Blog PostsStoneybrook Revisited: BSC Books 6-10

#6 – Kristy’s Big Day
Early in the book series, Ann M. Martin seemed to have decided, “You know what would make the best Baby-sitters Club book ever? If we have a story about Kristy’s mom’s wedding and have the book focus very little on the actual wedding, and instead have the baby-sitters run a sort of day camp for a bunch of kids who we’ll never see again!”

And that is exactly what happened with Kristy’s Big Day. Most of the kids they baby-sit will never be seen again (she said ominously). Meanwhile, the actual wedding ceremony takes place in, like, half of one chapter. It’s ridiculous. The wedding also takes place on Watson’s lawn, and in continuing with the “Stoneybrook has very little religion” theme, we have no idea what kind of ceremony it is.

Also noteworthy about this book: we learn that Stacey’s favorite movie is Mary Poppins. She thinks it makes her less sophisticated. I disagree, Stacey – what makes you less sophisticated is the fact that you keep calling yourself sophisticated.

I read the Kindle version of this book and the Kindle version was pretty badly edited. At one point Claudia makes a comment that clearly was supposed to come from Kristy, as she talks about her mom’s marriage and wanting to look after her brother David Michael. I mentioned to my fellow BSC-loving friend, and she said, “Maybe the editor of the Kindle version was Claudia.” Well played, friend – well played.

#7 – Claudia and Mean Janine
Spoiler alert: Janine is not really that mean. She’s just really weirdly characterized and she looks about forty years old on the book cover. (Proof.)

Seriously, though, Janine’s characterization is so over-the-top and hilarious. Martin seems to have decided that people with really high IQs speak in outrageously convoluted sentences filled with jargon and verbosity all the time. Instead of asking how the club is going to deal with Kristy living on the other side of town LIKE A NORMAL PERSON, she asks, “May I ask how your agency plans to function once your founder is residing in a different district?” Granted, I don’t know that many people who have 196 IQs – especially because that IQ level is SO EXCEEDINGLY RARE that Janine apparently is smarter than ISAAC NEWTON (source) – but really smart people are not entirely clueless about functioning in social situations.

She’s not mean, though. “Claudia and the Insufferable Janine” would have been a more accurate title. The “meanest” thing Janine does is not tell Claudia about Mimi the very second she steps on the soil of Stacey’s backyard. Um, what a bitch?

Part of Claudia’s narration: “Presently a car pulled up and Janine stepped out.” LOL, yes, I am sure that Claudia knows how to correctly use the word “presently” in a sentence.

Another part of Claudia’s narration: “When Dawn and I stand next to each other, we kind of look like a photograph and its negative.” Um, what? Is that racist?

Ah, a sign of religion in this book: Lucy is going to be christened at some kind of church. We don’t really know what kind of church, but it’s one of the only hints about religion we get.

This is also one of many books where the narration uses the not-so subtle foreshadowing of Mallory Pike being a really great helper and she’s going to make a great babysitter herself someday! Oy. I’m looking forward to her joining the club so we can stop with the foreshadowing.

I’m not sure how realistic the depiction of Mimi recovering from a stroke is. Sometimes it seems a little heavy-handed (heavy-handed?! in a BSC book?! Pull another one!) but it doesn’t seem entirely unrealistic to me that Mimi might remember Japanese words before English words sometimes.

Finally, the kids groom Louie the collie and tie ribbons into his fur, and Kristy worries that her neighbors won’t realize that Louie is a boy dog. She jokes about nicknaming him “Louella.” Kristy, I get that gender politics can be difficult to navigate sometimes, but Louie? IS A DOG. I don’t think he CARES if humans think he might be a girl dog. Yeesh.

#8 – Boy-Crazy Stacey
Ah, it’s only Stacey’s second book and she’s already prioritizing boys over friends and baby-sitting. One would think that she’s a normal thirteen-year-old or something.

Anyway, if the point of this book was that Stacey becomes a really bad babysitter because she’s obsessed with the lifeguard, the point is a little lost on me. This is part of the “showing vs. telling” problem in this book. Stacey tells us that she spent entire days on the beach flirting with Scott while Mary Anne looked after the Pikes, but that explanation takes up about a paragraph. Meanwhile, entire chapters are devoted to Stacey and Mary Anne’s adventures with the Pikes at restaurants and going miniature golfing. And when she’s on those outings, Stacey seems as attentive of a babysitter as Mary Anne is. So while I believe Stacey spends too much time flirting with Scott, it’s hard for me to really process that when the flirting takes up very little space.

I do, however, think Stacey is a complete whiny dumbass when she has to avoid the beach for an entire day because she saw Scott kissing his girlfriend. I was a highly sensitive teenager and I had romantic fantasies about boys, but I would not have needed to spend an entire day away from the beach when I was thirteen because a boy I liked had a girlfriend. I don’t know ANYONE who would have done that.

Also, supposedly sophisticated Stacey falls to the ground laughing hysterically at Toby’s supremely corny “Al Buquerque” joke. Nope, I don’t buy it.

ALSO, Kristy is such a control freak that she makes everyone update the notebook THROUGH POSTCARDS WHILE THEY ARE ALL ON VACATION. Kristy is seriously bored, people.

#9 – The Ghost at Dawn’s House
Ugh, this one is SO BORING. I know it’s a boring BSC book when the babysitting arc of whatever’s going on with the kids is more interesting than the main plot. I don’t care about Dawn’s stupid secret passage, I don’t care about her being scared of a stupid secret passage, and Ann M. Martin sucks at writing anything remotely “scary.”

I’m also annoyed that I can’t go for one book without an annoying appearance from Karen Brewer and her annoying fears and annoying Morbidda Destiny crap, BUT she does make me laugh here, after Kristy tells the “Orange you glad I didn’t say banana” joke and falls apart laughing. Karen and David Michael and Andrew give her the awkward silence and then Karen basically says, “So…anyway…” and it’s pretty funny. A rare moment where I like Karen.

At one point Dawn calls Mary Anne a ‘fraidy-cat for being afraid of the barn. This happens in a whole book where Dawn is scared of a hypothetical ghost in her house. Shut up, Dawn. (Wow, I’m really not used to saying that outside of watching Buffy reruns.)

