With Magic Mike, Hollywood has become an equal opportunities objectifier

This film leaves you craving character development as much as cock shots.

Last Thursday evening, we went to see Magic Mike. Being the easily influenced young things that we are, we saw the posters, and the five star reviews from the likes of the Telegraph, and thought "hey, a film about male strippers. Finally."

We’re lying. Our editor made us go to see it. We’re glad she did, though, because otherwise we’d have continued to imagine a film entirely different from the reality. From the looks of the advertising campaign, we were expecting the kind of gross-out sexual American comedy that has been doing the rounds since American Pie, except one that was targeted at women this time (a bit like Bridesmaids, except with full frontal male nudity perhaps?) But we were wrong - there’s not a cock in sight.

The film follows Mike (played by Channing Tatum), a thirty-year-old male stripper with thwarted dreams of becoming an artisan furniture maker, as he initiates his young protégé Adam (Alex Pettyfer) into the world of exotic dancing. As the film progresses, Mike struggles with his identity while trying to win the heart of Adam’s sister, Brooke, played by Cody Horn in a manner which brings to mind the old Dorothy Parker zinger that "she ran the gamut of emotions from A to B." Brooke isn’t down with the whole stripper lark, and as a result is played as your classic, uptight frigid woman. But in the end (spoiler alert), Mike’s pecs get the better of her, and after he has a good cry in his car, he renounces stripping and wins over the woman he loves.

Magic Mike is not a romantic comedy. The film is essentially, like many that have come before it, a "bromance". And that’s fine. It examines male friendship and ideas of masculinity, albeit through the medium of interpretive dance. Because what these men are doing on stage, essentially, is dancing. The nudity is simply a by-product of that. As Elizabeth Greenwood pointed out in deeply analytical article in the New Inquiry, "the stripping is a cross between burlesque and a community theatre production of Anything Goes," which is a fair statement, although the sophistication of the props, costume and scenery belies the kind of budget of which community theatre projects can only dream.

The stripping scenes, in fact, are the only entertaining aspects of this film. Not because we particularly enjoyed eyeing up the toned, muscular bodies of the actors (and boy, were they ripped), but because they are well co-ordinated, inventive, and played wholly for laughs. The same article in the New Inquiry points out how filmic attempts to portray the experiences of female strippers will often be steeped in tragedy and allusions to childhood abuse, drug use, and poverty, while male stripping is viewed as merely hilarious. Again, it’s a fair point, but the same article also posits the idea that Magic Mike is an allegory critiquing capitalism. If it is, it must have got lost amongst all the backless thongs.

The men in Magic Mike do not for one moment relinquish their control. Instead, they act as the strong, powerful, masculine vessels for the fantasies of the screaming women in the audience. The men pick the women up and hump their crotches with their faces, and then they lie them down and hump their faces with their crotches. It really is little more than that.

We could, of course, jump on our feminist soapboxes and yell about how there is a disparity in the way male and female sex workers are portrayed. There is. But there is also a disparity in the way both those industries operate. This is also not a feminist reversal of Pretty Woman - Mike is not waiting to be rescued. Nor is he exploited - he’s just a man who is down on his luck who takes his clothes off for some extra cash. The only feminist beef to be had with this film is some slightly unsavoury scriptwriting. In one scene, when Mike is trying to get Brooke to come on a trip with him, he pats his lap and whistles. "Are you calling me like a dog?" she says, then giggles. It’s not great.

It is pointless trying to ascribe a deeper meaning to this film. It is, essentially, a succession of semi-naked dance routines interspersed with a loose, somewhat tedious narrative. The lack of full-frontal nudity has led it to be called "surprisingly innocent" by some critics, and we’d have to agree. Yet we craved character development as much as we craved cock shots, and sadly Mike, the hunky male stripper with a heart of gold, gets neither. Channing Tatum plays the buff, chiselled hunk that presumably an audience of women and gay men have paid to see, and his personality really does not extent beyond that. It is on that point that we have to fully part ways with the New Inquiry’s analysis. Elizabeth Greenwood longs to see a film in which a female stripper is "more than the sum of her silicone", yet in light of the fact that Mike’s defining characteristic seems to be his six pack, it seems that Hollywood may well be on its way to becoming an equal opportunities objectifier.

