Russian Mistress Megan

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Movies | What Megan Fox Taught Me About the Power of Subversive Girls
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What Megan Fox Taught Me About the Power of Subversive Girls
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The horror comedy “Jennifer’s Body,” starring Fox as a demon who eats boys, showed me the value of teen scream queens when I needed it most.
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One freshman biology lab, I was grouped with an OK guy and the only out girl in my grade. We were supposed to be dissecting worms.
On that particular day, the guy was playing against type.
“I bet you want to see ‘ Jennifer’s Body ,’” he said to the girl suggestively. We had all seen the ads for the movie, which featured a scantily clad Megan Fox.
By 2009, Megan Fox was not just a sex symbol, she was the sex symbol — a universal barometer of hotness. And she had recently come out as bisexual in Esquire .
At that point in my life, I was coping with my own closeted lesbianism by pretending homosexuality did not exist. I wasn’t seeking out teen horror led by Sapphic sexpots. I looked down at my worm and prepared to slice it down the middle.
It turns out the best time to get into horror movies is after you yourself have been bisected like a lab worm.
When I was 16, I spent most of summer 2011 on the couch, recovering from spinal fusion surgery. One day, I happened upon a cable TV showing of “Jennifer’s Body” halfway through, at the film’s girl-on-girl make-out scene. I was intrigued and effectively alone while my mother worked from her bedroom. I caught the whole movie later that day.
“Jennifer’s Body” was Diablo Cody’s next screenplay after she won the Oscar for “Juno” in 2008. The film, directed by Karyn Kusama, follows the best friends Jennifer (Fox) and Needy (Amanda Seyfried) through the severing of their toxic bond. Jennifer is a demon who has to eat boys to remain beautiful. Needy would prefer she not do that. Bloodshed ensues.
Until “Jennifer’s Body,” I had approached horror movies with cautious interest at best. But this film was different. With its references to emo music and late-aughts pop culture, it seemed like a comedic time capsule of my own life, so its protagonists, though Hollywood beautiful, felt real to me. “Jennifer’s Body” put horror’s great assets — social transgression, complex female characters and bloodthirsty vengeance — in the hands of two contemporary teenage girls. I have been obsessed with monstrous women like Jennifer ever since.
By the film’s end, Needy and Jennifer are shells of their yearbook-picture-perfect selves. But their path to oblivion is oddly liberating, as both girls forgo stereotypical feminine docility to don the roles of hero (Needy) and villain (Jennifer). After an indie band murders Jennifer in an erroneous virgin sacrifice, she is reborn as a monster with a taste for male blood. Mild-mannered Needy must save her helpless boyfriend from Jennifer — and by the end Needy hunts down and kills the band that started it all. Such subversive female derangement is mostly possible in horror films, where bullied, bloody girls burn down their schools and passive mothers sacrifice their children . That is why it is my favorite genre, and one I return to over and over and over again for novel representations of women.
“Jennifer’s Body” satirizes gendered tropes. It is one of the few horror movies where a teenage girl’s promiscuity actually saves her from her untimely end — if Jennifer really had been a virgin, there would be no movie. The film also plays the “wanton” Jennifer and “virginal” Needy against each other to farcical extremes. Jennifer and Needy are both sexually active throughout the film, despite Needy’s mousy affect.
Though it was written with a female audience in mind, sexist expectations marginalized the movie. After I saw “Jennifer’s Body” at 16, I searched for it on the review aggregator site Rotten Tomatoes, expecting to see my jubilance reflected back at me. The film was certified rotten.
In 2009, Kusama and Fox were wounded by critical acrimony and a sexist marketing campaign pegged to horny male viewers. (That is why I had not seen the film in theaters — I did not think it was “for” me.) Their detractors, many of whom were men, seemed to have expected an objectifying chiller. Instead, they saw an intentionally subversive, campy film and called it a failure. The experience spurred Kusama to leave the studio system altogether . Fox, already controversial for her outspoken criticism of Michael Bay, who had directed her in the “Transformers” movies, was written off as a star.
In the last few years, female fans have reclaimed “Jennifer’s Body” and consider it a pre-#MeToo classic. For my 21st birthday at Smith College, my friends and I commandeered a classroom and projected the movie. The virgin-sacrifice scene, which had barely registered to my teenage brain, now stole all the air from the room. It was 2015, and it seemed the whole country was waking up to college rape culture. I had helped carry a mattress across campus in solidarity with Emma Sulkowicz the year before.
When rocker boys sacrifice Jennifer to Satan, the scene is absurd and chock-full of Cody’s signature quips, but it is also oppressively dark. The band’s frontman, Nikolai (Adam Brody), stabs Jennifer repeatedly while merrily singing. Jennifer is betrayed by the very artist she worships. And he victimizes her specifically because she is female.
The violence is heavily sexualized — Jennifer worries aloud in the band’s van that the members might be rapists, and there’s a longstanding symbolic relationship between stabbing and sexual penetration. Jennifer’s is a pain many women understand. It is especially jarring to learn that the musician (or comedian, chef or actor) you once admired could see you as little more than a means to an end.
While Jennifer is sacrificed because of, well, her body, society scorns Needy — the only character who knows the truth about Jennifer — because of her mind. She first appears in a psychiatric hospital, where she kicks a doctor and spits in her face. As a teenager, before I was wheeled into surgery, I had a panic attack so strong I was dosed with what felt like enough Ativan to fell a hippopotamus. Watching “Jennifer’s Body” with a foot-long incision healing on my back, I was as drawn to Needy’s wretched, anti-medical mania as I was to Jennifer’s emo-worship.
As the violence escalates, sweet Needy drops her first F-bomb — and finally consummates her “totally lesbi-gay” friendship with Jennifer in that make-out scene, which has inspired lesbians and bisexual women to likewise reclaim the film .
This, I learned at 16, is where the true beauty of the horror genre lies. In horror, girls and women do not have to be pretty, polite, chaste or even heterosexual — in fact, these characters are so terrifying because they willfully eschew gendered assumptions. Teenage girls — their emotions too often dismissed as hormonal hysteria — can finally lose their cool. Jennifer and Needy have joined the likes of Regan MacNeil (“The Exorcist”), Carrie White (“Carrie”) and Brigitte and Ginger Fitzgerald (“Ginger Snaps”), and live on in more recent unhinged young women like Dani Ardor (“Midsommar”) and Justine (“Raw”).
The summer of my surgery, I was incorrigibly sad and in too much agony to eat, sleep or shower independently, much less dress up, wear makeup or smile. Now, as an adult, I still do not wear feminine clothes or makeup. I have realized that this is simply how I feel most comfortable as a woman and an out lesbian.
A lot of things got me here, but “Jennifer’s Body” first showed me the messy, risky rapture that could await me if I learned to be female on my own terms.