I actually like Dawn’s description of her dad as a “Disneyland Daddy” – “you know, two weeks with a guy who hasn’t seen his kids in months and feels really guilty.” And Mr. Schafer isn’t even a deadbeat dad like Kristy’s father – he just lives on the opposite side of the country, so of course he can’t see his kids that often. It’s kind of a realistic, bittersweet moment.

Mary Anne is impressed that Gabbie and Myriah Perkins know all the words to “Hush, Little Baby” and “Take Me Out to the Ballgame” because not even Mary Anne knows all the words to those songs. Yeah. Okay. Mary Anne is too easily impressed.

Dawn and Jeff are kind of assholes to their mom’s date “The Trip-Man,” which is not a funny nickname in the slightest. And Trip is really quite a decent guy if he’s willing to interrupt his evening to deal with the ghost fears of his date’s stupid kids. Aside from that, though, I rather like Jeff. He might be my favorite of the babysitters’ siblings, as he seems like a decent kid with enough pre-teen angst to seem realistic but not SO much angst that he becomes unbearable.

When the BSC has their slumber party, Claudia’s movie suggestion is Star Wars. Good for her, but does anyone else find that a little unbelievable? I can buy Stacey loving Mary Poppins over Claudia loving Star Wars.

#10 – Logan Likes Mary Anne!
One of the babysitters gets a boyfriend and this occasion is so monumental that it gets an exclamation point in the title!!!

In all seriousness, this is the beginning of eighth grade for the BSC, and the characters get stuck in this perpetual eighth-grade time warp for approximately one hundred books. It’s rather depressing.

Mary Anne when describing the babysitters: “[Kristy’s] mother got married again and Kristy was her bridesmaid! Honest.” Um, we believe you?

According to this book, Stacey is the vice-president of the school’s dance committee. I’m going to pay attention to the rest of the books to see if this detail ever comes up again.

This is the book where Mary Anne gets a bra and Kristy is fascinated and jealous. This is obviously one of many signs that Kristy is in love with Mary Anne, but I’m supposed to take it as her just being jealous that she doesn’t need a bra yet. Whatever. Later on, Kristy, like every other girl in the BSC, “can’t take her eyes” off of Logan, but come on – we all know she’s just scoping the competition for Mary Anne.

Mary Anne criticizes Kristy for not predicting what would happen when the babysitters expanded their advertising. She mentions that she’s shy and doesn’t criticize often, except we saw her be much more passive-aggressive and awesomely bitchy in her first POV book. Every chapter 2 of a BSC book should just say, “Mary Anne is really shy and quiet, except for every other book where she’s not.”

Oh yay, the introduction of Jackie Rodowsky! I really like that kid. He’s probably my favorite of the regular baby-sitting charges. That poor kid, falling into everything all the time. I’ll take Jackie’s mishaps over Karen’s stupid ghost stories and Claire Pike going “silly-billy-goo-goo” any day of the week. He has a male grasshopper named Elizabeth! I’m sorry – that’s just adorable.

“Every now and then our president becomes zealous and tries to run our club meetings according to parliamentary procedure.” This is an entirely realistic piece of prose from the inner dialogue of a character who is a thirteen-year-old girl.

Hey, I forgot that this is the story with Mary Anne’s surprise birthday party! All of the BSC decide to throw a surprise birthday party for Mary Anne, because apparently they have never met her.

Kristy wants Mary Anne to buy an outfit for the dance in the Sportswear department. Of course she does.

Stacey wants Mary Anne to shop in the underwear department. Of course she does.

Wait. Hold on. Morbidda Destiny’s real name is Mrs. Porter? Isn’t Porter the last name of Dawn’s mom? Morbidda Destiny is the great-aunt of Dawn Schafer! That’s my theory and I’m sticking to it.

This book has a whole paragraph explaining how to play the card game Memory. Thanks, book.

Well, that’s it for this edition of Stoneybrook Revisited. In the next edition, Stacey says “bye,” Mallory says “hi,” Kristy’s dog dies, and Claudia is the first to make a friend outside of the BSC and face consequences because of it. Stay tuned!

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ReviewsDelayed Thoughts on “Brave”

On the subject of the portrayal of women in Pixar movies, I differ in opinion from many of my feminist friends. I’ve never really had a problem with the lack of female protagonists in Pixar films. While I would have liked to see the company put forth a woman- or girl-centered movie, they still gave me characters like Princess Atta and Dot in A Bug’s Life, Jessie the Yodeling Cowgirl in Toy Story 2, Dory in Finding Nemo, Helen and Violet Parr in The Incredibles, and EVE in WALL-E. Yes, their stories were of secondary importance to the stories of their male protagonist counterparts, but they all still had goals, motivations, desires, and personalities – and in the case of Dory, she stole the movie from both the protagonist AND the title character (though one could argue that she’s a bit of a Manic Pixie Dream Fish).

Still, I was happy to hear that Pixar was releasing their first movie with a female protagonist. I was excited when I heard that the title was The Bear and the Bow and about a girl who was a hunter. I was less excited when I heard that the main character was a princess, because, really? The first female protagonist in a Pixar movie and it’s a princess? We don’t have enough of those movies with Disney?

Then I heard that the story was about a girl who struggles against traditional gender roles to be a warrior, and I groaned, and for the first time actively dreaded seeing a Pixar movie but still felt obligated to see it. I felt no such obligation with Cars or its sequel (and still haven’t seen either), but I didn’t want Brave to fail at the box office and give sexist producers another excuse for claiming that “movies about women don’t sell.” (Yeah, tell that to The Hunger Games, why don’t you.)

The truth is, I’m a little tired of movies about women fighting against sexism and traditional gender roles. Those movies have their place and I appreciate them, but I want to see more films about women just living their lives, where dealing with sexism is an everyday issue, but not an issue that defines them or their story.

After watching Brave, though, I now see that the marketing for the film was misleading. Brave isn’t about a princess who doesn’t want to be a princess. Brave is about a young woman and her mother learning to understand each other.

Brave is different from most Disney princess movies in that Merida’s mother is actually alive and present. That’s surprising enough in of itself, but what’s even more surprising is that Queen Elinor is the second-most important character of the story. The movie is about Elinor and Merida butting heads while still loving each other, each believing that the other isn’t listening, and they both have a point. Neither woman is portrayed as completely right or completely wrong. Elinor doesn’t have much respect for Merida’s archery skills and rejection of social norms, and Merida doesn’t have respect for Elinor’s more traditionally feminine skills in diplomacy and sewing.

