Women in Action 2017-2018: Part 1 – 2017 Review

The year of 2017 had a lot of movies released and the “summer” blockbuster season has now crept into February, though troubled or uncertain productions are still dumped in the early part of the year. Combine that with twice the usual number of big budget pictures released for the holiday season along with the Oscar bait movies, and the impact of the actual Memorial Day to Labor Day season becomes somewhat less important. A number of the big films in 2017 were well received on content, such as the British WWII production Dunkirk (a film with nearly no women in it,) which bodes well for ambitious plans in 2018 and 2019. However, there were a hefty number of large flops and franchise movies that failed domestically in the U.S. and were reliant for most of their profit on world box office, leading the whole summer take to be down over 10% for the year.

Hollywood is combatting the appeal of large amounts of acclaimed and varied television by trying to coordinate big franchises with a t.v. side (see Marvel and D.C. Comics,) and with reserved seating, reclining seats and better food options in U.S. theaters, plugging it as a cheaper night out than a concert or play ticket even with film ticket price raises. They are heavily dependent on securing box office in Europe and Asia, where China has only a limited number of slots for foreign films, leading to a continued reliance on established spectacle that can lead to costly disasters and is likely not sustainable. (Asian movies themselves have been doing very well in box office, frequently rivaling the English-language Hollywood market, but I have some difficulty getting info on those and the actresses that may be in them.) Studios keep trying to reboot old properties they own as less expensive launches that will have foreign name recognition or nostalgia value in the States, but that frequently has not worked that well beyond the superhero and Star Wars films, and a number of the older reliable franchises like Transformers seem to be running out of steam.

In the U.S., smaller budget dramas and comedies are actually finally getting a boost, as they can turn tidy profits – and that’s an area where women have been allowed to take a bigger role the last decade. Horror films, another good area for actresses though it tends not to make them stars, also seem to be immune to market shifts and usually have tiny budgets for maximum profits in the U.S. and abroad. Hollywood seems to have temporarily lost some interest in adapting bestselling YA SFF this year, a sector that helped young actresses, with the last Divergent and Maze Runner films both delayed, which again may limit the chance of new franchises if the trend continues.

After seismic events in 2015 and 2016, in good part thanks to Disney’s Star Wars franchise, 2017 proved to be fairly impactful for women actors in action, if maybe a bit more muted on those lower budget thrillers and horror flicks that were women-led. A number of those smaller thriller films starring women got pushed back to 2018, like the spy thriller Red Sparrow and trippy SF film Annihilation. There were also a few high profile flops for women-led films, such as (very predictably) Ghost in the Shell, the Flatliners sequel and adventure comedy Snatched.

In terms of box office wow for 2017, however, women-led action films did land with a determined thump. Once again, the number one worldwide box office film for the year was December release Star Wars VIII: The Last Jedi, rocketing to over $1.3 billion in under two months. Daisy Ridley reprised her lead role as young Jedi candidate Rey, squaring off with Mark Hamill playing a guilt-stricken Luke Skywalker, trying to save the son of her mentor Han Solo and deciding to take her destiny and identity into her own hands. The sprawling and complicated middle film of the new SW trilogy also let the late Carrie Fisher shine in what was to be her last performance as General Leia Organa, (she also helped with the script,) and had Gwendoline Christie’s First Order Captain Phasma trying to enact revenge on her former stormtrooper Finn. It added Kelly Marie Tran as rebel mechanic Rose in a key role, Laura Dern as Leia’s right hand woman, Vice Admiral Holdo, and Fisher’s daughter, Billie Lourd, as a rebel Lieutenant, with Lupita Nyong’o reprising her alien role in a cameo. All of that apparently made some macho posturers mad, but everybody else had a good time and the Star Wars juggernaut is firmly secure.

