Are we still allowed to state these facts?
Anouk Aimee,
the exquisite star of the classic 1966 French film A Man and a Woman, passed
away on June 18, 2024. She was 92. Willie Mays, the "Say Hey Kid,"
who hit 52 home runs in the 1965 season, also passed away on June 18, 2024. He
was 93.
I joked to a friend, "Death comes in threes. Now another long-lived celebrity from the 60s must die."
As if to mock
me, Death delivered. Donald Sutherland died on June 20, 2024. Sutherland's
first big movie was 1967's The Dirty Dozen. Sutherland was 88.
I discipline
myself not to respond emotionally to celebrity deaths;. My only contact with
Sutherland is watching his films, and I can certainly continue after his death.
But I felt more than a twinge.
In 1971's Klute,
Sutherland knocked me out. I didn't feel like I was watching an actor. I felt
like I was watching a cop from Tuscarora, PA, the part he played. And
Sutherland was far from "movie-star handsome." In fact with his weird
eyes and bat-wing ears, his creepily ambiguous smile and marionette chin, you
could call him ugly.
But boy was he
erotic dynamite. It was in watching Klute that I decided that a working
stiff from a small town who didn't have a pretty face could be the hottest guy
in the room. Sutherland's performance made me reassess the dog-face working
stiffs from my own small town and see their erotic possibilities that I, drunk
on movies and novels, had previously dismissed.
The New York
Times opens its obituary with the words "unsettle" and
"repulse" – what Sutherland could do to audiences. "With his
long face … and wolfish smile," Sutherland "was never anyone's idea
of a heartthrob … He recounted how he was once rejected for a film role by a
producer who said: 'This part calls for a guy-next-door type. You don't look
like you've lived next door to anyone.'"
Sutherland was
not able to enjoy the bliss of ignorance. Schoolkids called him
"Dumbo." His own mother disabused him of any delusions.
"When I
was sixteen, I went to her, and I asked, 'Mother, am I good looking?'"
She could not
lie to her son.
"I went
and hid in my room for at least a day." Sutherland, an old man, with the
weathered face that time eventually assigns even to the once most handsome,
teared up and choked up when recounting this memory in a 2017 interview with
Anderson Cooper.
Cooper asked,
"Did what she said stay with you?"
"Not
really," Sutherland replied airily. "Just for the next sixty-five,
sixty-six years. It's not easy, Anderson, to know that you are an ugly man in a
business like I'm in."
"Do you
think of yourself as an ugly man?"
"Unattractive
is a gentler way of putting it."
CBS titled the
interview, "An
'Ugly Man' in a Glamorous Business."
The same actor
who made me fall in love with him in Klute chilled me to the bone in Invasion
of the Body Snatchers. He made me laugh till my sides hurt in Start the
Revolution Without Me and Kelly's Heroes. He was a convincing
Russian general in Citizen X and a flawed but loving gentry patriarch in
Pride and Prejudice. I'm no conspiracy theorist but in Oliver Stone's J.F.K.
Sutherland made me believe that he had the Illuminati on speed dial. In Eye
of the Needle he was that twisted fantasy, the Sexy Nazi Ubermensch who
makes love as expertly as he wields his stiletto. Normally these types, that
romanticize Nazis, make me want to hurl. Sutherland inhabited his character's
demonic evil, his sensuality, and his dedication to Vaterland so
seamlessly that I didn't cheer as enthusiastically as I otherwise might have as
his lover chopped off his fingers and shot him three times.
And I've never
even seen M*A*S*H, Ordinary People, The Great Train Robbery, Don't Look Now,
The Hunger Games, 1900, or Animal House. He played completely
different characters in all these films, and, critics say, he did so
convincingly.
Let's review: a
man can overcome the heartache of being told he's ugly. He can do so by doing
what most of us less-than-perfect humans do. He does not focus on his deficits.
He does not exploit them by playing victim. He does not order others to refrain
from using the word "ugly." He does not order others to abandon
standards of beauty.
He – and all of
us who do so – overcomes by focusing on his assets. He "accentuates the
positive." He masters skills he does have, for example, a tremendous
talent as an actor. An ugly actor can, with talent, be hot. Such an actor can
bring off a decades-long, highly regarded career.