At the end of the film, Elinor and Merida have learned to understand each other, and both see how the other’s skills are important and valuable. The queen sees how Merida’s hunting and archery skills have practical use even for women, but Merida also gains respect for Elinor’s ability to use words and patience to calm down a volatile group of clan leaders. In the last sequence of the film, Elinor and Merida sew a tapestry together, and then go for an adventurous horse ride into the woods.

It’s a lovely movie. But it didn’t feel like a Pixar movie. It felt like a very good Disney movie.

That’s to be expected, I guess. Pixar said from the beginning that Brave was their first traditional fairy tale. But I’m still a little disappointed that Pixar’s first movie with a female protagonist was a princess story/fairy tale, instead of a story about the leader of an ant colony rebelling against grasshoppers, or a robot cleaning up a planet, or a rat who wants to become a chef.

At the same time, I feel like it’s unfair to judge Brave for what it isn’t, instead of judging it for what it is. Maybe my expectations of a girl-centered film are a little higher than they would be for a male-centered Pixar film, simply because there are fewer woman-centric films in general.

I do think Brave is a very good movie, but I hope Pixar makes more than one movie with a female protagonist. I’ve heard that their upcoming movie about the inside of a person’s mind stars a girl character, but I don’t know if that has been confirmed. I hope it’s true, and I will continue to look forward to that film (and to Monsters University).

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Blog PostsThis is a Public Service Announcement From Troll McTrollson.

In response to the first post I wrote about Daniel Tosh’s response to an audience member, I received this comment:

“Man..shut up, every thing is funny..no being raped isnt funny. But jeezuz christ..change ur tampon…its a freaking joke…how you gona be at comedy clubs and be offended..get over it already…we need to be worried about our economy or.being taken over by china or korea…getA life..and seriously ..change.ur tampon”

This comment was left by a poster who identified hirself as chizie, and I would like to thank chizie for bringing a very important issue to my attention: the issue of Toxic Shock Syndrome.

Toxic Shock Syndrome is a very serious disease that involves fever, shock, and problems with the function of several body organs. It can occasionally end in death. While there are numerous causes of Toxic Shock Syndrome, one of these causes is women leaving in tampons for too long.

chizie is very kind – nay, very responsible, the very epitome of a public servant – for bringing this to our attention. chizie would like to recommend Mooncups as a safe, environmentally friendly alternative to tampons. You’ll never have to worry about being so busy not having a sense of humor that you’ll forget to change your tampon.

The only downside is that Mooncups are made in the U.K., and as chizie points out, our economy IS in trouble – but hey, at least it’s not made in China or Korea.

The More You Know.

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ReviewsBtVS and Consent Issues: Episode 4.16 – “Who Are You”

[Note: I’m writing a series about consent issues in Buffy the Vampire Slayer. I will post a new entry in this series every other Tuesday – or perhaps on a weekly basis, if I have the time. In this series, I will look at an episode of Buffy the Vampire Slayer that deals with rape, sexual assault, or consent issues as a main plot point or as a featured event of the episode. I will examine these episodes in chronological order. If, in my writing of this series, you feel that I have skipped an episode that should be a part of this series, feel free to submit a guest post, and I will consider publishing it.]

EPISODE: “Who Are You”
INCIDENT: Rape via uninformed consent
PERPETRATOR: Faith Lehane
VICTIM: Riley Finn

The specifics: In the previous episode, “This Year’s Girl,” Faith used a device to switch bodies with Buffy. While in Buffy’s body, Faith paid a visit to Riley. She tried to seduce him by being overtly sexual and aggressive, but he’s not interested in that. He kisses her sweetly, and they sleep together, and during the whole experience, Riley thinks that Faith is Buffy.

The mind of the perpetrator: Faith goes into Riley’s room with the sole purpose of hurting Buffy. Everything does in the episode is about hurting Buffy or Buffy’s friends. Interacting with Riley is no different. But she talks with Riley as though he’s a man who’s itching to try out a new sexual kink on her:

“FAITH: So. . . how do you want me?

RILEY: How do I . . . ?

FAITH: Yeah. What do you wanna do with this body? What nasty little desire have you been itching to try out? Am I a bad girl? Do you wanna hurt me?”

Again: Faith wants to hurt Buffy, and she doesn’t care who else she hurts in the process. Her insistence on trying out the “bad girl” fantasy makes me think that she’s done more than just fantasize about that scenario, and that she might have had to be the “bad girl” in non-consensual sexual acts.

After Faith and Riley sleep together, Riley says (thinking that Faith is Buffy), “I love you.” Faith has a full-blown panic attack and can’t handle Riley being on top of her. She pushes him off of her, crawls away, and asks, “Who are you? What do you want from…her?” But she still allows him to comfort her and hold her.

The victim’s perspective: Riley thinks that Faith is Buffy (with good reason, because Faith is in Buffy’s body.) He’s not sure what she’s “playing at” when she comes onto him so aggressively, but he doesn’t like it. He and Buffy have had passionate, animalistic sex before, but not with the “do you want to hurt me” play-acting. He’s not interested in any of that. He wants tender, emotional sex. They have it, and he tells “Buffy” that he loves her for the first time. She has a panic attack and then insists, “This is meaningless!” He looks hurt, but when he notices that she’s shaking, he stands and wraps a blanket around her so he can hold her close.

After he finds out that the “Buffy” he slept with was actually Faith in Buffy’s skin, he’s angry, but he seems angrier that Faith tricked him into betraying Buffy than that Faith violated him and his consent. He mentions that he wants to get his “hands on her,” but quickly clarifies to Buffy that he doesn’t mean it in a sexual way.

What does this episode say about misogyny and rape culture?

This is the first episode where a prominent character rapes another prominent character. (Other acts have been attempted, but never followed through.) It’s interesting that the first successful rape (and I hate calling it that, ugh) is with a female perpetrator and a male victim.

What’s also interesting is the lack of violence involved in Faith’s rape of Riley. Faith is not violent with Riley. She doesn’t hold him down with force. But she pretends that she is Buffy, and he sleeps with her. Therefore, Riley is unable to give informed consent.

