A Queer Reading of Taylor Swift’s Look What You Made Me Do

Last week when Taylor Swift’s new single Look What You Made Me Do hit the airways, I was devastated. While the album name ‘Reputation’ seemed promising, the lyric video seemed to confirm that Tayswi – Queen of the Secret Lesbian Club of Hollywood – was only interested in making a petty jab at Kanye West via a mostly terrible pop song. My god, I thought. Is Taylor just completely basic? 

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Please never watch the lyric video. Ever.

But when the new video directed by Joseph Khan dropped, all of my doubts perished, because THIS IS WITHOUT A DOUBT THE GAYEST TAYSWI VIDEO OF ALL TIME. (And by gayest of course I mean open to a queer reading i.e. seeing things sideways, and reading LGBTQ themes into things). Unsurprisingly the mainstream media are calling this Tayswi’s “shade” video which is simply about mocking all of her haters. They are entirely skimming over all the gay bits that they can’t make sense of (never mind that queers invented shade).

So bear with me for the incredibly long journey that is a queer reading (or really, just the most obvious and true and direct reading) of LWYMMD…

The opening shots lead us to a graveyard:

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This is surely an obvious story about Taylor’s trashed reputation, no?

Well, we are also immediately reminded of Leo Bersani’s famous paper Is the Rectum a Grave?, written in 1987 at the time when the peak of the AIDs crisis was unfolding in the USA. In Bersani’s paper he tracks the homophobic response to AIDS, but also how misogyny is also implicated in homophobia, where femininity is conflated with the “passive” bottom position in gay male sex. Bersani urges us to embrace the subordinate feminine/homosexual position as a way to contest and shatter hierarchies of power.

Here we see Taylor trying to “bury” her gaping grave that reveals her vulnerability/femininity/homosexuality:

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At the bottom of the grave we see 2014 circa Swift in her Met Ball gown, the same year of the peak rumours that her and Karlie Kloss were in a relationship:

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Much like the imagery of the video for Bad Blood (also directed by Khan) we appear to be transported to an “underground” world. We might recall that in that clip the underground involved an Amazonian-like alternate reality:

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But in this underground, Taylor isn’t fighting, she’s in a bath full of diamonds:

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While diamonds symbolise wealth, she’s not sitting in a pit of money – most clearly here we are called to think of Marilyn Monroe’s Diamonds are a Girl’s Best Friend:

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Not only was Monroe herself a famously closeted gay icon, the original song has some rather queer lyrics: “Time rolls on/And youth is gone/ And you can’t straighten up when you bend”.

Taylor’s bath is also in the centre of a room full of mirrors, recalling the saying “hall of mirrors” where one is not able to distinguish fact from fiction. But we also need to recall the intertextual reference to her earlier clip for Style, which is all about duality:

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We might also note the rainbows evident in this clip:

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And the tension between the internal masculine/feminine:

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A theme which is also represented in Bad Blood:

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But back to LWYMMD, we are met with our first glimpse of snakes:

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Which are mostly obviously a reference to Kimye’s attack on Taylor after the Famous shenanigan. BUT what about the fact that snakes appear on Taylor’s hands in a lot of her earlier video clips? For example, Style:

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Shake it Off:

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And Blank Space:

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The fact that Taylor wears many of these snakes as rings is also significant in light of her earlier ring choices, notably the fleur-de-lis of Our Song, representing chastity:

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So, Taylor has gone from a symbol of chastity, to snakes, which coincidentally are strongly associated with sexuality due to that whole Adam-and-Eve-snake-incident-thing. In other words, snakes are traditionally understood as representing sexual power. For Freud snakes were a symbol of male sexual drive, but lesbian culture has also embraced the snake namely in reference to the ancient matriarchal Minoan society symbolised by the “Snake Goddess”:

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We then see that Taylor is indeed positioning herself as snake queen:

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But she’s not only queen of snakes i.e. queen of sexual power, she’s drinking tea:

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Which seems kind of random UNTIL we recall that tea is associated with the gay community as Urban Dictionary defines: “Used within the urban gay community, ‘tea’ signifies a piece of sensitive and possibly highly sought-after information or tidbit”. Or, as A.J. Musser has argued: “While I do not want to argue that tea functions as the sign of lesbianism, it does serve as one among a collection of possible signs of female queerness”. So, here the tea drinking is not only about recalling a secret, it is a nod to lesbian stereotypes. In light of this we might see the “et tu Brute” chiselled into the columns as not only referencing Kanye as a backstabber, but perhaps also calling him out of the closet – i.e. “and you, Kanye?”

