A crotchety swamp witch who writes things. 🍄✍🏻 Author of "Cats Are Sluts" and "Hooves, Horns and Roses." | Lover of Dark Faerie Tales & Horror Films 🥀 🩸 👻 | Avid Reader + Book Blogger 📚 | Your Friendly Neighborhood Witch ✨
New poetry collage alert. 🪦🌸🌼🌳💀✨
This poem was an assignment for a poetry elective I'm currently taking in my graduate program. It's inspired by the poem "Water" by Wislawa Szymborska, and I'm quite proud of it.
I'm also trying to make more time for collage art as part of my self-care routine. Right now I'm sticking with digital, but I am about to move to a place where I will have much more room for craft projects and hope to start making physical collages soon!
Interesting anecdote: Virginia Madsen is deathly allergic to bees and had to wear a dental dam during this scene. 🐝 💀 She is truly a braver woman than I.
Gore Level: None (though animal lovers might be upset by some of the footage)
Do you remember the first time you saw Jaws?
I was eight years old, and I watched my mother’s VHS copy on the floor in our living room with a bowl of sour cream and onion potato chips and a bottle of lemonade. I couldn’t help feeling unsettled (who doesn’t feel at least a teeny bit apprehensive while watching Jaws?), but more than anything, I was fascinated by it. Maybe it was because my household also had a VHS of a Discovery Channel documentary about sharks and their importance in the oceanic ecosystem that I loved watching as a kid, so I already had a pretty solid appreciation and healthy respect for sharks. I went on to read the novel for a bit of light summer reading before my junior year of high school, and I agree with Speilberg wholeheartedly: in Peter Benchley’s version of the story, the shark should have won. (Seriously. All of the other characters in the book are terrible.)
All that’s to say, I’ve always thought that sharks are pretty cool. You’ve got to respect a species older than the dinosaurs that have survived multiple mass extinction events. (One of my favorite memories from summer trips to Galveston growing up was seeing a little bonnethead hanging around one of the fishing piers looking for tasty morsels.) That being said, I’m not generally a fan of shark films. Almost all of them are piggybacks of Jaws with horribly written storylines and terrible CGI. (Laugh at the “cheesy” mechanical shark all you want, but no one will ever convince me that CGI is better than the craftsmanship that goes into making physical props and effects.) Shark documentaries, on the other hand, are always on my radar – no pun intended – and a documentary on the subject of sharks and film and sharks in film was a natural choice. Sharksploitation delivered on my expectations.
In A Nutshell:
Sharksploitation is an original documentary produced by Shudder and Sharksploitation, LLC, that follows the timeline of shark films from the early 20th century to the present and explores how the representation of sharks in cinema both reflects and influences their relationship with humanity. While Jaws is at the heart of the film, it features commentary on sharks in folklore, visual art, and film long predating the classic film, as well as contemporary depictions in the post-Jaws era, from experts ranging from filmmakers and marine biologists to actors and horror film historians, and Wendy Benchley, ocean conservationist and wife of Peter Benchley.
Sharksploitation begins by examining why so many people are drawn to shark movies and why sharksploitation films have such universal appeal that other exploitation genres don’t enjoy. Dr. Emily Zarka, professor and monster expert, defines sharksploitation as a genre that focuses on the idea of the “meta shark” – essentially, a monstrous, exaggerated idea of sharks with very little basis in actual reality. Roger Corman, producer of She Gods of Shark Reef (1958), Piranha (1978 – which, fun fact, was filmed here in Texas), and Sharktopus (2010), comments that people are drawn to shark movies because sharks are natural monsters, not fictional creations. As a land-lubber species, humans have a primal fear of being in the water and having something unseen grab hold of us. Sharks also contribute to thalassophobia – the fear of the ocean or large, deep bodies of water – to say nothing of the natural fear of being eaten alive. Mario Van Peebles, director of USS Indianapolis: Men of Courage (2016) and actor in Jaws: The Revenge (1987), sums it up: “[Sharksploitation] reminds us how frail and vulnerable we are, but ignites something in us on the adrenaline level that makes us feel alive.” This is likely a huge part of why Jaws was such a hit and continues to be exalted as a classic. While it was not the first film to feature undersea monsters (an early example is 1930’s The Sea Bat, which features a giant manta ray as the murderous marine star), it was the first to cast a shark in the villainous spotlight.
The film then explores how the image of sharks in media has evolved throughout human history. For centuries, sharks have been depicted as divine or ancestral spirits in the folklore of the Pacific Islands, the Caribbean, and Africa, sometimes offering help and protection to humans and often having the ability to shapeshift into a humanoid form. (A well-known example is the Hawaiian myth of Nanaue.) Even early films featuring sharks didn’t always portray them as evil; in Tabu: A Story of the South Seas (1931), the shark character is a god who protects the ocean (and also holds the distinction as the first rubber shark used in a film). These ancient folkloric tropes can still be seen today in films like Moana (2016) and Suicide Squad (2016). However, Dr. Zarka points out that when Western filmmakers began looking at sharks as cinematic exploration, they looked at real sharks rather than the rich body of folklore surrounding them.