Given how much
power relativism wields, it may as well be our state religion. We are not
supposed to use the word "ugly." Everything is relative. One person's
"ugly" is another person's beauty. To differentiate between ugliness
and beauty is to be judgmental, and our state religion forbids being
judgmental.
Sometimes
relativism applies. When I was a nurse's aide working with the elderly and
dying, my patients were beautiful to me. When we aides took their photos, the
photos shocked me. The camera didn't capture the beauty we saw.
On the other
hand, there's plenty of evidence that there are objective features that humans
around the world assess as beautiful. I recognize those features, just as
everyone else does. I knew that my patients, with their wrinkled, transparent
skins revealing blue veins, their clouded eyes, and their scalps sprouting
sparse hair, were not objectively beautiful. I knew that Klute was not a
handsome man. My love transformed what I was seeing, but that transformation
occurred in my eyes; a camera did not capture my vision.
Scientist David
M. Buss has published on beauty. "The theory that 'beauty is in the eyes
of the beholder' in the sense of being superficial, arbitrary, and infinitely
culturally variable can safely be discarded. I regard it as one of the 'great
myths' perpetrated by social scientists in the 20th century," Buss writes. He insists
that beauty is the word we humans apply to symmetrical features, a body whose
proportions loudly announce a hormonal state of high fertility and health, and
smooth skin that is clear of, as Buss so romantically puts it, "sores or
lesions."
The ability to
differentiate truth from lies, the courage to speak the truth, and a society
that welcomes truth are all necessary if we want to keep the civilization we
have inherited. A society that demonizes truth because truth gets in the way of
power politics and a wanna-be state religion is on a precarious course.
Learning how,
when, and to whom one tells the truth is an important set of skills. A mature
adult does not go around telling ugly people that they are ugly. Donald
Sutherland's mother, who loved him enough to tell him the truth, softened the
blow by telling him that his face had character. We don't speak unless asked,
and, if asked, we say, "You are pleasingly plump;" "You look
strong;" "I love your intelligence humor;" "Looks aren't
everything." We find ways to speak the truth while protecting the people we
love and the relationships we need.
My childhood
milieu was not as delicate as Sutherland's mother. I was informed, every day,
by family members, by kids on my block, and yes, by teachers that I was
"fat," "ugly," and "retarded." I seek that
"fat pig," that "Minnesota fats" in old childhood photos,
and I see a girl who is head-and-shoulders taller than her age peers, very
sturdily built, and not thin, but also not particularly fat. I didn't realize
this as a kid, of course.
Beautiful
women, members of the church of Woke and who practice its relativism, sometimes
try to imitate magnanimity with me and insist, "If you think of yourself
as beautiful, you will be beautiful to others." I tell these women to go
to Hell. I do not allow them to use their lies to me as badge of their own
superiority, interior and exterior. Their condescending and presumptuous
preaching belies their insistence that all women are equal. They are beautiful;
therefore, they can tell ugly women how to feel. I reject their thought control
religion and I demand to retain the words "beautiful" and
"ugly."
I demand the
words "beautiful" and "ugly" to chart my own life course.
Beautiful women and ugly women carry different passports. We must master
different lessons. Beautiful women learn to let men down easily. Ugly women
learn to pay their own way. Our primary task is to learn how to respond to men
who tell us, "You'd be pretty if you smiled more … or lost the
attitude" or whatever their plan for us is. The proper response, of
course, is to walk away from interactions that offer us nothing.
I demand the
words "beautiful" and "ugly" not just as necessary
signposts for my own life. In spring I travel to a snooty town, home of the
Presby Memorial Iris Garden. This year, I finally found my favorite, the
"Gilt-edged Bond Bearded." The lower three petals of this flower are
periwinkle blue; the upper three are white; the beard is gold. Gazing at this
flower, I quivered. I felt as if my torso was a lump of bread dough kneaded by
beauty alone. I teared up. I was so happy. Beauty did to me, for me, what
nothing else could do. I will not allow relativists to take beauty away from
me. Not the concept. Not the word. Not the truth so named. Not its power. I
want, I need, them all.