The bigger supposed gamble was DC Comics/Warner’s first entry of the year for their slow building franchise, the final arrival of the Wonder Woman movie in the summer, starring Gal Gadot and set in WWI without a Superman or Batman in sight. The plot of the movie was a bit flimsy, as superhero films are wont to be, but Gadot gave a stellar performance, backed up by a bunch of actresses as the Amazonians, led by Connie Nielsen and Robin Wright, Elena Anaya as a scarred German scientist, and scene stealing British actress Lucy Davis. The strong action scenes and interesting visuals carried the day and Wonder Woman brought in over $821 million in world box office, putting it in the top ten for the year. More importantly, it produced a DC franchise film that not only made money but that most people liked, with some actual solid humor to it. There was a lot of pressure on this movie, and it delivered, so much so that they had to adjust the Justice League movie to give Wonder Woman a bigger presence and bring in some of the Amazonians for it. Wonder Woman 2 has been greenlit as part of the DC franchise and it will keep its female director, Patty Jenkins, who now holds a box office record for a woman director.

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Women in Action 2017-2018: Preamble

So 2017 was a year, wasn’t it?

Six years ago, I started looking at how actresses were advancing and not advancing in movies in terms of the big star parts in big budget and high status films, mainly action, suspense, SFFH and action comedy. Women have been frequently blocked from major roles in those films, especially having fewer opportunities to be the lead role, as well as kept as much as possible from working behind the camera. (Women make up only about 12% of the directors for film in the main English language market.) They’re paid considerably less than their male counterparts, as people have been made aware, even though on average they have a more reliable track record for bringing in profitable box office. They are given fewer lines of dialogue than male actors, even when they’re in the lead role, and often fewer action things to do, even though women performing action and fight work has increased overall.

When I began doing this, in 2012, that was something of a turning point year for women movie stars in high profile action, so much so that the media actually noticed and called it rather optimistically the “Year of the Women.” The question was then, would that momentum build or sputter out. The answer seems to be that over the recent years the momentum did build, leading to gains for women actors. But an acceleration of women’s roles doesn’t mean that the increase is going particularly fast, given from where it started. For women, it has been a continual slow process of trickle, trickle erosion in what they are allowed to do, and most importantly, how often they’re allowed to do it, and how their participation is viewed in the industry.

In Hollywood, the (mostly white) men who still run most of the film dream factory are heavily focused on their status, on how other men see them, to bolster their position in their jobs. They are thus deeply invested in the idea that (mostly white) male actors are better for big action films, more competent and more popular, leading to a system that also sees men as better at doing the production and financing of movies (and thus reducing the competition in their field.) For Hollywood executives, even the women ones, an action movie with a female lead that does well has less status than working and hanging with a male movie star. The status of male movie stars is also carefully propped up with higher pay, and bigger budgets and wider promotion for their films, even though costly flops are not uncommon. To keep that system of male bonus points and high status going, Hollywood still tries as much as possible to treat women either as exploitable gophers (on the production side,) or replaceable eye candy (as actresses.) Hollywood brands action movies that don’t do as well with women leads as evidence that all actresses can’t carry franchises reliably, while successes of women-led movies are often dismissed as having only niche appeal and/or being flukes.

But there is eventually a limit to how much your status bonus points can get you versus actually producing real money in Hollywood. If one studio makes a woman-led action picture that does well, there is pressure on other studios to try to do woman-led films like the hit one. While global audiences have become essential for big movies, it’s often very unreliable (and not really hostile to women either,) and so domestic U.S. box office is still a concern — and the biggest group going to movies in the theaters in the U.S. are the women. The more women-led action films there are that do well, the less convincing the business arguments that women can’t bring in reliable box office and handle franchises, that they’re niche and narrow in appeal, sounds to people. Actresses continue also to leverage the star power they do have to form their own production companies and launch projects featuring themselves and other women off the ground, a number of them doing very well. So while things are still slow and Hollywood tries to block women – and itself – with as much foot-dragging as possible, at this point the industry would be hard-pressed to try to turn back time and keep women from the big roles and action pictures, even if it wanted to do so.

