Marina Sirtis talks about Deanna Troi and the inverse relation between cleavage and brains in TNG
There are certain rules in Hollywood. One of the rules is not written anywhere, but you just know: if you’re doing an action-adventure show, you gotta have chicks on the show for the boys to look at when they’re not blowing up other spaceships. Second rule: if the chick has a cleavage, she cannot have a brain.
So, [after wearing a uniform in the first episode] I got a cleavage, and all my gray matter departed. Which was sad, because originally (I know this is gonna shock you), Troi was supposed to be the brains of the Enterprise. So when the cleavage came, all that left, and I became decorative, like a potted palm on the bridge.
Then of course came the second season, and I was the only young one left. We had me and we had Diana, and so I had to become all things to all men. And so I got the red outfit, and and then we got the lilac outfit and then we got the green dress. Under the green dress I got to wear a corset, a satin corset, with bones in, like Scarlet O’Hara.
Now, as you know, with a corset everything gets pushed up or down. What was pushed down was kind of enclosed in the skirt and what was pushed up was enclosed in what I named “the Industrial Strength Starfleet Brassiere”, which was a wonder of modern engineering. I mean, I used to take it off at night and go "oh blimey, where did they go?". In fact, we had guest stars - and I’m no Twiggy - who would come and see me in the morning as Marina and then they would see me two hours later as Troi, and they’d go to costume and go "I want that bra!"
So then we got to season six, and there was the episode “Chain of Command" where we were trying out the new captain, Captain Jellico (just in case Patrick wanted too much money for next season, we were auditioning other captains), and he said to Troi “Go put on a uniform”. And lo and behold, there was one in her closet. So I put it on, and by then I was skinny, and the director and all the producers were like "she looks good in that, why wasn’t she been wearing that for the last six years?"
So I started to wear my spacesuit. I was thrilled to finally be in a spacesuit. First of all, my pips - cause I had a rank, you know. And then, it was very flattering actually, it looked really good.
Suddenly, I was smart again. My cleavage had gone. My gray matter came flooding back. I was on away teams! I was the leader of one away team! I had a medical tricorder! And unlike Beverly, I seemed to know what was wrong with people.
And, in this one particular episode, where we were on the Romulan ship - because suddenly I am the expert in Romulan technology - I had this line: "That’s impossible. The Romulans use an artificial quantum singularity as their power source". Who did I say it to? Geordi and Data! They didn’t know this. To be honest, when we were shooting the scene and I was saying the line, I was sneaking looks to my right and left to make sure they hadn’t developed a cleavage while I wasn’t looking.
~ The brilliant and hilarious Marina Sirtis at DragonCon 2010: Star Trek TNG Panel (Abridged from this video. The panel begins here, go check it out, it’s totally worth it).
1975 stays marked in Mozambican national history as the year the people gained independence from the Portuguese colonial regime. But the lesser-known story of the ‘re-education’ of Mozambican sex workers immediately after independence forms the subject of the film Virgin Margarida. In the film, a young woman gets caught up in the post-independence “cleansing movement” and the civil war. Once the detained women discover the sixteen year old is a virgin they come together to protect her, and treat Margarida like a living saint.
Directed by Brazilian Licínio Azevedo with a small team of 200 people who converged on the small city of Manica, Mozambique from all over the continent.
need footage/ photos from nigeria
“Being a woman is not a means to humiliate and punish anyone”
After a policeman in the Iranian Kurdish town of Marivan paraded an accused criminal in traditional Kurdish women’s clothes in the streets in order to humiliate him, women marched in the city condemning the use of women’s attire as a kind of humiliation.
In support, an internet campaign of Kurdish and other Iranian men has sprung up showing men wearing Kurdish women’s clothes and messages and support. For example, this message says,”wearing Kurdish women’s clothes is not only not an insult, it is instead a great honor for us,” and goes on to describe how women stand side by side with men in every part of society and during wartime.
Support the campaign by liking the page!
زن بودن ابزار تحقیر و تنبیه هیچ کس نیست
(via Ajam Media Collective)
Zina Saro Wiwa, Phyllis, 2010
“Phyllis is a moving and atmospheric portrait of a ‘psychic’ vampire, a woman obsessed with synthetic Nollywood dramas, that lives alone in Lagos, Nigeria. The central idea of this short experimental film is the practise and significance of wig-wearing in Nollywood film; a practise the director has invested with deeper psychological as well as science-fiction layers. Underpinning this central idea however is a critique of the unforgiving treatment of single women in Nollywood and Nigeria. The film is an example of what the director, Zina Saro-Wiwa, has termed “alt-Nollywood”, a genre that plays with and reworks certain narrative, stylistic and visual conventions of Nollywood. Phyllis explores the gothic possibilities of the Nollywood aesthetic creating a new kind of low-budget atmospheric film that is very much of Nollywood and yet subverts the genre. Using Nollywood to subvert Nollywood.”