Perhaps the most important lesson for a young girl is on her emerging sexuality- like death and taxes, the biological clock cares not if one is ready for it to strike. When a girl goes through puberty, suddenly making her sexually viable for adult men, not only does her body change but as does the way the world reacts to her. It becomes possible that the same man who had treated her with genuine care and empathy now has his own biologically-driven agenda- complete with duplicitous intentions. Watch a clumsy man talk confidently to a child but fumble nervously with a sexually mature woman- also with puberty comes power.
However, not every lesson can be taught. One learns to be patient only through experience- patience is a lesson that cannot be taught. While you can try to tell a little girl on the cusp of puberty that her world is about to change, drastically, and that this new world comes with its share of dangers, it may be easier for her to process this through the subconscious language of the fairy tale.
“I found out long ago, it’s a long way down the holiday road”
Believe it or not, Clark W. Griswold was pretty fucking masculine. Sure, “Vacation” (1983) featured a kind of proto-idiot Dad, a trope that would become the standard by 1990- but Clark was a different kind of idiot Dad.
Clark was a masculine idiot Dad.
“Vacation” relied on one-joke with Clark, but luckily it was a good one. When Clark would do something stupid, royally screwing things up or putting his family in danger, he would say “I meant to do that” and move on.
This took many different forms. When Clark goes to trade in his car for a new station wagon before the trip- one he surely researched meticulously (my own Dad has a “Consumer Reports” subscription to this day)- he gets the old “bait and switch,” being forced into buying an ugly clunker after his own car is traded in destroyed. To dispute this by waiting for the car he ordered to come in would ruin his family’s vacation- so what does Clark do?
He sells his wife on the ugly clunker by using the same line that the scam-artist car salesman used on him: “Youmay think you hate it now, honey, but wait until you drive it.” Or, in other words, “I meant to do that.” He isn’t apologetic, he doesn’t admit defeat- he takes inventory of the situation and moves forward. This is the masculine approach- yes, even if you’re an idiot.
“All the times that I cried, keeping all the things I knew inside. It’s hard, but it’s harder to ignore it.”
Re-watching “Return of the Jedi” (1983) as an adult makes the scene where Luke burns the body of his father stand out as the true climax of the original trilogy- the culmination of Luke’s journey. While it may seem tragic that sister Leia wasn’t there beside him, this was something Luke had to do alone. After all, it was only Luke who saw the human face of his father and felt his humanity- and aside from the situational limitations of the movie’s plot, only Luke would have ever been able to understand his father on that level. Luke delivering his father’s funeral was his final rite of passage into manhood, and the true return of the Jedi.
Every man will have to bury his father, but will every man have understood his father when the time comes? The evolution of a man’s relationship with his father mirrors Luke’s struggle with Vader throughout the course of Star Wars- from not truly knowing him through the inevitable conflict of a young man’s teenage years. If you’re lucky you’ll have a moment where the pieces come together and you see your father as a part of yourself- but not everyone gets there… and, unlike a Hollywood movie, the story may end first.
In a flash Fake Winehouse was able to transform our hetero-normative experience back into something she was more comfortable with, her own safe space of gender neutrality, with the magic words: “get this shit off me.” Tossing her the tissue box, I chastised her for breaking the narrative, something usually reserved for slightly longer than fifteen seconds after sex.
Winehouse may have rolled her eyes, but the fact of the matter remains: sex is the narrative of attraction. For the red-hot 20 minutes I spent with Amy, she behaved like the ideal submissive- what she wanted in the moment. After, when her big girl brain came back, the feminist became disgusted with herself, and, “get this shit off me,” was her way of re-framing the mess she’d made by treating me like an alpha male.
Sex is like editing together a documentary film. Everything is based in reality, but it’s up to you to put together the story. Initial attraction may be there, but if you don’t string things together the right way, you’re not getting laid.
There was a gleam in her eye when “Ghostbusters” (2016) came up in the group’s discussion. She corrected the speaker, a male, who didn’t make an elaborate point to reference the movie’s notorious gender component- “the new Ghostbusters” he offhandedly called it, but this was “girl Ghostbusters,” she said with pride. After all, she was a high school Science teacher and this was a victory with which she could attach herself.
This attachment was the point, existing independently of the movie. She may not see it, nor should she have to- her attachment to “girl Ghostbusters” had served to bolster her identity. The actual film is an afterthought- a big budget leftist talking point. Beyond all the fuss, “Ghostbusters” is a pile of crap with regurgitated jokes, so who really cares?