Despite this violation of Riley’s consent, the show never deals with this issue. “Superstar” briefly explores the awkwardness between Buffy and Riley after the incident, but the awkwardness occurs because Riley accidentally cheated on Buffy, not because Riley was violated himself.

And I don’t think that’s fair. I really dislike Riley, but I feel terrible for him in this episode. He’s used as a pawn in Faith’s game against Buffy, and the first time he tells his girlfriend he loves her, she has a panic attack and tells him that he and their experience together is meaningless.

What does this mean for Faith? Has she been abused so often in her youth that she relishes the thought of turning the tables, of being the abuser, just so she can feel like she’s in power for once?

Still, I don’t think Riley would consider himself a rape victim or survivor, just like I don’t think Xander would consider himself a survivor or victim of attempted rape. He moves on from it pretty quickly and is more concerned about Buffy feeling hurt. I wonder why it doesn’t bother him more that Faith tricked him. Maybe the reality doesn’t sink in with him. Maybe it’s better for Riley that the reality doesn’t sink in with him.

Then there’s Buffy. Fans have claimed that Faith raped Buffy, too, by using her body in a sexual way without her consent. I’m not sure if I agree. It’s a gross violation, to be sure, but is it rape? I’ll leave that for readers to debate in the comments section.

Whatever the case, it strikes me that Faith was really not interested in hurting Riley. Riley was a thing to her, just an object that she could use to hurt the person she really cared about: Buffy. I hear stories – mostly stories of war and combat – where men will rape women as an act of revenge or violence against the woman’s husband or father. This episode seems to be an example of that kind of rape – except, because Faith wasn’t violent and because Riley is a man, the matter isn’t taken seriously or mentioned beyond the next episode.

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Blog PostsLady T Recommends “Born Blue”

Are you a musical theater fan? Have you ever sat and thought, “Gee, I really wish there was a rock and roll soul musical about the end of the world?”

Well, good news. Whether you’ve had that dream or not, there’s a musical called Born Blue that’s making its way to New York City, and you can be part of the experience. This link will take you to the information page at Indiegogo.

Why I’m recommending this project: This musical seems to be taking place in a world where issues like race and sex are no longer a factor in society, and I’m intrigued by that. I also like the songs that I’ve heard in the video, and the costumes look freaky and sexy and a little out-of-this world. The premise of the story intrigues me and I don’t think there are enough soul musicals, frankly – especially not ones that take place after an apocalypse!

The campaign has received $250 of a $5000 goal and there are only 28 hours left to donate, but this is part of a Flexible Funding campaign – ANY money donated and pledged will go straight to the production even if they don’t meet their goal. Please consider donating to this project or spreading the word to others about Born Blue.

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Blog PostsStand-Up Comedians Are a Persecuted Minority.

After reading about Daniel Tosh’s rape “joke” to an audience member, and then reading comments from people who defended Daniel Tosh’s rape “joke,” I can come to only one conclusion – that stand-up comedians are often a bunch of whiny privileged babies who can’t take even the slightest hint of criticism.

Here’s what happened: Daniel Tosh said that rape is “always funny.” A female audience interrupted him to declare that rape is “NEVER funny.” Daniel Tosh responded by saying, “Wouldn’t it be funny if five guys raped her right now?” The audience laughed, the audience member who criticized him left the comedy club, she told her friend about it, the friend blogged it, and the Internet responded.

Some people on the Internet said that rape is NOT funny. Some people on the Internet responded by saying that rape IS funny and everyone should be able to joke about it if they want to, and besides, the woman was asking for it by going to a comedy club in the first place.

(I’m not the only one who sees an eerie similarity between the logic behind “If you didn’t want to hear rape jokes you shouldn’t have gone to a comedy club” and “If you didn’t want to get raped you shouldn’t have worn that outfit,” right? Didn’t think so.)

Moreover, the woman was clearly in the wrong because she heckled him. Heckled, in this case, means “interrupting and vocally disagreeing with him.” And people who are defending Daniel Tosh, praising him for being offensive and “edgy” and cool, keep harping on this point – that she was a heckler, and hecklers get what they deserve.

This is where I really wish I had a close friend who was a biologist or anthropologist or some kind of scientist who could identify this subspecies of human being who thinks a person saying that it would be “funny” if a woman was raped by 5 men was “just telling a joke,” but a person interrupting a comedian was committing a terrible breach of etiquette. It’s fascinating to see a group of people who pride themselves on being “edgy” and charmingly offensive and provocative suddenly turn into pearl-clutching, monocle-breaking little old men and ladies when someone breaks the rules in a comedy club.

Seriously, this is how you can sum up most conversations about not only the Tosh incident, but any time there’s a public outcry when a well-known comedian makes a rape joke. Here’s a brief scene between two people I like to call “Taylor” and “Quinn.” (I chose androgynous names intentionally because that’s how I roll.)

TAYLOR: I really didn’t like that comedian’s rape joke. It was a hurtful joke.
QUINN: Psh, whatever. You’re just being oversensitive.
TAYLOR: No, I’m serious. I’m going to let this comedian know my feelings.
QUINN: OMG what is WRONG with you?! You interrupted his routine? That’s so mean and uncalled for!

To people like “Quinn,” interruption and public criticism is a greater crime than “joking” about seeing someone raped – and we’re the “oversensitive” ones.

Meanwhile, they who lash out, silence, and implicitly threaten an objector to the comedy routine for saying the equivalent of “I disagree with you!” – they get to continue to call themselves “edgy.” They get to proudly declare that they are the ones who are not easily offended, and they get to say this without a trace of irony.

Maybe it’s just me, but I’m not overly impressed with the so-called “edginess” of these comedians and these comedians’ defenders if they have to resort to a rape threat to respond to a person who said, “Actually, rape is never funny!” I grew up in a large family of people who made Interrupting an Olympic event, and I didn’t ever respond by saying it would be “funny” if said interrupter was raped.

Granted, standing up in front of a large group of people and being paid to entertain them is a lot more difficult, and has a lot more pressure surrounding it, than eating a dinner with a large family. I’m not saying stand-up is easy.

