Dorothy Gale: A Traumatized And Disrespected Child

In the 1939 film adaptation of The Wizard of Oz, the character Dorothy Gale (played by Judy Garland) experiences several traumatic events that greatly impact her throughout the story. She was extremely mistreated. Just like many of us, Dorothy's trauma stems from people and things in her very own environment at home. Home is always where it starts.

These incidents include being parentless, being bullied by older adults, being lied to, feeling neglected, being forced to deal with strangers, being stalked and harassed, being deceived, and being in constant danger.

Firstly, Dorothy's trauma begins with being parentless. As an orphan living with her aunt and uncle in Kansas, she longs for the comfort and love that only parents can provide. This emotional absence sets the stage for her vulnerability and search for belonging throughout the film.

Since lack of parents can create a sense of loss and abandonment, Dorothy clearly fell vulnerable to emotional distress. This absence of familial support may have contributed to her seeking solace in her pet dog, Toto, as her primary companion.

Additionally, Dorothy is constantly bullied by an older adult, Miss Gulch. Miss Gulch threatens to take away Dorothy's beloved dog, Toto, and intimidates her with her loud and aggressive demeanor. She also threatens to take her Aunt and Uncle's farm when they refused to sign a court order that would allow her to take Toto.

This causing Dorothy significant distress as Miss Gulch owned half the county where Dorothy and her relatives lived, giving her the power to do so. The film starts with Dorothy running from Miss Gulch. As an opening scene this immediately alerts the audience. The power imbalance inherent in this situation further traumatizes Dorothy, as she feels helpless and victimized by an authority figure.

 

Because of her uncomfortable living situationat home, Dorothy runs away and encounters a fortune teller who manipulates her through deceit. As he begins his sessions with her, he instructs Dorothy to close her eyes. In doing so, her gaurd is immediately let down as the fortune teller slipped the basket in her hands away from her. He took a peak inside the basket to find a picture of Dorothy with her Aunt Em. Aunt Em was wearing a polka-dot dress in the photo. He then instructed Dorothy to reopen her eyes as he began describe a woman in a polka-dot dress. Dorothy instantly recognized the woman as her Aunt Em. As the fortune teller drew her in further and further into his so called abilities Dorothy is convinced.

The fortune teller suggests that Aunt Em is sick because of Dorothy's disobedience, instilling guilt and shame in her.This manipulation causes Dorothy to believe that she is responsible for the difficulties her family is facing, compounding her emotional burden. While the fortune tellers intentions might have been good, lying to an underage child about the health and well-being of a loved one in order to get her to return home was a dastardly tactic.

As she's on her way back home a tornado begins to whirl. Dorothy is left behind in the farmhouse. Why you ask? Well, because admist all the ruckus on the farm to escape the tornado's rampage, Dorothy's family quickly seeks shelter in the storm cellar. Although her Aunt Em helplessly called for Dorothy prior to this to no success. This neglect highlights a sense of abandonment as she finds herself subjected to the uncontrollable forces of nature all alone. The scene amplifies her vulnerability and creates a fear of being left behind or forgotten.

The tornado transports Dorothy to the Land of Oz. This traumatic event separates her from her family and familiar surroundings. Upon arriving in the enchanting Land of Oz, Dorothy is thrust into an unfamiliar environment filled with strangers. She must navigate the unfamiliar societal norms and customs of the Oz residents, which can be disorienting and overwhelming. This situation forces her to adapt to new surroundings hastily, intensifying her sense of vulnerability.

Throughout her journey, Dorothy and her friends are relentlessly hunted, and harassed by the obvious psychopath, the Wicked Witch of the West.

She seeks to retaliate against Dorothy for inadvertently killing her sister, the Wicked Witch of the East.

Like a true narcissist, she also desires possession of Dorothy's Ruby Slippers for herself. She intimidates Dorothy by stalking her and keeping surveillance of her journey through a crystal ball, continuelly communicating threats and attempting to intoxicate Dorothy and companions with poisoned poppies.

As well as sending minions to capture her and her friends. Other forms of torture take place by taunting Dorothy with illusions of her Aunt Em, ordering to have Toto drowned, keeping Dorothy held hostage in her castle and even setting Scarecrow on fire. The constant danger posed by the witch heightens Dorothy's anxiety.

