the sign, and setting out the baked goods. We see her serving customers throughout the day, picking up tips to take home, and closing up the café in the evening.

Speculation: It is unclear who owns the café, and if it is a chain etc. Blair is the only worker seen, and what I consider to be likely is that the café was originally owned by her mother, with Blair working in it and possibly dropping out of school to help as her mother’s illness progressed, finally taking over.

Speculation: Blair gets access to all of the tips due to the café having belonged to her mother before her illness became too much for her. Blair has taken over in recent years, with it being likely that she never finished school and dropped out to make money to keep her family afloat. This may also be why the family are able to survive for a short period of time when Blair goes to Princess Charm School.

Regardless, it is clear that Blair is working hard in a working class position, establishing the position from which this essay will operate. As a note on the nature of speculations made within the essay, the majority of real-world comparisons will be made with Los Angeles, California due to it being a major city near El Segundo, the home of Mattel, and Malibu, the home of the character of Barbie Roberts and her family within her fictional universe separate to Gardania.

Living in a Blight

This establishment of Blair’s working class status indicates the first aspect of Blair’s class that is addressed in the movie, and that she works against over the course of the story: housing. Of course, not everyone can live in a castle, and while Blair is of course not expected to before Princess Charm School, the castle does serve as a vehicle to convey how Blair is faced with housing inequality.

When Blair gets home from her long day at work, we see that the Willows family lives in what is notably a “poorer area,” as Dame Devin later describes it as. We see the train track, which would cause noise polution, immediately making the area seem less-desirable. Blair also states that she wished they could live in a “better area,” and hoping for a “better place for [Emily] to grow up,” making it clear that it is not the place that Blair would ideally choose for her younger sister.

Speculation: It is implied also that the Willows family had to move from a nicer area, likely due to needing to save money for Blair’s adoptive mother’s medical bills. It is stated that Blair was found on a doorstep, heavily implying that the family used to have a doorstep, and a nicer home attached, likely in the suburbs.

Naturally, moving into a private school attached to a palace could certainly create feelings of inadequacy in Blair, and shows the stark contrast between what she had just come from. According to privateschoolreview.com, typical private school tuition in Los Angeles is over $16,000 USD in 2023, and according to salary.com, average waitress salary in Los Angeles is in the range of $23,000 usd, which means that without the lottery, living in Princess Charm School would be inaffordable for Blair. But it isn’t just the cost that makes the housing inequality obvious- it is the ammenities that Princess Charm School offers; this is not in reference to ammenities that might aid in education such as the ballroom and pool, but rather the vault and the security system.

The palace has an extensive vault full of trinkets beyond just the famous Magical Crown. It features references to Barbie movies such as a nutcracker toy, but what it represents is security beyond literal security for one’s possesions: it represents the financial security for possesions worth keeping secure.

When Blair enters her home, we see no visible lock, and while it presumably exists, it doesn’t quite compare to the impressive bank-type vault storage room in the palace. Vaults of this nature are comparable to the likes of Fort Knox, which, while it is significantly less-penetrable than Dame Devin’s date-based passcode, holds a significant amount of the USA’s resources.

On the same note, Hadley is familiar with the laser security system that is seen outside the main body of the vault. While laser systems as shown in the movie only exist to add drama in cinema, the kind of system can be implemented, and one to the scope of the vault would be expensive to set-up. While according to homeimprovementcents.com the upfront costs can be inexpensive, “if you want a more advanced system, you will need to pay more (…) you can spend more than you anticipated or within the budget range you had initially hoped for.”

It doesn’t appear that the Willows family have the kind of budget for even a lower-level security system. And of course, they don’t seem to have much worth stealing, with value of the sentimental variety being the key worth anything seems to hold.

One of the most major plot points of Barbie: Princess Charm School, and the one that largely prompts Delancey towards her own redemption, is Dame Devin’s plot to displace the less-fortunate people of Gardania, including Blair’s building specifically, in order to build a park. This is an aspect of housing inequality related to class as it is a distinct parallel to the history of Central Park- or rather, Seneca Village.

Note: While Los Angeles and wider California have similar issues, Central Park’s history as Seneca Village is an on-the-money comparison, as well as being arguably the best known.

The official Central Park website explains the history of the park:

“Before Central Park was created, the landscape along what is now the Park’s perimeter from West 82nd to West 89th Street was the site of Seneca Village, a community of predominantly African-Americans, many of whom owned property.”

The website also relays the destruction of the Village, noting that, “[t]here were roughly 1,600 inhabitants displaced throughout the area,” and that “[a]lthough landowners were compensated, many argued that their land was undervalued.”

