Sarai Mannolini-Winwood

Sarai Mannolini-Winwood

Sarai is a free-lance literature enthusiast who currently works as an academic. An avid horror and fantasy reader she is an advocate for its cultural importance.

Correspondent III

  • Plebian Penman
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  • Articles
    15
  • Featured
    15
  • Comments
    190
  • Ext. Comments
    160
  • Processed
    74
  • Revisions
    70
  • Topics
    58
  • Topics Taken
    8
  • Notes
    105
  • Topics Proc.
    283
  • Topics Rev.
    32
  • Points
    7311
  • Rank
    9
  • Score
    4251

Latest Articles

Writing
55
Writing
48
Writing
75
Writing
47
Literature
79
Literature
56
Literature
58
Literature
61

Latest Topics

3

The value of friendship

There is a lot of amazing TV out there to watch at the moment, however, a lot of it is heavy, deep, meaningful and dramatic. There is nothing wrong with this as it explores the experiences of humanity in a meaningful way. But there needs to be a balance of good, low-impact, moral, pleasing shows that are also not just about romance. Whatever happened to the value of friendship in TV?

An Australian comedy-drama Rosehaven is a show with a simple premise. A son returns to the small town he grew up in, in Tasmania to help run his mother’s real estate business. His best friend who was going off to her honeymoon is left by her husband. She decides to go join her bestie in Tasmania, and just stays. Although the show includes sub-plots on romance, the dramas of small town, emotional growth, it is primarily about friendship and what that means. [SPOILER] The show ends with a faux wedding with the town wanting them to end up together, but they don’t – they are just good friends.
Yes, boys and girls can just be good friends without everyone needing to be pared off within the friendship group (looking at Friends here).

Friendship is a huge part of everyone’s experiences. Too many shows use this framing to drive drama, especially in young adult shows such as Gossip Girl or The OC. When in fact for most people it is the friendships that endure not always the relationships and lovers.
This topic is proposing a dive into all the shows that should be celebrated for their focus on the value of friendship above all else. In a period in time when we are living a life full of angst, trauma and drama, perhaps a greater focus on shows that perpetuate positive experiences of real life values is needed. What do you think?

  • I think an examination of platonic heterosexual friendship is worth examining, especially with the popular consciousness being, "you have to hook up" it would be good to shine a light on shows and other media that reject the premise and elevate the idea of just being good friends. – SunnyAgo 1 month ago
    2
  • It is noteworthy that starting a paragraph with a discussion about friendship, in general, is appealing. Friendship: What is it? What exactly qualifies as friendship and what doesn't? Does friendship come in a variety of forms? There are three different types of friendships, for instance, according to Aristotle: friendships that are useful, pleasant, and virtuous. According to Aristotle, true friendship is the third type of relationship. What then are the qualities of such a friendship? The author may investigate the potential lines of male and female relationships to determine whether they are compatible with such traits. And most likely, yeah! Another thing to think about is to find an example of a show that has the opposite result from the one shown here. In other words, a scenario in which a man and a woman start off as friends before falling in love. By doing so, the author is able to compare the two examples and determine the types of friendship that existed in each case, as well as how one example of a friendship evolved into a different form of relationship as time went on, but not the other. – Samer Darwich 1 month ago
    2
  • This is more in response to sunny's note. This also could quickly turn into a conversation about love. As in Bleach Zangestu before finally teaching Ichigo the final Gestugaitensho, Zangestu states he loves Ichigo. Now this is clearly not a sexual love and more of a mentor to student relationship. And he does not want to see Ichigo hurt, which over the course of the series Ichigo has done many things to protect his friends and Karukara town. And this is ultimately is what is causing Ichigo so much stress, which finally leads to Zangestu telling him he does not care about any of things Ichigo values. He only cares about Ichigo, which puts him in a difficult position as he helps Ichigo achieve his goals because only wants to see Ichigo happy, but helping him is also leading him to suffer more. I believe we often take platonic displays of affection and interpret it as romantic. This isn't even just limited to Bleach (Naruto and Sasuke, Batman and Robin, House and Wilson, Dominic Toretto and Brian O'Conner are all character who have a platonic relationship that is often subject to the idea they're secretly gay for one another.) Which I somewhat understandable as in the past before homosexuality was accepted, many gay men would get married to women only to dissuade rumors that their gay. These women were often called these men's "beard". This is part of the reason all relationship whether it is between a man and woman, woman and woman, or man and man is subject to the idea that character a romantically attracted to one another, when it is mostly just a platonic relationship, and individuals simply care about each other deeply. – Blackcat130 1 month ago
    0
0

