In the Critics this week

Sarah Churchwell on Paul Auster, Ryan Gilbey on Woody Allen and Jonathan Derbyshire interviews Michael Chabon.

In the Critics section of the New Statesman this week, Simon Heffer reviews Britannia Unchained: Global Lessons for Growth and Prosperity, a new book written by five Tory MPs including Elizabeth Truss, who was promoted to the front bench as an education minister in the recent reshuffle. He argues that what the five politicians have to say is both sensible and illuminating. “Their words, because of the empiricism that underpins them, have an authority not seen in a policy submission by a group of Tories since the original One Nation group in 1950,” writes Heffer. He goes on to declare that although many on the left will dismiss the arguments as, to use Theresa May’s phrase, “nasty”, these ideas “represent a long-overdue confrontation with a reality that the present government seems not even to have half the measure of.” The main thrust of the book is that we continue to live beyond our means: “the authors … say that without serious cuts in taxation, funded by even deeper cuts in public spending, there will be insufficient impetus and incentive in the private sector to economic recovery … They warn the present opposition that nothing has changed… There has to be a better way: and [they] seek to find it.” Ultimately, Heffer finds that the book adds something worth hearing to the current political conversation: “[T]his book deserves to be taken seriously by all with an interest in politics, whatever their beliefs.”

Elsewhere in the Critics, Sarah Churchwell is underwhelmed by Paul Auster’s Winter Journal. “Readers hoping to find an inventive and intelligent exploration of grief will be disappointed by Winter Journal … in fact, readers expecting too much of anything will be disappointed. Auster is too fluent a writer to produce a book that is irredeemably bad but Winter Journal is eye-wateringly pointless, drifting inertly from one unremarkable thought to the next.” Churchwell finds Auster’s decision to address himself in the second person tedious and alienating: “there is a reason why writers avoid the second person: the paradoxical effect is not to create intimacy but to estrange the reader. There is something coercive in his use of “you” that provokes a reflexive resistance, a constant mental chorus asserting the reader’s difference from him.” As for the subject matter? “It offers little more than a series of lists,” says Churchwell, concluding that “the real lesson of Winter Journal is that the more lists a book compiles, the more helplessly listless the book becomes.”

“To wish for world peace might seem naïve but it’s an act of the staunchest realism next to the hope that Woody Allen will one day return to making films worthy of his name,” begins Ryan Gilbey’s review of Allen’s 42nd and most recent film, To Rome With Love. So, he says, “it’s a perfect time to receive with gratitude Allen’s comic roundelay, easily his least-bad movie in a decade or so.” Faint praise perhaps, but Gilbey stands by it: “while this movie feels like what it is – a late-period bagatelle from an artist too remote to render human encounters without mannerism – its silliness is rejuvenating … not one of the stories adds up to a hill of borlotti beans, but the echoes and resonances between them generate a cumulative spell. Each plot concludes with the renouncing of the superficial, and a return to humility: Americans and Italians alike are disabused of their illusions, and the only enduring magic is shown to be the chance and chaos of love.”

Also in the Critics: Jonathan Derbyshire interviews Michael Chabon, poetry by Judi Sutherland and Rachel Cooke on ITV’s The Scapegoat.

Sarah Churchwell finds Paul Auster's book underwhelming in the latest issue of the New Statesman.
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Beyond Moonlight: how Hollywood is still failing LGBTQ audiences

2016 was a bleak year for gay and transgender characters in Hollywood pictures.

How was 2016 for LGBT representation in Hollywood? It was the year Moonlight was released – the breathtaking love story of two young black men that won Best Picture at the most recent Oscars.

Beyond Moonlight, many smaller studios produced thoughtful, empathetic explorations of the lives of gay characters: from Gravitas Ventures’s All We Had and 4th Man Out to IFC’s Gay Cobra to Magnoloia Pictures’s The Handmaiden.

So… pretty good, right?

Not when you look at the statistics, released by GLAAD this week. While a low-budget, independent production managed to storm the mainstream, of the 125 releases from the major studios in 2016, only 23 included characters identified as lesbian, gay, bisexual, transgender, and/or queer. And almost half of those releases saw that LGBTQ character receive less than one minute of screen time. Only nine passed GLAAD’s Vito Russo Test – which, inspired by The Bechdel Test, asks whether characters are treated as real people, or just punchlines. Plus, while many studios claimed characters were gay, they refused to explicitly or implicitly discuss this in the script: take Kate McKinnon’s Holtzmann in Ghostbusters.

A closer look at some of the LGBTQ characters we had from the big studios this year underlines quite how bad the industry is at portraying LGBTQ people:

Deadpool, Deadpool
While much was made of Deadpool’s pansexual orientation in the run-up to the film’s release, the only references that actually made it to screen were throwaway jokes intended to emphasize just how outrageous and weird Deadpool is.

Terry, Mike and Dave Need Wedding Dates

Mike and Dave’s bisexual pal Terry repeatedly tries to persuade other characters to sleep with her, often at deeply inappropriate times, and even attempting to bribe one character into engaging in sexual activity. According to this film, bisexuality = hypersexuality.

Marshall, Lubliana, Absolutely Fabulous: The Movie

This whole film was a mess in its treatment of LGBTQ characters, particularly transgender ones. The very concept of being transgender is here treated as a punchline. Edina’s ex-husband Marshall is described as “a transgender” and treated as a joke, Marshall’s wife Bo claims she is now black, insisting she can change race as her husband has changed gender, while Patsy goes undercover as a man to marry the rich Baroness Lubliana, who announces “I’m not a woman”. Other lines from the film include ““I hate how you have to be nice to transgendered people now.”

Random strangers, Criminal

Remember the moment when two men kiss on a bridge in Criminal? No, me neither, because it lasted approximately four seconds. See also: Finding Dory – which supposedly features a lesbian couple (two women pushing a child in a pram). Literally blink and you miss them.

Bradley, Dirty Grandpa

The black, gay character Bradley only exists in this film as somone for Dick (Robert De Niro) to direct all his racist and homophobic jokes at. But this film doesn’t stop there – there are also a whole collection of jokes about how Jason (Zac Efron) is actually a butch lesbian.

Hansel, All, Zoolander 2

Dimwitted former model Hansel McDonald is now bisexual and involved in a long-term polyamorous relationship with 11 people – his entire storyline of running from them when they become pregnant, finding a new “orgy” and eventually coming back to them – relies on the most dated stereotypes around bisexuality, promiscuity and fear of commitment.

Meanwhile, straight cis man Benedict Cumberbatch stars as a non-binary model named All, who has “just married hermself” after “monomarriage” has been legalized, and exists purely so other characters can speculate loudly over whether All has “a hotdog or a bun” – yet again reducing transgender people to their body parts for cheap laughs.

Various, Sausage Party

From Teresa del Taco to Twink the Twinkie to the effeminate “fruit” produce, these are stereotypes in food form, not actual characters.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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