Today has been full of rage. I woke up to the news that some terrorist shithead ran over people coming from church (actually muslims leaving their mosque, but certain people’s empathy knobs have been twisted so they can only emphasise with people like them nowadays, so maybe this way everyone can relate), and somehow resisted the urge to tweetstorm about the UK media’s responsibility and lack of public outrage and condemnation. Luckily, JK Rowling, who has a somewhat bigger profile than me, stepped into the fray. Then, I heard the news from the US that a pregnant woman had been shot dead in front of her children after calling the police about a burglary, by said police! I mean, what the actual fuck, right?
Anyway, since I can’t change these facts or the state of the world, much as I would like, I decided to watch a silly movie tonight, to take my mind off things and calm down. Reader, this did not work. The movie I chose was The Age of Adaline, which started off interesting enough (a woman who never ages because of wavy-hand science reasons spends her life reinventing herself, complicated relationship with her daughter who is now older than her, lonely existence, what’s not to love?).
Then, enter, the MAN. Now I love a good romance as much as the next person, but I’m sick and tired of the movie tropes that tell guys they just need to hound women and those women will eventually relent and even APOLOGISE for being freaked out about the man’s stalker behaviour. Like, way to teach men not to respect women as people, respect their choices, and respect when they say NO, movies.
Anyway, in this movie, the MAN sees Blake Lively, aka Adaline, at a new year’s event, storms after her when she leaves, pushes his way into an elevator with her, then stops her cab from leaving trying to get her to agree to go out with him. She says no. The next day, she’s at work, and guess who comes by, it’s only Stalky McStalkface, who has seen her there before (could’ve said hello, man) and refuses to donate some precious book (she works at the library) unless she agrees to go out with him. Eventually, she relents. They go out, he manages to convince her to go out to dinner with him at his place, they spend the night, she tell him the next morning that was all he’s going to get. Then naturally, he hunts down her address, which she never shares with anyone (hello, secretive ageless person) and shows up outside her building. I mean, red flags, right? Then, and this is the stupidest part, Adaline’s daughter talks her into giving him another shot, and she goes to his place and apologises for freaking out about him showing up unannounced at her doorstep!
If you don’t see what’s wrong with this, ask a female friend, because hoo boy! Anyway, this got me thinking, with so many movies doing this stalker-turned-happily-ever-after bullshit (the worst offender, of course, being the Shades of Grey horror-show), how can this be written differently? Now, while I’m no Wonder Woman writer/director (go see it if you want to see a healthy relationship develop on-screen), I thought I’d give it a shot. So, here is an abridged rewrite:
Adaline sees cute dude enter the room. Eyes meet. She turns back to friend. Later, she is alone, calling her daughter to wish her a happy new year.
Cute guy: “Mind if I join you? The view here’s something else, isn’t it?”
Guy actually looking out the window, not at her.
A: “Sure.” [recites obscure poem about view]
G: “Wow, that’s [obscure artist], I love her work.”
A: “Wow, I don’t know anyone else who knows her (cause I’m secretly hella old).”
Some talk about shared interests follows, then Adaline excuses herself and goes home. Man watches her, sad that she didn’t give him her contact details, but he accepts it.
A few days later, Adaline is at work, when Guy shows up.
A: “What are you doing here? How did you find me?”
G: “Wow there, I’m just here to drop off some priceless old books because I’m totally a secret millionaire philanthropist. It’s totally cool that you work at the library though, I love books.”
A: “Me too. I’m glad you brought books. They are good.”
G: “Yes, they are. How wonderful that we have so much in common. Hey, I was going to go to [obscure poet]’s exhibition, want to come?”
A: “Oh, I hadn’t heard about that. That would be fun, but…”
Adaline is obviously struggling because Guy is hot and she’s attracted to him, but she’s moving in seven weeks and also basically a secret immortal being.
G: “I get it, this is weird, but let me ask you, would you go if I wasn’t going?”
Adaline hesitates, then agrees to go. They spend a lovely evening talking about all the things they have in common, then Guy convinces her to go somewhere secret with her for lunch. In return, she shows him a secret place in the city that nobody knows about. They end up at his place, smooching, and eventually sleep together, because come on, did you really think an ageless Blake Lively would be celibate all those years?
The next morning, Adaline tries to leave, tells him it was just the one night, explains about her leaving. Guy (gently!) convinces her to go out again because they still have a few more weeks, and so they have time to have fun before she goes, nothing too serious. I mean, who wouldn’t pick a few weeks with a brainy Blake Lively over no time with her at all?
The last weekend before she’s set to go, Guy convinces her to go to his parents’ place for the weekend, to enjoy some fresh air and outdoor stuff. There, she meets her former lover aka his father, the whole thing comes out, she runs away, changes her mind, doesn’t get into a car accident and stays a badass eternal lady. He welcomes her back, they share their feelings (after weeks together, rather than a few dates, which is no solid basis for love), and he learns to cope with her eternalness and her elderly daughter because he loves her. The End.
(Yes, she gets wishy-washy science’d into becoming mortal again near the end, and I do not agree with that either. Sorry if this abridged version doesn’t make much sense to people who haven’t seen the movie. My point is, if I can come up with this in an hour, professional screenwriters should be able to come up with something less macho-bullshit, toxic masculinity, cliche-central, right? Right?)
Let me know in the comments if you agree/disagree/have a better alternative. Hopefully I will calm down enough at some point to finish an actually researched blog post again, particularly on dealing with failure in publishing, which has been sitting in my drafts for far too long.