Female Warrior Archetype

In no way is the female warrior a new archetype, but what is new is the increasing mainstream TV portrayals of faceted versions of such characters. With the changes occurring in the representation of women in TV we are seeing a great up take of new presentations of women in what have been predominantly male roles/positions.
An examination of this progression and the emergence of new perspectives on the female warrior would be a timely discussion.

Some examples you ask?
Take ‘Wynonna Earp’ first. Westerns have traditionally focused on masculine frontier storytelling where women have two roles (chorus girl or wife – to put it politely) that are fundamentally centred on the men in the story. Wynonna is an alcoholic, damaged and has so much emotional baggage it fills the show. She is flawed, she is all the western cliches and she is still the biggest "bad ass" on the show.
Consider ‘Star Trek: Discovery’ next. ST has actually been fairly forward with the presentation of women in roles of power and has often represented them in new and relevant versions…until the most recent films, when they were regressed back to wearing short dresses, go-go boots and being vulnerable. Michael (with a very traditionally masculine name) exemplifies the characteristics of a warrior, to the degree that the first season is framed by her act of violence.
‘Motherland: Fort Salem’ is literally a show about warrior witches. They are training and learning to be warriors. This is a show that fulfills many of the traditional tropes in masculine representations of war/combat style archetypes. Many of the subplots within the show follow traditional subplot paths of such genres, including characterisations of particular stereotypes such as the recruit, the cocky fighter, the drill sergeant, and so on.

There are so many more that could be discussed and explored. It is interesting to see the changes to these representations that are able to balance traditional “feminine” characteristics of the characters with traditional representations of masculine warrior traits in a manner the begins to normalise a greater diversity in gender representations.

    0

    Is it strategy or stupidity? Morbius and Sony

    Morbius is the superhero film released by Sony as part of Sony’s Spider-Man Universe. It grossed 73.4m in the US and Canada and 90m worldwide. At release it finished first at the box office, which is not unusually for any superhero film, but then experienced a drop of 74% to be the second-worst superhero movie behind only an obscure tentpole superhero movie from 1997 called Steel. The critical response to the movie has been overwhelmingly negative with 3.8/10 from Rotten Tomatoes and comments such as "critically bad" from Variety. The negative reception spread quickly across the internet creating an ironic meme, which somehow led to Sony deciding to re-release it to 1,000 theatres on June 3rd, during which it made $310,665.

    What is most confusing is the manner in which both the fans and Sony have responded to the release. The sour critical reception seems to have bolstered a collective "hate watch" that is generating revenue for Sony. The company, which seems unconcerned by the negative response appears to have taken the influx of internet attention as a positive and decided to re-release the film to cinema. So what happened?
    Is the Sony team so out of touch with its audience that it truly believed that the reception was positive, even though box office numbers clearly indicated otherwise? Was it an act of cashing in on internet popularity? Was it the belief that enough people would pay to "hate watch" it again?
    Was the movie that bad? The critics are critical, but aren’t they always? Is this so terrible that it deserves the derision it is receiving, or is this an example of the toxicity of the internet where everyone loves to do nothing more than hate together? Should this level of response be lauded or declaimed?
    An interesting case study to social responses to film.

