However, in order to determine which of them is correct in ascribing Glen/da’s identity, the murderous couple hatch a plan to artificially inseminate actress Jennifer Tilly (in a hilarious bit of a double-casting) so as to allow Tiffany to possess her and raise whatever offspring she produces as either Glen or Glenda, depending on the infant’s assigned sex at birth. Through Glen/da, Chucky and Tiffany are engaging in an age-old trope of parental practice: the projection of self onto a child of one’s own gender. Chucky is adamant that they have a boy on their hands, naming the doll “Glen,” while Tiffany is convinced of “Glenda’s” femininity. The only problem is that Chucky and Tiffany can’t seem to agree on what the gender of their offspring actually is. And through these parental figures, this doll seeks guidance on who they are meant to be. Now, through the convoluted circumstances of Bride of Chucky that this film doesn’t really get into, the doll is clearly the offspring of Chucky and Tiffany. So they run away to Hollywood and revive Chucky and Tiffany with the power of the amulet, so beginning their journey to discover who they truly are. #Seed of chucky tvOn the TV one day, they see Chucky (Brad Dourif) and Tiffany (Jennifer Tilly) repurposed as animatronics on a film set and realize that these must be their parents, based on the identical "Made In Japan" on Chucky’s wrist. Condemned to life as a carnival freak who is not “anatomically correct” due to their androgynous features and lack of visible genitalia, “Shitface” (Billy Boyd) only has the amulet, a "Made In Japan" brand on their wrist, and nightmares wherein they commit murder as the clues to his origins. Or at least, that’s the name with which we are introduced to the film’s protagonist, a doll mysteriously brought to life by a voodoo amulet and kept imprisoned as a sideshow attraction. Well, you clicked on the article, so by now you’ve already figured out that Seed of Chucky is the unlikely venue through which we might find another non-binary character. It wasn't until just a few weeks ago that we could easily point to a non-binary actor playing a non-binary role in a major motion picture, with Asia Kate Dillon's portrayal of The Adjudicator in John Wick: Chapter 3 taking that noteworthy yet anomalous distinction. (Transgender men haven’t gotten nearly as much or enough attention, but that’s a discussion for another day.) But what about those in the trans community who don’t identify with the gender binary? Who are our representatives in the annals of pop culture? Sure, various actors have come out at non-binary, such as Ruby Rose and Ezra Miller, but it’s a stretch to attribute that identity to their roles, which are usually explicitly coded as female and male, respectively, and make no reference to non-binary identity. The progress in gaining that representation has come in fits and starts, often just as misguided as it is well-intentioned, but there has been definitive progress in high profile casting of transgender women to play transgender characters. This is Queer Underworld.Īs awareness of transgender identities rises, so too does the demand for transgender representation in the media we consume, both from within the transgender community and among allies who understand the necessity of that representation. We at want to give those queer readings of genre films a voice. Such is the case with all manner of LGBTQ cinema, which has often relied on metaphor to smuggle queer themes into cinemas or been subject to queer interpretations after the fact. Horror, science fiction, and fantasy are the venues through which we explore ideas through metaphor and allegory, sometimes unintentionally through the lens of an audience who connects with a work’s themes in a manner specific to them. It’s a common adage that, in fiction, the monster is never just a monster.
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