But star power and the lure of money weren’t the only things that had an impact on the industry with regards to women this last year. For a very long time, women and others have been trying to improve the workplace conditions in the industry, specifically with regards to sexual abuse and harassment of workers, which are endemic to it, particularly in targeting and controlling women. Such abuse is not only traumatic and often criminal, it discriminates against women, helps depress their salaries, and drives many of them out of the business altogether. The horrible case of Bill Cosby, everybody’s dad whose history of serial rapes got amplified media attention and legal prosecution in recent years, not only drew focus to sexual abuse in the industry but showed that media, the courts and the public might now sometimes start to listen if victims banded very publicly together. This came to a boil in the subsequent case of influential producer Harvey Weinstein in 2017, who really should be in jail along with half the people who worked for him. The fact that Weinstein’s victims were also so numerous and that many of them were high profile actresses whose careers he tried to ruin caused the media endless fascination, and from there the boulder rolled – directors, screenwriters, actors, and further ripples in every industry from tech to the government.

The reverberations are still going on, including a few court cases and a smattering of firings. In Hollywood’s case, it ripped the lid off of just how bad the industry remained. And this has caused some surface changes in the business that may run deeper, given that an entire woman’s movement is blazing through the industry like a tornado. Hollywood is promoting its women-led movies a lot harder, it’s facing an army of actresses on pay inequality and professional treatment, and it’s finding its facile excuses for its discriminatory system and for only slowly changing that system to be constantly challenged. It’s too early to know if large changes are really going to happen from all this, especially given the current government in the U.S. But it has given a special significance to the women-led movies that came out in 2017 and a white hot spotlight on women actors and women-led big movies for 2018.

So let’s take a look at the tumultuous year of 2017 for women in the movies and where things are going in 2018.

 

 

Death of the Female Movie Star? We’re Just Getting Started, Part 1

Death of the Female Movie Star? We’re Just Getting Started, Part 2 (2011/2012)

How Are You Ladies Doing? (mid-year 2012)

It’s Time for Women in Film (2012/2013)

The Female Movie Star Lives in 2014, Yearly Update, Part 1 (2013 review)

The Female Movie Star Lives in 2014, Yearly Update, Part 2 (2014 preview)

Women in Film, Part 1: 2014 Review

Women in Film, Part 2: 2015 Preview Analysis

Women in Film Take the Stage, Part 1: 2015 Review

Women in Film Take the Stage, Part 2: 2016 Preview Analysis

Women In Film — Part 1: 2016 Review

Women In Film — Part 2: 2017 Analysis

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We Will Miss You Ursula Le Guin

So we got the sad news that author Ursula Le Guin passed away at the age of 88.

Le Guin was the only woman and the last of the SF Lions, the authors considered the most monumental, seminal voices in modern SF whose name every fan knew, along with Isaac Asimov, Arthur C. Clarke, Robert Heinlein and Ray Bradbury. A thoughtful professor married to a professor who supported her writing, a brilliant speaker and an advocate and inspiration for numerous writers, her impressive body of work from 1962 right up until her death made her an icon. Her major best-selling fiction works like The Left Hand of Darkness, The Dispossessed, The Lathe of Heaven, Lavinia, “The Word for World is Forrest,” “The Ones Who Walk Away from Omelas,” and “Vaster than Empires and More Slow,” are staples of school curriculum and winners of multiple awards, including five Hugos and six Nebulas. They explore remarkably what it means to be human. Her fantasy Earthsea trilogy, written for teens, has become a core text of epic fantasy and coming of age literature. The series won a World Fantasy Award, the prestigious Newberry Honor Award and the National Book Award for Children’s Literature. It was the first of many works Le Guin would write for teens and children.

