Vicious: Fall 2022 Print Issue

WRITERS

Diti Belhe • Natasha Bernovich

• Sophie Corsaro • Danielle Csaszar • Sam Downey • Maria Freese • Maddie Gamble • June Glenney • Emma Goshin • Maya Greenberg • Rachel Hale • Jane Houseal • Kylie Hynes • Morgan Johnson • Nina Johnson • Sarah Kirsch • Jamie Randall • Alison Stecker • Quintynn Vaughn • Tarun Vedula

ART

Lola Crowley • Lily Dawson • Mac Gale • Nina Goyette • Emily Han • Filip Jawdosiuk • Alexa Kantor • Wylie Knight • Jenny Lee • Delilah Quasius • Quinn Ruzicka • Jessica Tenenbaum • Haley Wolff

Jami Balicki • Abby Cima • Elliot Dunnwald • Louise Gilbertson • Hannah Huber • Hunter Kiehl • Bela Orzechowski • Sidney Petersen • Emma Spaciel • Jessica Tenenbaum • Ben Yeiser

MODELS

Tessa Almond • Rayyan Bhatti

• Isabella Bortolloti • Amalia Cabigas • Megan Cartier • Dani Csaszar • Peyton Driebel • Dani Edgar • Molly Gallagher • Emma Goshin • Rachel Hale • Maddy Hu • Kimberly Huete • Kate O'Malley • Chris Reamisch

• Alison Stecker • Kaitlyn Tran • Megan Wu

CULTURE 39 The Original Sin Adam and Eve’s fall from Eden

The Captivating Allure of Las Vegas The sinful city and its history, landmarks and realtion to Elvis

Poker Princess How Molly Bloom used gambling to tip the patriarchy on its head

The Exploitation of True Crime How Jeffrey Dahmer and Ted Bundy inform our understanding of society’s obsession with serial killers

FASHION

05 Back in Black Why the “little black dress” will always be a wardrobe essential

24 Killer Looks Agent 007’s role as a menswear icon 36 Style and Sex The many roles of eroticism in the fashion industry

26 Stilettos’ Powerful Past Stilettos’ journey from a symbol of male wealth to a hallmark aspect of modern day femininity and power

ARTS

38 Dare to Deconstruct How America’s D.A.R.E program failed to effectively prevent drug use in adolescents

42 She’s a Maneater: How the Femme Fatale Reset a Male-Dominated History Men fear her. Women admire her. History reveres her

Revenge Is Her Name The untold stories of real-life female vigilantes 44 Smoke and Mirrors The re-glamorization of cigarettes and what it means for culture today

LIFESTYLE

Gaslit The problem of overuse & misuse

F*ck Taking the High Road How being petty protects your peace

What could be better than revenge…? Don’t try to get back at them, get better without them

14 Hell is a Teenage Girl The victim turned victor of the horror genre

Weaponizing the Performance of Feminine Bodies The mass fetishization of modern dance and the performance of femininity 27 The Living End: Radical Anger A subversive exploration of the trauma of the AIDS epidemic

06 Lowering the Stakes Deconstructing the figure of the vampire 40 The Power in Pulp Women’s impact on the pulp art movement through comics and magazines

Addictive, Poisonous and Disruptive

Dear Readers,

A year ago, my brown hair had never been touched by hair dye and the thought of getting a tattoo was inconceivable to me. Today, my hair is bright red and I’ve gone under the tattoo needle twice — my old self wouldn’t recognize me. These cosmetic changes, however, are small in comparison to the changes within me. As the world opened up around me again, I have felt myself becoming bolder, stronger and more sure of myself. Like many others, I feel like I’ve come into a new power this year, and I’m not afraid to show it.

As the Moda team sat down to decide what our theme would be for our first print issue of the year, it was clear that I was not the only one who was ready to express my inner power. While I dyed my hair red to signal the change, our team wanted to express this boldness through their writing, styling, illustrating and all the elements that go into our magazine — there was a yearning for boldness. We wanted to create an issue that explored different avenues of strength — cunning characters and vile vigilantes. It was clear that our team was not only wanting to express their inner power, but were eager to dig into the dark side.

And thus, Vicious was born. Meaning “dangerously aggressive,” vicious is addictive, poisonous and disruptive, while also being calculated and polished. Characterized by smoke, leather and red lipstick, this issue quickly became an outlet for many on our team to explore the lesser known versions of themselves. Every contributor to this magazine has their own sense of power, and how they have expressed it has brought Vicious to life.

For many of us, what first came to mind when envisioning this issue was a culmination of all these dark, edgy and powerful characteristics. Moda’s online editor, Alison Stecker explored the true stories of female vigilantes in her article, “Revenge is Her Name.” Explaining that many female vigilantes kill as a way to push back against patriarchal systems, Stecker explores the duality between right and wrong, making readers examine their own moral understanding of female killers.

We may not all be vigilantes on the hunt, but no one can escape conflict and confrontation — the question is how do we face them? Lifestyle staff writer, Maddie Gamble, explores the road less taken in her article, “F*ck Taking the High Road.” In a world where we are constantly being told to hold in our emotions and be the better person, Gamble urges us to embrace our anger, explaining that “anger protects our personal feelings, and provides us with a sense of control. It allows us to be in charge of our experience. It allows us to be heard.”

While this issue was born out of personal power, many of our writers chose to look outward and shine a light on malice that lives around us. Arts staff writer, Nina Johnson, ex-

plores the mass fetishization of modern dance, and explores how women can take back an art form that is deeply rooted in patriarchal tradition. Empowering dancers to break free of long-held beliefs, Johnson writes “dance is sexy, empowering and transformative — and working to place ownership into the hands of those dancing is an exhilarating venture.” Whether exploring the large-scale viciousness of our society or reflecting on personal strengths, I am so proud of this team for breaking past boundaries and defining viscous on our own terms. This issue is a testament of not only the inner boldness of each contributor, but of our power as a team. Vicious is for the Moda team, may we never forget the bold behaviors that this issue has brought out in us.

Cheers,

Mason Braasch

Back in Black

Why the “little black dress” will always be a wardrobe essential

Written by Morgan Johnson, Contributing Writer | Illustrated by Lola Crowley, Staff Illustrator and Designer

“B

lack clothing is out of fashion,” said no one ever. Simply put, the “little black dress” is a classic — its effortless shape and structure have made it a yearround favorite. History has proven that the little black dress can be styled for any event — from casual wear to high fashion. It has been featured in movies, day-to-day streetwear and was even key during a royal scandal. It may be a simple piece, but the little black dress is one of the most iconic fashion pieces of all time. If you’re still not convinced, its universality has earned the little black dress its own acronym: the “LBD.”

Coco Chanel is credited with creating the LBD in the roaring ‘20s, an era when women were fighting for equality.1 Congress passed the 19th Amendment which allowed women to vote in 1919 and empowered women to experiment with bolder clothing. This ultimately led to the flapper era, which is most commonly known for beaded, fringe dresses with lots of detail.2 The little black dress emerged around the same time, and it became increasingly popular. By 1961, British actress Audrey Hepburn donned the LBD in the film “Breakfast at Tiffany’s,” and it became

1 Kat Eschner, “Why Coco Chanel Created the Little Black Dress,” Smithsonian Magazine, 2017.

2 “What Does A Little Black Dress Mean?” La Riviere, 2020.

Hepburn’s most memorable look. Hepburn famously styled her LBD with big pearls, a chic updo and cat eye sunglasses.

because it fits with almost everyone’s personal style. The LBD is the perfect base piece for any person of any age. Attending a black tie event? Go for a sleek, form-fitting LBD that hits midthigh.3 Wanting the “old money” look? Pair your LBD with Mary Jane heels, a dainty floral headband and a tie-front cardigan. Craving an even more delicate look? Wear sheer tights underneath and add a silk neck tie scarf.

Hepburn’s awe-inspiring attire during her role in “Breakfast at Tiffany’s” is part of what makes the movie and her famous look such a muse. Her LBD is the star of the show, and it falls in line with her personality. Her character, Holly Golightly is a free-spirited socialite who stumbles upon the man of her dreams. Although Golightly was independent and seemingly fearless, she finds herself appreciating a genuine human connection with Paul Varjak, the man who moved into her apartment building. Hepburn’s powerful character and immaculate outfits create the perfect blend of professionalism and delicacy, cementing Hepburn’s portrayal of Golightly as one of the most influential ever.

If you’ve ever taken one of Buzzfeed’s fashion quizzes, you’ll notice that none of them exclude the color black. That is

The LBD isn’t going anywhere. It’s a timeless piece that will likely never lose its symbolism. Its minimalist cuts and versatility empowers the person wearing the LBD to be their most fearless self. Even Princess Diana’s “revenge dress” is coming back, as seen in a new trailer for Netflix’s “The Crown” season five. Thanks to the LBD’s versatility and grace, it will always be a fashion staple.

It’s important to remember that the LBD isn’t reserved for certain people or certain events. Find the style that works for you, and wear it like you mean it. A piece of clothing as delicate and treasured as the LBD shouldn’t collect dust in your closet; use it for power, use it to disrupt, use it for anything. ■

3 Julia Hobbs, “These are the perfect LBDs to wear when this is all over,” Vogue India, 2021.

It’s a timeless piece that will likely never lose its symbolism.

Lowering the Stakes

Deconstructing the figure of the vampire

Written by Sam Downey, Arts Staff Writer Illustrated by Haley Wolff, Staff Illustrator and Designer

Vampires are the perfect storm of stigma and sex appeal, mortal peril and everlasting life, society’s most abject and it’s most affluent. It’s no wonder they’ve so viciously sunk their teeth into our cultural imagination.

