Kamala Harris Is Older, Wiser … and Cooler

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Kamala Harris has rapidly assumed the mantel of cool, youthful candidate. Among Gen Z, she is “brat,” with Charli XCX, Olivia Rodrigo and Beyoncé lining up fast for the cause. Among the older crowd, longstanding debate over whether the vice president qualifies as a Baby Boomer—born in 1964, she is just on the cusp—rages on. It is apparently a hill Gen X is prepared to die on, citing her penchant for Chuck Taylors as proof.

Either way, at nearly 60 years old, Harris has achieved what might have seemed impossible before this moment: She has changed the perception of what it looks and sounds like to be a vibrant and capable “older” woman. We see a woman who radiates from the certainty of age and of knowing herself. Quite frankly, it is a gorgeous sight.

The ‘Electability’ Question: Don’t Fall for Sexist, Racist Clickbait

Posing women’s leadership writ large as an open and unanswered question—and questioning the electability of a candidate who has made a career of supporting women’s lives and fundamental rights in an election largely defined by these issues—is nothing short of irresponsible journalism. Women lead politics around the world every single day.

Black women are electable if we elect them.

Harris Just Made Gender Visible in the 2024 Election—But It Was There All Along

Now that Joe Biden has announced his withdrawal from the 2024 presidential race and endorsed Vice President Kamala Harris, the salience of gender as a critical factor in the contest for the presidency will rise quickly to the surface. But gender is always present in those campaigns—whether or not it’s visible.

Unfortunately, many commentators in mainstream and progressive media seem not to understand—or want to discuss—the deeply gendered nature of presidential campaigns or the presidency itself. This glaring deficit in political analysis was on full display in coverage last week of the Republican National Convention.

Feminist Film History Is Alive in Bologna

Last month, 3,000 cinephiles congregated at dusk in the Piazza Maggiore in Bologna, Italy for an outdoor cine-concert of The Wind (1928)—a silent film about desperate love in bad weather—with the message “FREE ABORTION” projected on a church at the side of the square.

It’s all part of the the feminist programming at Il Cinema Ritrovato. The annual archival film festival spotlights long unseen, unjustly forgotten but urgently timely works from the celluloid archive and unleashed them onto the volatile, open-ended present. The Ritrovato is nothing less than a celebration of the capacity to create community around films that you quite literally could not see anywhere else—long obliterated from the archive due to a combination of material decay, political censorship and ideological incomprehension. I was especially struck this year by the feminist themes that emerged.

What Do Tradwives Have to Do With Democracy?

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The tradwife movement is more than just eye-catching images of open land, barefoot kids, chickens and sourdough perfectly cultivated for an Instagram grid. It’s a cultural movement to influence young women to willingly check out of the workforce and give up their rights and agency.

And if progressives are too “burnt out” to check back in, these forces will win the culture war and the political movements to take away birth control, end no-fault divorce and take away a woman’s choice whether to go through with an unwanted pregnancy.

Our Abortion Stories: ‘Instead of an Immediate Dilation and Curettage, I Was Sent Home to Wait for Nature to Take Its Course’

Abortions are sought by a wide range of people for many different reasons. There is no single story. Telling stories of then and now shows how critical abortion has been and continues to be for women and girls. (Share your abortion story by emailing myabortionstory@msmagazine.com.)

Author Anne Shaw Heinrich reflects on her abortion story, motherhood and how it connects to the characters in her book, God Bless the Child.

Remembering the Late Faith Ringgold—the Black Feminist Artist Who Knew Who She Was

The late Faith Ringgold was a feminist, an activist, a teacher, a mother and an artist known for her innovative use of mediums, ranging from the more traditional oil on canvas, murals and mosaics, to story quilts, protest posters and soft sculptures.

(This article originally appears in the Summer 2024 issue of Ms. Join the Ms. community today and you’ll get issues delivered straight to your mailbox!)

Stories From Appalachia: ‘I Was Born in Mexico, but I’m From McDowell. We Grew Up Here, and We’ll Stay Here.’

An oral history project five years in the making, Beginning Again: Stories of Movement and Migration in Appalachia brings together narratives of refugees, migrants and generations-long residents that explore complex journeys of resettlement.

Meet Cindy Sierra Morales: When she was 6 years old, Sierra Morales’ family migrated from Durango, Mexico, to Los Angeles, fleeing gang violence. After a short stay with family friends, Cindy’s family drove to Marion, N.C., where her aunt, uncle, cousins and older siblings already lived. Her parents held a variety of factory jobs, and Cindy started second grade just a few weeks after arriving. After living in the United States for 15 years, Cindy and her siblings were able to secure legal documentation through DACA.