Bridgerton is a Netflix series loosely based on
wildly popular romance novels by Julia Quinn. It debuted in 2020. Shonda
Rhimes, a highly successful TV writer and producer, set Bridgerton in an
alternative universe, where Regency England is populated by whites, blacks, and
Asians.
Bridgerton's popularity, the passion of its fans,
and its alternative history of Regency England is fertile ground for social
analyses. I watch the show for what it tells me about pop culture, about women
and what powerful people sell to women, and about mass psychology. The folk
tales we once told, the TV shows and movies we now invest in, reflect our hopes
and dreams – and also our politics.
I also watch
Bridgerton because the wigs and costumes are more extreme than the bar
scene in Star Wars. Authentic Regency attire was understated. A typical
dress might look to modern eyes like a rather dowdy and uncomfortable
nightgown. Regency blogger Beatrice
Knight describes "pastel" colors. Gowns were "primrose,
blush, apple blossom … Those colors were soft and delicate … whites and pastels
dominated."
On Bridgerton,
though, modern, chemical dyes and wildly patterned, modern fabrics assault
the eyeballs. Dresses are so psychedelic they look as if Woodstock ate a craft
store and threw up. The signature Regency profile is traded for silhouettes
from any era. Lady Featherington would be at home in the 1940s. Penelope
Featherington wore 1940s film star Veronica Lake's signature
hairstyle. Dresses have so many ornaments, so much net, sequins, feathers,
jewels, appliques, ruffles, lace, fruits, flowers, moon rocks – okay maybe not
that last – that if a dress transformed into a jet pack and a character blasted
off it would not surprise.
Queen Charlotte
(Golda Rosheuvel) wears a different wig in every scene. One wig was a couple of
feet high, and, like a Faberge egg, contained an oil-painting backdrop and
motorized swans (see here).
Because Queen Charlotte is, of course, black, the wigs are sometimes dreadlocks. Another, a
three-foot wide Afro, was inspired by Beyonce.
Kathleen
Newman-Bremang is a black journalist who is "thrilled" by
Bridgerton's alternative universe. "Seeing that hair and that
face reign over a fictional kingdom is thrilling … Abolish the monarchy —
except for the fake one in which its queen rocks two-foot 4C hair." 4C
hair is a reference to black people's hair. Newman-Bremang writes
of the Faberge wig. Motors "hadn't been invented yet but this is a world
in which interracial couples dance blissfully ... to covers of BTS and
Pitbull."
Rosheuvel says,
"It was very important for the Bridgerton hair designer to deal with
different Black textures to really celebrate my Blackness." The wig
meeting made Rosheuvel cry. "All of these iconic Black women that we see
now that are up front and center in these stories for Black women, I think all
of them are incorporated in Queen Charlotte."
While watching Bridgerton
3, I noticed that Victor Alli, the actor who plays John Stirling,
Earl of Kilmartin, is ugly. His ugliness astounded me. Bridgerton, after
all, is all about eye candy. Not just the performers are good looking. There is
not a single smudge on a single wall. Dresses have clearly never been worn
previously and will never be worn again. Not a speck of mud sullies a single
carriage. Horses do not poop. Servants do not sweat; no smallpox scars
disfigure any face. After thinking that it was surprising that a show that is
so dedicated to the superficially pretty hired an ugly actor, I, of course,
thought the next inevitable thought. "I'm not allowed to think that Victor
Alli is ugly because he's black."
I paused the
video and went online for the inevitable melee. Google, as they say, is your
friend. "Victor Alli" and "ugly" turned up punch fests
worthy of a Waffle House. Combatants cited the idea that "If you can't see
it, you can't be it."
"If you
can't see it, you can't be it" is not just an internet meme. The phrase
steers government policy. Here's the idea. If you are black and you grew up
never seeing a black doctor on TV – or never see a black romantic lead – you never become a black doctor – or lover –
and white people never believe that black people can be doctors – or lovers.
Showing a black doctor, or a black romantic lead on TV, is a beneficent act,
because doing so will elevate black people and eliminate the racism that keeps
black people back. This same argument is applied to women. Women don't become
cardiologists – because they can't see it; see this peer-reviewed
article. Similarly, women
don't become inventors for this reason. And this is why black kids don't do
computer science or own
stores.
There are
problems with this argument. George Washington Carver was born in slavery.
