Imagine a city so bleak, so hopeless, so full of darkness, that only criminals and social rejects have a fighting chance to survive living there. Imagine villains so desperate, so foul, so vile, that the ugliest death for them still wouldn’t feel like justice. Now imagine heros who are so full of vice, rage, and demons that they are not much better than our villains. Picture a city that doesn’t have a violent underbelly, because its entirety is a violent underbelly. This is the setting Robert Rodriguez and Frank Miller have built for us with Sin City and its sequel, Sin City: A Dame To Kill For. Based on Miller’s comic book series of the same name, the two have constructed a nightmare town that is terrifically gory and hellbent on destroying every person who enters it.
The characters that seem most equipped to survive Sin City are its sex workers. (Spoilers ahead.) [READ MORE]
Well, Game of Thrones viewers aren’t ever allowed to forget (.gif created from screenshots of Game of Thrones)
Warning: Major spoilers below.
Game of Thrones, HBO’s biggest show, is bringing the fantasy genre to the masses in a major way. Featuring a sprawling cast and storyline that’s been pared down from George R.R. Martin’s series A Song of Ice and Fire, it’s full of fantastic performances, high production values, international sets and scenery, and some of the most exciting and tense moments on television.
It is also filled with violence against women, particularly, the sex workers who inhabit the Seven Kingdoms of Westeros.
Westeros combines traditional medieval fantasy lore (think knights and dragons) with the history of feudal Europe. Brothels are everywhere. There are half-naked women running about ready to please whichever male character needs pleasing. But, since it’s a vaguely historical setting, these women must be sad and put upon because as every fan of Moulin Rouge has told me, there were no happy sex workers in the past.
Critics and fans agree that Game of Thrones subverts many classic fantasy tropes. Ned Stark, the noble hero, dies at the end of the first season instead of prevailing. His daughter Sansa Stark is set up to be a damsel in distress, but learns to manipulate her abusers to her advantage. Yet the show still falls prey to many predictable sexist tropes. And of course, many of those tropes extend to mistreating sex workers.
Madison Young’s memoir Daddy tackles head-on the daddy issues sex workers are always accused of having. Young skillfully and responsibly presents her journey from a little girl who misses her daddy to an accomplished gallery owner, feminist erotic film producer, author, and “sex positive Tasmanian devil.” She begins by tackling the issue of consent: yours. “I cannot hear the consenting ‘yes’ seep from your lips,” she writes, “but by the simple turn of this page you will be physically consenting to this journey, this scene, between you and I.”
I remember first hearing of Young years ago when a friend quoted her now-famous line, “How many anal scenes does it take to open a feminist art space?” Young made her place in the few areas of the sex industry I have no experience with: San Francisco, the mecca of sex worker culture; pro-subbing on Kink.com; and shooting dozens of anal scenes for mainstream porn. Although our experiences are different, I found myself nodding and occasionally clapping through every interview and article of hers I read over the years.
Usually, I am eager to read sex worker memoirs because of the ways that other peoples’ stories of sex work echo and offer new perspectives on my own experiences. Madison Young’s book was different: I had no idea what it was like to be a pro-sub porn star in a full time D/S relationship, and I wanted to know.
The first thing I noticed was the beauty and honesty of the writing. Young obviously has major skills with words and relating to an audience. She promises to lay her “heart bare, simple, raw, beating, human, and emotional with truth of honesty and vulnerability, fear and heroism,” and she delivers.
Ah, those dreams about crying tears of sperm—a sure sign of burnout (.gif made out of screenshot of House of Pleasures)
House of Pleasures (also called House of Toleration or L’Appolonide: Souvenirs de la Maison Close in its native France), directed by Bertrand Bonello, is a film depicting the last year of a legal French brothel, a maison close, at the turn of the 20th century. While the film does predictably illustrate the old prostitution-is-inherently-miserable motif, sex working viewers will find much to enjoy in the close examination of brothel history and the dynamics of women’s spaces that the movie offers. Then, of course, there are the costumes and the intense outfit envy they engender in any hooker with a pulse. The brothel workers wear diaphanous, clinging gowns that look like proper dresses in shadow but reveal their transparent naughtiness in candle light, and look even more temptingly gorgeous draped along with their wearers on the lush upholstered furniture of the maison. These elements, along with the sharp dialogue that director Bonello gives the workers, kept me watching, even when the crude, supposedly “feminist” analysis and the all-too-voyeuristic violence against sex workers he inserted into the movie made me want to hurl my remote control at the screen.
C’mon! Take this scene, for example:
Client: [After long, tedious description of the plot of H.G. Wells’ War of the Worlds—this guy is obviously the Victorian antecedent of people who blurt out spoilers] Have you read it?
Brothel Worker: No. My only two books are Sade’s diaries and the Bible, and I don’t read the Bible.
My kind of girl!
And at first I thought that House of Pleasures might provide the audience a nuanced economic analysis of its protagonists’ work: Early on in the movie, it’s made clear through a close up of the madam’s ledger book and the women’s anxious conversation among themselves that most of the workers are deeply in debt to the house. Throughout the narrative, the women and the brothel itself struggle to survive in the face of the crushing reality of a raised rent. There are even some interesting insights about the unpaid emotional labor involved in the work, as it’s implied that in this upscale environment, what’s being sold as much as the sexual services themselves is a cheerful, carefree attitude of refined femininity. While the women tally their success at the end of the night by the number of men who took them upstairs, they must linger for hours in calculated languidness downstairs, making conversation and cozying up with idle clients, playing board games with them and seeing how many party tricks can be performed with a champagne flute. “Try to be joyful,” the madam chides them at the beginning of the evening.
The Invisible Men Project, a tumblr-turned-Glasgow-art exhibition, supposedly reveals the previously unknown attitudes of men who engage the services of sex workers. The project was launched by the Glasgow Violence Against Women Partnership who come off as bonafide in their intention and achieve poor results. They do this by constructing a poorly designed mask (a faceless one, because sex workers are faceless, right?) and plucking quotes from the worst reviews written by clients. They paint this in the same manner an artist might paint a mask for a masquerade—with the idea of presenting cryptic truth through ambiguous art.
The Invisible Men Project is a propaganda project that fails as a creative project. They have painted the “faceless” sex workers with the words their clients use for them. As if the client’s opinion even matters. As if the sex worker’s worth weighs solely on their clients opinion about them. They haven’t even thought to use the words of the sex worker in question, they just assumed that the client’s opinion about their work resonates similarly.
Bravo to the Invisible Men Project for creating a space to glorify the misogynist attitudes of these men. And they are glorified. Highlighting their words does nothing but promote their behavior. They’re not ashamed—if they were, they would never had posted their reviews in the first place. The curators are completely aware that attaching a price tag to each piece will further shock their audience, especially if that price seems low. They don’t bother to put the prices in a context that allows for regional or socioeconomic differences.
The sex industry is competitive in its very nature. It’s not odd for fake reviews to be written, especially from the direct competition. Or for them to be exaggerated by a disgruntled client. This often happens because these business dealings are not in the economic mainstream (depending on the type of legal framework the country functions under). Every sex worker and every punter knows to take reviews with a grain of salt. The public doesn’t always know this, and the Invisible Men Project doesn’t bother to mention this. [READ MORE]