Next up it’s Taylor in an epic golden car crash, and as everyone has pointed out, she looks just like Katy Perry (but holding the grammy Katy doesn’t have – so shady):

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Up until recently the reason behind Katy and Taylor’s famous feud wasn’t known. Katy has since explained that it was about backing dancers. Are we really to believe that Taylor wrote Bad Blood, which features the lyrics “You know it used to be mad love” just because of a fight about backing dancers?

Maybe Taylor is trying to reference Judith Butler’s theory of gender melancholy here – you become what you cannot love…(And, not to mention that Katy came out earlier this year).

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We then see Taylor the caged bird, calling to mind Maya Angelou’s I Know Why the Caged Bird Sings, which explores questions of lesbianism among other themes. We might also note that Taylor is in an orange jumpsuit behind bars, a la Orange is the New Black.

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But importantly, Taylor’s “feast” in the cage involves a lobster and a rat:

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While rats are symbolic of new beginnings, and lobsters also represent regeneration, “lobster” is slang for “lesbian”.

We are then taken to scenes of Taylor robbing what appears to be a music streaming company. But this isn’t just about her feud with Apple, she’s also sporting the very pansexual slogan “BLIND FOR LOVE” amongst a bevy of cats/pussies:

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Of course Taylor has been upfront about her obsession with cats for some time (also a lesbian stereotype), as we see in early videos such as 22 (where she just happens to be hugging a woman while making a “V” sign…):

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And lobsters/cats aren’t the only animal symbolism Taylor has used in videos – remember that beaver from We Are Never Ever Getting Back Together who (along with a random woman) beckons Taylor away from her bed/phone call with her boyfriend?

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Back in LWYMMD, things take a turn for the extra gay, with Taylor referencing Dykes on Bikes (a lesbian pride group which began in San Francisco in the 1970s):

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While some have suggested this is undoubtably a reference to Peter Lindberg’s “Wild at Heart” shoot for Vogue in 1991, there is no doubt that the inspiration for that was this:

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We then see Taylor as the dominatrix leader of a “squad” of plastic women (note the cats also on screen – it’s her “pussy squad”), in reference to her infamous girl gang groupies:

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While the figure of “dominatrix” has its own overt sexual connotations, the imagery (as Every Outfit on SATC has pointed out) is clearly referencing the 2016 horror film Neon Demon:

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WHICH notoriously includes an extended scene involving lesbian necrophilia.

Taylor then bursts in to the metaphorical closet:

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Which also calls to mind the “door” in her clip for Fifteen where she is 800% in love with a girl and is just a completely gay story for real (lyrics include “you might find who you’re supposed to be…take a deep breath and walk through the doors”):

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In the LWYMMD closet she doesn’t meet her teen girl crush, but rather a crew of effeminate men in heels, including the notable and openly gay Todrick Hall. A lot of commentators have pointed to the “I ❤ T.S.” on the men’s shirts as a jab at Taylor’s supposed ex-boyfriend Tom Hiddleston who wore a similar shirt when they were said to be dating:

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But I think the real takeaway message here is the association between those who declare their love for Taylor, and being gay/closeted. In other words this whole scene is about Taylor’s beards.

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The finale is Taylor standing on a pile of warring alter-egos (and of course the “T” referencing not only “Taylor” but the “tea” earlier in the clip):

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Up the front we have Taylor in her Swan Lake outfit from Shake it Off, and given that this particular character was chosen out of a cast of many from that particular clip, we might also see this as a reference to the lesbian horror (see a theme here?) film Black Swan:

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With feminine horror also referenced in Taylor’s outfit as she saws the wings off a phallic aeroplane:

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In the final scene Taylor once again meets the many sides of “herself”:

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A theme of self-confrontation we have also seen in earlier clips like Out of the Woods:

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But while Taylor’s previous clips have been about “finding” herself, it is clear in LWYMMD that we the audience have not yet found the “true” Taylor.

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Or, maybe she’s all and none of these characters. Maybe she’s been trying to flag her sexuality for the longest time, with her snake rings, masculine internal duality, tea, rainbows, closet doors, lobsters, beavers and cats. I guess only time, and the rest of Reputation may tell.

(Thanks also to Clare S for helping with this piece, specifically the research on lesbians and tea). 