This history strongly parralels not only similar events in the areas surrounding Barbie’s home of California, such as Bruce’s Beach, but also of Blair’s home in Gardania. Dame Devin refers to Gardania’s “poorer areas” as a “blight to the otherwise beautiful community,” announcing her plan, in Delancey’s name, to “bulldoze the buildings” in order to make room for “beautiful, rolling parks.” Upon Blair’s protests, Dame Devin states that the poor families will simply move elsewhere, to which Blair points out that those people can’t afford to “just pick up and move,” as Dame Devin implies.

“Comfortable? She should be all better!”

Taking a trip back to the earlier scenes, as Blair settles down in front of the old tv that has to be hit to function, we meet the representation of the next aspect of Blair’s class inequality. The reason for Blair being the sole-earner is her adoptive mother’s ill-health. While it is unclear what her mother ails from, it seems to be an on-going medical condition.

According to the Guardian, “[m]illions of Americans – as many as 25% of the population – are delaying getting medical help because of skyrocketing costs.” We can gather from dialogue that Blair’s adoptive mother has seen a doctor recently, but the jar of loose coins emphasises the scarcity of money to pay for these visits.

Meanwhile, to compare to one of the only living monarchs in real life, an article by StyleCaster states that “King Charles’s net worth is $600 million.”

It can be assumed that the princesses and non-commoner lady royals would be able to pay for Blair’s mother’s medical bills, but Blair does not have that kind of money. Even if we were to assume that princesses are more like senators than real-world royals, given the sheer number of princess graduates in Blair’s class, we can compare to Senator Alex Padilla of California who, according to incomepedia.com ”earns anywhere from $174,000-$200,000 annually.”

While that’s not exactly comparable to King Charles, it is not exactly comparable to Blair’s hypothesised $23,000 either.

Ultimately, any of the princesses could likely pay for Blair’s mother’s medical bills, and Blair just would not have that money without the Princess Charm School scholarship.

Royal Skills put to the Test

The mention of the scholarship thus brings us to the point that dominates the majority of the plot of the movie: education inequality as a result of class. Blair is awarded the amazing opportunity to attend Princess Charm School on a scholarship as rewarded by the annual lottery, which Headmistress Privet refers to as a chance to “change her life forever.”

However, while sprites such as Grace exist in Princess Charm School with the role of personal princess assistants, the lottery win is not the magic-wand solution Blair’s sister Emily seems to have hoped.

Headmistress Privet informs Blair that “only twenty-seven percent” of the lottery girls even make it to graduation, meaning Blair has just over a one-in-four chance of getting the “better life” for Emily and her mother.

This chart by slate.com highlights the very same point that Headmistress Privet warns Blair about: how likely it is that she will not be able to complete her year in Princess Charm School. She asks Blair if she “has what it takes,” but as this chart displays, it might not even matter how hard she works: If we compare becoming a princess or lady royal to a bachelor’s degree, Blair as a low-income student has to give it her all just to have a comparable chance to a middle-of-the-road princess.

Speculation: It is unclear as to whether Princess Charm School is more comparable to a university or high school setting, as it seems to be a one year course. That said, most of the students seem to have an established knowledge of how the school operates, indicating that it is more like a high school and they have all been there for three years prior to the film’s beginning, especially as we see classes going on as Blair enters.

The last point of the speculation is the most crucial, however- classes ongoing implies that Blair is either joining mid-year or before the start of the final year of multiple. It puts her at a distinct disadvantage compared to her peers.

The system of Princess Charm School, regardless of unclear details of the nature of the institution, works against Blair as she tries to advance, with her family as her constant motivation. Just like how the same article on slate.com references that:

“sociologists Elizabeth Armstrong and Laura Hamilton documented the ways that one large state flagship university sacrificed the needs of poorer undergrads in order to cater to the desires of mediocre but wealthy students looking to spend four years tailgating and doing keg stands,”

Dame Devin shows favouritism to Portia, a princess who is visibly failing a class exercise, over Blair, who Dame Devin actively wants to saboutage. In her poise lesson, Dame Devin instructs the princesses and lady royals in how to maintain correct posture and walk elegantly while balancing books on their heads. Dame Devin gives harsh criticism to the majority of the class such as comparing one girl to a “migrating duck,” and suggesting another seems “crazy,” but Portia, who is shown to seemingly be one of few friends her daughter Delancey has is “doing fine” even though she is carrying the book over her head.

In fact, Dame Devin sighs and put her head in her hand upon witnessing Portia’s inability to perform the task, in a way that implies this might be a common occurance. Teachers in Princess Charm School are well-used to Portia’s incompetance, and yet, it is Blair who is “utterly unfit for the royal life.”

Speculation: Portia’s kingdom is considered one of the most important to maintain a relationship with for Gardania, hence her getting away with this when no one else does, and hence her being Delancey’s friend.

Dame Devin’s petition to Headmistress Privet for Blair’s expulsion is also an indication of another aspect of education inequality as a result of class, as, instead of expelling Blair, Headmistress Privet offers to tutor her personally. This in and of itself has aspects, the first being another addressing of income, as Tutors.com states that “[o]n average, a private tutor costs between $25 and $80 an hour.” And, again, Blair’s potential income is not likely to account for such things.

