HAIR FLICK MOVIE

It shows Princess Diana reckoning with the degree to which she fell in love with such dangerous power, or, alternately, was seduced or ensnared by it. Spencer is about all of things too, but in ways both more and less subtle.

In other words, Spencer runs a variation on Twilight’s over-the-top observations about sex and domination and desire.

HAIR FLICK MOVIE

In casting Stewart (and all the cultural associations that come with her) as Princess Diana, director Larraín brilliantly juxtaposes the entire House of Windsor with the vampires of Twilight, another movie in which Stewart’s character has a complicated appetite issue related to the monstrosity of her in-laws. There are a lot of things to be said about the success of Spencer and of Stewart how Stewart gives Pablo Larraín’s “fable based on a true tragedy” a rich backstory. So I think it’s valid to consider her hair, and what it taught me, about the specifically 1980s princess powers of white womanhood and the price that is paid for them. But before her death, Princess Diana was one of the most powerfully emblematic white women of my childhood as princess, in fact, she occupied one of the most emblematic of all white woman roles (that this role is raced is something everyone living in the Meghan Markle era has to acknowledge). It’s complicated to so vehemently dislike the hair of a woman who died so tragically. The frisson I feel about Diana’s hair, I was sure, would only amplify the drama of this lady hair spectacle. Precisely because of this anti-Diana hair feeling, I was thrilled to discover that Kristen Stewart (whom I love) would be playing Diana in a new movie. Faced with them I am unfetched, even resistant. But Princess Diana’s flick-and-feather bob variations always leave me the opposite of fetched. Princess’s Diana’s hair grows lush and thick and blond, all qualities I am prepared to find beautiful it’s bobbed, and I often find a bob fetching. THIS IS AN ESSAY ABOUT Princess Diana’s hair, which I have never liked.

Hair flick