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Give Drag a Chance

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Priscilla, queen of my heart

When I was a little girl, I loved drag queens more than anything. It was back in the days when video stores were still around, and my babysitter asked me which film I wanted to rent. Of course I said Priscilla Queen of the Desert, which was my absolute favourite as an eight year old, and I couldn’t believe she hadn’t seen it already. By the end of the film she was rather shocked, but I remember thinking thank god I am a girl. My thought was that if I had been a boy I would have had to be a drag queen, and things would have been really tough. To me being a feminine as a girl was like being a drag queen too, you just didn’t get hate for it.

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Paris is Burning

Priscilla, and films like Paris is Burning before it, helped to make drag intelligible to a mainstream audience. Today RuPaul’s Drag Race continues to work that magic, bringing a greater awareness of drag culture as well as a diversity of queens into the spotlight with each season.

But even though everyone is watching Drag Race, word on the street for those in the know is that you’ve got to be a bit careful because drag queens are, well, a bit of a drag. So the story goes, drag queens—at least those “normy” hyper-feminine ones—are just reinforcing every stereotype of womanhood that feminism has ever fought against.

Strangely this critique of drag comes from two, usually wildly oppositional, directions within discussions of gender.

578579The first is from trans-exclusionary radical feminist types, who conflate gay male culture with drag queens with transgender identity. Such perspectives see gay men, drag queens, and trans women as responsible for propping up fantasies of femininity that only serve to oppress women. Germaine Greer famously stated in The Female Eunuch 1970: “I’m sick of being a transvestite. I refuse to be a female impersonator. I am a woman, not a castrate”. Greer’s suggestion here is that there is some form of “natural” womanhood that can be liberated from the dictates of culture. Similarly, and more recently, Sheila Jeffreys has even argued that drag kings distort lesbian culture and the celebration of “natural” womanhood. She writes: “If the suffering and destruction of lesbians is to be halted then we must challenge the cult of masculinity that is evident in such activities as drag king shows”. These views are rife with homophobia and transphobia, as well as massive conflations and wild leaps that see men, masculinity, and femininity, as the true oppressors of women.

license-shutterstock_178095647z-56cddde63df78cfb37a34dedI don’t have much time for these views, which encourage us to believe that the biggest threats to women are trans women, drag queens, and gay men. This view distorts Marxist theory to argues that men in particular are *the* class that oppresses women, and sees the liberation that is to be won as a liberation from “gender”. Luckily the currency of radical feminism in academic spaces seems to be waning. But when overall activist struggle in society is low, it is easy for people to slip into arguing that we are each other’s problem, that if only we could free ourselves from gender we’d be truly liberated. It’s a much easier argument to make than organising to transform the fundamental economic arrangement of society, and it makes space for all kinds of class collaboration between powerful women and poor women alike (even if it means at the end of the day that power doesn’t actually shift).

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I heart Judy B 4eva

Understandably in many queer critical circles, no one has much time for radical feminism. For example Judith Butler—our queer theory queen writ large—has openly critiqued Jeffreys, describing her views on trans women as a “feminist tyranny”. At the end of Gender Trouble (1990) Butler famously held drag queens up as exemplars of gender subversion. There was of course a lot of responses to this, but much of these debates focused on whether drag really was the best example of the theory of gender performativity that Butler was proposing.

herofille2So that’s why it’s kind of surprising to hear people within queer communities suggesting now that drag, in its mainstream formations, is a problem. From this perspective drag, if performed by ostensibly cis males, reproduces misogynistic ideas of femininity and is really just another expression of the “gay-triarchy“. Drag that is seen as more alternative in these scenes is drag performed by faux-queens (women performing as drag queens), or drag that queers gender in some way, like the intense influx of bearded-queens we’ve seen in recent years.

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I love Sasha but I don’t doubt we occupy the same ivory tower

Within the land of RuPaul, this desire for more alternative drag to address the “problems” of drag culture is summed up by Sasha Velour. Now, there is no way that I am not #TeamSasha, obviously I love Sasha. But she also represents an extremely mobile, well-educated subset of drag culture, who can quote Butler and play with the expectations of drag (like, having a bald head) because let’s face it, they’re still going to get by even if they don’t win $100,000.