From Wikipedia, the free encyclopedia
8th episode of the 5th season of Mad Men

^ Hale, Mike (May 7, 2012). " 'Mad Men' Watch: Megan's Last Day" . The New York Times . Retrieved May 11, 2012 .

^ Jump up to: a b Sepinwall, Alan (May 7, 2012). "Review: 'Mad Men' - 'Lady Lazarus': Tomorrow never knows" . Hitfix . Retrieved May 10, 2012 .

^ Itzkoff, Dave; Sisario, Ben (May 7, 2012). "How 'Mad Men' Landed the Beatles: All You Need Is Love (and $250,000)" . The New York Times . Retrieved May 9, 2012 .

^ AMC. "Mad Men - Lady Lazarus - AMC" . AMC . Retrieved June 10, 2012 .

^ Itzkoff, Dave (June 10, 2012). " 'Mad Men' Creator Matthew Weiner Reflects on the Season So Far" . The New York Times . Retrieved June 10, 2012 .

^ Kondolojy, Amanda (May 8, 2012). "Sunday Cable Ratings: NBA Playoffs + 'Game of Thrones', 'The Client List', 'Army Wives,' 'Khloe & Lamar', 'Mad Men' + More" . TV by the Numbers . Archived from the original on May 10, 2012 . Retrieved May 10, 2012 .

^ Goodman, Tim (May 7, 2012). " 'Mad Men' Spoiled Bastard: Ep. 8: 'Lady Lazarus.' " . The Hollywood Reporter . Retrieved May 10, 2012 .

^ VanDerWerff, Emily (May 7, 2012). "Mad Men: "Lady Lazarus" " . The A.V. Club . Retrieved May 10, 2012 .

^ Rawlings, Nate (May 7, 2012). " Mad Men Watch: Phone Booths and Lies" . Time Magazine . Retrieved May 10, 2012 .

" Lady Lazarus " is the eighth episode of the fifth season of the American television drama series Mad Men and the 60th episode of the series overall. It was written by Matthew Weiner and directed by Phil Abraham . It originally aired on the AMC channel in the United States on May 6, 2012.

The episode is set in October 1966. [1] Megan has second thoughts on her career path after the success with Heinz but finds it difficult to tell Don. Peggy, unwittingly caught between the two when Megan's lie comes to light, finally expresses her frustrations to both Megan and Don. Pete finds that his increasing success at the firm does not fill the emptiness of his life. After a sexual encounter one evening with a neighbor, he becomes obsessed with wanting to repeat the experience. Don returns to creative work full throttle, only to find the cultural changes of the 1960s have left him behind.