Sharks began to be depicted in a more sinister light in the Enlightenment era of the eighteenth century. British artist J.M.W Truner painted them attacking African victims of the Zong massacre who were thrown or jumped from the ship (The Slave Ship, 1840), and the infamous oil painting Watson and the Shark (1778) by John Singleton Copley sensationalized the real-life story of an unfortunate cabin boy’s run-in with a shark in the waters near Havana, Cuba.
The 1916 Jersey Shore bull shark attacks lent credence to these unsettling depictions. Meanwhile, surfing was gaining popularity in Australia, inevitably leading to more human-shark interactions. World War II brought about the tragic USS Indianapolis incident. And during the filming of Shark! (1969), a stuntman who got too close to one of the real sharks in the water was killed on camera. In a tragic reversal, a shark was killed by the crew out of Blue Water, White Death (1971) out of fear and without provocation.
Peter Benchley wrote Jaws as “fiction based on fact” based on a story he heard about a fisherman who caught a 4,550 lb great white. At that time, the “rogue shark” theory – the idea that a shark who tastes human flesh will develop an appetite for it and stake its territory in waters where humans are known to participate in recreational activities – was popular among marine biologists. (The theory has since been discredited by most scientists, but it has contributed to controversial and largely ineffective shark control measures that have caused harm to shark populations around the world.) According to his wife, ocean conservationist Wendy Benchley, Peter did not subscribe to the theory, but director Stephen Spielberg DID run with it in the film adaptation.
Jaws was groundbreaking on multiple fronts. It was the first summer blockbuster, one of the first films to show trailers as TV commercials, and the first film to have promotional merchandise on a mass-market scale. Jaws was also unique in that it made the shark itself a character in the story. It not only kickstarted the modern sharksploitation genre, but it also influenced other “animal horror” films like Orca (1977) and Grizzly (1976). Unfortunately, marine biologists and conservationists knew it spelled disaster for real sharks. Fishermen and vigilantes took it upon themselves to kill sharks as a preventative measure, mistakenly believing they were making beaches and fishing grounds safer, and some species have never recovered from that era. Subsequent films like Shark’s Treasure (1975), Mako: The Jaws of Death (1976 – which, oddly enough, is about a man who discovers he is telepathic with sharks and attempts to save them), and Tintorera (1977) involved the brutal on-camera deaths of real sharks to get the desired shots.
Sharksploitation films died out a little in the 90s in favor of sci-fi flicks (including a personal favorite of mine, 1993’s Jurassic Park), but 1999’s Deep Blue Sea brought the genre back into the limelight by combining sharksploitation with actual science (at least, what was accepted science at the time). Open Water (2003), loosely based on the true story of Thomas and Eileen Lonergan, was a more realistic film that piggybacked on the found-footage style of the Blair Witch Project (1999). Dr. Zarka comments that more contemporary films like Sharktopus (2010), Sharknado (2013), Ghost Shark (2013), and The Meg (2018) show an interesting evolution of the genre: “It’s like sharks can get you anywhere – pools, sinks, buckets of water, even fire hydrants on the street.” Dr. Zarka believes these films also speak to our modern desire to reconnect with the supernatural; “The idea that scientists could somehow find an ancient creature like the megalodon hiding out there is terrifying but also thrilling.”
Unfortunately, profit sometimes often gets in the way of distinguishing sensationalized fiction from reality. Discovery Channel’s annual Shark Week, once a celebrated educational program, broke the public trust in 2013 with the mockumentary Megalodon: The Monster Shark Lives, which falsely suggested that the extinct prehistoric shark could still be roaming the world’s oceans today. In Sharksploitation, marine biologist Vicky Vasquez discusses how this misleading programming, alongside other pseudo-documentaries such as Animal Planet’s Mermaids: The Body Found (2012), has damaged marine conservation efforts by directing public attention away from real oceanic conservation efforts in favor of fantasy.
The film wraps up by acknowledging that the impact of Jaws on human-shark relations was not all negative. The original sharksploitation blockbuster inspired many young fans to pursue careers in oceanography and marine conservation. While it may have made some viewers scared to step into a bubble-filled bathtub, let alone the ocean, Jaws remains a beloved film to this day and is still considered an important piece of cinematic history. “In a way,” Dr. Zarka states near the film's end, “campy sharksploitation has made sharks less scary because of their ridiculousness. If we approach it as fun and an exaggeration and not as reality, I think we can appreciate it.”
The WOW:
– Hands down, my favorite thing about this documentary was the way it traced the history of sharks in folklore, art, and film in almost a narrative arc. I haven’t seen many shark documentaries that acknowledge the important role of sharks in non-Western cultures. As someone passionate about folklore and mythology, I appreciated that this was addressed early in the film. Showing that sharks’ relationship with humanity has not always been negative was a thought-provoking and wise way to open the documentary.