Then again, I was a teacher for four years and had to deliver a form of my own routine, one that had to be both entertaining and educational – day in and day out for every day of the school year, so I’m not completely unaware of the pressure it takes to stand up in front of a group and perform. And while I don’t have the nerve to attempt stand-up of my own, I look at the kind of heckling I had to face – and that many teachers have to face – every day, and I think that a lot of stand-up comics have NO IDEA how much worse it could get.

I faced worse heckling than “Actually, rape is never funny!” on a daily basis, where kids chatted their way through my lessons to the point where I couldn’t even hear myself, where I was told my breath smelled like horseshit, where I was questioned about my sexuality and sexual history, where I was left sexually explicit “artwork,” where I was threatened with violence. And I can name at least ten colleagues of mine, if not more, who would hear these stories and tell me that I got off comparatively easy – and after hearing their stories, I would agree.

And in the face of these interruptions and innuendos and threats, I would grit my teeth and try not to explode, because if I exploded I could lose my job, maybe even my career, and I had to be careful about what I said.

Meanwhile, a comedian can make a rape “joke” that is really a rape threat to an audience member, get paid to say it, have scores of fans defend him on social media, and still be considered some kind of victim.

Obviously there are, and should be, different rules for educators and performers, but I’m still not impressed with the type of comedians who pride themselves as provocateurs and equal-opportunity offenders who then get so easily offended themselves when an audience member says something that’s a tad more pointed than “I disagree with you, sir!”

Who are these thin-skinned, brittle-boned comedians who can’t listen to an interruption (NOT a heckling) without threatening physical violence? Who are these thin-skinned, brittle-boned fans of said comedians who throw massive temper tantrums and whine about “freedom of speech?” They get paid for saying whatever they want about anything under the sun, and can’t handle when fans tweet at them and disagree with what they say? They get to be special, precious, delicate little snowflakes and still claim to  be “edgy” and “innovative?”

Then again, what do I know? I’m too easily offended to be able to think about this clearly.

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Blog PostsDaniel Tosh Made a Rape Joke and Some Humorless Bitch Got Mad and FIRST AMENDMENT!!!ELEVENTY111!!

Wow, everyone. Did you hear about that terrible thing that happened to Daniel Tosh the other day? It’s…wow. I can’t even begin to describe how awful it was. Maybe you’d better see for yourself. Here’s the original link, but I’m going to repost it here for posterity’s sake. I can’t believe the callousness of this woman:

“This is something that happened to a friend of mine in her own words.

“So, on Friday night my friend and I were at her house and wanted to get out and do something for the evening. We brainstormed ideas and she brought up the idea of seeing a show at the Laugh Factory. I’d never been, I thought it sounded fun, so we went. We saw that Dane Cook, along some other names we didn’t recognize we’re playing, and while we both agree that Cook’s style is not really our taste we were opened-minded about what the others had to offer. And we figured even good ol’ Dane can be funny sometimes, even if it’s not really our thing. Anyhoo, his act was actually fine, but then when his was done, some other guy I didn’t recognize took the stage. Of course, I would find out later this was Daniel Tosh, but at the time I thought he was just some yahoo who somehow got a gig going on after Cook. I honestly thought he was an amateur because he didn’t seem that comfortable on stage and seemed to have a really awkward presence.

So Tosh then starts making some very generalizing, declarative statements about rape jokes always being funny, how can a rape joke not be funny, rape is hilarious, etc. I don’t know why he was so repetitive about it but I felt provoked because I, for one, DON’T find them funny and never have. So I didnt appreciate Daniel Tosh (or anyone!) telling me I should find them funny. So I yelled out, “Actually, rape jokes are never funny!”

I did it because, even though being “disruptive” is against my nature, I felt that sitting there and saying nothing, or leaving quietly, would have been against my values as a person and as a woman. I don’t sit there while someone tells me how I should feel about something as profound and damaging as rape.

After I called out to him, Tosh paused for a moment. Then, he says, “Wouldn’t it be funny if that girl got raped by like, 5 guys right now? Like right now? What if a bunch of guys just raped her…” and I, completely stunned and finding it hard to process what was happening but knowing i needed to get out of there, immediately nudged my friend, who was also completely stunned, and we high-tailed it out of there. It was humiliating, of course, especially as the audience guffawed in response to Tosh, their eyes following us as we made our way out of there. I didn’t hear the rest of what he said about me.

Now in the lobby, I spoke with the girl at the will-call desk, and demanded to see the manager. The manager on duty quickly came out to speak with me, and she was profusely apologetic, and seemed genuinely sorry about what had happened, but of course we received no refund for our tickets, but instead a comped pair of tickets, although she admitted she understood if we never wanted to come back. I can imagine the Laugh Factory doesn’t really have a policy in place for what happens when a woman has to leave in a hurry because the person onstage is hurling violent words about sexual violence at her. Although maybe I’m not the first girl to have that happen to her.

I should probably add that having to basically flee while Tosh was enthusing about how hilarious it would be if I was gang-raped in that small, claustrophic room was pretty viscerally terrifying and threatening all the same, even if the actual scenario was unlikely to take place. The suggestion of it is violent enough and was meant to put me in my place.”

Please reblog and spread the word.”

Wow. Wow. Can you believe the gall of this? Can you believe that this horrible woman heckled a comedian?!

No, please don’t turn away. Don’t go to a different screen. I know that what I’m about to say is very controversial and taboo, and I’ll probably get so much heckling of my own for this, but I need to stand up not only for Daniel Tosh, but for all of the poor, defenseless comedians out there who have to suffer the threat and degradation of audience members publicly disagreeing with them.

After all, this man is an artist, with the never-before-seen talent of posting YouTube videos, standing next to said videos, and making sarcastic comments about them. I don’t know where this woman got the nerve to criticize an artist of such depth and breadth.

I also don’t appreciate this uppity lady thinking she could just walk into a comedy club and expect to have a good time without being triggered by a rape joke. Why doesn’t she understand that rape is always funny? After all, Tosh said so, and he speaks the cold, hard truths that few brave souls will say.

Worst of all, she has the nerve to trample on Daniel Tosh’s First Amendment rights. He’s expressing his thoughts, after all, and her trying to shout him down is limiting his right to free speech. One could argue that she is simply expressing her thoughts and using her right to free speech, but that’s not true. There’s a difference between free speech and heckling.