Historically, vampires have always been more metaphor than monster.1 They reflect what people fear most at any given time, from the very concept of the undead to uninhibited sexuality, making them perfect literary figures to explore dynamics of predation, seduction and alienation.2

One iconic depiction of vampires is Anne Rice’s “Vampire Chronicles,” a book series that began in 1976 and quickly sparked a cult fandom.3 The first novel, “Interview with the Vampire,” describes a human journalist learning about the undead life of Louis de Pointe du Lac, who was turned in the 18th century by the vampire Lestat de Lioncourt.4 In 1994, the novel was adapted into a star-studded film featuring Brad Pitt and Tom Cruise in terrible wigs.5

In Rice’s mythology, vampires aren’t the sparkly vegetarians seen in “Twilight”: very few abstain from human blood.6 This becomes a point of contention for Louis’ character, who grapples with the loss of his humanity as he’s slowly seduced by Lestat’s violent, hedonistic ways.7

These moral qualms are fascinating to track across adaptations. Louis hates

1 Rachel Bachy, “Surprise! Vampires have always been gay,” The Pitt News, 2021.

2 Ibid.

3 August T., “A Deep Dive Into the Anne Rice Fanfiction Debacle,” Medium, 2021.

4 Judy Berman, “Interview with the Vampire Is the Season’s Best Fantasy Franchise Reboot,” Time, 2022.

5 Ibid.

6 August T., “A Deep Dive Into the Anne Rice Fanfiction Debacle,” Medium, 2021.

7 Erik Piepenburg, “‘Anne Rice’s Interview With the Vampire’: Old Monsters, New Blood,” The New York Times, 2022.

surviving off of the suffering and death of others, but in the original book and movie he is depicted as a plantation owner and enslaver.8 In the movie, he frees the enslaved people by burning down the plantation to hide his secret; in the original book, he simply slaughters them all.9 This year, however, AMC launched a TV adaptation of “Interview,” casting Jacob Anderson, a Black actor, as Louis.10 This iteration of the character owns a brothel, not a plantation, which still allows him to take the background of profiting from others into his vampirism.11 He grapples with his responsibility to his family and his desire to fight racism, a desire that Lestat struggles to comprehend even as he encourages Louis to be his true self.12

In the 2022 show, the two are also romantically and sexually involved, stepping beyond the specter of homoeroticism that haunts the original texts.13 Vampires have always carried queer undertones, often to make them appear more monstrous and feed into ideas of queer sexuality as dangerous, violent and even demonic.14 At the same time, gay audiences have identified with vampires’ otherness and with campy portrayals such as Tom Cruise’s.15

Too often, representation-based or “colorblind casting” approaches sprinkle token diversity into stories without considering how these identities would

8 Judy Berman, “Interview with the Vampire Is the Season’s Best Fantasy Franchise Reboot,” Time, 2022.

9 Monita Hohan, “Why ‘Interview With the Vampire’ Changing Louis’ Race and Backstory Works,” Collider, 2022.

10 Erik Piepenburg, “‘Anne Rice’s Interview With the Vampire’: Old Monsters, New Blood,” The New York Times, 2022.

11 Monita Hohan, “Why ‘Interview With the Vampire’ Changing Louis’ Race and Backstory Works,” Collider, 2022.

12 Ibid.

13 Judy Berman, “Interview with the Vampire Is the Season’s Best Fantasy Franchise Reboot,” Time, 2022.

14 Rachel Bachy, “Surprise! Vampires have always been gay,” The Pitt News, 2021.

15 Ibid.

change the ways that characters react to and interact with each other.16 By depicting Louis’ Blackness and Queerness as anchoring him to humanity, rather than othering him further, the 2022 “Interview” provides a model for weaving race and sexuality into stories in a meaningful way.

After years of sporadic Black vampires such as Blacula and Blade, such a storyline is welcome.17 Other recent vampire media has attempted to branch out: Netflix’s “First Kill” features an interracial lesbian vampire/vampire hunter couple, but the network cancelled it despite a successful first season.18

Reflecting on this, we must ask whether future vampire media will be allowed to engage identity in a meaningful way. Can vampires still be scary, or has sexiness defanged them? And if vampires no longer reflect cultural fears, what does? ■

16 Stephanie Holland, “Review: Interview with the Vampire Brilliantly Weaves Race Into the Opening Episodes of Its Romantic Tale,” The Root, 2022.

17 DeLa Doll, “Examining Black Vampires in Media,” Deladoll.com, 2021.

18 Laura Zornosa, “Here’s Why Fans Are Outraged Netflix Cancelled First Kill,” Time, 2022.

Can vampires still be scary, or has sexiness defanged them? And if vampires no longer reflect cultural fears, what does?

GASLIT

The problem with overuse & misuse

by

Bernovich, Lifestyle

Writer

In the 2022, horror-comedy movie “Bodies Bodies Bodies,” the character David says, “gaslight is one of the most overused words ever… It doesn’t mean anything, other than the fact that you read the Internet.”1 While he might not be completely correct, he does point out an issue with the social popularity of the term. It doesn’t take much scrolling to find the term “gaslight” on social media. The word has picked up lots of traction on the Internet over the last couple of years, and like most slang, as more people start to use it, it skyrockets in popularity and the true definition becomes unclear.

Many people have probably learned what gaslight means (or what it seems to mean) very recently, but the term actually has a long history. It comes from the 1938 play “Gaslight,” which then was adapted into the 1944 film of the same name. The story features newlyweds Paula (Ingrid Bergman) and Gregory (Charles Boyer). As things begin to move around the house on their own — gas lights dimming and brightening without being touched

1 “Bodies. Bodies Bodies,” A24, March 14, 2022

and strange noises coming from the attic — Paula begins to feel crazy. Her husband’s goal is to have her committed to a mental institution for his benefit, so he convinces her that she is clinically insane.2

Thus, gaslighting is a colloquialism that means to manipulate someone so much that they question their perception of reality. For example, an abuser might make a victim doubt themselves so they have no choice but to trust and rely on them. Gaslighting can be indicative of a dangerous relationship full of secrets, mistrust and emotional abuse.

Unfortunately, it has become a pop psychology term, and there is no longer a clear definition due to so much overuse. If one were to use context clues from how the word is used on social media and the Internet, they might think it means to invalidate someone’s feelings, question them or make them feel dumb or insecure.3 These are issues, of course, but they’re

2 “Gaslight,” IMDb, June 16, 1944,

3 “Is the Term Gaslighting Overused?” Mental Health at Home, July 20, 2021

not necessarily gaslighting. Brenna Holland, a writer for Well+Good explains that the saturation of the word has muddled its meaning, stating that “the distinction here, then, is that all gaslighters might be lying creeps, but not all lying creeps are gaslighters.”4

Already, victims of gaslighting rarely know they are being gaslit — that’s the crux of the issue. Now, that issue is only worsening. The more the term is thrown around, the less likely victims are able recognize it in their own relationship and seek change.5

Before you use the term gaslight again, consider how victims of true gaslighting might feel and how they may be harmed by the dilution of the meaning of the word. It is not something to joke about or use in a lighthearted way. If you wouldn’t joke about abuse or toxic relationships, you shouldn’t joke about gaslighting.

■

4 Ryan Fan, “Is Gaslighting Becoming an Overused Word?” Medium, Aug. 6, 2020

5 Brenna Holland, “Why the Misuse of Gaslighting is Problematic,” Well and Good, Sept. 2, 2021

Written

Natasha

Staff

Photographed by Jami Balicki, Staff Photographer | Modeled by Dani Edgar and Isabella Bortolloti | Makeup and styling by Ella Cunz, Programming and Special Events Coordinator

The Captivating Allure of Las Vegas

The sinful city and its history, landmarks, impact and relation to Elvis

Written by Jamie Randall, Newsletter Editor Illustrated by Wylie Knight, Staff Illustrator and Designer

Las Vegas: a sinful city filled with lust and desire, a history of gambling and addiction, the rise and fall of stars, the founding of a quick divorce, the infamous Strip and Caesar’s Palace. The chance to win big, the reality of big losses. Las Vegas is a captivating city. It is described as a desert metropolis that rose from the dry heat of southern Nevada with

original intent to connect the Salt Lake, San Pedro and Los Angeles railroads. From there, Vegas flourished rapidly into a city of lust and sin.

Vegas as a “sinful city” is linked to what was considered the norm in society. From gambling to the rise of casinos, the mafia and subsequent crime, showgirl performances and even quick marriages and divorces, typical Vegas activities were all considered a sin in the 1900s. Gambling was outlawed by Nevada in 1910, yet continued in speakeasies and illegal casinos. The rise of casinos in the 1940s and the legalization of gambling a decade prior is linked to continued practice and establishment of organized crime in Vegas.2

In 1941, the El Rancho Vegas hotel and casino was built on the Strip. From there, the Last Frontier, the Flamingo and the Thunderbird hotels and casinos were established.3 The Strip flourished with the backings of gangsters, which led to more swanky resorts with Hollywood influence. This led to big stars coming to perform. Most notably, Elvis Presley.

The relationship between Elvis and Vegas was a vicious cycle. The movie “Elvis,” released in June 2022, highlighted Elvis’s return to the International Hotel in Las Vegas due to the five-year deal his manager, Colonel Tom Parker, made in secret. The million-dollar per year deal left Elvis trapped without realizing it, as Parker never secured Elvis a raise despite selling out every show, and instead fueled his own gambling habit.4

However, Elvis can be credited with putting Vegas back on the map in the 1950s with his performance at 1 “Las Vegas,” History, A&E Television Networks, Dec. 2, 2009.

2 Ibid.

3 “Timeline,” History, Residents, LasVegasNevada. Gov, n.d.

4 Mike Weatherford, “Elvis: The Vegas Years,” Nevada Magazine. (n.d.).

the International Hotel.5 He attracted a younger demographic to Vegas’s nightlife entertainment. Elvis left an impact on the city seen today in impersonators and tributes to the King from celebrity performers and shows.

Eight decades later, despite the tragic death of the King and a global pandemic, Vegas showed tremendous growth. The Strip showed resilience in 2021, setting an all-time record with $2.1 billion in revenue in its third quarter.6 In April 2022, the Palms Casino Resort opened as the second casino to be owned by a Native American gaming group, The San Manuel Gaming and Hospitality Authority from California.7 Historically, casinos owned by Indigenous people have only been on reservation land, and the revenue is used towards infrastructure and building development. The Mohegan Sun Casino at the Virgin Hotels was the first-ever casino to be operated outside of reservation land.8

Today, Vegas continues to skyrocket, allowing for even bigger stars like Lady Gaga and Katy Perry coming to perform, as well as a surge in tourism and an increase in luxury hotels and casinos. With all the accomplishments happening today it’s important we look back and recall what brought Vegas to this point in time. ■

5 Brock Radke, “There’s a Little Less Elvis in Las Vegas Today, but the Pop-Culture Bond Remains Strong,” Las Vegas Weekly, June 30, 2022.

6 Will Yakowicz, “The Las Vegas Strip Reports $2.1 Billion in Gambling Revenue, Highest Quarterly Win in History,” Forbes, Forbes Magazine, April 21, 2022.

7 Amber Sampson, “Native American Tribes Bring Fresh Energy and Time-Tested Traditions to Las Vegas Hospitality,” Las Vegas Weekly, June 23, 2022.

8 “Tribal Casinos in Las Vegas Seen Reaching a Milestone Moment,” AP NEWS, Associated Press, May 12, 2021.

Poker Princess

How Molly Bloom used gambling to tip the patriarchy on its head

Written by Maria Freese, Culture Staff Writer | Illustrated by Jenny Lee, Staff Illustrator and Designer

So you’re sick of following the rules? Molly Bloom was too. In 2002, she was on her way to Olympic fame, dominating North American competition in alpine skiing. Today, she’s a convicted felon. While she may have broken federal law and shattered her moral compass, Bloom harnessed her unwieldy feminine power and showcased it to the world.