Le Guin became the leading name in a literary movement of women authors eventually dubbed Feminist SF, which helped open the way for so many women writers in the SFF field, even as she took some sexist heat for exploring such themes in some of her work. She used LGBTQ characters and non-white characters in some of her works and supported authors in both of those demographics in bigger roles in SFF. Beloved by fellow academics, she gently schooled those with misconceptions about SFF literature and dismissed with polished acerbity her own editors and others’ claims that her works or others transcended SFF to be literature instead of simply were literature as SFF. In 2014, she was awarded the National Book Foundation Medal for Distinguished Contribution to American Letters. She was made a Grandmaster of Science Fiction in 2003. The U.S. Library of Congress designated her one of their Living Legends.

Le Guin also wrote non-fiction on writing, SFF literature and her own career, many of which have continued to inspire and influence many fiction writers. Her last publication in 2017 was the collection of non-fiction essays No Time to Spare: Thinking About What Mattersa fitting one to end on perhaps. She represented for so many what was possible, with intelligence, curiosity and a wonderful command of the language. She was known all over the world.

There is a word in our language that, for me, best describes her: nonpareil — someone who has no equal. That was Ursula Le Guin, and we will miss her.

 

“Love doesn’t just sit there, like a stone, it has to be made, like bread; remade all the time, made new.” — from The Lathe of Heaven

“No, I don’t mean love, when I say patriotism. I mean fear. The fear of the other. And its expressions are political, not poetical: hate, rivalry, aggression. It grows in us, that fear.” – from The Left Hand of Darkness

“We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains.”

“We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art, the art of words.”

“I think hard times are coming…We will need writers who can remember freedom. Poets, visionaries—the realists of a larger reality.”

 

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Hire Artist Natasha Alterici!

Artist Natasha Alterici put out that she has slots available for up-coming commissions in February. Her stuff seems pretty good so check her out if you are looking for a cover artist or other artistic needs:

 

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Holiday Loot

Lookee what I got over the holidays:

 

When people want to know what I want as gifts, usually I say books, so this was my most recent haul. Most of these are continuations of series I’ve been reading, but I also got three new works, including two from authors I haven’t read before.

Going from left corner top clockwise, I got the final book in Linda Nagata‘s military technothriller SF trilogy — Red: Going Dark; the latest (Book #6) in Diana Rowland‘s zombie SF mystery thriller series White Trash Zombie: White Trash Zombie Unchained; Kat Howard‘s first novel in her new contemporary fantasy series An Unkindness of Magicians; Jim C. Hines‘ new venture in comic SF — Terminal Alliance; Karina Sumner-Smith‘s concluding volume in her post-apocalypse secondary world fantasy trilogy — The Towers Trilogy: Towers Fall; the second in N.K. Jemisin‘s acclaimed apocalyptic secondary world fantasy trilogy Broken Earth: The Obelisk Gate; Fonda Lee‘s new novel starting a secondary world, post-industrial fantasy crime series — Jade City; Ann Leckie continuing the world of her acclaimed SF Ancillary series in a spin-off Provenance; and Chuck Wendig continuing his contemporary fantasy series with Book #4 — Miriam Black: Thunderbird.

I’m looking forward to reading through them over the next few months. The cover art on all of them is really good and quite varied in approach. There wasn’t really a theme to this year’s haul selection, other than a “let’s kill off some of the trilogies” approach and some “oh look, a new book in the series” selections. But I did end up with a fair amount of SF and contemporary-styled fantasy titles as a result. There is a whole other queue of titles that will be the gift selections for later and that are a fairly wide range. For the two new authors, Kat Howard and Fonda Lee, both of these novels have been much talked about in fandom and both sounded interesting to me. Once I’ve read them all, I’ll let you know what I think of them. Feel free to share any works you got for the winter solstice/new year.

If you want to check out these authors and their works further, links to their official websites are provided below:

Linda Nagata: http://www.mythicisland.com/

Diana Rowland: http://www.dianarowland.com/index.html

Kat Howard: http://www.kathowardbooks.com/

Jim C. Hines: http://www.jimchines.com/

Karina Sumner-Smith: http://karinasumnersmith.com/

N.K. Jemisin: http://nkjemisin.com/

Fonda Lee: http://fondalee.com/

Ann Leckie: https://www.annleckie.com/

Chuck Wendig: http://terribleminds.com/ramble/

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We Made It to 2018!

