Ghostbusters: Frozen Empire botches a beautiful queer storyline
As a long-time fan of the Ghostbusters franchise, I was both excited and apprehensive about watching “Ghostbusters: Frozen Empire.” Having grown up with the original movies, I had fond memories of the team’s adventures and their unique blend of humor and supernatural elements. But with each new addition to the series, I couldn’t help but feel a pang of disappointment. So, when I heard about this latest installment featuring Egon Spengler’s granddaughter Phoebe, I held out hope that this could be a fresh take on the beloved story.
As someone who grew up in the ’80s and watched the original Ghostbusters movies countless times, I was excited when they announced a reboot. However, my connection to the franchise isn’t as strong these days. But even with that perspective, I was left feeling underwhelmed by “Ghostbusters: Frozen Empire” on Netflix.
As a longtime fan of the original Ghostbusters films, I was both excited and apprehensive when I heard they were making new movies. Excited because I love anything related to ghosts and science, and apprehensive because I’m always wary of reboots or sequels that don’t live up to the original.
In the latest film, Phoebe befriends a spirit girl named Melody who perished in a fire at an old apartment building. The exact timeline of Melody’s demise is undisclosed. Phoebe and Melody develop a strong connection, as Phoebe currently faces restrictions on her ghostbusting activities due to regulations. Feeling distanced from her loved ones, including the ghostbusters, Phoebe cherishes Melody’s companionship during this challenging phase of her life.
[Ed. note: Major spoiler ahead for Ghostbusters: Frozen Empire.]
The friendship intensifies at an astonishing rate, which is more readily understood as a sign of deep romantic feelings. Phoebe goes to extreme lengths, including inducing an unconscious, near-death state, solely to be able to touch Melody in the afterlife. However, the film presents this scene as a normal, platonic expression of female friendship, where the urgent need for physical contact is simply that of holding hands with a companion. But who would risk their life just to hold hands with a friend?
As I watched the film unfold, I found myself anticipating a heartfelt confession or a passionate kiss between the two characters. Alas, it never came. Instead, they shared a tearful farewell, and Melody sadly departed, leaving Phoebe behind. However, I wasn’t completely taken aback by this turn of events. You see, Melody came to understand that her inability to move on was due to the fact that she was meant to save Phoebe’s life in the movie’s climax. This was a selfless and non-romantic act, as she used the haunted matchbox that had plagued her existence up until then.
In a less explicit portrayal, not all queer romance stories require on-screen declaration. However, it’s puzzling why director Gil Kenan suggested Lynd study “Sylvie and the Ghost” as research for their film, considering this 1946 movie involves a ghost falling in love with a woman, subtly reminiscent of his past lover. It seems that the filmmakers or stakeholders intentionally avoided overtly expressing the romantic nature of this relationship to avoid potential backlash from dedicated Ghostbusters fans regarding Egon Spengler’s granddaughter being queer. This concern appears justified, given the fanbase’s reputation for strong opinions.
however, this leaves “Frozen Empire” in a timid, underdeveloped condition, as Phoebe and Melody are not portrayed as gay ghost girlfriends, despite their intense relationship hinting at this possibility and infusing some emotional significance to certain scenes. Could a passionate teenage kiss or a heartfelt farewell admission have rescued “Frozen Empire” from being an unremarkable film? It’s doubtful. But it would have provided the story with a meaningful emotional core, enabling the series to explore fresh and intriguing themes.
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2024-07-24 19:18