In 2003, Bloom headed to Los Angeles. Law school was on the horizon, and Olympic potential dashed by a career-ending injury was left in the dust. The City of Angels had devilish plans brewing, though. Throughout her youth, Bloom was the picture-inyour-wallet, brag-about-to-coworkers type of daughter. After 25 years of following other people’s dreams for her, she was ready for something thrilling.1 When the CEO of the real estate firm she worked for asked Bloom to pour drinks at his weekly poker game, she didn’t hesitate. On her first night there, Bloom scored over three grand in tips. She was surrounded by high profile celebrities, politicians and businessmen. Seeing the suffocating hold a simple game of cards had on some of the most powerful men in the country was fantastical.2 Bloom was hooked.

near royal.3 Nearing royalty herself with a net worth of over $9 million dollars, Bloom was named the “Poker Princess.”4 She controlled the fates of men she would’ve worked under just a year prior. It was intoxicating to make them come back for more. Rather than conforming to societal rules, she was writing them.

What started off as a legal private poker club became criminal when Bloom began to take a percentage of the pot. The princess was peacefully sleeping when 17 FBI agents knocked down her door, machine guns at the ready, and gave her not true love’s kiss but the case of “Bloom vs. the United States of America.”5 With a bank account that read negative $10 million and a 90-year prison sentence on the table, Bloom confessed to her crimes.

It took years of trials, errors, hearings and court dates, but in 2014, Bloom walked out with one year probation, 200 hours of community service and a novel she wrote in the process.6 The justice system tries to make an example of people who rip laws apart to make money, but Bloom had already

3 Miles Surrey, “The Real Celebrity Stories Behind ‘Molly’s Game,’” The Ringer, Dec. 27, 2017.

4 Doug Bopst, “Molly Bloom Faced 90 Years in Prison,” The Adversity Advantage, Podcast Audio, Nov. 12, 2021.

5 Robert Balovich, “Everything Molly’s Game Doesn’t Tell You About the True Story,” Looper, April 12, 2020

6 Doug Bopst, “Molly Bloom Faced 90 Years in Prison,” The Adversity Advantage, Podcast Audio, Nov. 12, 2021.

foraged, chopped and cooked up the most stellar example. She turned her life around. She became the face of recovery with a background in making the system work for her.

The men she played with are still gambling; they show no signs of contrition or remorse. The world has returned to equilibrium: the men slide under the radar and make the rules, and the women face scrutiny on everything from skirt length to motherhood. Yet, Bloom knows her feminine power. She knows she can dance men around like marionettes. She has shown women this can be their game. ■

In next to no time, Bloom was running her own poker game. She rose up the ranks fast, running games for men such as Leonardo DiCaprio, Toby Maguire and Ben Affleck. Buy-ins for her games skyrocketed to $250,000; Bloom’s poker was for the elite—the

1 Doug Bopst, “Molly Bloom Faced 90 Years in Prison,” The Adversity Advantage, Podcast Audio, Nov. 12, 2021.

2 Molly Bloom, “Molly’s Game,” Dey Street Books, 2014.

Rather than conforming to societal rules, she was writing them.

F*CK TAKING THE HIGH ROAD

How being petty protects your peace

Written by Maddie Gamble, Lifestyle Staff Writer Photographed by Ben Yeiser, Staff Photographer Modeled by Megan Cartier Makeup and Styling by Maddie Gamble, Lifestyle Staff Writer

My mom always used to tell me to take the high road and to be the bigger person. If someone spreads rumors about you, kill them with kindness. If a boy breaks your heart, don’t break his. If your brother gives you a hard time, laugh it off.

But where has that gotten me? Heartbroken, sad and angry.

Sacrificing your peace on the account of others often doesn’t allow you to feel what you need to feel. It doesn’t allow you to protect your peace.

Taking the high road requires us to bury how we truly feel — to hold it all in. Holding in our emotions takes a toll on mental health, because taking the high road means internalizing our fiery energy. We deserve to let our emotions out — to get closure, to stand up for ourselves and to express our anger. We deserve to put ourselves first.

It’s okay to get even. It’s okay to want revenge. It’s okay to be petty. These desires are often seen as poisonous by society, but why? They allow us to release our feelings and are healthy, normal responses. We shouldn’t suppress them.

Anger supplies us with a plethora of positive releases. The emotion acts as a discharge that results in calm, allowing us to release stress. Anger protects our personal feelings, and provides us with a sense of control. It allows us to feel in charge of our experience. It allows us to be heard.1

Think breakup songs. Not the sappy, sad ones, but the ones that make you want to go key your ex-partner’s car. Taylor Swift is my go-to artist when it comes to a good revenge song. She’s been known to write about all her breakups, even after saying she wouldn’t. Some might see this as an invasion of privacy, but it takes two to have a relationship.

When it comes to discussing past significant others, you have the right to share your truth — it’s your story too. Why gloss over your narrative to preserve their image? Sometimes it’s okay to tell it how it is. Don’t leave out the ugly parts for their sake. Slander their name. Ruin their reputation. Let them know how they made you feel isn’t okay.

1 B.M. Ratson, “The Value of Anger: 16 Reasons it’s good to get angry,” GoodTherapy, March 13, 2017.

Friendships are also hard. Fallouts happen and people grow apart — it’s natural. But there’s also cases of plain and simple betrayal. This is a situation where being the bigger person is preached as a kid. We are taught to swallow our words and simply take the pain. Why is standing up for ourselves seen as a negative thing?

We deserve to feel it all — the good, the bad and the ugly. Wanting revenge is healthy. Petty behavior is normal. Being a good person isn’t as straightforward as it seems. Our actions don’t always have to be rational. Sometimes it’s okay to say f*ck taking the high road and let your emotions take control. ■

Wanting revenge

is healthy. Petty behavior is normal.

Written by June Glenney, Contributing Writer Graphic by Nina Goyette, Staff Illustrator and Designer

ell is a teenage girl.”1 These first five words of the film “Jennifer’s Body” stand for something far more than a high school catfight. Throughout film history, men have been celebrated for their aggression; their violence is written off as just a part of who they are. The vision of a vicious woman, however, is a nasty and evil one. The film “Fatal Attraction” first coined the term “bunny boiler” after Glen Close’s character famously boils her lover’s daughter’s pet rabbit.2

film demolishes this mold by showing a woman who completely rejects it coming out on top in the end. “Gone Girl” celebrates female rage through its prevail over what is typically expected from a woman.

The dark comedy horror, “Jennifer’s Body,” follows high school “it” girl Jennifer Check, who is brutally murdered by a cult band in a virgin sacrifice to Satan. As Jennifer was not in fact a virgin, the sacrifice backfires and possesses her with a demon. Jennifer seeks re-

Female rage has so much power

When women do express anger in film, it is almost always used as a mechanism to paint them as crazy and unstable. “To be a teenage girl is to simultaneously be pop culture’s ultimate punching bag, cash cow, and gatekeeper,” wrote Vox columnist Constance Grady.3 Through film, girls are exploited, but through resilience and power they also rebel.

The idea of a “cool girl” is often presented as the more attractive and acceptable version of a woman. The psychological thriller “Gone Girl” introduces and kills the legendary “cool girl” standard. Protagonist Amy Dunne explains in her iconic monologue: “Cool girl. Men always use that, don’t they? As their defining compliment. She’s a Cool girl. Cool girl is hot. Cool girl is game. Cool girl is fun. Cool girl never gets angry at her man.”4

Amy Dunne grows tired of keeping up the facade of a picture perfect marriage upon uncovering her husband’s affair. She goes missing on their fifth wedding anniversary, framing him for it and gaining a control that she had previously given up while posing as this malleable “cool girl” character. This

1 Karyn Kusama, “Jennifer’s Body,” Fox Atomic, 2009.

2 Adrian Lyne, “Fatal Attraction,” Paramount Pictures, 1987.

3 Constance Grady, “Who runs the world? Not teen girls,” Vox, 2021.

4 David Fincher, “Gone Girl,” Twentieth Century Fox, 2014.

venge by satiating her appetite with the flesh of the small town’s boys. At first glance, “Jennifer’s Body” seems to cater directly to the male gaze, starring sex symbol Megan Fox as she rips boys to shreds. This movie is revolutionary because it illustrates a character who embodies everything stereotypically feminine as more powerful than the masculine energy around her.

The horror film “Carrie” follows a high school girl who gets her period for the first time, which gives her the power of telekinesis. She is urged to conceal the intrinsic parts of girlhood and to hide her power along with it, eventually ending in a bloodbath as she wins prom queen.5 Despite its tragic finale, “Carrie” comments on the societal fear of a woman’s body and sexuality, simultaneously acknowledging their power and warning of the danger they hold when underestimated.

Women feel violence at the hands of a society designed against us and in every drop of blood we shed. Female rage has so much power beyond retaliation against male aggression, or as a way to paint us as crazy and wounded. Rather, it should be celebrated as a powerful and expressive state of being. Women’s rage, something that is constantly smothered, is made permanent through film. ■

5 Brian De Palma, “Carrie,” Metro-Goldwyn-Mayer, 1976.

beyond retaliation against male aggression, or as a way to paint us as crazy and wounded.

Directed by Elise Wilson, Editorial Director | Assisted by Madison Targum, Editorial Staff, and Cassidy Chemer, Editorial Staff | Photographed by Hunter Kiehl, Photography Director and Sindey Petersen, Staff Photographer | Modeled by Kimberly Huete, Editorial Staff, and Kate O’Malley Makeup by Mara Hansen

*Special thanks to Liquid for the use of the Ruby for this spread

KArma

Weaponizing the Performance of Feminine Bodies

The mass fetishization of modern dance and the performance of femininity

Written by Nina Johnson, Arts Staff Writer | Photographed by Bela Orzechowski, Staff Photographer Modeled by Molly Gallagher | Styled by Ava McNarney, Assistant Fashion Editor

The male gaze, capitalism, misogyny: words that feel larger than ourselves, often accompanied with a disconcerting pang of confusion. How can we tease apart these vast structures to see how they work their way into our daily lives? Surely, the patriarchy can’t be connected to my preferred form of exercise. To help pair it down, I’ve identified two ways to classify the interests of women in a late-stage capitalist, patriarchal society.

One: women are expected to gravitate towards and adhere to the interests of men. Maybe you told yourself to be a cool girl, you should also understand niche “Pulp Fiction” references and listen to Weezer, things you wouldn’t have otherwise cared for. You were young then, and it wasn’t your fault. You didn’t realize your desires were something almost predestined, a system created with you in mind. Queue Amy Dunne’s “Cool Girl Monologue.”

Two: the “feminine” activities that you did find yourself involved in exist only with you as the puppeteer. These are another kind of performance, one centered around the male gaze.