"Lady Lazarus" was watched by 2.29 million viewers during its initial broadcast, and drew in 0.7 million viewers in the coveted 18–49 demographic. It received considerable acclaim from the television critical community. The episode is named after a poem by Sylvia Plath . [2] The episode is notable for its use of the Beatles master recording of " Tomorrow Never Knows " from the album Revolver . Creator Matthew Weiner paid for permission and engaged in a creative collaboration in order to use the song. [3]

Pete discusses life insurance with Howard, his commuter friend, who reveals that he has a new, attractive mistress and an apartment in the city. In the train station parking lot one evening, Howard's wife, Beth ( Alexis Bledel ), asks Pete if he knows her husband and tells Pete she has locked her keys in her car. Pete drives her home, during which time Beth discusses her dire relationship with Howard. He comforts her, and she kisses him, leading them to have sex on the floor of her home. After the incident, Beth tells Pete to forget it happened, which doesn't sit well with him. Pete continues to yearn for Beth afterwards, calling her and even orchestrating a situation in which Howard invites him to dinner with Beth at their home. Before Pete creates an excuse to leave, he tells Beth to meet him at the Hotel Pennsylvania . Pete checks into the hotel. When Beth doesn't arrive, Pete smashes a champagne glass against the wall.

Megan wants to get back into acting and begins to resent her job in advertising. After Peggy catches her in a lie meant to cover up her going to an audition, Megan confesses as much to Peggy, who scolds her for taking a high-value job in the agency that others would "kill to have". Late one night, Megan wakes Don up to tell him of her desire to start acting again, and with Don's apparent blessing, she quits her job at the agency the next morning. Don sees her off to the elevator as she leaves the office. Moments after Megan leaves, Don calls up another elevator. After the elevator doors open, Don looks down to find no elevator, just a bare elevator shaft. He peers down into the empty abyss and then steps backward.

Don complains to Megan about not knowing what is going on in youth and popular culture, leading Megan to bring him a copy of the Beatles album Revolver . She tells him to start with the song " Tomorrow Never Knows ". As Megan leaves for acting class, Don plays the song and sits with a glass of whiskey. He listens to some of the song, but then picks up the needle, turns the record off, and walks back to his bedroom in silence. The song immediately resumes during the end credits.

The episode was written by series creator Matthew Weiner and directed by Phil Abraham. [4] Matthew Weiner expanded on the significance of the empty elevator shaft:
"In my mind, that actually happened. The elevator wasn’t there, which we know happens all the time. I thought that was an amazing cinematic representation of his emotional state. He still had one thing left to say to her, and she’s gone, into the abyss. She’s gone off on her own. That’s all that that was supposed to be. Is someone going to fall down an elevator shaft? No. I will actually go on record as saying that." [5]
"Lady Lazarus" was viewed by 2.29 million viewers on the night of its original airing. It drew 0.7 million viewers in the 18–49 demographic. [6]

The episode received praise from television critics. The Hollywood Reporter 's Tim Goodman stated:
"There might be better Mad Men episodes to come, but at this point I'd say Lady Lazarus is the episode Matt Weiner should win an Emmy for writing. He's truly in command here and he's touching on so many longtime Mad Men truisms – including the main one, existentialism – that he makes it look effortless." [7]

Emily VanderWerff of The A.V. Club gave the episode an A grade:
"'Lady Lazarus' feels big. It feels like a Rosetta Stone for the season, one that we don't have all of the pieces to read just yet, but an episode that will seem even more obviously great in retrospect once we do. At the same time, though, analyzing it feels ever more like taking hold of one thing and trying to make it stand in for the episode as a whole." [8]
TIME magazine writer Nate Rawlings stated:
"If Megan's phone-booth conversation was the beginning of a new and exciting chapter in her life, Pete Campbell's off-the-record chat was certainly the low point in a year that has seen his life spiral out of control. Professionally, things could hardly be going better for Pete. Companies are lining up to work with him, and the new, mellow Roger is all too willing to pass off work and help from the sidelines. But personally, Pete is a disaster." [9]
"Early in 'Lady Lazarus', Don complains to Megan that he has no idea what's happening in pop culture anymore. She reassures him that 'No one can keep up; it's always changing.' Culturally, it feels like we've seen more change in this season than the four previous, and that rate is only accelerating." [2]

Alexis Bledel as Beth Dawes
Ben Feldman as Michael Ginsberg
Teyonah Parris as Dawn Chambers
Jeff Clarke as Howard Dawes
Dennis Haskins as Phil Beachum
Jordan Feldman as Rick Swanson
Doug Tompos as Pat Wallace

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