i end up writing a love letter to cooking crush every week now it seems and it deserves every single one. mise en place was bound to win, we knew this. they were always more privileged, more experienced, more technical... more shitty. but once the competition was done they were done. they didn't matter an inch in the story or in the three must-eaters' lives after that. and that's beautiful. and so is everything about fire and dynamite. and honestly? everything about dynamite, fire, and fire's mom. i love all three of them together. they made me cry. i cried watching fire's mom begrudgingly admit to dynamite that she loves the food he got her, she's just not allowed to eat it. i love that dynamite gets a mother who is exactly as standoffish as he likes his relationships. that he has built himself such a thick skin that he can handle it but also any form of acceptance from that standoffishness means everything and he gets all of it. he gets the kind of love he wants, he gets someone who won't take the easy way out and blame their relationship on him, who will stand up for who he is to his mother. something which clearly was a product of dynamite's presence and influence in his life. fire was ready to give it all up for him. he knew that dynamite's parents had disowned him for coming out and he was ready to do it. not just for dynamite but for himself. and he was ready for a while. he was ready when he announced their relationship without even waiting for the competition to be over. he was ready and prepared and he did it, however it turned out he did it. and they made me cry. i love that samsee and metha aren't romantic. metha is just everywhere and vibing and pissing off samsee but always constantly in his life. i love how completely crack samsee and paeng are. i love that all the dialogue in their confession was narrated by prem. this is the kind of crack i am here for and they did it perfectly. i never wanted samsee and metha to be together and i got my wish in the most unhinged way possible. i love how important food was in this show. i love how the relationships centered food. i love how food was a means to communicate in so many different ways - love of all different kinds, across generations, preserving memories and feelings and creating new ones. i love this show so much. i love that it exists and i love that i got to watch it. my one wish before i came out was that the food matters and that it's a main character. it more than did that. i love that the relationships never wavered and they were never the main source of conflict. it was a fun little slice of life and when the going got tough they all got through it together. i can keep going. i'm going to stop. i love you cooking crush.
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Into the Woods is clearly a story about growing up, but I want to acknowledge the underlying sexual themes in the story, specifically growing into one’s own sexuality, because there are so many allusions to that and I can't be the only one seeing it.
Fair warning, this analysis is going to be a mess.
CW: Discussions of rape and pedophilia.
(Also, when I refer to "sexuality" and "sexual indentity," I'm not taking about one's sexual orientation, but rather one's interest in sex and relationship to it.)
1. The Witch
I’ve always seen the Witch’s backstory as a metaphor for rape. When she says the Mysterious Man was “Raping [her],” she means that he was stealing from her. However, even since biblical times, gardens have represented temptation, maturation, femininity, and sex. The witch was told from a young age to protect her garden, and when the beans are taken, she feels an intense loss. She is cursed with ugliness because she has been “deflowered.”
This was clearly a traumatic event for her, much like how sexual assault is traumatic for victims. It reminds me of the scene in Maleficent where her wings are taken from her while she’s asleep. There’s something so graphic about it. From a young age, girls are taught to protect our virginities, and if we are too proud of it then it will get taken away from us. We are shamed for being comfortable in our sexual identity, but at the same time we are forced to make it a huge part of our identities. The Witch does not know who she is without her power, and the thing she loved most was taken from her.
2. Baker’s Wife
BW is also shamed by the narrative for having a sexual identity. We can infer that she’s had sex with the Baker because she knows they can’t have children, but the only time she is explicitly shown as a sexual being is when she cheats on him with Cinderella’s prince, which results in her demise. Again, female sexuality is seen as destructive.
3. Cinderella
Cinderella’s character doesn’t have any explicitly sexual themes like the Witch or BW, but I feel like that’s intentional. BW admits to Cinderella that she’s attracted to the Prince. It’s all described in a very tame way, but given the fact that BW has sex with him in Act 2, we know in hindsight that there is some sexual desire there.
Cinderella doesn’t show any desire for the Prince. She talks about how amazing the ball was, but doesn’t talk about the Prince unless BW coaxes it out of her. It’s weird to BW that Cinderella isn’t really excited about him, because shouldn’t all women feel that way?
I don’t think Cinderella is attracted to men at all (I see her as a lesbian or aroace). Her arc ends with her dumping the Prince, thus claiming her independence and rejecting the traditional expectations of female sexuality.
4. Rapunzel
The Witch projects her own trauma onto her “daughter” (bc uhhhh generational trauma 🤪). While she is undoubtedly abusive, you can see why she wants to protect Rapunzel from the world so badly.