What the queer critique of drag shares with the radical feminist perspective is the view that we are one another’s oppressors, and that if we manage to transform our individual gendered selves in a particular way, this can contribute to liberation. For the rad fems this might mean rejecting expectations of femininity and trying to embody “natural” womanhood. From the queer perspective this might mean rejecting anything perceived as mainstream and normative. The conclusions are the same: do your politics through your body, and reject those individuals who don’t.

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The cast of Season 9

Let’s pause here to imagine why someone might get into drag (noting that the great thing about Drag Race is that we get to hear some of these reasons). For some, drag offers a space to play around with femininity, after growing up as a “weird” kid who didn’t meet the expectations of masculinity. For others, drag is a way of working through questions of sexual and/or gender identity. For many that have been kicked out of home or found themselves rejected by society at large, drag offers a space for new forms of family to emerge.

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Drag queens can be comrades too

For many, drag is a mode of survival, socially and economically. Drag queens struggle with expectations around femininity too. Drag queens don’t oppress women: the struggle against sexism is a shared one. There is a lot to be learned from RuPaul’s constant reminder that “we’re all born naked and the rest is drag”.

So, let’s celebrate those drag queens that can push boundaries and show us new ways to think about gender, but let’s embrace those “normy” queens too. This doesn’t mean everything in drag culture should be immune from critique, but it does mean we should give drag a chance. After all, the struggle is best won together, not alone, and drag queens are not the enemy.

The Queer World of Stranger Things

Joyce Byers: He’s a sensitive kid. Lonnie used to say he was queer. Called him a fag.
Jim Hopper: Is he?
Joyce: He’s missing, is what he is!

Judith Butler: Crafting a sexual position…always involves becoming haunted by what’s excluded. And the more rigid the position, the greater the ghost, and the more threatening it is in some way

Eleven: The gate, I opened it. I’m the monster

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It’s almost too good

*SPOILERS (OBVS)*

I watched Stranger Things this week, yes, five months late to the party (just in time for Christmas so I can be creeped out by the lights). I could list a bunch of excuses, but really I just generally avoid anything that has a whiff of scary. But the thing about the horror/supernatural/sci fi genre is that it tends to engage with questions of the strange, the bodily and the abject, and is therefore inescapably relevant to queer theory and feminism. So, when I found myself in that inevitable position of why can I find literally nothing to watch on Netflix?, I gave in (and boy am I glad I did), because it turns out that Stranger Things is the gayest, campest, queerest, most feminist thing out at the moment—perhaps even in spite of its own intentions.

The troubling thing about watching shows later than everyone else is that you’ve missed the cultural discussion. So when I started feverishly googling “queer Stranger Things” and “feminist Stranger Things” after the series ended, I was surprised at arguments that worked hard to demonstrate how the show is anti-feminist, or like, stop making it about feminism already, and how people are stuck on questioning whether Will is gay or not. I was also intrigued by how everyone was obsessed with Barb and the grand injustice of it all. To me, all of these things entirely miss the richness of insight that the show has to offer on questions of gender and sexuality.

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Oppression, comin’ atcha

Let’s get to the feminist themes of the show first. It’s not feminist because it overtly trumpets “political, social and economic equality with men” (it doesn’t), but rather, it engages a feminist lens that magnifies sexism in all its forms and portrays female and genderqueer characters who resist in spite of the oppression that’s bearing down on them from all angles (literally).

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Joyce, holding her ground

That Joyce communicates with Will via lights isn’t just for special effect—it’s a comment on the gaslighting that many women experience in their everyday lives. Gaslighting is when someone is led to believe that they are misperceiving things, and that they are crazy/losing their mind. The term originates from a 1930s play where a man tricks his wife into thinking she’s going mad, which involves him messing with the gas lamps in the house. Many women experience gaslighting as a subtle form of emotional abuse in intimate relationships. Joyce is told by all the men around her (the police, her oldest son, her ex-husband) that she’s crazy and that she’s mis-perceiving (so crazy in fact that she can’t even recognise the body of her own son), YET she persists in her rescue mission. The ultimate lesson is: believe in yourself and grab a f***ing axe while you’re at it.

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Karen Wheeler (note checked shirt for later)

The show also did a kick-ass job at celebrating mothers as at once loving and fierce. For one, there’s Karen Wheeler, Mike and Nancy’s mother, who is constantly reminding her children: I’m here if you need me. And we might wonder, where the hell is the dad most of the time? Their mother is the centre of it all, she’s the one doing the emotional labour. Joyce repeats a similar mantra of support to both Will in the Upside Down, and Eleven when she’s in the sensory deprivation tank: I’m here for you. Of course we could read this as stereotyping motherhood, but in a world where mothers are so frequently represented along a binary of either strong and evil, or caring but passive, I think it’s a celebration of strength in vulnerability. Unlike the mothers of the original 1980s slasher flicks, these women are to be revered, not feared. The lesson is: celebrate the mothers, they’re the ones keeping sh*t together.