And what she did was far beyond heckling. She viciously attacked him, ripping him apart like she was a crazed banshee who liked to crush men’s balls with her teeth. Look at the words she used, that even she ADMITTED to using:

“Actually, rape jokes are never funny!”

I…I’m sorry. I’m getting a little emotional here, because what she said was such an unprecedented verbal onslaught, so vile and personal, that I almost can’t go on. You know what, I’ll say it. I feel just plain unsafe after reading what she said.

Because I’m looking at this from a writer’s perspective. Someday I hope to be published, perhaps as well-known as Daniel Tosh, and I want to be able to express my opinion and have people give me money for expressing my opinion. But now, I don’t know if I can achieve that dream anymore.

I don’t want to try to be a professional writer or artist in a world where a person can vocally and publicly tell me that s/he doesn’t find something funny that I find funny. It’s too much to handle.

Please, everyone. I’m begging you from the bottom of my heart. Won’t someone please think of the comedians?!

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Blog PostsStoneybrook Revisited: BSC Books 1-5

After Saturday’s post, you knew this was coming.

It’s official. I’m doing a reread of The Baby-sitters Club – excluding the mysteries, because who cares, and excluding the Little Sister series, because Karen is annoying. I will read all of the regular books, the Super Specials, the Portrait Collections, and the Friends Forever series (which I never read as a kid, but I’m curious to see what happened to everyone). I will read as many of these books as I can find from different libraries and I will post updates approximately “whenever I feel like it,” but those updates will always be on a Monday, Wednesday, or Friday at 5:30, in accordance to when the BSC had its meetings.

Ready? Let’s go.

#1 – Kristy’s Great Idea
There are four things I really like about this book.

The first thing I really like is Kristy’s snafu with her teacher, where he lectures her about not having enough decorum and she has to write an essay about decorum without knowing what the word means. She has to look at several different dictionary definitions before she realizes that her teacher was telling her not to be rude. I like this incident because it’s so age-appropriate and amusing, especially when Kristy walks back to her desk “with decorum,” showing that she understands the basic concept of the word but not quite how to use it in a sentence. I also like it because my mother, who reads this blog, used to criticize and lament about the amount of time I would spend reading The Baby-sitters Club and didn’t think I got anything useful out of reading the books. Well, Mom, I learned about the word “decorum” because of Kristy being rude to her teacher. So there.

The second thing I really like is that Kristy is a brat, but bratty in an age-appropriate way. I like that she gives so much crap to Watson even though he doesn’t deserve it (but I don’t believe that her little note to her mom would make everything better, especially after she called Watson a bad father). I like that her reaction to learning about Stacey’s diabetes is basically, “So? Who gives a shit?” Not very sensitive of her, but probably a relief to Stacey compared to other reactions she’s had. And I love her little rant about fashion and how she can never tell what’s “in” and what’s “out,” because that’s exactly how I felt at that age.

The third thing I really like is Kristy and Mary Anne’s flashlight code. How the hell did two twelve-year-old girls develop a flashlight code where different flashes stood for twenty-six letters? And we’re supposed to believe that they had WHOLE CONVERSATIONS through their bedroom windows with these flashlight codes? And that super-strict Mr. Spier never caught onto it? It’s ludicrous.

The fourth thing I really like is this line: “I have absolutely no interest in boys, of course.” Oh, Kristy. We know.

#2 Claudia and the Phantom Phone Calls
This book is dumb and easily the weakest of all of the characters’ “introduction” books. I feel bad that poor Claudia gets such a dumb introduction book, because her books are usually fun. But the mystery has absolutely no tension and drama, and it’s just about the girls getting spooked on every babysitting job they have. Boring.

There’s also that uncomfortable “stalking is romantic” subplot, where it turns out that Alan Gray and Trevor Sandbourne stole the record book so they knew exactly where Kristy and Claudia were on all of their babysitting jobs. Claudia thinks that Trevor stalking her is so dreamy, and Kristy is flattered by any attention from a beard – I mean, boy – so it’s all wrapped up in a happy little bow. NOT a good message to send, Ann M. Martin. Not a good message.

I suppose it’s kind of interesting that The Baby-sitters Club has a prominent Asian character who is NOT a good student. That’s fairly atypical and different. Of course, Janine Kishi is a walking Asian stereotype, so maybe I shouldn’t give Ann M. Martin too many cookies for making Claudia atypical. It’s hilarious that Janine supposedly has an I.Q. of 196, and Martin demonstrates this high IQ by…having Janine correct the girls’ grammar and spelling. It takes a person with a 196 I.Q. to tell girls the difference between “can” and “may.” Riiiight.

#3 – The Truth About Stacey
I hold a special place in my heart for this book because it was the first BSC book I ever read. Diabetes drama and rival club drama all in one book! The evil Baby-Sitters Agency with those irresponsible, manipulative, slutty eighth-graders and high school girls! Stacey confronts her parents and her old demons in New York!

Anyway, Stacey becomes a big brat later in the series, but it’s interesting seeing how she deals with Laine in this book. Laine humiliated and ostracized Stacey over Stacey’s illness, and she gives one weaksauce apology and is easily forgiven. Meanwhile, later in the series, Stacey leaves the BSC after she thinks she’s too mature for them, and has to grovel twice as much to get back into the club. Stacey calling the BSC immature and babyish is treated with more gravity than Laine being horrible to Stacey after Stacey was going through a serious illness. Seriously, these books. Stacey might already be my new favorite character.

You can also tell that this is a really early BSC book because Martin doesn’t hammer the “best friend” partnerships as hard as she does in the later books. The later books are all, “Claudia and Stacey are best friends, and Mallory and Jessi are best friends, and Mary Anne has TWO best friends – Kristy and Dawn!” But this book has Kristy and Stacey wanting to go in one direction for the club, while Claudia and Mary Anne want to go in the other. Interesting.

#4 – Mary Anne Saves the Day
Hm. I might have to take back my comment about Stacey being my new favorite character, because Mary Anne may be shy and mousy, but she has a fabulous inner bitch, and when that inner bitch lets loose, she LETS LOOSE.

