Joss Whedon won the award for her femininity. The woman working for him said that this was not the whole story. On Wednesday, actress Karisma Carpenter accused filmmaker and director Jose Vedon of “abusing power” while working behind Buffy the Vampire Slayer and the Avengers. Maveli wrote in a statement on Twitter, “Joss has a long history of cruelty. He has created a violent and poisonous workplace since his youth.” I know because I have seen it myself. Repeatedly. ” Carpenter is best known for her role as a demon-dominated girl – Cordelia Chase in the Buffy Vampire Slayer and spinoff show Angel. In his report, Carpenter said that Wesson criticized her appearance – accusing her of tattooing him, calling him “fat” while she was pregnant – and when she refused after several phone calls from her agent. Heard about her pregnancy. Carpenter openly stated that he believed Angel ended her pregnancy in retaliation in 2003. He has previously stated that Wesson has assured him that he would not have fired him if he had put his character into a coma before he was born, and instead knew that he was fired from the producers in the play went. , Revealed when the newspaper called him to comment.
But in his new report, Carpenter says for the first time that Wesson, when he heard that he was expecting a child, asked him if he would “take care of her”, and then accused her of opposing the show. He said that after a doctor recommended a reduction in work hours, he was asked to report at 1am, and due to the pressure caused by the results, he found stress at Braxton Hicks.Carpenter is now making a public statement in support of actor Ray Fisher, who accused Wayne of injustice and malpractice at the 2017 Justice League rally. Amber Benson, who plays the good witch Tara, describes Buffy’s set as a poisonous place. Michelle Trachenberg, who joined Buffy’s younger sister as a 14-year-old, wrote: “I am very brave now being 35 years old. [Modified] This, “he said,” was very bad at what he did. ”
Chief Anthony Stewart, who is Buffy’s Gilles, spoke about Britain’s plans on Thursday morning and described himself as “shocked” by the allegations.” “He said. Sarah Michelle Gellar, who plays Buffet, posted her report on social media.
For the time traveler, when Buffet aired last season, all of these allegations against Jose Wesson can seem shocking, even unbelievable. At the time, the common thinking about Joss Whedon was that her feminist sect was impeccable. Whedon was, after all, the man who wrote the entire series from the point of view of a blonde who dies in the first scene of a horror film and who dared to make that blonde not only a hero, but also an action hero. Their brand was a brand of strong women who fired and took the name. She is the winner of an award for her feminism.
But in 2021, allegations have been leveled against Whedon for a long time. Whaden became a famous Hollywood director, managing the Avengers in 2012 and Avengers: Age of Ultron in 2015, and he has a new TV show, The Never, which is scheduled to air on HBO in April. But Whedon herself and her feminist legacy are undergoing a long and painful re-examination.
In 2015, Whedon’s feminist response became commonplace.
He then focused on a scene in the film Avengers: Age of Ultron, written and directed by Whedon, which shows Black Widow who says that because he doesn’t have children “About me, Jose Whedon?” Wrote a disappointed fan. As Vox’s Emily VanDraff argues, Black Widow in the context feels that the monster is due to the terrible things he did as an assassin, not because of his reproductive abilities. But the scene is clumsy, to say the least. And the anger it provoked was the first sign in the wider geek culture that caused Whedon’s reputation as a female protagonist to be unshakeable. Reactions further developed in 2017, when Whaden’s unpublished screenplay for Wonder Woman leaked in 2004, largely due to a lengthy sequence in which Diana was put in chains and forced to say repeatedly Went, “I agree”. The scene is explicitly meant to criticize the patriarchal power structures that compel Diana into obedience. But this is in stark contrast to the blissful empowerment offered by Wonder Woman 2017 (written by Alan Heinberg and directed by Patty Jenkins): Instead of boasting Diana’s iconic move through No Man’s Land, Wesson’s fictional audience has to accompany her Must suffer for humiliation. And while Patty Jenkins Wonder Woman is explicitly stated from Diana’s point of view, Wesson’s leaked script frames the character through her approach to love, speaking in signatures of unusual patterns, with Whedon usually giving her editorial avatar Lets (think Buffin Xander), Top Dollhouse or Firefly Wash). A source who went viral on Twitter described the script as “visually abusive”.
But before these conversations reached the wider Nirad culture, Wedding Fandam had reason to question its feminist identity. Angel, with an even higher acting turnover rate, managed to keep only three female characters in the main credits during her five-season screening, one of which was less than a full season. Long before the series ended the show killed off two of its most prominent female characters – and killed the character of Karisma Chaser, particularly the outrageously charismatic Carpenter, who also seemed unusually vicious in 2004. (She spends the season in a season-secret secret., And he causes an affair with the demon Angela’s teenage son since she was previously set to be Angela’s love. She then goes into a coma. The resulting child is given birth, and a season later she wakes up to die immediately.
Whedon’s growing ambivalence about his particular version of feminism came to mind with his short-lived 2009 series Dollhouse. Written as a showcase for Eliza Duska, Dollhouse envisions a technique that transforms people’s brains into blank sheets, turning them into “puppets” that have a new identity and a new Personality can be introduced. Many of the dolls were attractive, creepy clad women programmed by a disgusting noiseless programmer named Topher, who, like most of Vegan’s avatars, was dressed luxuriously and spoke in a hippy stream of pop culture references.
As a metaphor for Wesson’s career, the dollhouse was hardly subtle. And as a play, it ideologically seemed torn between the curse of deep, vile joy in subduing its heroines and making them objectionable. “It’s bad to deprive women of choice,” he wanted to say on the show, “but also, wouldn’t you like to program this woman, to dress her brains in dominatrix clothes?”