Marie Sklodowska Curie was born in Russian-controlled Poland; she had to study
in secret, and on the move, to avoid detection by czarist police. Both Carver
and Curie became world-class scientists.
There are
problems with the argument that viewers find Alli unattractive because they
have never seen a black man in a romantic role. Here's the problem: Harry
Belafonte, Nat King Cole, Sam Cook, Greg Morris, Sidney Poitier, Mario Van
Peebles, Billy Dee Williams, Richard Roundtree, Denzel Washington, Wesley
Snipes, Djimon Hounsou, Will Smith, Idris Elba, and Michael B. Jordan. There
have been hot black men on American screens at least seventy years. Harry
Belafonte starred in the lavish, multiple-award-winning, critically and
economically successful Carmen Jones in 1954. Sidney Poitier rose to the
top box office draw in the 1960s, when Jim Crow was still in force. In spite of
racism, viewers recognized hotness and talent in these hot black stars. Denzel
Washington's net worth is estimated at $300 million. Idris Elba, son of two
African parents, is officially a former "Sexist Man Alive." Michael
B. Jordan's Black Panther broke box office records.
I don't possess
David Buss' evolutionary protractor and I can't calculate why Nat King Cole,
clearly black, was handsome and charming, and Victor Alli, at least as he
appears in Bridgerton, is not. But them's the breaks. Life is not fair.
Young Dennis Quaid was hot. His brother Randy Quaid is not.
And there's one
more problem. A publicity photo emerged of Alli shirtless, his chiseled
six-pack on display. Women proclaimed, "Hey, they should keep him
shirtless on the show!" They recognized, and appreciated, his other
assets. They just weren't "romanced" by his face.
I spent hours
reading thousands of fervent words by Bridgerton fans on social media,
primarily Reddit, for example here,
here,
and here.
Below, I
summarize some main points.
* People think
Victor Alli is ugly because they have never seen a black man in a romantic
leading role. That is why it is necessary to place black actors in roles that
were initially white, in, for example, a historical romance during a period
when characters would have been white. Doing this will beneficially engineer
people's erotic desires and their inner thoughts, and social change will
follow. People must be "forced" to go through this process.
* The Bridgerton
fandom is "racist AF." Posters are "terrified" for the
black actors on Bridgerton because fans will hurt them.
* Those who
judge Victor Alli as ugly are not just racist, they are also evil.
* The
prevalence of white faces in American and British media is unjust and unfair.
Because this prevalence of white faces has continued since film was invented,
reparations will only be reached when most onscreen faces are non-white.
* White people
need to be "allies" and uncritically support black people's
complaints on this topic.
* White people
are in denial, or simply unaware of how racist they are. Or white people are
hypocrites and do not say what they mean; therefore, a white person saying that
she finds Victor Alli attractive cannot be believed.
* White people
can't understand this topic because they have never experienced injustice so
they should remain silent and listen to black people.
* White people
should apologize.
* It's possible
that the show's producers purposely made Alli less attractive to sabotage him.
They "did him dirty." They "stripped him of all his
hotness."
* Words like
"attractive" have no real meaning.
* Black people
who don't acknowledge all the racism are in denial and don't respect
themselves.
* It is racist
to suggest that an historical drama set in a period where most people were
white should be cast with white leads. It is racist to suggest that Rhimes
should have produced a successful series focusing on actual black people and
their unique stories, for example in Africa, which is "bursting with
stories."
*
"Misogynoir is running rampant in this fandom."
One can see, in
internet discussions like this, how, if a true believer is firmly attached to a
belief, that person can construct a rhetorical maze whose every turn conducts
the accused to one terminus – "You are racist." Given that these
internet discussions take place in echo chambers, the true believer is never
challenged. That lack of challenge, and the mob's repeated cheers, cements the
false belief for the true believer.
And here's a
kicker. Even if a white woman says, "I am not racist. I find Victor Alli
handsome," that statement alone identifies the speaker as – you guessed it
– a racist.
Whites saying
they find blacks attractive "seems affirmative" but it's actually
"insidious" "racism." "Throughout the media … darker
skinned" men are "fetishized" as "stronger, virile and
hypermasculine … Fetishization often continues the racism we are attempting to
eradicate," writes
Janice Gassam Asare, PhD.