Perhaps you have a complicated relationship with dance.

Under the dominant culture, expressive forms of dance have propelled the mass control and scrutinization of women.1 The need for women to constantly be optimizing themselves. The often-cutthroat nature of dance culture, notably classical ballet and ballroom dance, relies on the external pressure put on women’s bodies to perform, yet remains under control and subdued. A balance must be struck: being able to control oneself well

1 Ashley Jordan, “Our Bodies, Our Hell: How Modern American Sexism Weaponizes Women’s Bodies,” Ms. Magazine, July 7, 2020.

enough under the control of someone else. Right now, we’re at a crossroads, holding tightly to the ability to reclaim true femininity in dance. Dance is sexy, empowering and transformative—and working to place ownership into the hands of those dancing is an exhilarating venture.

While dance is not for everyone, its impressions have permeated daily routines of the lives of the wealthy and healthy, functioning as a token meant to enhance your life. Barre workout classes, the commodified combination of a workout class and modern ballet, cater to women under the guise of them gaining control over their own life.2 Instead, they become a moving part of a system in direct opposition to their interests, in the name of self-improvement and the paragon woman.

“The endurance that barre builds is possibly more psychological than physical. What it’s good at is getting you in shape for a hyper-accelerated capitalist life,” states Jia Tolentino, staff writer for the New Yorker and author of the 2019 novel, “Trick Mirror.”3 The degree of pressure we put ourselves under offers a shockingly powerful message for living in America. Are we slowly becoming the ideal women, the ideal version of ourselves, or are we simply training for a life of unpaid maternity leave, minimum wage and skyrocketing rent? While not everyone has the luxury of frequenting a barre class, its implications are worth assessing.

How does this inextinguishable relationship between misogyny and capitalism align in classical dance forms? Anna Karenina, a beloved character of Leo Tolstoy, finds freedom in her ability to ballroom dance. She revels in

2 “Athleisure, Barre and Kale: The Tyranny of the Ideal Woman,” The Guardian, Guardian News and Media, Aug. 2, 2019.

3 Jia Tolentino, “Trick Mirror,” 2019.

this expression, using it as a means to express complex feelings of love and mortality. To her, dance offers a space for strength to be found even under the patriarchy. She temporarily adapted to the system with the hopes of being able to conquer it. Anna establishes a meaningful understanding of dance due to her recognition of the confines of her situation, and the desire to float above such confines. Dance often functions as a fluid place for her. But where there is beauty, there can also be immense pain. “Black Swan,” the 2010 film, catalyzes the intensity of the ballet industry, an opposing portrayal to “Anna Karenina.”

Dance is an incredible way to express the experience of being alive, perhaps when words fail us. The complex roots and recent commodification of dance are not only a fascinating reflection on the way perceptions of women are shifting, but also highlight the unique position we’re in currently: how to move forward in what we consume and partake in. More than the Miu Miu ballet flat, reassessing how we love and accept dance in our lives provides an opportunity to reject the pseudo-femininity that’s been constructed for us. As Tolentino tells us, “We have to be willing to be disloyal, to undermine.”4 ■

4 Ibid.

Right now, we’re at a crossroads, holding tightly to the ability to reclaim true femininity in dance.

Killer Looks

Agent 007’s role as a menswear icon

The character James Bond first appeared in 1962. Over the next 50 years, Bond would become a household name, starring in 27 films. With seven different actors having played the secret agent, almost every generation of the last half century has had their own James Bond. Sean Connery, Pierce Brosnan, Daniel Craig and many more have all brought their unique skills and styles to the table. Despite their different takes on the agent, each has maintained the spy’s title as one of the best dressed men in cinema. From the classic tuxedo to more undercover attire, Bond’s looks have made him a classic menswear icon for the ages.

What better place to start than the inception of the legendary spy’s film career? Bond, played by Sean Connery, is revealed for the first time in “Dr. No” (1962). As the camera pans out from his cigarette holder, Bond’s tuxedo comes into view. The tuxedo suit is primarily characterized by the presence of satin on the jacket lapels, which creates a simple base and allows for subtle, yet noticeable variations in styling. In Connery’s case, a pleated dress shirt and a slim bow tie elevated his look.

We can’t talk about iconic James Bond looks without mentioning Connery’s show-stopping terry cloth romper in “Goldfinger” (1965). Adorned with a gold belt buckle, Connery’s romper, or playsuit, has a hidden front zip and is made of baby blue, thick terry cloth material similar to most bathrobes1. Although Bond’s role is a traditionally masculine one, Connery still manages to pull off softer, more feminine pieces like the romper. Coupling it with blue slip-on shoes and slate blue spandex swimming trunks, Connery cemented this monochromatic look in the James Bond universe.

1 Matt Spaiser, “The Infamous Terrycloth Playsuit in Goldfinger” Bond Suits, Aug. 26, 2021.

tons.

More recent iconic Bond fashion moments come from “Skyfall” (2012). As Bond, played by Daniel Craig, prepares his Scottish childhood home for an oncoming invasion, he forgoes his traditional tuxedo for a more western look. The outfit’s statement piece is a simplified brown Barbour wax sporting jacket without the typical hood and attaching butWith a tucked-in brown scarf and wing-tipped derby boots to finish the look, Bond maintains the fine line between simplicity and class that he has always embodied.

No Bond look is complete without a timepiece. Every Bond film has featured a unique watch, most of which are either from the Rolex or Omega families, with the occasional Seiko. Just like each actor brings unique skills to the role, each seemed to have their own preference for model and brand. Sean Connery almost exclusively wore Rolex Submariners, specifically the 6538 reference. Meanwhile, Daniel Craig stayed true to his word to his primary love interest, Vesper Lynd, in “Casino Royale” (2008), opting for a variety of Omega Seamasters.3

As rumors circulate about who will be the next James Bond, it’s undeniable that the role not only comes with immense pressure for on-screen performance but also for fashion. For the latter half of the last century, James Bond has been the epitome of classic menswear — whoever holds the Bond name next will continue a 50year streak of class and memorable looks.

■

2 Cam Wolf, “This might be the most influential menswear outfit in movie history,” GQ, April 7, 2018.

3 “James Bond’s watches: The complete movie timeline,” WatchTime, March 4, 2022.

Written by Tarun Vedula, Contributing Writer | Graphic by Lily Dawson, Staff Illustrator and Designer men

What Could be Better Than Revenge…?

Don’t try to get back at them, get better without them

Written by Sophie Corsaro, Contributing Writer Illustrated by Quinn Ruzicka, Contributing Illustrator and Designer

After a nasty breakup, platonic or romantic, the first thing you want to do is get back at the person who hurt you. Whether it be smashing their car windows, hooking up with their best friend or burning everything they have ever left at your apartment, all of these actions revolve around the person who did you wrong. Why waste your energy letting someone who hurt you live in your head 24/7 and give them the satisfaction of letting them know they got under your skin? Instead of getting revenge on them, focus on putting that energy back into yourself. Here are 5 ways to have a post-relationship glow-up that are self-centered (in a good way!)

Find a style that makes you look and feel good. Wearing things that make you happy not only helps you exude confidence but can also attract people who have similar tastes as you. Try something new that you were scared to try while in that relationship. Now, you only have to listen to your own opinion of yourself!

Create a new schedule for yourself, focusing on things you love to do.

Leaving someone who has been a constant in your life can throw everything off kilter; you may not know what to do with your time now that they are gone. Making a new schedule filled with personal hobbies and inter-

ests will help you think about them less and can give you an opportunity to try new activities you never would have before.

Create some new goals.

Making goals can help you have guidance on what to do to make your life more successful than ever before. With your newfound freedom, you can do anything you set your mind to — and nothing is a better revenge than showing an ex what an amazing person they’re missing.

Make peace with the breakup. Remind yourself that whatever caused the split doesn’t make you a bad person, and that sometimes things just don’t work out — and that’s okay. You can learn so much from that relationship before moving forward. Get rid of things that remind you of the relationship and create a clean slate so you can bounce back better than ever.

Try a rebound!

Going on dates or meeting new people can be refreshing, especially after getting out of a long-term relationship or friendship. Being ready to get out there can take time though, so don’t rush it. Keep in mind that having open communication with the new people in your life about your state of mind will also prevent high expectations from developing too quickly. Listen to yourself and don’t give up if things don’t go your way the first time — it will happen eventually!

Moving on isn’t a linear journey. Remember that self-rediscovery can be empowering after an intense breakup. In the long run, attempting ex-centered revenge will only make you feel worse, so save yourself the trouble and put that energy into your recovery and rediscovery. ■

Stilettos’ Powerful Past

Fashion Staff Writer

Shoes carry us through life. The leather, suede or rubber that you put on your feet every day doesn’t just represent where you’re going or what you’re doing — it is a demonstration of who you are to the world. Maybe an Olympian wears a custom pair of Nike running shoes. Maybe a student wears a comfortable sneaker to class. Or maybe, a powerful woman wears a stiletto.

While the modern stiletto is an everyday staple of feminine power, its sleek design was once limited to a select few. The first heels emerged in the 10th century when soldiers began to sport a hook-like heel to remain secure in their stirrups.1 Heels became a fashionable walking shoe when Parisian royalty in the 15th century took inspiration from French soldiers.2 For centuries to follow, European royal courts would use exceptionally high heels to display their status; the tallest were nearly 21 inches.3

The royal court wore heels to demonstrate power over those “below” them. In the 17th century, King Louis XIV of France introduced the red-soled heel. To establish his sovereignty, these were permitted only to and required of his royal court. Since the birth of heels,

1 Elizabeth Segran, “The long history of heels: from a symbol of men’s power to women’s burden,” FastCompany, Aug. 4, 2022.

2 Ibid.

3 Ariana Marsh, “High Heeled Shoes Were Originally Created For Men,” TeenVogue, July 12, 2017.

their purpose has almost always been to establish power. Even the name stiletto has powerful origins, as it originates from a type of slender, Italian dagger.4 Because heels were limited to men to demonstrate dominance and wealth, the first women to wear heels in the 17th century were trying to achieve a masculine look.5 Women who wore heels during this time were considered androgynous and daring for challenging current trends and proudly wearing something intended for powerful men.

At the turn of the 18th century, enlightenment philosophy, a set of ideas that celebrated logic and reason as a means to understand and improve the human condition, encouraged men to demonstrate rationality and take a practical approach to life.6 Practicality did not, and probably will never, include stilettos. As men adopted enlightenment ideas, they deemed heels frivolous and impractical, leaving them to be worn only by women for the first time. This drastic shift prompted the rise of heels in women’s fashion, which over time led to the expectation of heels in “proper” women’s attire.

