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Joss Whedon’s version of the movie is entirely told through Steve Trevor’s perspective. The script reeks of the typical male gaze that is already rampant in mainstream media.

By Roslyn Talusan
If you’ve been on the Internet at all this month, you’ve probably seen countless pieces on the amazing progressiveness that is Patty Jenkins’ Wonder Woman. Women all over the world have been moved to tears by the revolutionary scene of strong female warriors training in combat, with nary a man in sight. I personally cried at least 8 times throughout the film – I think it’s the best superhero film to date. However, that doesn’t mean the film is free from critique – it hardly solves the issues that affect non-cishet, non-white, disabled women, and it basically wasn't that much of a win for diverse representation in mainstream media. For one thing, Gal Gadot is a Zionist. She is also not someone who black and brown women see themselves represented in. The Amazons of color are relegated to background, non-speaking roles, and do not appear past the first act of the film. Moreover, while directed by a woman, the screenplay was written entirely by white men. Aside from Jenkins, Deborah Snyder is the only other woman credited in the production of the film.
The next DC film to star a woman as its main character is Batgirl, and Joss Whedon has been announced to direct the film. I know, I know – Whedon wrote one of the most feminist pieces of media out there, so this shouldn’t be an issue. Don’t get me wrong, Buffy the Vampire Slayer is a formative part of my feminist identity. But given Whedon’s recent track record as a so-called feminist, I’m worried for the film. Last night, Twitter user @_sashayed livetweeted her reading Whedon’s proposed script for Wonder Woman back in 2007. Folks, this doesn’t look good for us – sure, it was written in 2007, but for someone who has always championed himself as an ally to women, Whedon should know better than to pull the stunning amount of bullshit in this script. https://twitter.com/_sashayed/status/875485223399587840 Joss Whedon’s version of the movie is entirely told through Steve Trevor’s perspective. The script reeks of the typical male gaze that is already rampant in mainstream media. A direct example of this is the way Whedon describes Steve versus the way he describes Diana and Hippolyte: Here we have a man with a simple descriptor that speaks solely to his character. In contrast, Diana’s description entirely focuses on her appearance, objectifying her, and ignoring her character completely with creepy, male-gaze descriptors:  "To say she is beautiful is almost to miss the point. She is elemental, as natural and wild as the luminous flora surrounding. Her dark hair waterfalls to her shoulder in soft arcs and curls. Her body is curvaceous, but taut as a drawn bow."   For some reason, Whedon needed to specify that Hyppolyte is middle-aged, but despite this, she is “very much in her prime.” These descriptions perpetuate the tropes that women are nothing more than their appearance, and that women past the age of 25 become less capable and less useful to society.

PTSD is just one example of the lasting impact of rape. If left undiagnosed and untreated, this mental health condition is life threatening.

By Shanon Lee
Trigger Warning: description of rape, violence and PTSD.
Somehow, I was back to that familiar place. Moments after waking up drenched in sweat, I lie still in bed – waiting for my heart to stop racing and for the feeling to return to my body. I was safe. It's been twenty years since I was raped, but PTSD makes it feel like it wasn't that long ago.  My nightmares are frequent, every dream is the same: my ex has found me and is going to finish me off. I'm walking leisurely along the beach, unaware that he is only a footstep behind me. I never see his face, I only hear his voice saying my name moments before he fires his gun. Days earlier, I accused my boyfriend of grabbing me by the ankles as I slept. That morning, I woke to find him standing at the foot of our bed and screamed. He was just saying goodbye before heading to work. I was experiencing flashbacks of the morning I was attacked. The scars from being dragged across the floor by my ankles as I struggled to escape have faded from my skin, but not my memory.

Amber Rose will not save feminism or completely dismantle body hair negativity for good - and she doesn't have to. Her activism is powerful in the ways that it starts the conversation for those who are not embracing feminism already.

Summer is nearly here, which means that conversations about body hair, body positivity, and feminism are heating up once again. The conversation of how body hair plays into body positivity and feminism isn't a new one. Since second wave feminism, women and femmes have been fighting for the freedom to present in the ways that make them the most comfortable for decades. Body hair, much like every other aspect of a femme-presenting person's appearance, is political in that it is a conscious and unconscious personal choice. It is something that one chooses based on emotion, and/or societal pressure, and/or survival. There are so many factors that influence whether someone decides to shave, including why, where and how. Body hair is interesting in that through its heavy policing, it can become a weapon for unconscious femininity and misogyny.

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