There doesn’t have to be an
apocalyptic back story. No
end-of-the world narrative at all.
The genre of “fantasy” is about as
serious a genre as one might encounter
in the world of fiction. Whatever adaptation,
and they have been multiply significant, which
in the world of fiction. Whatever adaptation,
and they have been multiply significant, which
characters held the control, whether the wives were
androids, and when and how the audience is cognizant about anything
of which the characters are unaware of - Is there any omniscience
within the story?
Are the Stepford wives cognizant? When and how and on what level are they relatable? How about when Glenn Close
begins stepfordizing the men? Do the ladies really have POWER?
Are the Stepford wives cognizant? When and how and on what level are they relatable? How about when Glenn Close
begins stepfordizing the men? Do the ladies really have POWER?
Were they robots unable to play along, each and all? No, this doesn’t seem to be the case. And again, has Close provided new deep meaning
in the switch of the role of the sex of the automatons from female to potentially male? What if
Rose Byrne and Ted Danson played roles in this all-star more serious less campy but funnier version, would the timeframe reasonably allow for the possibility that these
three actors worked together before, in the dystopian Damages? And why’d I just pigeonhole Damages into the dystopian.
of being able to control Nicole Kidman by the various methods vaguely referenced earlier. Close with some sort of feminist
fantasy. This is not generally what we call the genre of fantasy, am I right? I know there are android bleeps
and bloops mixed throughout some of these individual plot-lines. But what about
Maybe I’m thinking about how sc-ifi turned so dark after the 1970s and 80s.
so many more years before I could ever begin to understand camp and its relation to this stuff. This is
what I glom onto now, but what of it? Where do we find the optimism now?
in the switch of the role of the sex of the automatons from female to potentially male? What if
Rose Byrne and Ted Danson played roles in this all-star more serious less campy but funnier version, would the timeframe reasonably allow for the possibility that these
three actors worked together before, in the dystopian Damages? And why’d I just pigeonhole Damages into the dystopian.
Milk the fantasy, rewrap the bleak, be Matthew Broderick nerdily in charge of the subservient wife fantasy;
of being able to control Nicole Kidman by the various methods vaguely referenced earlier. Close with some sort of feminist
fantasy. This is not generally what we call the genre of fantasy, am I right? I know there are android bleeps
and bloops mixed throughout some of these individual plot-lines. But what about
the dragons of phantasy as they blobbily move from Ursula LeGuin to George R. R. Martin. Or Heinlein (he was my favorite in middle school)?
Maybe I’m thinking about how sc-ifi turned so dark after the 1970s and 80s.
The optimism dissipated, then basically disappeared. All of this stuff. All of this relatively insignificant stuff
is meaningful to me because of my very personal and precocious relationship with these writers/characters,
my act of engaged reading at that young age, of so much of it, strapped in with the endless optimism in the earlier bosses of science fiction. But it would take
so many more years before I could ever begin to understand camp and its relation to this stuff. This is
what I glom onto now, but what of it? Where do we find the optimism now?
Now what have created by opening it all up, and expressing it so longingly
and hopefully, just so?