The pressure on women in the 18th and 19th century to wear heels as a demon-

4 Camill Paglia, “The Stiletto Heel,” MOMA, Oct. 25, 2013.

5 Olivia Goldhill, “It’s enlightenment philosophy’s fault that women wear high heels instead of men,” Quartz, July 1, 2018.

6 Ibid.

stration of formality is still felt today. However, as women have begun to take back former tools of oppression, stilettos have transitioned from being an impractical design for frivolous individuals to a symbol of strength despite their uncomfortability. Balancing on a tiny piece of plastic five inches above ground is an incredible attestation to one’s physical strength and mental power, making the stiletto a contemporary fashion statement.

Modern day stilettos may be designed for women, but they heavily mirror royal male looks of the 16th and 17th centuries. Chrisian Louboutin, a French fashion designer, took inspiration from King Louis XIV with his red-soled stilettos released in 1993.7 His signature red-sole is now considered one of the most iconic stiletto designs ever and is the ultimate status symbol.

The styles of stilettos on runways in the past decades highly reflect various trends; strappy kitten heel stilettos of the early ‘00s were short heels whereas modern day stiletto boots are simpler and elongated. While stilettos change over time, they will always be a timeless reflection of simplicity, elegance and strength. The tiny heel you balance on carries great power with each step regardless of where you’re going or what you’re doing.

■

7 Alice, Cary, and Maude, Bass-Kruger, “Everything You Ever Wanted To Know About The Stiletto,” Vogue, March 24, 2020

Stilettos’ journey from a symbol of male wealth to a hallmark aspect of modern day femininity and power

Written by Quintynn Vaughn,

Photographed by Elliot Dunnwald, Contributing Photographer | Modeled by Kaitlyn Tran and Megan Wu

The Living End and Radical Anger

A subversive exploration of the trauma of the AIDS epidemic

Belhe

What would you do if you were diagnosed with a terminal illness? Would you continue to live by the rules of the society that oppress you? Would you lock yourself in your room with a bottle of wine and listen to The Smiths? When Jon, the protagonist of Gregg Araki’s “The Living End,” is diagnosed with HIV/AIDS, his quiet existence is turned inside out. This is when he meets Luke, a fellow HIV-positive man who happens to be on the run for murdering a cop. What ensues is an adventurous, Bonnie-and-Clyde road trip where passionate love scenes alternate with bank robberies, fistfights and the murder of homophobes. But beneath its satirical veneer, the movie says a great deal about what it means to be a gay man in the wake of the AIDS epidemic.

By 1991, AIDS already ravaged America. Over 100,000 died of the disease by the turn of the decade, with almost onethird of deaths from 1990 alone.1 The U.S. government, under the Reagan administration, had continually ignored and downplayed the epidemic that largely affected one of the most marginalized groups in society.2 Queer activists were understandably angry.

LGBTQ+ filmmakers became less concerned about making films that served a tame, palatable representation of queer people and relationships to a wider audience. Instead, they produced works that delved deeper into what it means to be gay and centered the righteous anger that the LGBTQ+ community felt. Dubbed the New Queer Cinema movement,

1 “Current Trends Mortality Attributable to HIV Infection/AIDS—United States, 1981-1990,” Centers for Disease Control and Prevention, Jan. 25, 1991.

2 Richard Lawson, “The Reagan Administration’s Unearthed Response to the AIDS Crisis Is Chilling,” Vanity Fair, Dec. 1, 2015.

these films provoked audiences and explored taboos.3 Genre-wise, “The Living End” can’t be put in a box. Following the structure of a buddy crime film, it’s intentionally tonguein-cheek, with over-the-top acting, gratuitous edginess and comical violence. This purposeful lack of realism constructs a fantasy. What if you could just take a gun and shoot every violent homophobe you meet daily? What if you could just say, “fuck work, fuck the system, fuck everything?”

“The Living End” centers and celebrates rage; it explores the living manifestations of it resulting from having your life taken from you by a disease that the government doesn’t care to find a cure for. It doesn’t claim violence as the answer but follows the characters as they struggle with the lack of meaning for their suffering.

In 1990s America, the very act of engaging in intimacy could get a Queer man killed. Thus, violence becomes inextricably linked with sexuality and pleasure. Araki acknowledges this: when it’s not angry, and especially when it is, “The Living End” is intimate: love scenes are tender, but often feature a gun or fighting—an ironic reference to rhetoric of the time claiming gay sex is deadly.

Both cathartic and exhilarating, the movie ends on a somber note as Jon and Luke lean against each other on a beach, exhausted and sick with nowhere left to run to. All their rage, revenge and desire are spent, and all that remains is defeat. While criticized by some for being nihilistic, “The Living End” is on the contrary a brutally honest and beautiful expression of pain and anger.

■

3

Harry M. Benshoff and Sean Griffin, “Queer Images: A History of Gay and Lesbian Film in America,” Rowman & Littlefield Pub., Oct. 13, 2005.

Written by Diti

Contributing Writer | Illustrated by Emily Han, Contributing Illustrator and Designer

THE EXPLOITATION OF TRUE CRIME

killers

Written by Sarah Kirsch, Culture Assistant Editor | Photography credits on following page

Content Warning: This article contains details of murder, serial killers and death.

One in three Americans consume true crime content once every week, and one in four Americans consume it multiple times a week.1 No matter the platform, people in the U.S. love true crime — especially women, who are more likely to enjoy true crime than men and twice as likely to say it’s their favorite genre.2 Two popular serial killers, Jeffrey Dahmer and Ted Bundy, help us understand society’s fixation on true crime.

The Jeffrey Dahmer series has one season, and it’s about Dahmer’s motives and how he became a well-known serial killer in the U.S. It focuses on the 17 men Dahmer killed and other crimes he committed before he was murdered in jail. Dahmer was sentenced to 15 consecutive life sentences and died on Nov. 28, 1994.3

The series received mixed reviews, with some fans on TikTok calling him a “hot serial killer” because of the actor Evan Peters. Many viewers also romanticized Dahmer, feeling bad for his life after watching the show.4 While there are many fans applauding Peters’ acting because of how difficult it is to portray such a complex person, viewers have been questioning the morality of the production.

The families of Dahmer’s victims spoke out against the series because they were unaware of its creation. They said if they had known, they would’ve said no to its production. Because of this, many viewers have felt uncomfortable watching it and think that Netflix only cares about the financial profit the show has created. It is no secret that the victims’ families haven’t wanted their personal trauma publicized; when Dahmer’s father wrote a book about his son’s crimes, the families threatened to sue for earnings and he didn’t publish it.5

“It’s about what sells, what makes money, and it’s sad. That’s what many of them [producers of true crime] are looking at,” Rhonda DeLong, DePaul criminology professor, said.6

1 Taylor Orth, “Half of Americans enjoy true crime,” YouGov, Sept. 14, 2022.

2 Ibid.

3 Mary Phelps, “Netflix sensation ‘Monster: The Jeffrey Dahmer Story’ sparks controversy,” The Gonzaga Bulletin, Oct. 17, 2022.

4 Lucy-Jo Finnighan, “Viewers asked not to “romanticize” Jeffrey Dahmer,” Dexerto, Sept. 23, 2022.

5 Ramon Vargas, “Mother of Dahmer victim condemns Netflix series,” The Guardian, Oct. 10, 2022.

6 Lilly Keller, “True crime podcasts: stop treating exploitation as entertainment,” DePaulia Online,

Although the show was about Dahmer’s motives, the creators put a message at the end about how there was race disproportionality and police negligence, which not a lot of true crime shows do.7

The legalities behind creating true crime entertainment seem full of legal jargon and restrictions, but for closed cases, there aren’t many rules past fact-checking, knowing legal limitations like private property and understanding publicity rights.8 However, the line between legal and ethical aspects is thin. When the Dahmer series aired, it contained word-for-word court testimonies from the victims’ families with accuracy down to the outfit. After seeing her name on Netflix, Rita Isbell, sister of one of Dahmer’s victims, said “I don’t need to watch it; I lived it.”

Ted Bundy, played by Zac Efron in the series “The Ted Bundy Tapes,” received volumes of attention online. Bundy abducted and murdered over 20 women, and he was charged with a 15-year sentence for aggravated kidnapping months before being charged with murder.9 Bundy spoke with a journalist when he was on death row in hope of his case getting reopened, and the Sept. 25, 2022.

7 Mary Phelps, “Netflix sensation ‘Monster: The Jeffrey Dahmer Story’ sparks controversy,” The Gonzaga Bulletin, Oct. 17, 2022.

8 Mikaela Gross, “Legal and Ethical Considerations for Your True Crime Podcast,” CDAS, Feb. 3, 2020.

9 Tim Ott, “Ted Bundy Killings: A Timeline,” Biography, Aug. 12, 2021.

100 plus hours of audio between the two helped create Netflix’s series.10

Before he was executed on Jan. 24, 1989, Bundy received an abundance of fan mail in prison.11 The BundyPhiles, one of his fan groups, publicly and actively lobbied to get him released.12 Bundy even married a member of the BundyPhiles, Carole Ann Boone, during his murder trial in 1980.13 They were officiated through the court while he was being charged with the murder of a 12-yearold. This group still exists on many sites and has active fans to this day.

The fixation Bundy’s fans had on him has a definition: hybristophilia. Hybristophilia is the sexual interest and attraction to those who commit crimes.14 This fascination with serial killers and true crime can be attributed to humans’ tendencies to be intrigued by dangerous, unknown situations. Fixating on a specific murderer can lead to the romanticization or idolization of them, which can be harmful and potentially unhealthy.15 While watching true crime isn’t inherently bad, obsession can become dangerous.

True crime entertainment narratives are disproportionately dominant, often characterized as “white creators focusing on white victims and white perpetrators.”16 It is no surprise that true crime focuses on white male killers such as Dahmer and Bundy. These narratives shape inaccurate portrayals of crime rates, risks and demographics. The primary victims of true crime stories are often white women, in opposition to the truth that Black women are killed at a higher rate than any other demographic of women.17

While learning about facts, stories and psychological aspects of true crime can be interesting, it can also be unethical and harmful if not created or watched with care. Whether it be a podcast episode or a new Netflix series, researching the content and morality behind true crime is crucial in keeping the lived experiences of victims and perpetrators informative rather than entertaining. ■

10 Rob Harvilla, “Netflix’s ‘Ted Bundy Tapes’ Can’t Put You in His Head,” The Ringer, Jan. 29, 2019.

11 Kristin Canning and Jennifer Nied, “Who Was Ted Bundy’s Wife?,” Women’s Health, Jan. 30, 2020.

12 John Kuroski, “Ted Bundy And The Full Story Behind His Sickening Crimes,” ATI, Sept. 2, 2022.

13 Kristin Canning and Jennifer Nied, “Who Was Ted Bundy’s Wife?,” Women’s Health, Jan. 30, 2020.

14 “APA Dictionary of Psychology,” American Psychological Association, n.d.