When Dorothy and her companions finally reach the Emerald City and gained an audience with the Wizard, they discover that he was a deceptive and manipulative figure. Not right away of course. He starts their relationship off by intimidating them and calling them names. With every insult he grew more pompous. He ends their first meeting with them agreeing to bring him back the broom stick of the Witch of the West.

The group reluctantly agree to these terms. After escaping the clutches of the evil witch barely with their lives, they return to the wizard who is not pleased to see them. No doubt assuming the Wicked Witch and her henchmen would do away with Dorothy and her friends and he wouldn't have to deal with them again. Dorothy presents him with the broom stick as she expects him to keep the promises he made to them in the original meeting.

However, he attempts to prolong their justice by requesting that they go away and come back the next day after he's given the matter some more thought. This upset Dorothy and her friends. As an argument ensues between the two parties, Toto pulls back the curtain on the fraud. Revealing him to be just an ordinary man and not the mystical all-powerful being they had thought.

He had been using grand illusions to deceive the people of Oz. All his abilities simply smoke and mirrors. This deception and false hope leads Dorothy to question the authenticity of her journey and the promises made to her. She initially believes that the Wizard will grant her wish to return home, only to discover his charade. This realization leaves her feeling disillusioned and deeply disappointed.

Near the end of the film, although promising Dorothy that he would take her home himself on his air baloon, the Wizard once again failed Dorothy and left her in Emerald City, "accidentally". Then, Glinda appeared. The good witch whom she met at the beginning of the film. A light who tried to help guide Dorothy on her way. Besides the fact that she was the one who instigated the tension between Dorothy and the Wicked Witch of the West to begin with. It was Glinda who taunted and teased the Witch of the West and gave Dorothy the Ruby Slippers. With this, she set Dorothy up to be a target of the Witch of the West.

Dorothy was wronged by virtually every other character in the film. Often being met with harsh treatment for seemingly unnecessary reasons. When she awoke from her adventure in Oz she was back to her boring grey life. However, with a new perspective on life and new courage.

Franklin Armstrong: Iconic Black Character Gets His First-Ever Special in 2024

In the entertainment business, cartoon characters are treated as real celebrities and public figures with full careers and accolades to match.

It's 51 been years since Peanuts character, Franklin Armstrong, appeared alongside the gang in, A Charlie Brown Thanksgiving.

Franklin Armstrong

The Thanksgiving special has become a holiday staple for generations. However, one scene has stirred controversy. In recent years, viewers have pointed out how, Franklin, the only Black character, is treated during the big feast.

At dinner, Franklin, is seated by himself on the opposite side of the table, seemingly "segregated" from the other kids. For those viewers who feel uncomfortable with how the scene is depicted, it can feel anything but accidental. But the decision to sit Franklin by himself is said NOT to have been racially motivated.

Franklin in A Charlie Brown Thanksgiving 

Although, according to Darnell Hunt, dean of social sciences and professor of sociology and African American studies at UCLA, told Yahoo Life in November 2020: "Having [Franklin] on this long side by himself, you could interpret it that no one wanted to sit next to him."

Hunt's thoughts on Franklin's visual exclusion at Charlie Brown's Friendsgiving feast have been echoed by countless others on social media, who feel that the sole Black character in Peanuts' solitude during the celebration was animated intentionally and done so with malice.

Franklin slumped in his lawn chair

In the holiday special, Franklin arrives at Charlie Brown's Thanksgiving celebration along with Peppermint Patty and Marcie. The girls walk into the house, while Franklin gives Charlie a little dap on his way in. Charlie and Linus pull out dining chairs for Patty and Marcie at the table, leaving Franklin to sit by himself on the opposite side in a lawn/beach chair.

You can draw your own conclusion about Franklin's simultaneous inclusion and isolation at the seasonal gathering by watching A Charlie Brown Thanksgiving.

Yet, with time all wounds heal. Franklin, fans and animators alike may finally get their much needed full circle/full closure moment.

Franklin in Welcome Home, Franklin

Thanks to Apple TV+ Franklin is set to make history again as he did when he first arrived on the scene in 1968. Franklin's first-ever animated special, Snoopy Presents: Welcome Home, Franklin, will premiere on Friday February 16, 2024.

An origin story ALL ABOUT FRANKLIN.

The special will be produced by Peanuts and WildBrain while being directed by Emmy Award winner Raymond S. Persi (The Simpsons - “The Seemingly Never-Ending Story” - Season 17; Episode 13). Executive producers will be the legendary Schulz son and grandson Craig Schulz and Bryan Schulz along with others.