 

Channing Tatum in action as Mike, the male stripper with a heart of gold. Image: Warner Bros.

Rhiannon Lucy Cosslett and Holly Baxter are co-founders and editors of online magazine, The Vagenda.

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Why isn't Labour putting forward Corbynite candidates?

Despite his successes as a candidate, the organisational victories have gone the way of Corbyn's opponents. 

The contest changes, but the result remains the same: Jeremy Corbyn’s preferred candidate defeated in a parliamentary selection. Afzhal Khan is Labour’s candidate in the Manchester Gorton by-election and the overwhelming favourite to be the seat’s next MP.

Although Khan, an MEP, was one of  the minority of Labour’s European MPs to dissent from a letter from the European parliamentary Labour party calling for Jeremy Corbyn to go in the summer of 2016, he backed Andy Burnham and Tom Watson in 2015, and it is widely believed, fairly or unfairly, that Khan had, as one local activist put it, “the brains to know which way the wind was blowing” rather than being a pukka Corbynite.

For the leader’s office, it was a double defeat;  their preferred candidate, Sam Wheeler, was kept off the longlist, when the party’s Corbynsceptics allied with the party’s BAME leadership to draw up an all ethnic minority shortlist, and Yasmine Dar, their back-up option, was narrowly defeated by Khan among members in Manchester Gorton.

But even when the leadership has got its preferred candidate to the contest, they have been defeated. That even happened in Copeland, where the shortlist was drawn up by Corbynites and designed to advantage Rachel Holliday, the leader’s office preferred candidate.

Why does the Labour left keep losing? Supporters combination of bad luck and bad decisions for the defeat.

In Oldham West, where Michael Meacher, a committed supporter of Jeremy Corbyn’s, was succeeded by Jim McMahon, who voted for Liz Kendall, McMahon was seen to be so far ahead that they had no credible chance of stopping him. Rosena Allin-Khan was a near-perfect candidate to hold the seat of Tooting: a doctor at the local hospital, the seat’s largest employer, with links to both the Polish and Pakistani communities that make up the seat’s biggest minority blocs.  Gillian Troughton, who won the Copeland selection, is a respected local councillor.

But the leadership has also made bad decisions, some claim.  The failure to get a candidate in Manchester Gorton was particularly egregious, as one trade unionist puts it: “We all knew that Gerald was not going to make it [until 2020], they had a local boy with good connections to the trade unions, that contest should have been theirs for the taking”. Instead, they lost control of the selection panel because Jeremy Corbyn missed an NEC meeting – the NEC is hung at present as the Corbynsceptics sacrificed their majority of one to retain the chair – and with it their best chance of taking the seat.

Others close to the leadership point out that for the first year of Corbyn’s leadership, the leader’s office was more preoccupied with the struggle for survival than it was with getting more of its people in. Decisions in by-elections were taken on the hop and often in a way that led to problems later down the line. It made sense to keep Mo Azam, from the party’s left, off the shortlist in Oldham West when Labour MPs were worried for their own seats and about the Ukip effect if Labour selected a minority candidate. But that enraged the party’s minority politicians and led directly to the all-ethnic-minority shortlist in Manchester Gorton.

They also point out that the party's councillor base, from where many candidates are drawn, is still largely Corbynsceptic, though they hope that this will change in the next round of local government selections. (Councillors must go through a reselection process at every election.)

But the biggest shift has very little to do with the Labour leadership. The big victories for the Labour left in internal battles under Ed Miliband were the result of Unite and the GMB working together. Now they are, for various reasons, at odds and the GMB has proven significantly better at working shortlists and campaigning for its members to become MPs.  That helps Corbynsceptics. “The reason why so many of the unions supported Jeremy the first time,” one senior Corbynite argues, “Is they wanted to move the Labour party a little bit to the left. They didn’t want a socialist transformation of the Labour party. And actually if you look at the people getting selected they are not Corbynites, but they are not Blairites either, and that’s what the unions wanted.”

Regardless of why, it means that, two years into Corbyn’s leadership, the Labour left finds itself smaller in parliament than it was at the beginning.  

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.