It's kind of
like Schoedinger's cat. Hot black men both exist "throughout the
media" and they also do not exist at all. Whichever reality one promotes
at the moment, that reality proves that media are racist and oppress black men.
Irish actress
Nicola Coughlan plays Bridgerton 3's lead romantic female, Penelope
Featherington. Coughlan is fat. Bridgerton Inc has a schizophrenic
relationship to Coughlan's fatness. Penelope has been a pitiable character. She
is a wallflower. She loves Colin Bridgerton, and overhears him telling his
too-cool-for-school crew that he would never court Penelope, presumably because
she is his inferior. Cressida Cowper, a pretty blonde, bullies Penelope with
impunity. Lady Featherington favors her two slim daughters over Penelope. The
viewer understands: we are to root for Penelope because she is an underdog and
she is an underdog because she is fat, and Bridgerton is performing a
social service by casting a fat girl as a romantic lead. At the same time, we
are not to say out loud that Coughlan is fat.
Vogue
congratulated Coughlan for saying, "If you have an opinion about
my body, please, please, don’t share it." Vogue columnist Emma
Specter, who identifies as fat, went on. "Coughlan’s post was instantly
familiar to me as a fat person who’s had to ask countless loved ones to stop
centering my weight in conversations." Specter acts out the
self-contradicting approach. She's pushing her own fatness forward, and telling
people not to talk about her fatness. "Frankly it makes me sad to be
writing about her body instead of her talent. Still, I choose to do so because,
until we acknowledge the outsize pressure we put on fat people ... we have no
hope of lessening it."
Specter goes
on. "I love fat people. I love our courage, our beauty, our hard-earned
pride in our bodies" in spite of "a world that doesn’t want us."
There's the problem. You can't say "I love fat people" unless you are
allowed to acknowledge that some people are, indeed, fat. Note that Specter
insinuates that fat people are in danger of a fatphobic genocide. As long as
victim status is valuable, it must be played to the hilt.
Rebecca Shaw,
in The
Guardian, took the same "We should not talk about fatness /
I am here to talk about fatness" approach. "I don’t want to argue
about Nicola’s body … It pisses me off that I have to talk about this."
Shaw is a social justice warrior, talking about fat so that we don't have to
talk about fat. "Anything that might expand the narrow societal dictates
of desire makes some people lose their minds … people will try to convince
themselves that this woman is unappealing …
We have created this problem by only allowing a few fat people in the
public eye at once … Society has always hated fat people. Industries have been
built by making sure society keeps hating us."
The word
"fat" is only negative "only because it has been weaponised
against us for decades by hate."
"It’s important" that Coughlan exposed her breasts in a sex
scene. "She is hot, she is fat and, if there’s ever been a time to note
this – it’s now … I dream of an existence where the only response to Nicola
getting her heaving bosom out is an appropriate level of horniness."
Again, not finding Coughlan hot is not an expression of an evolution-engineered
appetite. It is, rather, an oppression created by bigoted, fatphobic
"society." Fatphobia, like racism, can be fixed by
"forcing" "imaginations" to change through representation
on screens. If you see it, you can be it, and you can want to have sex with it.
The New York
Times, CNN, The Independent, Harper's Bazaar, Elle, The CBC, and thousands
of other news outlets and websites also focused on Nicola Coughlan's fatness by
saying that we should not talk about her fatness.
At least one
mainstream publication published an attack. I found no such viciousness
directed against Victor Alli for being black. In The Spectator, Zoe
Strimpel published a
malicious op-ed insisting that fat people can never be hot. "She is
not hot," Strimpel insists. "A fat girl who wins the prince" is
not "remotely plausible." Strimpel crosses a line. To state that
Coughlan is fat is to state a truth so obvious it doesn't need to be stated. To
say that a fat person can never be hot is false. There are men who find
Coughlan hot and they have made their voices heard on the web.
One problem
with diversity and inclusion is that it is a protest movement, and those who
choose protesting perceived badness rather than building new goodness is that,
choosing protest as a stance means that you must always find something to
protest and there must always be new problems.
