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Filmmaker, Esther Eng.

Esther Eng was born on September 24, 1914 in San Francisco, California. She was the first female director to direct Chinese-language films in the United States. The majority of Ms. Eng’s films are lost, unfortunately. 

Every single one of Esther Eng’s movies was about women. She was openly lesbian, which did not affect her film-making career because she came from a Chinese opera background in which this was more or less accepted. In the 1950s, she went into the restaurant business and opened five restaurants in Manhattan. She died of cancer at age 55 in 1970. Some highlights of her film-making career:
  • She directed a film in 1937 called “National Heroine” about a Chinese woman fighter pilot who goes to war against Japan and gives her life for the greater good of her country. This was in 1937, folks, and this pilot wasn’t a co-protagonist, she was the heroine.
  • Following up on the success of her war movie, Eng totally changed directions and made two Hong Kong films titled "Ten Thousand Lovers" and "Husband and Wife For One Night". I’m not even sure a woman director in Hollywood today could make movies with those titles.
  • Next she made a film called "Women’s World" consisting of an all-female cast, showcasing women’s success in a variety of different professions.
  • In 1939, she began distributing her films in Central and South America.
  • In 1941, she made "Golden Gate Girl" drawn from her experiences as a Chinese American woman in San Francisco.
  • She made two films in 1949 about inter-cultural and inter-racial relationships: “Too Late For Springtime” was about a Chinese girl’s relationship with a Chinese American GI; and “Mad Love Mad Fire” was a film shot in Hawaii about a mixed race woman and a Chinese sailor.

In April 2013, a documentary about Esther Eng’s life named “Golden Gate Silver Light” premiered at the Hong Kong Film Festival.






Ladies and gentlemen, and variations thereupon

You know, I’m amazed that in all my time on tumblr, I’ve never seen a single post appreciating this lady. I mean, do you realise what is happening here?

This is clear and casual acceptance of gender non-conformity in mainstream media. And not only is this in Doctor Who, with an audience of millions and millions of people worldwide, but it’s also set in the future, implying that progress is not only spaceships and interplanetary colonisation, but also in the way of acceptance of identity outside the gender binary.

So yeah, let’s take a moment to appreciate the awesome lady in Doctor Who that was totally chill about trans* folk without making a big show of it. You go, girl*!
(*or gentleman, or variations thereof.)

Russell T Davies wrote these episodes, with these lines:

  • End of the World: Ladies and gentlemen and trees and multiforms…
  • The Long Game: Ladies, gentlemen, multi-sex, undecided or robot…
  • Midnight: Ladies and gentlemen, and variations thereupon…

In Russell T Davies’ futures, gender is always more complicated than today.  

Davies also created Jack Harkness, from a future (the 51st century) where sexuality is fluid (also Jack and the Face of Boe have both been said to carry pregnancies).  

On the other hand the Moffat years gave us this line:

"We’re the thin/fat, gay, Anglican marines: why would we need names as well?" 

Because its so funny and weird that out of hundreds of “anglican marines” in Demons Run in the 52nd century, that a fat guy and a thin guy would be a couple…ok….

And they’re literally credited at the end as “Fat One” and “Thin One”.   They’re purely a joke.

Is that how straight people see us?

Anyway, in the meantime (bringing us back to the original post), the fact that no one knew this Hostess’s name in “Midnight” is considered a major tragedy, because she is a hero.

(The episode also features a character named Sky who mentions her ex with she/her pronouns, and no one makes a big deal out of it.  Its entirely normal, and not a joke at all.)

Remember when I liked Doctor Who?

So many reasons to hate Moffat. But these are very good ones. 

Just a few thoughts on Doctor Who worth reading.


(Source: tardisvvanted)





Book Cover Spotlight — Baby Got Back: Anal Erotica

But why is there a skinny white woman on the cover? She don’t have a booty.

It usually has to do with the availability of stock photos; there really isn’t much diversity in those, sadly :(

That may be true, but Baby Got Back is a song that specifically celebrates the beauty of black women’s bodies. Our beauty and our features are so often ignored or looked down upon by white folks, unless a white woman is in possession of “ethnic features”, much like Angelina Jolie or “selfie queen” Jen Selter, who was featured in Vanity Fair magazine.

The phrase “Baby Got Back” is iconic, and is inextricably tied to the rejection of white beauty standards that so often leave our bodies behind. The title of this book is meant to drive sales, as it is so recognizable. So to use this phrase, coined by a black man who was explicitly rejecting white beauty standards in favor of declaring his love for black women and black women’s bodies, and to put a white woman on the cover, completely goes against what the song and phrase is even about.

Please be more mindful next time.


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