In spite of a year of natural disturbances and disasters, deepening political divides and disappointments and worsening humanitarian crises in so many parts of the world, I strive to find at least three specific reasons to give gratitude each day. This year, I am adding three organizations to that list.
After the midterm election was won by women of color, with so many historic “firsts” being made in the process, our president was not in a good mood, especially when it came to journalists who happened also to be women of color trying to do their jobs.
For too long, gender has determined who holds the decision-making power in this country and around the world—and that needs to change.
Despite having been exposed in every sector of life and work, violence, sexual assault and harassment continues. But what is beginning to change is the ways in which the media is reporting on it.
In her new book, “Rage Becomes Her,” writer and activist Soraya Chemaly explores our culture’s discomfort with women’s anger—and calls on women to defiantly express it anyway.
Despite the big opening predicted for the groundbreaking all-Asian cast in “Crazy Rich Asians,” a recent report revealed disappointing data for women in Hollywood—and particularly women of color—this week. It also offered solutions for getting closer to parity.
Despite legislation passed over 20 years ago, women, and especially women of color, are still being left out of clinical trials. The health outcomes for women, and especially women of color, reflect this disparity.
It’s time for the media to report the stories of Black women in politics, and for white women leaders to support, elevate, celebrate and get behind the many women of color stepping forward into leadership. We have a lot to learn, and the country has a lot to gain.
Part of the process of repairing the pipeline for women in film, in all areas—producing, behind and in front of the camera — is on us.
I first met Eve Ensler in a bombed-out theater in Sarajevo in 1998. She was already known by many as the playwright of the groundbreaking play, The Vagina Monologues, which she had performed off-Broadway as a one-woman show.