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The patriarchy involves women leaders too

Fathers get a rather different wrap in the show, but the complexity of masculinity is also engaged with rather than made one-dimensional. Perhaps the most notable father is Eleven’s “papa” Dr Martin Brenner, who dare I say represents the patriarchy, that is, the “rule of the father”. This character also demonstrates the long history of science and medicine ruling over bodies, particularly female or genderqueer ones. For instance, he tells Eleven that they are “sick” and that he will make them “better”—a reflection of the disciplining of non-conforming bodies that has long been documented (thanks Foucault). There is also the absent father /deadbeat dad (Lonnie), who functions to show us the abuse that occurs in the family home and the perils of single motherhood. And then there is Jim Hopper, the dad who has lost his daughter. With this storyline we are made privy to the vulnerable side of masculinity, and the very few options for expressing these kinds of emotions that men are offered in life. For Jim, his sadness hardness into detached coolness. Similarly, for Jonathan Beyers—who reveals crying after being forced by his father to kill a rabbit as a child, to “make him a man”—his vulnerability hardens into stalkerish reclusiveness. The lesson is: the rule of the father (or whatever you want to call it—patriarchy, gender expectations, etc) is bad for everyone.

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How good is Nancy?! (Note checked shirt underneath)

You know what else is bad for everyone? Slut-shaming. Nancy experiences some pretty heavy slut-shaming not only from her friends at school, but from the police. While Nancy is all, Barb is missing! the cops are all, but did you have SEX? Nancy realises that justice isn’t going to be served through the formal legal channels, and that she’s going to have to take things into her own hands if she wants to get things done. She’ll pick up a gun, say “screw that” to the nuclear family, and unthinkably crawl through goo in a tree in order to rescue her friend. Unlike many rescue stories, the hero here is a woman. When it turns out that the monster has killed her friend, Nancy doesn’t give up, she grows in her resolve. Indeed, after this she’s out for revenge, but the female-rescuing-female trope subverts the normal “revenge” paradigm that usually focuses on rape. You know who cared about Barb in a world that just generally didn’t? Nancy did. That was the entire driver for Nancy, her friend. The lesson is: sh*t, Nancy is awesome.

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Eleven not even messing around one bit

Last but not least on the question of gender, Stranger Things engages with the gender conformity that is thrust upon us in a world of heterosexuality. In order to “pass”, Mike and his friends dress Eleven up in pink, a blonde wig, and makeup. Mike is rather happy about Eleven’s new “pretty”, but Eleven’s not so sure. When Eleven is accused of being too aggressive and too crazy (after hurting Lucas), they cast their wig off and strides into the supermarket to take whatever they like, slamming doors along the way. They’re saying, you don’t own me, you can’t control me. While Joyce teaches us that you can be a mother and a fighter, and Nancy teaches us that you can be feminine and a hero, Eleven shows us that femininity can be restricting and awful when it is thrust upon us.The lesson is: you can be queer in your gender expression and save the world.

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This last point brings me to my queer reading of the series. Again, this isn’t to say that the show is queer because there are a bunch of LGBTQ characters in it (this is debated), but rather, we can undertake a queer reading that reveals the show’s underlying themes related to subverting the normal when it comes to gender and sexuality.

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A camp extravaganza

First, the obvious things. The overabundance of christmas lights is super camp. Camp refers to a sensibility seen as linked with homosexuality, a focus on the over-the-top, and the rejection of middle-class taste. Camp is also often associated with Christmas, with its gaudy decorations and glitz and glam. Joyce goes totally OTT with the Christmas lights, and the same time that she’s tearing down the walls of the family home. It’s no wonder that when Lonnie comes home he tries to force “normal” family life by literally patching things up and taking the lights down. But Joyce won’t have it. The Beyers residence is a camp wonderland that does family life differently.

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Misfits abound in Stranger Things

Second, the title Stranger Things, refers to the strange that is so central to queer readings. Queer theory focuses on “queering” the normal, and has often been about celebrating that which is considered “strange”. In the show, all of the heroes are “strange” in some way, they are misfits who reject how things are “supposed to be done”.