    • This topic is very interesting. Maybe you can look into different posts from fans about reasons why they didn't like the movie, and then dive more into specific flaws from Morbius? – taliadmit 4 months ago
      1
    5

    How a children's television show band won Australia's national music competition

    ‘The Wiggles’ are an Australian children’s music group that was formed in 1991. Around 1997 they sold a self financed show to Disney Channel Australia and became a hit. They broke into the USA market in 1998 with successful airing of their show and touring. In 2017 they signed a deal with NBC Universal to be available to 58 million American households. To say they are doing well is an understatement. But why, and how, did a children’s band win a national poll?

    Triple J Hottest 100 has been around in different forms since 1988. In 2022 2.5million votes had been submitted for the selection of this years selection. The selection of music is limited to favourite Australian and alternative music of the previous year. The tipping lead was actual Kid Laroi and Justin Beiber’s collaboration. Although largely a popularity vote it is still considered a great honour to be selected onto the top 100 list.

    So again, why is a children’s TV show even in the running? For whatever reason The Wiggles were invited to perform on Triple J in ‘Like A Version,’ which is for a band to cover in their own style another’s work. The Wiggles covered Tame Impala’s 2012 song Elephant while also infusing it with a chorus from their song Fruit Salad. That is the song that won.

    What happened? Well two main thoughts are: it is nostalgia or it was a joke. Both of these are interesting to pursue at a deeper level.

    If this is about nostalgia is this a response to the pandemic life of the last few years? A reach backwards to a simpler time and a happier world? What is it about nostalgia that drives a response stronger than any other factor? Is there a rise in nostalgia driven popular culture due to the pandemic? I’m not actually sure there has been. Instead most of the discussion about nostalgia was happening five years ago around the endless remake and reboot of film and TV.

    If it is not nostalgia is it a joke? What is it about Australian culture that drives the desire to use humour in every place? A recent TV show that actively challenges concepts around Indigenous rights and Settlement, ‘Firebite’, uses humour to tackle colonisation. Is humour then more important in Australian popular culture than any other approach? Is this the defining characteristic of Australian popular culture.

    • Good questions, but I think you're jumping topics a bit here. Try broadening from just The Wiggles winning this competition, to an article on how Australian culture handles humor, laughs at itself, etc. – Stephanie M. 5 months ago
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    6

    Mr Big or Aidan? Team Edward or Team Jacob? Angel or Spike? What is it about love triangles that drive fan-fiction?

    The love triangle is a well established trope. The most common version is for three people to connected through love, decisions and actions that will determine a final pairing of two. There are many versions and alternatives of these tropes, but they are all largely beloved by readers and viewers. What is it about the love triangle that is so appealing? Is it that it provides a voyeuristic pleasure of imagining yourself in the position of the desiree? To be so desired and pursued by not one but two people? Is it just that the level of anticipation is increased as now there are multiple ways to introduce sexual tension in their interactions? Is it simply that it makes good character foils to highlight the protagonist’s own qualities?

    In fandom the obsession with "shipping" couples is a huge driving point for fan-fiction. Whether it is about the impending wars or the impending threesome, it is also about the distinction of choice. Should Carrie have ended up with Aiden? Should Buffy have just had a threesome with Spike and Angel (the comic series in fact implies she’d have been down with that)? Even beyond the main characters there is a lot of repositioning of characters to end up with others. This has also occurred to great affect in better representations of the LGBTQIA community by showing a variety of love options. But again, why do we get so engaged as fans in these love triangles, and with wanting our preferred match to occur?

    Love is an universal theme. It is a vital ingredient, whether we are talking romantic or platonic. But viewers love complicated love. Why can’t love be honest and straight forward? Well obviously that would make less of an interesting story for many shows. But is this representation of complicated love healthy? Are love triangles real things? Why is it normalised that it is okay to string along two perfectly decent people because you can’t make a decision or have an honest conversation?

    The love triangle – an interesting topic to break apart.