Sure,
protesters point out, Bridgerton includes blacks. But where are the
handicapped? Bridgerton 3 includes very brief scenes of a character in a
wheelchair and the use of sign language.
Bridgerton's
viewers are so obsessed
with DEI that they perceive characters as "diverse" even if these
characters are not advertised as such. Fans identify Francesca and John, two
shy and quiet characters, as "neurodivergent." Fans label Eloise, a
funny and articulate feminist, a "lesbian."
Benedict
Bridgerton (Luke Thompson) is a middle brother. He lacks his older brother's
dedication, direction, and authority. He's more of an aimless, ironic party
boy. In Bridgerton 3, Lady Tilley Arnold, a horny and beautiful widow,
seduces Benedict. After they've had sex, Tilley sits Benedict down and asks him
if he'd like to orgy with a man. Benedict says no, he's not attracted to men.
Tilley persists. This beautiful woman gives Benedict an almost religious
lecture. Sex can be fun with any human body, she instructs. Benedict then
engages in deep kissing with another man, and then he participates in
threesomes with Tilley.
These scenes
were more about manipulation than entertainment or art. We need handicapped
characters? Check – here's a wheelchair. We need neurodivergence? Here's some
shy people. We need LGBTQ +? Let's take a character we haven't done much with
and have him, after he says he doesn't want to, have sex with a man. A
comparable scene, where a beautiful woman turns a gay character straight, would
be anathema. But turning a straight character "pansexual" serves the
Revolution.
Bridgerton's
labored, fan-service,
oh-so-Woke DEI will never be enough. Francesca's character, in the novels,
struggled with infertility. The TV version of Francesca will eventually end up
as a lesbian, married to a black woman. The novel's fans are disappointed. They
argue that lesbian awareness and race awareness has eliminated infertility
awareness.
Miss Emma
Kenworthy (Sesley Hope) is an
ahistorical character who covers a couple of diversity bases. She is black, and
she is obese. In the eight-plus hours of Bridgerton 3, Miss Emma
Kenworthy is onscreen for mere minutes. She is one woman in a fancy dress in a
room full of women in fancy dresses. She has no significant dialogue or action.
But Miss Emma
Kenworthy has enthusiastic fans. "Shout out to this plus-size queen ...
you better treat her right or you'll be on my s--- list," writes a social
media user. In her online photograph, the poster appears to be a middle-aged
white woman. Another woman, again, who in her photo appears to be a white woman
of a certain age, agrees. "She is stunning!" "The very best
diverse cast that ever existed. It's awesome." Another older white woman
agrees; "I love you," she says. Another white woman, "I loved her
too!!" And another, " I love it!!!! She was an awesome character and
I hope we see her in future seasons!!!!" And another, "YESSSS!! Every
time she came on my screen she immediately caught my attention. Considering she
had such little screen time I absolutely loved her character!"
These
middle-aged white women don't love Emma because she does what fiction does at
its best – tell important truths about humanity in entertaining ways. They love
her because she is black, and she is fat. To trade the powerful gifts of
fiction for DEI is to lose a great deal.
I have been
called both "ugly" and "fat." I live my life as it seems to
me Donald Sutherland lived his. I cultivate my gifts and pay as little
attention to my deficits as I can. Bridgerton fans both obsess on and
yet also demonize mention of ugliness and fatness. They insist on inserting fat
people into eras when obesity was rare. They are not helping me. For one thing,
they erase my unique, real story as a fat, ugly working class woman. My story
is not a story of wearing psychedelic dresses, riding in carriages, gliding
past servants, and marrying princes. My roots, my people, my triumphs are all
way more interesting than that. The irony is that storytelling that more
accurately depicts Regency life – a Jane Austen novel say – that doesn't
contain fat women or ethnic minorities – is much more
"representational" than all of Rhimes' exploitative stunt casting.
Storytelling,
both fictional and fact-based, has played a significant role in my life.
Scarlett O'Hara, Jane Eyre, Gladys Aylward, Maria von Trapp, women with whom I
have pretty much nothing in common, inspired me and changed the course of my
life. I'm not alone. Ayaan Hirsi Ali was inspired by Nancy Drew. We need
language. We need storytelling. Let's keep both.
Danusha Goska
is the author of God Through Binoculars: A Hitchhiker at a Monastery
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