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Will (in yet another checked shirt)

Very importantly, there is an overt emphasis on Will’s presumed gayness, with references made to his “queerness” almost every time he comes up in conversation. Whether his character is gay or not is really besides the point, because there is another story bubbling under the surface here (which this article from the Advocate basically hints at—but it’s much more literal than they suggest). When the school bully asserts that Will is “in fairyland now right”, we should take note. If we read this claim in conjunction with Judith Butler’s claim that we are always “haunted” by those sexual subject positions we exclude, we can understand the Upside Down as also implicitly referring to “inversion“, the old way that sexologists in the 19th century used to describe homosexuality. This isn’t to say that the Upside Down is a world of homosexuality, but rather, that it is the shadow world that the bigots project as the opposite normality.

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Mouth breather

It’s also a world that casts queer bodies into what Butler would call the “ungrievable“—where some people’s sexuality and gender cannot be understood to the point that their lives cannot even be mourned in death. That the “real” Will is illegible (he is a shadow, and his “body” is a fake) , that almost no one cares about Barb going missing, that there is barely a blink that several people have disappeared in a matter of days…It all testifies to understanding the Upside Down as that which is cast out of the world, that is not allowed to exist in “normal” life. But what can move between worlds, and what can be identified by those who are critical of normality, is the monster, i.e. homophobia. Here, the monster is the ultimate “mouth breather” (its face is all mouth after all), it is THE bully, the homophobe.

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Barb, another outsider (and checked shirt wearer)

Along these lines we can also note that unlike the old horror movies of yore, it is not the youngsters engaged in hetero sex who get taken by the monster…Barb gets taken specifically because she doesn’t want to engage in that milieu. Who else gets taken? As the police briefly discuss, two men who went out “hunting” that week but their utter lack of concern about this makes us think maybe there’s some subtle homophobia going on there, like, well, we know what goes down in those woods…

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Perhaps Will is reflecting on his internalised homophobia

It is also not surprising that the monster is unleashed in the processes of spying on Russians—as many have documented, fear of communism was often promoted through connecting “commies” to “homos”. As George Chauncey notes, “The spectre of the invisible homosexual, like that of the invisible communist, haunted Cold War America”, which manifested in the USA as the Lavender Scare during the 1950s. In their spying on the Russians, Eleven predictably also spies homophobia. Of course, Eleven gets blamed for unleashing havoc, buying into the notion that it is them who is monstrous, rather than homophobia that is the destructor. We see this play out in life all of the time—when conservative politicians argue that that it is really gender and sexual non-conformity that is the real concern (think of the children!) rather than the bullying and hate-crimes that are committed against those who don’t fit the “normal”. Notably, the monster in Stranger Things forces ingestion on its prey as a way to reproduce, that is, it creates internalised homophobia. By the end Will is literally vomiting up this monstrous self-hatred, and the family home is neatly (too neatly) patched up back to normalcy.

That the monster is attracted by “blood” also calls to mind the AIDS crisis that emerged in the 1980s, and that was a central subtextual theme of many of the horror films that Stranger Things references. At the time AIDS was first called “Gay Related Immune Deficiency” or GRID, and again, it was homosexuals who were seen to be the source of death, rather than the victims of homophobic governments who were slow to act on the emerging health crisis.

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The lab, lined by grids

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Steve’s room, so many grids

Interestingly, Stranger Things is dominated by grids. The corridors of the Hawkins National Laboratory that holds the doorway to the Upside Down depict a grid that is also mirrored in Steve Harrington’s bedroom decor (that we see just before Barb is taken). Many of the characters also wear plaid/checked i.e. grid patterns. In fact, the world of Stranger Things is literally littered with grids. The double meaning of this grid obsession is also the “grid of cultural intelligibility” that Butler discusses—the norms of sexuality and gender that constitute the fabric of the social world. Going to the Upside Down means falling off this grid, where you can be the prey of homophobia without cultural recognition.

The lesson of all of this is a reminder that the monster of homophobia needs to be fought, not internalised, in order to keep everyone safe from falling off the grid.