15 Coltan Scrivner,”Why We Are Fascinated by Serial Killers,” Psychology Today, May 1, 2022.

16 Lindsey Webb, “True Crime and Danger Narratives,” The Journal of Gender, Race & Justice, n.d.

17 Ibid.

How Jeffrey Dahmer and Ted Bundy inform our understanding of society’s obsession with serial

Revenge Is Her Name

The untold stories of real-life female vigilantes

Written by Alison Stecker, Online Editor | Content Warning: This article discusses SA and rape

Society is fixated on the idea of vigilante justice, yet less on women’s rebellious ruses. In a perfect world, rectitude would be served for every criminal act, but reality exposes how this achievement falls short for many, especially women. We are constantly fighting back against oppression and abuse. Female vigilantes’ motives are deeply rooted in disrupting these patriarchal systems, but to what extent will they go to kill? The following are untold stories of real-life female vigilantes and the truth behind their vengeance.

1. Boudica, Queen of a Celtic Tribe

Boudica was the queen of a Celtic tribe who led a revolt against the Romans around 60 A.D.1 When the king died without a male heir, the Romans beat her, confiscated the family’s land and raped her two daughters.2 Boudica was a trained warrior and rebelled by destroying Roman temples, destroying three cities and killing around 80,000 people.3

Although the rebellion ultimately failed, Boudica got her revenge. In 1902, an English sculptor built a statue of her riding in a chariot next to the Houses of Parliament in the old Roman capital.4 Boudica is the embodiment of a complex female hero; she set out to avenge her family’s lost freedom and the bodily autonomy of her and her daughters.5

2. Germany’s “Revenge Mother”

On May 5, 1980, a 7-year-old girl named Anna missed school and wandered over to her neighbor’s house, a 35-year-old butcher with a criminal record of child molestation. Known as Klaus Grabowski, he was later charged with Anna’s murder.6

On top of confessing, Grabowski claimed Anna blackmailed him. Anna’s mother, Marianna Bachmeier, was already angry that her daughter was gone, and this accusation ignited more rage within her. Grabowski went on trial a year later, and on the third day, Bachmeier smuggled a pistol into the courtroom and shot Grabowski eight times.7 He died on the courtroom floor. “I want to kill him,” she allegedly said. “He killed my daughter … I hope he’s dead.”8

1 Sarah Pruitt, “Who Was Boudica?” History, March 7, 2019.

2 Ibid.

3 Rebecca Gibian, “These Real-life Female Vigilantes Rival Jennifer Garner In ‘Peppermint’,” Inside Hook, Aug. 31, 2018.

4 Ben Johnson, “Boudica,” Historic UK. n.d.

5 Ibid.

6 Marc Margaritoff, “11 Real-Life Vigilante Stories Of Ordinary Citizens Taking Justice Into Their Own Hands,” All That’s Interesting, Sept. 29, 2021.

7 Natasha Ishak, “Meet Marianne Bachmeier, Germany’s ‘Revenge Mother’ Who Shot Her Child’s Killer In The Middle Of His Trial,” All That’s Interesting, Feb. 1, 2021.

8 Marc Margaritoff, “11 Real-Life Vigilante Stories

Bachmeier became a sensation in Germany known as the “Revenge Mother.” According to NDR, the case is “the most spectacular case of vigilante justice in German post-war history.”9 She was sentenced to six years in prison for premeditated manslaughter but only served three. Bachmeier died in 1996 and was buried next to her daughter Anna.10

3. Diana the Bus Driver Hunter

In 2013, the buses running in Cuidad Juárez, Mexico became the hunting ground for a woman who nicknamed herself Diana, Huntress of Bus Drivers.11 The murderous city of Juárez had a long history with dangerous bus drivers, with at least 260 women killed at their hands between 1993 and 2002.12 Law enforcement didn’t defend or protect any of these women, so Diana took it upon herself to don a blonde wig and avenge these victims.13

Unlike most vigilantes who prefer anonymity, Diana would ride on crowded city buses for 15 minutes before walking up to the male bus driver and firing a gun in close proximity.

Her two victims were Jose Roberto Flores Carrera and Fredy Zarate Morales.14 After the second bus driver was killed, a local newspaper in Juárez received an email from Diana that revealed her motive; “I’m an instrument that will avenge several women,” her letter read.15 Diana the Bus Driver Hunter saw herself as a vigilante seeking justice for sexually abused women, and after this self-exposure, nobody heard from her again. ■

Of Ordinary Citizens Taking Justice Into Their Own Hands,” All That’s Interesting, Sept. 29, 2021.

9 Natasha, Ishak, “Meet Marianne Bachmeier, Germany’s ‘Revenge Mother’ Who Shot Her Child’s Killer In The Middle Of His Trial,” All That’s Interesting, Feb. 1, 2021.

10 Ibid.

11 April A. Taylor, “The Story of Diana, The Hunter of Bus Drivers Who Killed To Avenge Women,” Unspeakable Crimes Ranker, Jan. 13, 2022

12 Ibid.

13 Ibid.

14 Ibid.

15 Ibid.

Photographed by Hannah Huber, Assistant Photography Director | Makeup by Ella Cunz, Programming and Special Events Coordinator | Modeled by Alison Stecker, Online Editor and Emma Goshin, PR and Outreach Director

Style and Sex

The many roles of eroticism in the fashion industry

Written and styled by Jane Houseal, Fashion Editor Photographed by Louise Gilbertson, Staff Photographer | Modeled by Maddy Hu

*Special thank you to Leopolds Books Bar Caffè

Fashion, as we know it, can not exist without a body. In most spaces, bodies must be clothed. Sexuality can be seen in fashion in everything from a designer’s choice to reveal or cover the body to the many designs that reflect fetish wear. A recent museum exhibition in Belgium, DressUndress, is one of the many outlets trying to explore the impact of the complicated relationship between sexuality and fashion1. Whether in the designer’s intention or the viewer’s eye, eroticism and fashion are inextricably linked.

In the ‘80s Jean Paul Gaultier and Vivienne Westwood were two designers that revolutionized fashion by making sexuality a fundamental aspect of their work. They both used their provocative designs, such as corsets and mini skirts, to subvert cultural norms and make feminist statements. Everything from the way the garments were constructed to how they were presented on the runway established the looks as symbols of strength, contrary to how similar pieces of clothing were portrayed in the past.

Gaultier and Westwood are not the only designers to use eroticism in their art to tell a story. The most recent New York Fashion Week featured more nudity than ever before.2 Although, it is crucial to note that nudity is not always displayed with a sexual intention. Oftentimes the designer’s choice to show the body is a liberating one. Designer Molly Goddard sent models down the runway in the most elegant outfits: sheer tops with full, ruffled skirts and sheer polka-dotted skirts with chunky cable knit sweaters.3 Sometimes designers include nudity or erotic motifs to help tell the collection’s story, while other times it is just a way to further experiment with fashion design. After all, if fashion is typically displayed on the

1 Daniel Rodgers, “This exhibition explores the relationship between sex, nudity, and fashion,” Dazed, March 21, 2022.

2 Nadine DeNinno, “Skin is in as nudity takes over NYFW 2022 as top trend,” New York Post, Sept. 15, 2022.

3 Luke Leitch, “Molly Goddard,” Vogue Runway, Sept. 18, 2022.

body, designers must get creative when it comes to incorporating the body into their work.

Eroticism extends to all parts of the fashion industry and can be seen in both high-end and fast fashion brand campaigns. “Sex Sells” is a popular marketing strategy that brands have been using for ages, sometimes to establish a specific brand identity and sometimes to capitalize on consumers’ desires.4

Campaigns intended to sell products often veer past simple seduction — they have the potential to objectify and spread harmful messages about sex and bodies. American Apparel’s overtly sexual ads in the 2010s were often effective in garnering attention, but received backlash for objectifying young women. Many of the ads were banned, despite the brand still being quite popular among young people.

Some advertisements use sexual imagery to playfully tease out their consumer’s desires and create an engaging brand identity. This idea isn’t much different from designers that often use their collections to explore different fantasies — sexual or not. Around the same time that American Apparel ads were rampant, Diesel, a denim brand, used a similar tactic but with a satirical twist. Their ads were images of topless men and women with jeans on, with the phrase “Sex Sells*” stamped on top. The bottom of the ad included the cheeky statement, “*Unfortunately we sell jeans.”

One major difference between the uses of eroticism in high fashion and advertising is the intended audience. Those who are watching runway shows are there to appreciate and analyze fashion as art, while brands create ad campaigns for the voyeuristic consumer. Understanding the nuanced relationship between sex and fashion, on every level, can allow individuals to more intentionally engage in personal style and consumption. ■

4 Ash Jurberg, “Is ‘Sex Sells’ Still True?” Better Marketing, Jul. 28, 2022.

DARE TO DECONSTRUCT

Written by Emma Goshin, PR and Outreach Director Illustrated by Delilah Quasius, Staff Illustrator and Designer

Picture this: you walk into fifth-grade gym class only to find that instead of playing dodgeball, you’re faced by a police officer in uniform asking you to sit down and listen to a presentation about drugs. Your playtime is eaten up by a lecture on how to say no to drugs and the risks of using them. Once a month for the rest of the school year, this officer comes in to reiterate this message. Ten years later, you look back and ask yourself, “how has that presentation affected my life?”

Drug Abuse Resistance Education (D.A.R.E) is a drug-use prevention program for young students across America. The organization envisions “a world in which students everywhere are empowered to respect others and choose to lead lives free from violence, substance abuse and other dangerous behaviors.”1 Founded as an offshoot of Nancy Reagan’s “Just Say No” campaign, the Los Angeles Police Department and the Los Angeles Unified School District created D.A.R.E for elementary-aged students in 1983.2 As the program grew, politicians realized that by supporting it, they could portray themselves as pro-police and pro-kids. In the early 1990s, the government used $600 million to $750 million per year in taxpayer dollars on the program.

However, D.A.R.E. still failed American youth with its flawed curriculum. For one, police officers delivered the series of 45-minute lectures instead of addiction prevention specialists.3 The 1 “D.A.R.E.,” D.A.R.E.org, 2022.

2 The Editors of Encyclopaedia Britannica, “War on Drugs,” Encyclopedia Britannica, Sept. 20, 2022.

3 “Why the DARE Program Failed,” Landmark

lessons covered the risks of drugs and tips on how to refuse them, but they also tried to create a more positive image of the police, indicating the bias in its presenters.

D.A.R.E.’s “Parents’ Guide Book” listed some of the following as symptoms of drug use: wearing sunglasses at inappropriate times, sudden appetite, especially for sweets, loss of motivation or enthusiasm and lack of energy.4 While these may be signs of drug use for some people, they can be signs of other mental health issues such as depression and anxiety.

