![]() ![]() ![]() Like Lula and the statistical majority of other survivors, I was assaulted by someone I already knew. It’s clear that Lula has told Sailor about her trauma before, and it’s through their healthy sex life that she refuses to allow the rape to control her – she’s a survivor, not a victim. “Wild at Heart showed me that you can appear to be better on the surface while invisible scars lurk underneath.” Light a match, extreme close-up of a burning cigarette, and we settle in for a stream of post-coital duologues consisting of startling trust and honesty. What’s more, her relationship with Sailor (Cage) is unmistakably romantic, and their sex life is shown to be fulfilling and consensual. She’s fun-loving, sexy, and in total command of herself. Unlike the laughing gas-induced attacks in Blue Velvet or the mysterious murder of Laura Palmer in Twin Peaks, we don’t see the act itself so there’s no risk of it being confused for narrative pleasure we see only the aftereffects on a female character we instantly fall in love with. What distinguishes the sexual assault in Wild at Heart from Lynch’s other films is that Laura Dern’s Lula is given full agency in its depiction. In fact, if I’d known the film would be dealing with sexual assault, I’d have avoided it. It wasn’t what I’d expected – wasn’t this just the pulpy one with Nicolas Cage in a snakeskin jacket? I hadn’t thought of Lynch as an empathetic filmmaker, as someone capable of tackling the psychological effects physical abuse has on women. Despite being released in 1990, it was one of those rare moments when a hand reached out, took mine, and told me it knew how I felt. I hadn’t made this connection between The Wizard of Oz and my PTSD until I saw David Lynch’s Wild at Heart. A click of the ruby slippers, “There’s no place like home…” and I’m safe again. We do this when my treatment triggers something and I start to disassociate as my mind convinces me I’m reliving the past. My therapist says the magic words I chose, and I’m sitting in my grandad’s armchair in their cosy living room, the scent of lavender wafting through. When you’re undergoing Cognitive Behavioural Therapy (CBT) for Post-Traumatic Stress Disorder (PTSD), one technique is to close your eyes and transport yourself to a safe space. “There’s no place like home… There’s no place like home… There’s no place like home…” Its uncanniness frightens her, and through sheer will power she escapes. It’s soon turned upside down, a puff of red smoke and the Wicked Witch of the West appears, doing everything she can to stop Dorothy returning home. This is for people who like predictable, beautiful TV series which still keep you interested yet you can easily sit back and relax at the same time.“Toto, I’ve a feeling we’re not in Kansas anymore.” Dorothy says this line excitedly – it’s thrilling to leave the drab sepia world of 1930s America for the glorious Technicolor of Oz. In each episode there is a chaotic adventure, which takes a while to solve and calm down. The series, in short, is about a family who go on a holiday to Africa and decide to live there. ![]() When you eat the chocolate mousse (when you start watching the series) you receive a comfortable, exciting taste, although it may not be the best chocolate mousse you've ever had. For the plots in each series, there is just a layer of plain chocolate (although it is still quite tasty). For the setting (Africa), there is a beautiful swirl of milk and white chocolate mousse in the middle. Characters like Evan are just slightly plainer. Characters like Sarah, Danny and Dupleci (or however you spell it) are shining, fresh bits of toffee crunchy stuff. The characters are little bits of toffee crunchy stuff at the top. Then, there is a very dark chocolatey bit, for the part of the series that we do not necessarily see at first. There is light, fluffy cream on the top, for what we see of the series at first sight. This series is quite a tasty chocolate mousse. ![]()
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