Hello Interwebs! Welcome new Open Window Followers! I applaud your optimism, given that it has been some time since I posted anything in my blog. A lot happened this fall, in the world and for me personally. Including my house springing four different mysterious leaks and entering renovation chaos, followed by family travel and family medical emergencies. So while I managed to natter a few times on other people’s blogs and at SFFWorld.com, I was pretty much MIA by the end part of the year.

I do have plans for this year and for the blog, (don’t I always.) There will be a “Woman in Film” feature shortly, though I’m giving it a new name that may or may not discourage the particular kinds of spam I’ve been getting lately for those posts. 🙂 There will be book info. There will be a links retrospective, because I did collect links on things and articles of interest to me throughout the season regarding publishing and whatnot. There will probably be…cross-referencing. It’s a big, wide open year.

Like most Americans, 2017 became kind of a bizarre year for me, a mix of good and bad, unexpected luck, troublesome misfortune and wild roving anxiety. If you told me in 2016 that I’d have to worry about a nuclear war with little prison camp North Korea, I’d have thought you were way off-base, but here we are. Not everybody made it to 2018, sadly. Those of us who did are surrounded by looting pirates who own multiple yachts. The planet is freezing one slice in the Northeast while the rest of it faces record high temperatures and natural disasters as the wild swings of climate change progress and the Southern Hemisphere goes through a sizzling summer. But it’s still here, people are still moving, stories are still being told, more of them then perhaps ever before.

So we’ll see if we can make it to 2019. Thanks for stopping by sometimes. It keeps me from ranting on street corners. And Happy New Year!

 

 

 

 

 

 

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Linky Times — Writer Stuff

Various and sundry writer-related links and news today that caught my attention:

 

An older piece this year from Chuck Wendig’s blog about writing processes and not panicking.

A piece by author Rufi Thorpe about issues women writers often deal with in their lives and careers.

A piece by author Nisi Shawl on writing the Other/other cultures in SFF stories in an effective way.

Various SFF authors talk about the terms fans use about SFF writing that drive them up a wall.

For those who haven’t heard, Tony Award-winning actress Anika Noni Rose has optioned the dramatic rights of Daniel José Older’s best-selling YA series Shadowshaper, as well as the rights earlier to his urban fantasy trilogy Bone Street Rumba. I’m working my way through the Bone Street Rumba series and really like it. Shadowshaper has been a big hit with teens and the second book in the series, Shadowhouse Falls, is just coming out now. Rose has been starring in the t.v. shows Power and The Quad, as well as the movie Everything, Everything, which itself was based on a best-selling YA novel. So here’s hoping she can get something going for Older’s work.

Disney/Star Wars is releasing a prequel graphic novel, Star Wars: Rogue One — Cassian & K-2SO Special #1,  to its prequel film Star Wars: Rogue One, which covers how Rebel agent Cassian Andor, played by Diego Luna, first encountered his android partner K-2SO, voiced by Alan Tudyk. Since K-2 has become my favorite robot in the Star Wars universe, I am interested in this particular tie-in, which is now out from Marvel.

HBO is developing a television series based on the World Fantasy Award winning novel Who Fears Death? by Nnedi Okorafor, who is also an executive producer on the show, and they have now hired screen and comics writer/producer Selwyn Seyfu Hinds to co-produce and write the initial scripts. The novel is set in a post-apocalyptic future Nigeria and offers a complex, brutal and vibrant story about myth, identity and destiny with some really interesting magical elements.

And lastly, Neil Gaiman just released a photo of David Tenant and Michael Sheen in character for the adaptation of his and Terry Pratchett’s famous fantasy novel, Good Omens, and they look awesome as the demon and the angel who decide to save the eleven-year-old Anti-Christ and prevent the Christian apocalypse. I’m quite looking forward to seeing it, as the novel is an old favorite of mine.

 

 

 

 

 

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