    • “Viewers love complicated love.” I love this. And I am going to play devil’s advocate a little here by asking: Is there such a thing as uncomplicated love? It is, in fact, a legitimate societal pursuit, but maybe fictional representation—especially commercial romance fiction—is exactly looking for that kind of love to depict. – T. Palomino 6 months ago
      1
    • Great topic. Lots of great triangles to draw on. Rory's boyfriends on Gilmore Girls, Jan and Carol to Michael on The Office... It seems a simply intentional act by entertainment programs to have the audience on "teams," rooting for different characters, to warrant giving those characters more or less screen time. – StephRose 6 months ago
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    • I think this is a super interesting and relevant topic! I think love triangles really draw on the idea of 'forbidden love'. Usually the person of desire begins with one love interest and then later, finds themselves infatuated with the second love interest (the second being perhaps the more 'forbidden' option of the two, or the one who is usually the more morally ambiguous). Think of Damon and Stephan from the Vampire Diaries as an example for this. Elena first begins with Stephan who is kind, considerate and protective. However after 3 long seasons, Elena finds herself with Damon, the 'bad' guy with a very different moral compass to Stephan. The tension between Elena and Damon is long and suspenseful, peaking interest in audiences; When will they get together? How will they get together? Will they even ever get together? What will happen to Stephan? – celeste239 5 months ago
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    3

    Biographical truth or the real heart of the story?

    ‘Dickinson’ is the Apple TV series 2019-2021 about American poet Emily Dickinson. The premise (taken from Anreeva & Pelski 2018) is that Dickinson takes place "during Emily Dickinson’s era with a modern sensibility and tone. It takes viewers into the world of Emily, audaciously exploring the constraints of society, gender, and family from the perspective of a budding writer who doesn’t fit in to her own time through her imaginative point of view. Dickinson is Emily’s coming-of-age story – one woman’s fight to get her voice heard."

    The best word there is audaciously – the series makes direct use of Dickinson’s actual poetry throughout the series to theme the episodes and to add to a story about a complex poet. Biographies on Dickinson indicate she was an isolated, eccentric and (reading between the lines) anxious woman in a period of relatively large gender, race and class oppression. Little of her poetry was actually published through her life, and most information about her is based on her prolific letter writing. It is easy to see through the series that they have taken great liberties with both her character and her life…but is this a problem? The show itself heavily highlights the oppressive period she lived during and her struggles as a poet and a woman. Many of the themes and topics are ones that resonate with young women today – about finding self, about morality, about understanding life and love and friendship.

    It would be interesting to explore this topic in more depth: is there value in taking liberties with a real person’s life and works if it still serves the message or purpose of their story? Can a fictional biography be as meaningful to the contemporary viewer as a real biography? Or is this a betrayal of a woman who suffered enough during her own time?

    • This definitely has the potential to be an interesting article. On thing that I think whoever writes this article should consider is the degree of centrality that Dickinson in particular would bear to the article as a whole. In other words, is this an article principally about the series that asks question about its onus to its historical protagonist, or is it a general inquiry about how fictionalized media should handle the representation of historical figures (using Dickinson as a case study)? Your choice of title implies the latter, but everything else you've written here points more so to the former. There are a lot of interesting films and series right now taking similar approaches to filtering period settings/characters through contemporary sensibilities: e.g. The Great (2020-) and The Death of Stalin (2017) both immediately come to mind, but we could arguably also expand this question into literary adaptations like The Personal History of David Copperfield (2019), Little Women (2019), Emma (2020), Cyrano (2021), and the entire filmography of Baz Luhrmann, since fidelity to a source-text can often be a similar argument to fidelity to the "real" life of a biographical subject. I wonder if the single-case study approach would necessarily do justice to the phenomenon as a whole, especially if that broader analytical goal were framed as the main intent of the article. Just my two cents. – ProtoCanon 9 months ago
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    2

    Social and television topic changes over time as seen through the lens of Star Trek

    Star Trek the television series first debuted in 1966 as what is dubbed ‘The Original Series’ during which the costuming, role allocation and even ethical storytelling both reflected the socio-cultural context of USA, but also challenged and invited complex discussions about morality, ethics and rights. It, and the following original series, walked a fine line of being commercial enough to appeal to audiences as well as being true to the Science-Fiction genre in that it needed to engage in deep discussions about what it means to "be." ‘Enterprise’ was the last of the original broadcasts ending in 2005 before the success of the film "reboot" in 2009. The 2009 film ‘Star Trek’ reinforced a number of stereotypes and cliches that were disappointingly lacking in the nuance of the original series, and for a moment it seemed it was finished with again.