But also, noting Headmistress Privet’s earlier note of only 27% of lottery girls making it to graduation, would more of them have succeeded if they’d also been given the same chance as Blair? Is the vast majority of these girls failing a result of lottery girls being as “unfit” for the world of princesses and lady royals, or is it a result of a failure in the system that Blair was luckily handed the opportunity to avoid?

An article in the Guardian outlines a tutoring scheme that involved university students volunteering as tutors, and highlights that one student says “the one-to-one support has “really made a difference” to her understanding of the key concepts in biology.” So, if that same logic could have been supplied to many of the lottery girls that had come before Blair, who knows how many could have become lady royals with their “pick of any lady royal position,” just as Headmistress Privet said Blair could.

Blair’s friendship with Hadley and Isla, while both of them lift her up as best as they can, serves to emphasise the gaps in knowledge Blair has as a result of class-based education inequality, be it due to losing time in school from having been working, or by the lower standard of education she’d have been used to at that point. Going back to the article on slate.com, “the Department of Education found that slightly less than ten percent of high schoolers from poorer families had top math scores, compared to 48 percent of those from wealthier backgrounds.” While the example here is maths, Blair’s history knowledge of her own country compared to her royal counterparts is lacking to a similar degree. It is Hadley and Isla who tell Blair about Gardania’s Magical Crown and the rumours about the car crash that killed Queen Isabella and King Reginald. Without their knowledge, the trio would never have placed the true heir of Gardania on the throne.

Mother and Daughter: Pulling up the Ladder, and Lowering it Back Down

Making a return to the devious Dame Devin, her actions are an example of “pulling the ladder up behind oneself,” which addresses an issue in class-climbing that can be prominant in leadership positions. We learn from Hadley and Isla that Dame Devin was once a lottery girl too, but is now hellbent on Blair’s distruction, appealing to Headmistress Privet for her expulsion from the school. Of course, we learn later that it is due to a far more sinister plot for power, but nevertheless, Dame Devin’s actions represent a huge class-related issue. The Australian newspaper The Sunday Morning Herald wrote an article about women in positions of power who, according to Lucy Brogden, “were refusing to help other women repeat their success.” If Dame Devin had had half the heart that Delancey has of her own volition later on, she could have recognised herself in Blair, recognised her own struggles, and been the one to tutor her. She could have helped every lottery girl between herself and Blair.

Instead, her jealousy and her desire for the throne- and her desire to keep her murderous past hidden, no doubt- kept her from showing kindness, and ultimately led to her downfall.

But Delancey chooses another path:

The other key aspect of why the plan succeeds is Delancey’s reformation. Her leaving a window open for the girls within the palace walls is what allows them to get anywhere near the vault. Going against her mother, Delancey is able to lower the ladder back down. Where in the Sunday Herald article Mrs Brogden states:

“Women argue that far from nurturing the growth of other female talent, they see colleagues pushing aside possible competitors by undermining their self confidence and professional standing,”

Delancey chooses to stand against that, stating she “want[s] what’s right.”

And actually, that’s a rarely-seen example of class interaction: the wealthier choosing to join a lower class status and handing the higher status to another, which is the undoing of Dame Devin. Because Delancey handing Blair the crown, lowering the ladder to her is how Blair is not only able to climb up too, but to offer something back: Delancey’s lady royal tiara.

Crowns on our Heads, Lights in the Air

And thus leads us to the concluding point that the film wants us to reach. While not every working class young woman can be the secret princess, Blair and Delancey’s swapping of roles is proof of Blair’s final words that end the film: “there’s a princess in every girl.” This is a representation of how Barbie: Princess Charm School engages with class inequality- by addressing many aspects of class, the damage that can be done, and how much work it will take to undo that damage- but by working together, Blair, Hadley, Isla, and Delancey and able to create something more powerful than the differences between them.

Barbie: Princess Charm School represents the class struggle of a young woman who did not have access to the same things as her princess peers by showing every aspect of class that Blair has to overcome in order to arrive at the position that she is in at the end. But it also shows that, it is the actions of those with the privileges that truly make it possible for Blair to attain the crown.

It is Hadley and Isla who bridge the gaps in her knowledge, Headmistress Privet who teaches her the skills she’ll need to govern, and Delancey who hands her the crown. Even tiny acts of kindness such as Miranda handing Blair a slice of strawberry swirl are the kinds of details that keep Blair going, and without which, Dame Devin would be using her daughter as a puppet to drive Gardania into the ground.

Blair’s hard work gets her far, but it is her Princess Charm School allies that allow her to overcome class inequality once and for all, which is truly the most important aspect of how Barbie: Princess Charm School addresses class inequality.

#pink academia #pinkacademic #essay

193 notes · View notes