The Girl, Part 2: The Bad and the Beautiful


Lana Turner is another Golden Age star who fascinates me. Whereas Monroe seems approachable, warm; Turner is, by comparison, aloof, cool. Both women endured substance abuse issues but Turner’s were made far more public, her image tainted and darkened by partying and recklessness. In the beginning, Turner was a wholesome sex symbol, sold to the public as a ‘girl next next door’. In the media, she was The Sweater Girl – a moniker bestowed upon Turner due to the alluring tightness of her sweater across her chest. She despised this idiotic name and sought to shake it. She refused to be the clown, she rejected being accessible, touchable. But it was Louis B Mayer who is credited with transforming her into pure glamour; furs, diamonds, cashmere. However, he was just restoring her image, much like how a beautiful antique needs a layer of grime removed at times.


Turner was seen as disagreeable and stubborn; she was trouble. She was married eight times.  She went out often with men and did not sleep with them. Throughout her life, she endured long periods of celibacy, she saw sex as uninteresting and trivial – she preferred courtship and romance. She was intensely private…yet there was a darkness within her that we can relate to, a trembling desperation for excitement and danger. Her connections to the Los Angeles underworld, via her relationship with the violent and jealous mobster Johnny Stompanato and its grisly ending with her daughter stabbing him, were scandalous and reveal much about how Turner lived.


Film historian Jeanine Basinger notes that Lana was not a popular baby name in that period – and as much could be said for Lana herself. Her brooding beauty wrapped in lush furs intimidates men and women alike, she is an incandescent goddess on top of a baroque ice throne. I am sure Lana relished the soft silky furs, the cool weight of pearls against her skin and the fragrant champagne filled nights – but I wonder…how alienating must it have been for her? Behind the impenetrable beauty, she must have endured indignities, minor or major, intrusions, prying…media, men, the studios…the only comfort for her was the liquid paradise of the bottle.


Lana herself said, “A gentleman is simply a patient wolf”. I feel that this reveals a glimpse of the woman she was. She was cynical, brilliant, stiletto-sharp. The unpopular and stubborn woman knows that people will talk. She does not care; she sees the double standards and hypocrisy within society. I am pleased to see that most pictures of Lana are unsmiling. I always want to know…why do they want us to smile?

The Girl; Or The Feminine Social Mask


Even previous to the proliferation of print media in the early 1900s, images of women were used to symbolize and narrate ideas, values and stories. As cinema expanded into a global pastime, public fascination with the stars grew. The studios assisted this fascination via the creation of gossip and fanzines, often engineered towards constructing glamour for their stars and promoting upcoming films. In the case of the female stars, their stories and images gave both men and women a site for fantasy. Sure, men could aspire to talk like Tyrone Powers and perhaps even use Brylcreem to slick their hair in a similar fashion, but the ‘look’ of the male star was not thrust into male consciousness as something to be aspired to or re-created via right consumption. On the other hand, women were encouraged to colour their hair like the stars and utilize cosmetics and clothing to create selves that resembled the silver screen beauties. Images of the popular stars became iconic – ideals that circulated socially, creating myth and fantasy. It is interesting to note that Marilyn Monroe grew up idolizing Jean Harlow, using the studio-mediated fantasy of Harlow to escape her loneliness and poverty. For Monroe, celebrity symbolized acceptance, something she seldom experienced in her childhood. Born to a mentally ill, and mostly absent, mother and an unknown father, Monroe moved between foster families. Although nothing overly horrible occurred in these homes, the sense of being unwanted bore down on Monroe, seeing her emotional development freeze. Thus, Monroe, is best seen as a melancholy little girl.


Monroe’s vulnerability is recognizable to most women. The desire to be wanted, loved and seen in the fullest sense. Monroe was introverted and bookish, a dirty secret many women harbor in a society where women are meant to be for others. Her charisma drew people to her and at times, stardom overwhelmed her. Fame was irony for Monroe – people adored her, yet those closest abused her and belittled her. She was seen as difficult by studio professionals, despite other actresses, such as Elizabeth Taylor, making far more audacious requests. Men saw her as the ultimate fantasy, as constructed in some of her films – made for their pleasure and attuned to their needs. Monroe says, in her autobiography: “The truth is, I’ve never fooled anyone. I’ve let men sometimes fool themselves. Men sometimes didn’t bother to find out who and what I was. Instead they would invent a character for me. I wouldn’t argue with them…when they found this out, they would blame me for disillusioning them”. This characterizes an inherent problem of femininity. Our faces, affects, postures, smiles, bodies, clothes and all the other accessories combine like hieroglyphics to construct a social character for others to read. But these texts do not have clear meanings, so when they inevitably collide, resentment, bitterness and disappointment boils to the surface.