    Then came the new television revival with ‘Star Trek: Discovery’ that not only again reflected the excitement and challenges of space exploration, but also touched on the same socio-cultural concerns current in contemporary society. It was a show that began to speak about issues we face in our own world. From here spanned out a range of new shows from ‘Picard’ to ‘Lower Decks’ that each began to broaden the world of Star Trek, but also found new ways to engage in important conversations.

    An article looking at the different discussions, topics and socio-cultural confirmations and challenges across the timeline of Star Trek would be fascinating. It is one of very few shows to have spanned such a large period of time on television that has not simply reflected back social norms. I would be interested to see a deeper analysis of this topic.

      5

      A new Foundation

      The new TV show ‘Foundation’ from Apple is an imagining of Isaac Asimov’s novella series of the same name. With an initial two episode drop the show has already received mixed reviews.

      As always it is difficult to deal with any type of adaptation. There will always be those for whom the original material, and their personal experience with it, cannot be eclipsed. However, the point of adaptations is to allow a re-imagining of source material within the context of the period it is re-produced in. Even the nay-sayers have to admit this depiction of the fall of a great Empire, corrupt and dystopic, underpinned by a focus on a ‘genetic legacy’ that infers an extreme type of nepotism, is as extremely relevant in message and content today as it was when Asimov wrote it.

      Already in two episodes the show has raised a myriad of questions about religion, politics, and technology that have contemporary value. A discussion of the original work and its social connections, which is then compared to the changes made in the show that reflect the social concerns of today, would be a valuable discussion to have. It would be interesting to examine the changes made by the showrunners, and how that fits within the socio-political and technological landscape of today.

      • I think this would be a great topic! As you say, an adaptations must be considered in regard to the context it is adapting source material into but I think analysing the context of the source material as well would be helpful as well. I think a comparative approach with reference to the similarities and differences between Asimov's context and our own would lead to a great discussion. Especially, as the argument could be applied to many adaptations that have be re-produced about these days (or will be coming out, for example the upcoming Dune movie). – HarryP 10 months ago
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      Latest Comments

      Sarai Mannolini-Winwood

      What a fascinating topic and a really good, comprehensive read with some amazing points made – thank you for sharing this.

      Are Disability and Death Inextricable?
      Sarai Mannolini-Winwood

      Sounds very interesting, thanks for the suggestion Kemp!

      How Australian is Australian Urban Fantasy?
      Sarai Mannolini-Winwood

      Thank you for all your suggestions – Warrren, Mort and Hellowom – I appreciate it 🙂

      How Australian is Australian Urban Fantasy?
      Sarai Mannolini-Winwood

      Oh my goodness! Thanks Ulielo and I hope you enjoy the novel – amazing piece of writing 🙂

      How Australian is Australian Urban Fantasy?
      Sarai Mannolini-Winwood

      Thanks Guadalupe, I will check it out 🙂

      How Australian is Australian Urban Fantasy?
      Sarai Mannolini-Winwood

      Thanks for the suggestion Kaylee, I will check it out!

      How Australian is Australian Urban Fantasy?
      Sarai Mannolini-Winwood

      YA still relevant! Thanks for suggestion Regina.

      How Australian is Australian Urban Fantasy?
      Sarai Mannolini-Winwood

      Thank you for your amazing response Krish – you made some really excellent points here.
      It is indeed an issue in the industry and milieu to avoid the Australian context and something that I think is now starting to emerge in more meaningful ways 🙂

      How Australian is Australian Urban Fantasy?