While kowtowing to the powers that put them in prison doesn’t appeal to Kamau, the opportunities it might provide, for both her fellow inmates and herself, do… But inmate Kamau Kogo is approached with an offer: put together an all-female team for the bloody Duemila sports competition.
Women who are terminally noncompliant are arrested and shipped off to the Auxiliary Compliance Outpost, nicknamed “Bitch Planet.” The latest crop of ladies struggle, suffer, and resist against their guards. Reframing and adapting supposedly empowering female narratives from the past to actually be empowering? Nice.īitch Planet takes place in a future where women who are deemed noncompliant-i.e., too loud, too butch, too queer, too brown, too assertive, too “insufficiently feminine”-by the ruling Fathers. I also very much trust Kelly Sue DeConnick due not to anything like Captain Marvel (as I haven’t read her run yet), but to her adaptation of Barbarella (which I also haven’t read, but I’ve read DeConnick’s interviews regarding the art of adaptation). Nonetheless, the idea of reclaiming women-in-prison films for the purposes of feminist discourse naturally appeals to me. While I’m familiar with the long history of feminist dystopian fiction (have I mentioned how much I loved Only Ever Yours?), I’m far less familiar with exploitation films, especially the women-in-prison variant. By Kelly Sue DeConnick, Valentine De Landro, and Robert Wilson IV
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