*****

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Stranger Things questions, rather than merely replicates, the dominant paradigm

All of this is not to say that the Duffer Brothers have been reading Judith Butler (though, it’s not that unlikely) or any other queer theory or feminist texts for that matter. Rather, we can see these elements of Stranger Things as testament to the zeitgeist permeating the popular subconscious from the 1980s to today, that involves a mash of ideas about gender, sexism, sexuality, and homophobia. The show manages to tap into these issues and depict the realities of oppression, all the while making its non-conforming characters the heroes. This is really what makes this show stand out in a field of popular representations: it does more than reproduce normative ideas, it offers a challenge to them.

 

My Struggle With Feminism

This lovely print from dothandmade really sums it up (check out her etsy page)

This lovely print from Michelle Scott of dothandmade really sums it up (check out her Etsy page)

Feminism and I go way back. For one thing, my grandmother used to write STEREOTYPE in big, bold letters underneath problematic pictures in my colouring-in books, such as wart-nosed witches, or coquettish Disney Princesses getting married off to their rather dull princes (if nothing else, this instilled in me a fervour for cultural criticism at a young age). I also had my mother, less the radical-separatist type, more a non-identifying new third-waver, which largely explains that my first tape at the age of four was Madonna’s Immaculate Collection (which I have to say ensures some rather awkward conversations, like when you jump around the lounge room singing “Like a Virgin”, which leads your mother to ask, “Do you know what that word means?”, a series of lying nods, and “the talk” before you’ve even got this Kindergarten thing down pat). I read The Paper Bag Princess, played with Motherpeace Tarot cards, and went to all number of Reclaim the Nights, and pro-choice rallies.

This is exactly the kind of style I would go for

This is exactly the kind of make-up style I would go for

Of course with this kind of upbringing, I didn’t identify explicitly with feminism. That was just assumed, background information, something everyone was au fait with (I thought). In fact, I actively rejected many of the feminist critiques I was exposed to. Much to the chagrin of my family, I demanded to wear dresses. I loved pink. Fairies. Ballerinas. Makeup. In my lifetime I have managed to have not one but three makeup-themed parties (though, on all occasions I was less interested in beautification than I was drag-queening).

Later, despite choosing university majors in psychology, political science and philosophy, I managed to write about sex, gender and sexuality whenever possible (a trend unfortunately only evident in hindsight). But it wasn’t until I began my honours in philosophy, that I finally read Simone de Beauvoir’s The Second Sex – which was a revelation. After that I took a giant leap straight into Judith Butler territory, sparking a rather dense love affair with her textual genius. But theoretically, I jumped from a foundational second-wave text to a pretty intense critique of all things gender. I’ve spent the years since then catching up on a lot of the feminist texts in-between and since the great Gender Trouble, but it’s fair to say I’ve taken the queer theory path rather than the recuperative one you see feminist writers like Angela McRobbie taking now (in Aftermath of Feminism McRobbie levels that the work of JB contributed in part to feminism undoing itself). 

This for example, is some crazy bullsh*t

This for example, is some crazy bullsh*t

The point is, a lot of the time, I find myself challenging many of the encompassing explanations of oppression presented by feminist writers and thinkers, instead proposing sneaky little queer readings of things that might otherwise be held up as extremely problematic and supportive of the patriarchy (for example, the much condemned antics of Gaga, Miley, Britney, Katy – I just can’t help falling in love with these women and I will defend them to the death god dammit!). But then at odd and unexpected times, I find myself confronted with street harassment, anti-abortion preachers, or even just vaguely misogynistic comments on social media, and I am reminded hey wait a minute, feminism isn’t always perfect….but it’s still pretty tops. After all, feminism doesn’t mean just one perspective – for me at least, laying claim to feminism in part just means caring about questions of gender.

It sure is

It sure is

As Butler put it herself in the 1999 preface to GT, “I was writing in the tradition of immanent critique that seeks to provoke critical examination of the basic vocabulary of the movement of thought to which it belongs”. In other words, one can write from a critical space that is also ultimately founded in feminist thought. And while I can’t help agreeing with some authors like Janet Halley, that it can be productive to “take a break” from feminism sometimes, I can also never forget my feminist roots.

Judith Butler Explained with Cats

Following hot on the heels of Foucault Explained with Hipsters, here’s JB’s Gender Trouble  explained in Socratic dialogue style. With cats.

B1

B2

 

All page references from Butler, J. (1990 [2008: 1999]). Gender Trouble: Feminism and the Subversion of Identity. New York; London: Routledge.

Got any more ideas for philosophy/sociology/gender theory you’d like to see explained in comic form? Let me know in the comments below.