At its peak, D.A.R.E. was in 75% of American school districts.5 Ultimately, time has shown the ineffectiveness of the program. A 1994 Office of Justice study concluded that while the program expanded drug-use education in schools nationwide, its core curriculum was “less successful than interactive programs in achieving its mission to prevent drug use among 5th and 6th grade students.”6 The D.A.R.E organi-

Recovery, May 18, 2020.

4 “D.A.R.E. America Parents’ Guide Book,” Bristol Virginia Sheriff ’s Office.

5 Christopher Ingraham, “A brief history of DARE, the anti-drug program Jeff Sessions wants to revive,” The Washington Post, July 12, 2017.

6 Christopher L. Ringwalt et al., “Past and Future Directions of the D.A.R.E. (Drug Abuse Resistance Education) Program: An Evaluation Review,” Past and Future Directions of the D.A.R.E. Program | Office of Justice Programs, Sept. 1994.

zation took legal action to suppress the report, proving their failure to adapt their curriculum.7 A 1999 study with the Journal of Consulting and Clinical Psychology examined the impact of D.A.R.E. 10 years after administration. It found little differences in drug use, drug attitudes and self-esteem between groups who either received D.A.R.E. education or another drug-education program.8 In 2002, D.A.R.E. had a $10 million annual budget which shrunk to $3.5 million in 2012.9 Its latest annual report in 2020 said that it made less revenue from grants, contracts, fundraising and other areas in 2019 than it did in 2018.

A combination of these studies as well as a general feeling that D.A.R.E. was outdated may have led to its downfall. D.A.R.E.’s founding, support and curriculum are too fallible for us to rely on. Experts on drug use, abuse and addiction exist! Instead of funding programs like D.A.R.E. that have been consistently proven ineffective and were founded on principles of over-policing, we need to invest in professionals who can address drug use in an impactful way. ■

7 Matt Berry, “Does the New DARE Program Work?” American Addiction Centers, Oct. 24, 2022.

8 D. R. Lynam et al., “Project DARE: No effects at 10-year follow-up,” Journal of Consulting and Clinical Psychology, 1999.

9 Christopher Ingraham, “A brief history of DARE, the anti-drug program Jeff Sessions wants to revive,” The Washington Post, July 12, 2017.

How America’s D.A.R.E program failed to effectively prevent drug use in adolescents

The Original Sin

Adam and Eve’s fall from Eden

Written by Maya Greenberg, New Members Director | Illustrated by Filip Jawdosiuk, Staff Illustrator and Designer

“T

hen the Lord God made a woman from the rib he had taken out of the man, and he brought her to the man. The man said, ‘This is now bone of my bones and flesh of my flesh; she shall be called ‘woman,’ for she was taken out of man.’”1 Adam and Eve’s fall from Eden is depicted as humanity’s original sin, with a man being led astray by a woman. Eve’s mortal flaw was her ability to turn away from God and be seduced by temptation, and she brought Adam down with her. At least, that is the way the story is often told.

Overtime, the retellings of The Creation story proved to have heavily gendered themes. In his teachings, St. Augustine would equate Eve, a symbol for all women, as an example of “carnal lust.”2 Eve’s temptation by the serpent was not just a way of ignoring God’s commands; the apple was also a metaphor for sexual desire. Since Eve was a woman, she was more capable of being led into temptation, and her sexuality could manipulate Adam into turning from his faith and succumbing to the Devil. St. Augustine believed the story of Adam and Eve was the beginning of disorder among the human race and depicted sexuality as an inherently female quality that would lead men astray. The story goes that because Eve did this to Adam, women now have painful childbirths and will suffer for their femininity.

Despite cultural conceptions and misogynistic historical analyses, the story of Adam and Eve is much more than Earth’s first story of a female seductress. It should be read as a story revealing the equality between men and women. Eve was taken from a rib in Adam’s side, showing men and women to stand side by side, on equal footing. It is also a story about Eve rejecting the authority from which she was born into and breaking her role as simply a wife to Adam. She thirsted for knowledge, to explore and learn as Earth’s first woman.

As American lawyer Clarence Darrow stated, “Do you, good people, believe that Adam and Eve were created in the Garden of Eden and that they were forbidden to eat from the tree of knowledge? I do. The Church has always been afraid of that tree. It still is afraid of knowledge. Some of you say religion makes people happy. So does laughing gas. So does whiskey. I believe in the brain of man.”3

When Eve picked the apple and became aware of her nakedness, she opened a new door for all women. Although described by many as a seductress and the original sinner, what Eve really did was bring the gift of knowledge to all people, and show her independence as the first woman. ■

1 Genesis, 2:22–24

2 Barrett Lee C., “Augustine and Eve,” Bible Odyssey, Nov. 3, 2022.

3 Darrow Clarence, “GoodReads,” n.d.

Written and

by Dani Csaszar, Arts Editor | Photographed by Hunter Kiehl, Photography Director | Graphic by Jessica Tenenbaum, Creative Director

Most people recognize the term “pulp fiction” from Tarantino’s quintessential film by the same name, but the inspiration behind the movie’s cover art is rooted in its own genre: pulp. Pulp art derives from the first half of the 19th century, an era fluid with colorful vintage graphics with a dramatic story to tell. Ranging from fiction magazines, comics and cover art, pulp was printed from cheap wood pulp paper, a less expensive form of printing at the time.

Pulp novels soared in popularity in between the World Wars, during the Roaring ’20s and the Great Depression. The 1900s were both a limiting and pivotal time for women, only gaining the ability to vote in 1920. Surprisingly, pulp art allowed women to create and write through literature and popular media at the time, breaking societal boundaries in a very convoluted way. Popular pulp genres involved romance, horror, science-fiction and true crime.

The 1920s and ’30s can be identified as the Golden Age of Detective Fiction, ultimately tying in with the art of the era.1 Women were not only able to edit these novels, but create prominent characters and storylines. The pulp art genre involved female heroines and allowed female creatives to illustrate covers, many of which were labeled as risqué for the time. The more exploitative subjects of these novels were ahead of their time; however, it was a very small part of what made up these literary novels. While in many stories women are treated as characters who must be saved by the male protagonists, then marry them at the end, pulp highlights those who didn’t take this path.2

Modern superhero comic books are the descendants of so-called “hero pulps,” or pulps surrounding heroic topics. Many people recognize the term “Penny Dreadfuls,” short-fiction magazines printed from the same pulpwood as other pulp novels. The pulps were more progressive than mainstream fiction, film and comic strips, in several respects, including and especially the number of formidable female characters who appeared in them.3

1 Martin Edwards, “The Golden Age Detective Fiction Renaissance,” CrimeReads, 2019.

2 Jess Nevins, “Badass Women of the Pulp Era,” Gizmodo, 2011.

3 Ibid.

Agatha Christie is a name many may recognize in the literary world, but not many know Christie was a successful pulp detective novelist. With elements of trap doors, message clues and a closed circle of suspects, Christie’s stories challenged the readers to a battle of wits: can you solve the mystery before the Great Detective?4 These pulp magazine styles were colorful and allowed for a series of women to become illustrators for characters such as girl detectives, counterspies or jungle girls.5

“Love Story,” a top-selling magazine during this era, had a lucrative editor, Daisy Bacon. Bacon was the chief editor of these romance pulps, which peaked by selling 600,000 issues by 1932 and maintained its popularity until 1947.6 She had other involvement through the publisher of “Love Story,” Street and Smith, getting involved with other magazines such as “Detective Stories,” “Doc Savage” and “Detective Story Magazine,” which were designed under the science-fiction genre. Bacon worked as an editor for over 20 years before writing her best-selling novel, “Love Story Writer” in 1953.7 She used her career to not only show that women could be involved in the literary process, but could also be activists and speak out against discrimination. She was adamant in the belief that women should establish their career before settling down for marriage.8 In the present day, Daisy Bacon is still known as “Queen of the Pulps.”

Trina Robbins is an American cartoonist best known for her character Vampirella. Robbins is credited for creating both the hairstyle and costume for the archetypal character. Vampirella remains prominent today in the recreations of pulp illustrations and has even influenced modern-horror characters such as Elvira. Vampiric and supernatural-themed pulps remain iconic for their dramatic style of physical disarray and eye-catching visuals.

Another pivotal focus of the detective, true-crime side of this art genre involved the “gang-pulp” era. Margie Harris rose to prominence as one of the most popular pulp authors, although her name is believed to be a pseudonym. While many women worked as writers for pulp magazines, they often used pen names or just their initials to conceal their gen4 Ibid.

5 Michael R. Brown, “Women and the Pulps,” The Pulp Super-Fan, 2021.

6 Ibid.

7 Laurie Powers, Mike Chomko, “The Queen and Her Court-Leading Women Pulp Editors,” Pulpfest, 2021.

8 Lindsey Hobbs, “Women of the Pulps: Spicy Covers and Startling Stories,” The Ultimate History Project.

der, resulting in women’s history in pulp fiction being obscured.9

The pulp series “Weird Tales” was a popularized source for readers, ranging in the occult and paranormal side of fiction. C. L. Moore, one of the only female writers, wrote for the famous magazine at the time. “Weird Tales” has gone through extreme fluctuation in terms of printing, but remains a quarterly publication. Ann Vandermeer was its second female editor from 2007–2012, and within that time won three Hugo awards, an annual literary award for the best science fiction and fantasy works. It is amazing to see the prominence that women have continued through pulp. According to historical accounts and memoirs, at least 30 women worked as the chief editors of magazines during the pulps’ heyday.10

With the help of the internet, pulp magazines are still accessible and more widely available. Historically, trends and art are bound to repeat themselves, and the rise of pulp is being portrayed again through all types of media. Instagram user Jenifferprince creates sapphic story-telling through her creations of vintage pulp art. She is one of many portraying the newly aged pulp art across social media; once you find one artist, you always find more.

Pulp Modern Magazine is another leading example of modern pulp. Their team currently has multiple female editors, but in all has over 250 writers and editors. The magazine started in 2011, with the realization that there were no print, multigenre pulp fiction markets.11 Founded by Alec Cizak, Pulp Modern Magazine has soared, allowing writers of all kinds to indulge in pulp, including westerns, science fiction and fantasy. 2021 marked the 10th anniversary of the publication.

Living between the times of the World Wars, pulp magazines could be seen on most living room tables as an accessory for literary entertainment. Illustrated covers of monsters or villains aligned with dramatized women, dressed up in lace or fancy dresses, women were a spotlight of the pulp genre. Pulps were the background innovations of women at the time to create esteemed pieces of literature and illustrations that would pull a reader’s interest. Their underground roles of editing, writing and illustrating still hold true today and are a facet of inspiration for women across the entire literary spectrum.