– The vintage film and documentary footage were fun to watch and a great way to visualize the evolution of sharks in cinema. I think the commentators did a good job of making thoughtful comparisons between different films and film eras.
– What I appreciated the most about this documentary was that it featured a vast array of experts weighing in on the nature of sharksploitation. It may not seem like horror film historians, marine scientists, and action film actors have much in common, but I found each speaker had something insightful to share that contributed to the cross-disciplinary conversation. I was also pleased that Peter Benchley’s wife, Wendy Benchley, was given a spot in the film to speak about her late husband’s work as a writer and his subsequent career as a marine conservationist. I had always heard that Mr. Benchley later regretted writing Jaws due to the novel and film’s negative impact on sharks, and Wendy Benchley confirmed this to be true; before her husband died in 2006, he told her, “There’s no way I could write Jaws now.”
The Meh:
– I don’t have too much in the way of criticism about Sharksploitation. If I had to offer one piece of critique, I would have liked to have heard more from the horror film historians featured in the film and their thoughts on how depictions of sharks in cinema might reflect the real-life social and political anxieties of the audience (one of my favorite topics to discuss concerning the horror genre, and especially now that eco-horror – which Jaws subsequent sharksploitation films could arguably fall under – is currently having a huge moment).
Final Thoughts:
If you’re a fan of Jaws, the horror genre, film history, or are interested in sharks in any capacity, I think you’ll enjoy Sharksploitation. It’s a well-made and fun documentary that will make you think differently about shark movies and why their appeal has endured for so long. And if somebody out there gets inspired to write a better screenplay than most of the shark films that have come out since Jaws – and bonus points if anyone is willing to build actual props for it – I will be the first one to buy tickets!
A tech bro tried to convince me AI was amazing cause "you could make 30,000 screenplays in minutes" not realising that every single one would be shit, you'd have to sift through everything just to find some good bits, time wasted that could've been spent just writing a screenplay.
Technology Brothers know nothing about what goes into creating a work, other than the fact a work has been created to be exploited for cash. They see creativity as an investment opportunity, not a love for humanity.
Matthew Dow Smith: "Just remember: Arts & Humanities are so useless and pointless that Tech Bros were driven to spend billions of dollars to try and get a computer to do something that badly approximates something Arts & Humanities students could do half asleep and wired on coffee the night before the due date."
Do you ever think about the fact that the entire fabric of our world is made up of small lil things? Let's give them more credit, shall we?
ALSO, here are some helpful PSAs about our hummingbird friends:
You don't need to add red food coloring to the feeder water. The plastic red flowers on the feeder tray will attract the birds!
Please for the love of the gods don't put artificial sweetener in your hummingbird feeder. Hummingbirds burn an insane amount of calories per minute and they have a high caloric intake need, so 0 calory sweeteners will literally starve them. Use real sugar!
Remember to take down your feeder by the end of September, otherwise our little friends won't migrate for the winter like they're supposed to!
Be a friend to our pollinators, please! We'd literally be dead without them. 💀
Do not mistake her tiny size for weakness,
her flash of spring-green sequins for vanity,
her rapid heartbeat for fear.
Her red throat is not a wound, but a badge.
She defends the flowers mocked as girlish,
ornamental with her emerald sword-mouth,
grown from her delicate body
fancies blooms to
life spreads pollen to feed
dreams of an entire world.
She hovers, thousands of miles,
across desert forest ocean
and watches your every move.
You do not know savagery
like hers.
She steals spider silk to weave
nests to raise her army
of tiny warriors.
It's National Poetry Month! I'll be sharing some original poetry throughout April on Tumblr, Instagram, Threads, and Ko-Fi!
This is a deeply personal piece that I wrote a few years ago. If it resonates with you, know that it gets better. And if you're in need of immediate assistance, here are some handy numbers:
National Domestic Violence Hotline: 1-800-799-7233
RAINN: 1-800-656-4673
You're beautiful, peeps. 😘
Rapunzel
by Nori Rose Hubert
Sometimes I regret not listening
To Mother Gothel when she warned me
To treat my tower like a temple
Not open to the uninitiated
Being alone is better
Than being locked up so high
Clouds shroud the ground below
I don't know what is waiting for me if I jump
Or if I'll still be alive to run when I hit the ground
I occupy my time with baking and stitching
Feeding the birds that come to my window
Growing herbs in tiny clay pots
To tuck under my pillow to bring me home in my dreams
The small things that help me survive
You, however
You come and go as you please
Use my hair like a spun ladder
When you want to climb up from the forest you grew
From broken bottles and tin-sharp teeth that bite
No matter how hard I try to pull away
You manage to grab hold
Unraveling whatever part of me you can
I'm not the princess you were promised
You never let me forget it
As you dangle the key in front of my face
But what can I say?
Didn't I bring it on myself if you snap my spine?
After all,
I chose this tower, didn't I?