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The feminine social mask is heavy with preconceived ideas. Subtexts of pornography, domesticity and stereotypes underpin each mask. Expectations are placed upon women to fulfill roles they never asked for or considered – and at times, we wonder how all our other attributes are marginalized into nothingness as the focus on our appearance gains precedence. Then we may question whether we invite the male hands that linger, fondle or touch. We will be discussing big thoughts, scientific theories or philosophical musings, caught in the furious hot stream of the moment; or we will be ankle-deep in white daisies, at the foot of an elm, enjoying the sun on our skin – and then, from nowhere, the sex thing is an unwelcome and horrid explosion, a hard slap across the cheek. It occurs to us…we are The Girl.

That Gum You Like is Coming Back in Style: Why I am (Predictably) Super-Excited for Twin Peaks 2016


I just completed this quiz and I got ten out of ten, making me a certifiable ‘Twin Peaks Geek’.  Unsurprising, considering that I am one of the many who has been under its hypnotic spell for about a decade now. It is difficult to explain exactly what makes one fall in love with this show. Is it the mystery that the owls and woods are not what they seem (to be)? Is it the beautiful femme fatales, such as Audrey Horne – dressed so innocuously yet enacting her own special brand of trouble? Or do Lynch and Frost excel at what Stephen King exemplifies – exposing a seamy dark underbelly in America’s middle class and then adding a heaped dose of the supernatural and mysterious?


For me, it is a combination of this and more. The characters, such as the eponymous hero, Special Agent Dale Cooper, are fleshed out and compelling in their complexity. Cooper is not your average FBI cliche, with a special interest in Tibet and unique methods to solving crime. The surreal dream sequence in Episode Three and Cooper’s reaction to it (to call the Sheriff and insist that his information can wait until the morning) underscores how Cooper is a different kind of law enforcement. And Sheriff Henry S Truman is also an unusual example of a Sheriff in such a story, with his laid-back yet firm approach and secret romance with the owner of the mill. One only has to watch Twin Peaks: Fire Walk with Me to get a rather extreme dose of the usual law enforcement narrative in usual FBI/local law interactions.


The first season of Twin Peaks was pure magic, full of riddles, beauty and enthralling characters. The narrative was well-paced and the viewer was immersed in this odd little town, following Cooper in rapt attention as he peeled back the superficial layers of normalcy to reveal the dark that lurked behind. The second season, despite a promising start, started to lose its momentum. Laura’s death was solved (due to US network ABC) and in the void sprung bizarre stories, such as James’ tryst with a rich woman out of town and an odd, and boring, plot where a young woman has a romance with old powerful men. Not even Windom Earle, with his diamond-like mind and eccentric evil, could save the show. The final episode ends with an interesting cliffhanger where Dale Cooper’s good guy status is compromised:

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I am also a fan of Stephen King’s television shows (such as Under the Dome and Haven) yet somehow, they do not compare to Twin Peaks. Haven, which is also set in a small town plagued by ‘troubles’, initially showed promise for me yet it was not dark or brooding, positing its wrongdoers as ‘good’ individuals possessed, rather than flawed or even evil human beings committing terrible acts. It leans towards saccharin happy endings and as the seasons rolled on, the characters lose their initial depth. Under the Dome also suffers from similar issues, however the grey morality of Barbie, the unlikely protagonist, adds texture to the show. But plot-holes and unlikely coincidences (and that weird underground place that appears towards the end of season one) has seen my interest in this show wane. The first season of Pizzolatto’s True Detective reminded me of Twin Peaks, with its beautiful iconography, dark characters and deliciously Lovecraftian ending. I am reading Galveston right now and anticipating the next season of TD, which I guess will tide me over until 2016, when Lynch and Frost will give us nine more episodes of Twin Peaks.


I am an impatient person. Two years is a maddeningly long time for me. I have the two seasons on BluRay and I will watch them with new delight as I anticipate what Season Three might offer us. Laura says to Dale in the Red Room; “I’ll see you in 25 years…” and she has kept her promise. Laura’s duality of dark/light makes this exciting. Will it be the demonic Laura, who let it burn, or the Laura who seeks good and believes in angels?