Seriously, I laugh so hard when Mary Anne is mentally composing her nasty notes to the other BSC members after the four girls have their big fight. “Dear Stacey, I’m really, really sorry you called me a shy, little baby. I hope you’re sorry, too.” “Dear Kristy, I’m sorry you’re the biggest, bossiest know-it-all in the world, but what can I do about it? Have you considered seeking professional help?” HA. When Mary Anne is snarky, she owns.

Meanwhile, supposedly sophisticated Claudia throws a Threat Level Red temper tantrum when Mimi calls Mary Anne “my Mary Anne.” Are you kidding me? *sigh* I still love you, Claudia, but you make it difficult sometimes.

Also, this book has Mr. Spier saying a big prayer before dinner, blessing Mary Anne’s dead mother, before they commence eating. Take note that Mary Anne’s mother is named Abigail (even though she was Alma in a previous book). And this is also the most religious any of the babysitters OR their parents get in the entire series, as we never hear of Mary Anne’s dad’s religious behavior again.

#5 – Dawn and the Impossible Three
This one is slightly better than Claudia and the Phantom Phone Calls, but only slightly. Kristy, Stacey, and Mary Anne had MUCH better introduction books than Claudia and Dawn did.

Anyway, this is where Dawn has to babysit for the Barrett kids – Buddy, Suzi, and Marnie. They’re the “impossible three,” except the kids don’t behave that badly compared to the other babysitting charges we’ve seen. I like them more than Karen Brewer (though Andrew Brewer is cute). It’s more that Mrs. Barrett is a mess, and has to be lectured by a twelve-year-old about how to be a more responsible parent. UGH. On one hand, Dawn has every right to set limits and terms and decide what she’s going to put up with from her clients, but on the other hand, it’s a twelve-year-old telling a newly-single mom how to be a more responsible parent. Obviously Mrs. Barrett does need a talking to, and I like that the book emphasizes that she’s not a BAD mom, just overwhelmed, but I still cringe to see the parental advice coming from Dawn.

Oh, and this is also the book where Dawn’s mom and Mary Anne’s dad start banging.

That’s all for now. In the next installment of Stoneybrook Revisited, Kristy’s mom gets married, Claudia’s grandma has a stroke, Stacey likes boys, Dawn has a boring mystery plot, and Mary Anne gets a requited crush. And no, I didn’t have to look any of that up. There’s a reason why this post is in the “don’t judge me” category.

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Blog PostsSay Hello to Your Friends.

I don’t quite know how this happened, but last weekend, after watching several hours of Olympic trials for gymnastics and swimming, my dear friend abovethetitle and I started talking about The Baby-sitters Club. And by “started talking,” I meant “obsessed over it for hours, talked about our favorite characters, ranked our ten favorite books,andwatched the stupid movie and an episode of the TV show.” Because that is a totally acceptable activity for two women in their late twenties to do on a weekend.

Mock us if you want, but there’s nothing wrong with indulging in nostalgia every once in awhile, and The Baby-sitters Club was my childhood obsession before I even learned what the word “obsession” meant. The Baby-sitters Club series predates all of my obsessions that weren’tThe Wizard of Oz or created by Jim Henson, Disney, or Beverly Cleary.

In fact, I think The Baby-sitters Club was influential – nay, VITAL – to my development as a feminist.

You might laugh at me. I might deserve it. But the influence The Baby-sitters Club had on my life and my perception of female characters is undeniable.

First of all, The Baby-sitters Club focuses on a group of hard-working, industrious young women who create their own business at the age of twelve. Their business has rules, structure, and organization. Each person has a different responsibility, and while they take home their own earnings from their baby-sitting jobs, they also contribute to a larger purpose and pay union club dues. It’s democracy in action! Or maybe socialism in action, depending on whose definition of socialism you’re following.

Secondly, The Baby-sitters Club has a variety of female characters from different backgrounds. Sure, they’re fairly stereotypical, but young girl readers can easily feel a kinship with at least one of the club members. We adult women who play the “which one are you?” game with the Sex and the City characters got our start twenty years ago with the characters from The Baby-sitters Club. (For the record, I’m probably a Kristy/Dawn hybrid with a little bit of Mallory, which disturbs me because I found those three the most annoying when I was a kid. I don’t know what this says about me.)

Third, The Baby-sitters Club had characters that weren’t easily pigeonholed or one-dimensional. All of them had outside interests aside from babysitting, and none of them were completely predictable. Shy, nerdy Mary Anne was the only one who had a steady boyfriend. Claudia was Asian and not good in school (umm…way to break stereotypes, BSC?) And while I was growing up, I thought it was so cool that Stacey was really into fashion and boys but ALSO was really good in math. Mary Anne and Claudia were my favorite baby-sitters, but Stacey was probably the most complex (and she had the best books, all filled with boys and gossip and diabetes drama!)

Fourth, The Baby-sitters Club introduced this writer to the concept of multiple perspectives. It blew my young mind to read The Truth About Stacey (my first BSC book and one of my favorites) and see everything from Stacey’s first-person point of view, and then to read Mary Anne Saves the Day and see the same people from another character’s point of view. I just thought the concept was so neat!

Fifth, The Baby-sitters Club were the first books that introduced me to Important Issues. I’m sure I’m not the only person who first learned about diabetes through Stacey McGill. I learned important lessons about racism after Claudia and Jessi were treated badly by those creepy Aryan kids in the neighborhood (and by the way, did you know that Jessi’s black? Don’t worry – the other babysitters totally don’t care!) And I was rather impressed with the way the series portrayed autism in Kristy and the Secret of Susan (one of my favorites), because Kristy wasn’t able to “save” Susan or cure her autism, and it was okay, because Susan was going to be fine.

Finally, The Baby-sitters Club focused on female friendship above everything else. I mean, sometimes these girls threw total shit fits when a club member made a friend outside of the BSC or had temper tantrums when a member got a makeover, but hey, they still love each other in the end!

For those reasons, I was SUPER EXCITED when I saw that Scholastic was planning to re-release the series. I didn’t even care that the publishers were updating the technology and changing Walkmans to iPods – as long as they kept Claudia and Stacey’s outfits the same, I was cool with it.