Rapunzel’s first introduction to the world is by a man who enters her home and has sex with her after knowing her for maybe a day or two. We don’t know if she was the one who asserted the sex, but given the fact that she lived in a tower all her life and doesn’t know anything about the world, I doubt it.
Despite how dubious the consent is, Rapunzel probably enjoyed it since she was so happy to reunite with her prince after. Sex should be a beautiful and exciting thing, but she pays the price by becoming pregnant, another thing that I highly doubt she was educated on. Imagine how terrifying that must have been, to wonder why your body is changing so durastically, then giving birth to TWINS. Nightmare fuel.
Rapunzel’s storyline reminds me of Wendla’s in Spring Awakening. A sheltered girl is entering womanhood, but because she isn’t taught how to handle these aspects of life, she is sort of taken advantage of by a more experienced partner, and her first time having sex isn’t 100% consensual (even if she enjoyed it), she becomes pregnant, then dies. Rapunzel and Wendla never get full control of their bodies.
So, yeah, teach your children about sex because “children will listen.”
5. Little Red Riding Hood
Most actors portray the Wolf as a lustful character with lots of sexual undertones. The story of Little Red Riding Hood does sound a lot like a story about a little girl getting taken advantage of by a predator. That IS the story, even if it’s about a wolf eating her instead of a pervert molesting her. The lyric “Look at that flesh, pink and plump,” has undeniably sexual undertones. He’s attracted to her youth and purity (cough cough her virginity). He reacts to her the way a pedophile would react to a child. And yes, it’s disgusting.
Many victims of pedophilia don’t see the perpetrator as a threat initially. They’re kind, funny, maybe even give you treats. That was how Red initially saw the Wolf.
Red’s solo, I Know Things Now, is about not trusting strangers. All children are told to not trust strangers. In fairytales, it’s so you don’t get eaten by a seemingly-kind wolf. In real life, it’s so you don’t get kidnapped by a seemingly-kind adult. She acknowledges that “even flowers have their dangers,” again drawing the parallels of nature and sexuality.
Young girls are seen as women once they are objectified by men (hello barbie movie). So, we learn to be wary of men by protecting ourselves with keys or pepper spray. Red begins her introduction into adulthood once she is objectified by a wolf. She learns to be wary by protecting herself with a knife. However, Red reclaims her power by wearing the Wolf as a coat. She's hardened by this experience, which is tragic because she's still a child, but she holds her head up high by wearing her abuser's dead body. She views herself as a survivor. That's a power move.
6. Jack
Jack’s solo also has some sexual undertones, though less obvious than Red’s. The Giant’s Wife “draws [him] close to her giant breasts” and he "come[s] back again, only different than before."
In real life, boys are congratulated for having sex, but girls are shamed. Jack and Red, the two tweens in the show, have the same reactions to their pseudo-sexual experiences. Jack becomes greedy and impulsive, but Red becomes wary and guarded.
While I don't see Jack as a victim of the giant in the same way that Red was a victim of the wolf, his experience also parallels how male victims are treated (if you want to interpret his experience as statutory rape). They are congratulated for being assaulted because boys are expected to always enjoy sex (even though assault/rape are not sex!). Jack's Mother is the only person who acknowledges that he could have been hurt, and that he is "still a little boy." But of course, she gets killed trying to protect her son from that danger.
7. The Princes
I’m lumping the two princes together because they’re very similar. Much like men in real life, they rarely face the consequences of their actions!!! They treat women like prizes (evidence: all of Agony), but soon after, they cheat on the prizes they used to want so desperately. They aren’t satisfied because the patriarchy teaches men to view women as sexual conquests.
Also, it’s notable to me that after CP and BW have their affair, BW has to pay a much bigger price. While CP is dumped by his wife (and tbh he’ll just move onto the next girl), BW is literally KILLED. The Giant is not literally killing her for having sex, but it’s rather coincidental that these two events coincide.
BW and CP’s aftermath is similar to the real life aftermath of sex. If you’re a man, you’re gonna be fine. If you’re a woman, you need to pay a price because you’re a whore. I’m not saying BW should have cheated on her husband, because that’s wrong. But it takes two to tango, so it’s interesting that CP gets out scott-free. On the plus side, CP is still seen as an asshole and BW remembered as a loving person despite her flaws. A slight win despite all of the tragedy.
Anywho, that my spiel. I may edit it in the future, but I was just in a production of Into the Woods and HAD to get my feelings out at once. Toodles.
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