(I guess I'm letting out all my bottled-up words today...)

A collection of essays on feminist topics. I've been meaning to read some Solnit ever since everyone was reading her book Hope in the Dark during the first Trump administration. I randomly was in need of an ebook to read, and this was the book of Solnit's available through my library, so here we are.

On one hand, I did not find this a challenging read. Most of what Solnit had to say, I've encountered in some form or another before, and most of these essays are surface-level examinations of their topics. OTOH, there's something to be said for having thoughts laid out in a coherent essay format when one has previously only encountered them via social media, haphazardly and in fragments. And even though the collection had a strong feminism 101 feeling for me, I did highlight a bunch of quotes, which I am putting below under a cut, mostly for my own use. So, clearly I got some value out of the book!

IMO, by far the strongest essay is the one where she gets into specifics, and that's the final essay, "Giantess," about a 1950s film called Giant starring Elizabeth Taylor and Rock Hudson. I feel like I might vaguely have heard of this movie, and although it doesn't sound like my usual jam genre-wise, the politics sound progressive even today, so I'm tempted just from a point of historical interest.

( quotes )

Exit 8 (2026). A man who has just found out his ex-girlfriend is pregnant gets lost in a seemingly infinite subway tunnel.

This is a Japanese movie based on a Japanese video game that was apparently a huge hit a few years ago. It's also the second movie this year based on an essentially non-narrative video game with long stretches of "yup, this sure feels like I'm watching someone play a video game." Like Iron Lung, they really have to work here to stretch their premise to a 90-minute runtime with an actual story. Things get pretty repetitive after a while, since the tunnel acts essentially as a spacial time loop (as elegantly depicted by the movie poster).

That said, I mostly enjoyed the experience, in large part because of the lead actor Kazunari Ninomiya, who is great. I've learned he was a beloved Jpop idol 20+ years ago, and I believe it, because he has loads of charisma while acting basically alone for the first 2/3 of the film. I would absolutely watch him in more things.

The movie is also occasionally really stylish. The opening scenes are IMO the best part of the film from a filmmaking perspective, starting with our guy on a crowded train listening to Bolero to the camera-eye POV first loop through the subway tunnel (as a nod to the game being a walking simulator).

However, I think my favorite part of the movie is the interlude where we see the backstory for the other recurring character in the subway tunnel, a man walking robotically with a briefcase. That's easily the best horror material in the film.

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Forbidden Fruits (2026). Three women named after fruits who work in a mall fashion boutique tentatively welcome a new member into their girl-power coven.

This movie is kind of all over the place. It leans a bit too hard into satire, which loses me sometimes, while also not seeming to have a clear idea what it's trying to say about female relationships. In my opinion Lili Reinhart as the coven leader is one of the weak links, although I've seen a lot of people say the opposite. On the other hand, Victoria Pedretti as the airhead recovering alcoholic stole the show for me. I didn't even recognize her at first because Cherry is so different from the Mike Flanagan characters I've seen her play, but she's hilarious and heartbreaking.

The movie is also very stylish, and the fashion is incredible, like truly impossible to describe, you have to experience it for yourself. Each of the four gets their own consistent look: glam seductress, gothy femme, girl next door, sexy baby.

The movie also, after an hour and fifteen minutes of campy satire, suddenly goes extremely hard. It gets gnarly, you guys. It fucking commits. It must have been a real challenge to market this film, because if you're watching it as a horror movie, it takes over an hour to get there, but if you're not into horror, you are in for a nasty surprise at the end.

Put this on the list of "wasn't quite for me, not mad I saw it, happy it exists." It had style and ambition, and that goes a long way with me. (Typing that out, I realize it has a ton in common with last movie's football horror movie Him, with a lot of the same strengths and weaknesses. So if you were into that, try this.)