9 Ibid.

10

■

Trina Robbins, “Women in Comics: An Introductory Guide,” National Association of Comic Art, 1996.

11 “Why we’re here,” Pulp Modern Magazine.

Modeled

Men fear her. Women admire her. History reveres her

Magnetic and irresistible, the Femme Fatale trope has long been a term to describe a woman using her sexual prowess as a weapon to get what she wants. But beneath her candy-sweet demeanor and skin-tight dress, the Femme Fatale is dangerous — the history of literature and art has indicated that she often leaves destruction, despair and a foolish man in her wake.

The trope is seen in early figures such as Delilah, Salome and temptresses Lilith and Circe. The archetype thrived during Europe’s Romantic Period in literary works including Matthew Gregory Lewis’s Matilda character in “The Monk” and the seductive female vampires depicted in Bram Stoker’s 1897 novel “Dracula.” During 1940s and ’50s noir film-era Hollywood crime thrillers, “Leave Her to Heaven” (1945) and “Gilda” (1946) depicted wives manipulating their husbands, while “The Postman Always Rings Twice” (1946) relates the plot of a wife who manipulates a man into killing her husband. Later films, “Chinatown” (1974), “Basic Instinct” (1992) and “The Last Seduction” (1994) tell similar stories of a woman’s ability to transform seduction into power.

The term “maneater” or “vamp” to describe a Femme Fatale stems from an 1872 Gothic novella depicting prototype Carmilla, a lesbian vampire who preys upon young women to whom she is sexually attracted. In recent years, songs like Hall & Oates’ “Maneater” (1982) and Nelly Furtado’s “Maneater” (2006) have also contributed to its connotation.

The Femme Fatale uses her sexuality to her advantage Even in the Femme Fatale’s acts of purported empowerment, the presence of a male voyeur is inescapable. The maneater in a storyline is often depicted as one wearing a low-cut gown or taking part in feminine acts like dancing or applying makeup. Overshadowing plotlines of liberation — killing a rapist, exiling a cheating husband or earning money to be self-sufficient — the Femme Fatale was ultimately intended as a hyper-sexualized fragmentation of the male gaze in that power is limited to her sexuality.

The Femme Fatale differs from other tropes of power in that it capitalizes on both feminine and male desires. Take Princess Léonora d’Este, the protagonist of Joséphin Péladan’s 1884 critical literary work “Le Vice Suprême.” Scholars reviewing the work noted that the princess’s despotism is rooted “not only in her indomitable sexuality as a woman but also in her bond with patriarchy” and that she considers herself “nothing like ordinary women.”1 In the princess’s refusal to take pleasure in sex, a purportedly masculine desire, or in marriage, a feminine one, the character circumvents both female and male desire. In her mind, the femme fatale is superior not just to men, but to women.

The modern Femme Fatale combines allure and agency The modern maneater is the female version of a womanizer, though their motive could expand beyond sex into venues of money, power, fame or genuine good. The idea of using femininity to procure a response from a man (whether 1 Kanshi H. SATO, “Sacher-Masoch, Péladan and Fin-De-Siècle France,” Sacher-Masoch, Péladan and fin-de-siècle France, Waseda Global Forum No. 7, 339–362, 2010.

it’s love or something to gain) is visible in TikTok tutorials explaining feminine seduction archetypes or advising how to channel dark feminine energy. Hashtags #sireneyes and #doeeyes have upwards of 5 million views on videos explaining how to use makeup to shape the female eye in a way that attracts male attention.

The trope may have originated as an illusion of male pleasure, but it doesn’t exist this way in its entirety. In her book “Criminal Femme Fatales in American Hardboiled Crime Fiction,” Maysaa Jaber argues that through their seductive and criminal actions, the Femme Fatale is not just an object of male desire, she’s a woman with agency. Recent movies “Hustlers” (2019) and “Cruella” (2021) depict the Femme Fatale as a powerful figure in her own right more than a woman subverting male desires. In other examples of the trope, like character Megara in “Hercules,” (1997) the Femme Fatale uses her powers not just to ensnare a man, but eventually for good.

The women depicted by the trope should be remembered for their malintent, but also for their determination, confidence and self-assurance — traits all women should feel capable of today. ■

Written and Modeled by Rachel Hale, Culture Editor also Modeled by Peyton Driebel and Chris Raemisch | Photographed by Emma Spaciel, Staff Photographer | Makeup and Styling by Ella Bartlett, Fashion Editorial Staff and Holly Shulman, Contributing Writer

Smoke and Mirrors

The re-glamorization of cigarettes and what it means for culture today

Written by Kylie Hynes, Contributing Writer | Graphic by Mac Gale, Arts Curator

Addictive, luxurious, suave and sensual, cigarettes are the embodiment of vintage glamour and style. Once seen dangling from the fingers of Hollywood heartthrobs and between the red lips of silver-screen starlets, they’re now made of the kind of colorful aluminum we discreetly tuck into our pockets. We know the allure of cigarettes is nothing but smoke and mirrors, but we continue to invent new ways for this poisonous habit to seduce our minds and destroy our bodies.

It might be hard to imagine a time when cigarettes were known as anything but a bad habit or precursor to lung cancer, but in the mid-1800s, they were a status symbol. Originally sold as handmade luxury goods for Europe’s urban elite, cigarettes weren’t typically found in the hands of the working class.1 It wasn’t until the rise of mass production and the development of aggressive marketing strategies and advertisements in the late 19th and early 20th centuries that cigarettes became a mainstream commodity.

The notoriety of cigarettes acquired throughout the Gilded Age and Progressive Era can be largely attributed to the work of tobacco connoisseur and entrepreneur Philip Morrison. By bringing his wildly successful and fast-growing tobacco business, Philip Morris & Co., to New York from London in 1902, Morris started a tobacco revolution in America and a golden age for cigarettes.2

Fanning the flames of this tobacco revolution were the First and Second World Wars. Militaries, governments and newspapers organized a constant supply of cigarettes to troops as a way to relieve physical and psychological stress because they were easier to smoke in the trenches than pipes.3 Thereafter, when tens of millions of soldiers returned home from war, their new habit followed.

With millions of men around the world already hooked, nearly half of the population of industrialized countries smoked by 1950.4 Cheap, legal and socially acceptable—whether at work, home, bars or the cinema—cigarettes were all too easy to market, and advertisers were eager to show custom-

1 Jason Rodrigues, “When smoking was cool, cheap, legal and socially acceptable,” The Guardian, Mar. 31, 2009.

2 “PMI’s Key Milestones,” Philip Morris International, Aug. 12, 2022.

3 “The Age of the Cigarette,” Encyclopedia Britannica, n.d.

4 Ibid.

ers a full range of leisure activities that could be made better with a cigarette in hand.

Because these advertisements were marketed exclusively to men, the 1960s launch of Virginia Slims—the first cigarette brand to market exclusively to women—was a resounding success.5

Targeting women’s psychological need to feel socially accepted in a culture where smoking was the norm, Virginia Slims promoted slenderness, attractiveness, glamour, style, taste and, most boldly, feminism.6

Also playing a significant role in the trendiness of cigarettes in the 1950s and ’60s was a fast-growing cinephilic and celebrity culture. Influences by and from the silver screen during Hollywood’s Golden Age made cigarette smoking the epitome of cool and glamour. Where actors like James Dean, with a cigarette between his teeth and a smirk on his lips, symbolized the kind of charismatic masculinity ordinary men could only dream of by picking up the habit themselves, Hollywood darlings like Marilyn Monroe and Audrey Hepburn proved that cigarettes could not only be sophisticated but that they belonged in women’s hands too.

Firmly established in 20th century Americana, cigarettes were finally exposed for the fallacy they were in the 1964 U.S. Surgeon General’s Report. This landmark report was the first major exposé linking smoking cigarettes to dangerous health effects, such as heart disease and lung cancer; it made way for dozens of anti-smoking laws and policies to follow.7

As a result, cigarette smoking has been on a steady decline for the last 60 years. From 1965 to 2018, the percentage of U.S. adult smokers declined from 42.6% to 13.6%.8 However, instead of leaving cigarettes in a cloud of smoke behind us, we’ve invented a new way to get our nicotine fix. Cue the entrance of cigarettes’ cooler and trendier younger sibling: the e-cigarette.

Call them what you want—vapes, Juuls, dispos or dab pens, e-cigs have become one of the most notable cul-

5 L. C. Douglass, “You’ve Come a Long Way, Baby,” Histories of Things to Come, Feb. 14, 2015.

6 Maggie Polk, “Phillip Morris: How Virginia Slims Targeted Women to Sell Cigarettes,” Medium, Oct. 24, 2018.

7 Kayla Ruble, “Read the Surgeon General’s 1964 report on smoking and health,” PBS, Jan. 14, 2014.

8 “Trends in Cigarette Smoking Rates,” American Lung Association, n.d.

tural phenomena of the last decade. The circulating mindset that vaping is a safer alternative to cigarette smoking in terms of health may have caused the 1650% and 1733% increase in e-cigarette usage among middle school and high school students from 2011-2018.9 However, this is just another smoke and mirrors excuse for another form of nicotine addiction.

Despite e-cigarettes temporarily stealing their spotlight, cigarettes have been making a cultural comeback. The days when being seen with a “USB charger” in your mouth were cool are quickly being left behind in a cloud of cotton-candy-scented smoke and a trail of empty pods. Even while they were trending, there’s a reason why we’ve never heard rappers or musicians singing about hitting a Juul instead of lighting a cigarette. Like a stereotypical younger sibling, some would say they’re embarrassing.

Music isn’t the only platform to glorify and glamorize cigarettes. Television, film and social media have provided more exposure to imagery involving cigarettes every day, rekindling interest in cigarettes among younger viewers. This kind of exposure has researchers worried that scenes of smoking may reverse a trend of declining use by glamorizing and re-normalizing cigarettes.10

Even so, cigarettes are becoming less about the nicotine and more about the cool factor that comes with them. With more younger cigarette smokers smoking in social settings than anywhere else, “drunk cigs” have become a social norm in the American college and bar scene. Because few seem to be taking smoke breaks from their cigarettes at the same frequency as vaping, cigarettes are even considered by some as the safer alternative to e-cigarettes.

The tables have turned. Our culture is quick to jump from one bad habit to the next. Cigarettes are no less deadly than they were when we discovered the dangers associated with them, but we continue to ignore the writing on the wall and the CDC’s website. While they never were and never will be a good idea, cigarettes have proven to be one of those things—like a pair of blue jeans or a little black dress—that never quite go out of style. ■

9 Ibid.

10 Bill Keveney, “Exclusive: Anti-smoking group says more cigarettes in streaming shows may lure younger viewers,” USA Today, Mar. 16, 2018.