Berkeley, Los Angeles, London: University of California Press.īosc, Lauren. Unbearable Weight: Feminism, Western Culture, and the Body. Fairy Tales on the Teen Screen: Rituals of Girlhood. Vampire Academy series, official Facebook fan page, April 5. Do Fat-Positive Representations Really Exist in YA? Review of Fat-Positive Characters in Young Adult Literature. Chicago and London: The University of Chicago Press.Īverill, Lindsey. Furthermore, the vampire continues to exist as a symbol for disease and contamination, their representations intertwined with the traditional zombie formula (Ní Fhlainn 2019, 220).Īuerbach, Nina. Lindqvist’s text, as Ní Fhlainn asserts, “deliberately lingers on the physical perversity of vampirism”, discernible in Eli’s abject, permeable body and Virginia’s horrific transformation (223–224). Ní Fhlainn juxtaposes Lindqvist’s vampiric corporeality with that of Rice and Meyer’s creations, emphasising its divergence from the popular contemporary models. See also Ní Fhlainn’s analysis of the vampire body in John Ajvide Lindqvist’s Let the Right One In (2004) ( 2019, 223–224, 227).
Janetter hormone monstress series#
For instance, in the short-lived series V-Wars (Netflix 2019), vampires turn into figures of horror with disfigured faces and enormous jagged fangs when about to attack.
Something tells us Mona is about to get this precocious, well-behaved dork into a little more trouble than her parents are used to.That said, it must be noted that numerous examples of physically repulsive, terrifying or simply ordinary-looking vampires continue to be present in popular culture texts. She writes fan fiction in which Fillion cavorts with her favorite literary crush-a romance novel character named Gustavo who turned himself into a horse so that he could be with his star-crossed lover, Fatima. She daydreams about Star Trek–like adventures with her celebrity crush, Nathan Fillion. Missy’s physical development might be slower than her peers-last season her abusive alter ego shouted, “Your chest is concave, it’s like a spoon!”-but she’s ahead of some of her peers when it comes to puberty. Missy’s outwardly dorky, innocent appearance makes for a genius contrast with Mona. But it’s Newton’s delivery-breathy, ferocious, and oozing with haughty confidence-that makes the character sing. As Jessi’s hormone monstress, Connie (Rudolph), puts it at one point, “This bitch is crazy!” In fairness, this occurs just after Mona runs her tongue up Connie’s arm and then snakes it into her ear, then waves goodbye while wavering her fingers over a lit cigarette lighter. They try their best to help their budding wards navigate all of middle school’s dramatic struggles, but often their proposed solutions are…well, you remember what middle schoolers were like, don’t you? For each kid, the demands are different-and unlike some of the less functional monster-kid pairings, Missy and her new hormone monstress, Mona, are a match made in heaven.īut even among her own kind, Mona, like Missy, stands out. Who better to blame for puberty than a gaggle of giant, satyr-like creatures, each assigned to tweens as they begin their awkward, gross, and at times humiliating journey toward adulthood? Throughout its three seasons on Netflix, Big Mouth has portrayed its hormone monsters as both tormenters and sherpas. The hormone monster might be Big Mouth’s greatest innovation. At long last, Missy has been assigned a hormone monstress, and the voice guiding her through puberty is none other than Thandie Newton.
But in season three, the series has outdone itself. Netflix’s animated comedy has already proven its knack for pitch-perfect picks-like Maya Rudolph as the sultry but mercurial hormone monstress Connie and Jenny Slate as the wonderful and nerdy Missy. When it comes to voice casting, Big Mouth has nothing to prove. This content can also be viewed on the site it originates from.
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