Nicholas P. Whittaker
I saw hope, hope that even the most rigid and demonic notions — the vigilante, or the mad(man), or the villain — could be resuscitated. And in this project of resuscitation lies the power of low art. Just as the stale and hyper-rationality of Batman could be transformed into a subversive paean to the power of transness, so too can pleasure, ugliness, and minstrelsy be transformed into vehicles of liberation.
Enya is a Vine star: She has made her name posting Vines, seven second videos filled with slapstick comedy, cursing, and child-like ridiculousness, on social media for her thousands of followers, yet it also challenges notions of how laughter and marginalized identity can coexist.
Out of this banality of pop, SOPHIE constructs a secret haven, a hidden home for all those whose gender has become their prison. For in pleasure, the gendered body becomes concerned not with the judging gaze of its audience, but with itself. Pleasure allows for, in Lorde’s words, the sensation of “It feels right to me.”