Because I really think that tween girls NEED series like The Baby-sitters Club. I’m not sure there’s a current serial that has the same cache with the young crowd. (Gossip Girl exists, but I consider that as more of a Sweet Valley High replacement than a BSC replacement.) So many books aimed at tween and teen girls focus overwhelmingly on boys, clothes, makeup, boys, popularity, gossip, and boys. The Baby-sitters Club deals with all of those topics, but it’s a fourth or fifth priority after baby-sitting, friendship, Important Social Issues (The More You Know…), and Learning Things. No, they’re not great literature, but they were an essential part of my development and provided endless hours of entertainment and spent allowance money.

So, um, I may or may not be planning a reread of the entire BSC series (aside from the mysteries, because I don’t care about them, and the Little Sister series, because I hate Karen). Other bloggers have taken on this project before, so I’m not going to pretend that I’m original and dibbly fresh with this idea, but I feel compelled to revisit a series that meant so much to me when I was growing up.

Or maybe I just want to yell at Dawn, cheer on Mary Anne, groan at how pathetic Mallory is, take note of Claudia and Stacey’s outfits, find the most awkward version of the “Jessi is black but we’re open-minded and totally don’t care” description, and build up a case of evidence for the increasingly popular “Kristy is a lesbian” theory.

Either way, we’ll see what happens. In the meantime, say hello to your friends. Say hello to the people who care. Nothing’s better than friends, because your friends are always there.

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Blog PostsWriting Journal: Rolling in Rom-Com Cliches

Surprise, surprise – I’ve fallen behind, yet again, in my attempt to review all of the romantic comedies people recommended to me last year. I have a good excuse, though! I’m busy writing my own rom-coms and have less time to watch movies that people tell me to see.

The two original rom-coms are projects that I’ve mentioned before. One is a screenplay, a modernized high school adaptation of a Shakespeare play (think 10 Things I Hate About You for The Taming of the Shrew, except based on a different play). The other is a novel that’s part romantic comedy, part coming-of-age story, part satire, about characters who are grown-ups. Well, they’re twenty-somethings. I guess being 25ish means that you technically qualify as a grownup.

Anyway, while writing my romantic comedies, I try to avoid too many cliches and patterns that I see in movie after movie. In my stories, there will be no dramatic dash to the airport after an eleventh-hour realization of love. There will be no scenes of women bonding with each other or regaining their confidence by singing karaoke into hairbrushes. There will be no montages of busy career women shouting into cell phones to indicate how very busy and bitchy they are and how much nicer they will be when the more free-spirited man cures them. And no one will eat an entire pint of ice cream while crying and listening to Adele.

Still, some cliches are unavoidable. When I reread and edit my work, I notice a few patterns that I recycle in my dialogue and characters.

– The female lead characters all want to be writers. They say to write what you know. Well, I know that I’ve always wanted to write, so my female protagonists also want to write. The main character in the novel is a newspaper critic and a budding investigative journalist, and the female lead in the Shakespeare adaptation is a senior in high school who wants to major in English when she gets to college. Such cliches, I know, but these women are pretty clever and witty, so it makes sense to me that they would be writers! Still, I realize that not all clever and witty people are writers, and not all writers are clever and witty, so I’m going to make a change or two. Maybe the senior in high school will be really good in English class but want to major in nutrition or something.

– The male leads are athletes (but smart ones). I have no idea why this cliche is repeating itself in both stories – with three different characters, no less. Romance writers are often accused of living out their own fantasies in their writing, and this accusation is often true, but I was never attracted to the athletic types when I was in high school. Most of the boys I crushed on or eventually dated fell squarely into the “thin, sometimes skinny, hipterish nerd” category. It just so happens that the male characters are athletic for important plot reasons, but still. How did this happen three times in two stories?

– The female leads are overtly feminist. This isn’t a problem in the case of my twenty-something female journalist, but when I looked back at the dialogue for my high school senior, I thought, “There’s no way she would be saying some of these things at eighteen. No way.” So I toned down the more enlightened, wise, balanced feminist rhetoric, gave her a dose of knee-jerk man-hate, and had her call another female character a slut behind her back.

Anyone who follows this blog will look at that last sentence with a raised eyebrow and wonder what the heck has gotten into me. Let me explain. I want to incorporate feminist principles into my fiction writing, and I do, but I also don’t want to get preachy and become a feminist after-school special. I want to be true to life, and my high school version of feminism l was to be pro-choice and celebrate women in the workforce, but to also think I was better than other girls and think that all boys were jerks. If anything, my female lead is more enlightened than I was as a senior, as she really only hates one boy, not all boys.

– Bickering is a sign of true love. What can I say? I’m a sucker for those couples that argue with each other while secretly harboring deep attraction. Blame Mr. Darcy and Elizabeth and Pacey and Joey, okay?

(And yes, I’m aware that I just used characters from a piece of classic literature in the same sentence as characters from Dawson’s Creek, Katie Holmes’ newfound independence reignited my Pacey/Joey affection, okay, DON’T JUDGE ME.)

[Crap, why didn’t I just use Xander and Cordelia or Buffy and Spike when at least everyone already knows I’m a Buffy nerd?!] )

So. Uh. As I was saying, art imitates life, but sometimes art imitates art, and both of the main couples in my two rom-coms-in-progress banter with each other. A lot. The high school students bicker because they’re immature (and because there’s a painful history that they keep from their group of mutual friends). The rom-com about the adults is a little more lighthearted, though – those two bicker because of a silly misunderstanding where they each think the other is trying to kill them.

No, really. It’s a comedy!

– The female characters pretend not to care about romantic relationships, but they really do. This is is hard for me to get around. I hate, hate, hate narratives where women are presented as caring about romance above everything else in their lives, where romance is their lives. I didn’t want to write yet another story where men and love and sex and romance were at the center of everything.

Then I woke up and remembered that I was, in fact, writing romantic comedies.

That’s one thing I have to remember when writing these stories. It’s okay for the story to focus on love and sex and romance, because that’s what romantic comedies do by their very nature. The trick is to write complex characters who have other things in their lives besides romance, so the audience walks away thinking that the romantic comedy was just telling one chapter in a large story of the character’s life, not the entire book.

In conclusion?

It would appear that I’m already seeing a pattern in works of mine that aren’t even published yet, so maybe I’m not the type of person who should laugh at the YouTube video that makes fun of Aaron Sorkin.

But I’m going to do it anyway.

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