Let's keep our fingers crossed for at least an Annie Nomination in recognition.

La Toya Jackson's Stint In The Adult Entertainment Industry

In 1987, Jack Gordon was hired to co-manage La Toya Jackson by her father, Joseph. He later took over her management completely. Under Gordon's management, Jackson's public image became increasingly sexualized.

Around this time Jackson was disfellowshipped by the Jehovah's Witnesses. Defying her father, Jackson made a stormy exit from the family's Encino compound to take up residence in New York City.

In late 1988, Jackson released the album La Toya, which featured song title's like "Such a Wicked Love" and "(Ain't Nobody Loves You) Like I Do".

The album was the first one Jackson released after changing her management. This became an interesting period in her life. The album cover for La Toya features a close-up photograph of La Toya Jackson herself. She is depicted wearing a striking rhinestone studded black bikini top attached to suspenders. Her hair is styled with voluminous curls, framing her face. La Toya's makeup features bold, dramatic eyes and purple lips, adding to the overall glamorous and fierce look.

The album cover exudes a sense of confidence and power, reflecting La Toya's image as a pop artist during that era. The combination of the purple color scheme and the edgy hairstyle contributes to the album's aesthetics and helps establish La Toya's own unique style.

The album cover showcases a bold and glamorous statement, capturing the essence of the music and fashion trends of the late 1980s.

In March 1989, Jackson posed topless for Playboy magazine. Jackson saw the pictorial as a declaration of independence from her conservative upbringing. 1989's Playboy cover contributed to La Toya gaining attention and recognition as a sex symbol. The explicit nature of the photographs brought her widespread media coverage and the image of being a provocative and appealing figure. Jackson's first cover for the magazine was equivalent to Vanessa Williams Penthouse spread in 1983 or her sister Janet's 1993 Rolling Stones topless cover.

That same year, Jackson began recording her sixth album Bad Girl and staged a live pay-per-view concert, A Sizzling Spectacular!, from Bally's theatre in Reno. 

The new album featured song title's like "Sexual Feeling", "Playboy (Be My)" and the title track.

She posed again in Playboy in November 1991 to promote her New York Times Best Seller autobiography, La Toya: Growing Up in the Jackson Family. That year also saw the release of her album No Relations. This album featured Jackson's top twenty-five Netherlands hit "Sexbox" and other titles "Be My Playboy" and "Submission".

In 1992, Jackson signed a contract with cabaret venue Moulin Rouge in Paris to star in her own revue, Formidable. Jackson was to perform two shows a night, six nights a week. Jackson was the highest-paid performer in the cabaret's history, earning a reported $5 million. Initially Formidable was successful, selling out on most nights, Jackson departed half-way into her year-long contract.

In 1994, Jackson again worked for Playboy Entertainment, becoming one of the first celebrities to have a Celebrity Centerfold video. Playboy Celebrity Centerfold: La Toya Jackson was released in the first quarter of 1994 and sold roughly 50,000 copies.

Also during the '90s, La Toya embarked on her Exotic Club Tour. The tour saw Jackson traveling to places such as Hawaii, North Carolina, Texas and Fort Lauderdale. All of these locations received a home video release on VHS from taped performances.

By the late '90s, Jack Gordon had forcibly married La Toya and gimmicked her out of a career by manipulating her into sexual escapades and making allegations against her own brother Michael as well as spearheading what seems to be the most successful period of her career, all at the same time.

Soon, when Jackson became aware that Gordon was planning to feature her in a pornographic film she decided she'd had enough. She made her escape from Gordon with the loving help of her brother Randy and divorced Gordon.

Additionally, La Toya's overall style, beauty, and charisma also played a role in contributing to her status as a sex symbol. Although, the Jackson family's "black sheep" has become a Grammy Award-Winning Songwriter as well.

Ultimately, she triumphs NOT as the sex Goddess that she came to be known as during her "sexual liberation" venture into the adult entertainment realm, but as a survivor of one of the most tumultuous and unpredictable times of her life secretly orchestrated by a man who had his own personal plans and agenda for her life and career. She lives to tell the story. Breathing to help and inspire young girls and women like herself who have found themselves in a similar situation.

La Toya Jackson's name should be VICTORY!