“Gunpowder Milkshake” is a cautionary tale about what happens when you’re determined to make a women-led shoot-‘em-up, but have given very little thought to what you’re actually going to do with those women in terms of story structure, characterization or dialogue.
“Raised a Warrior: A Memoir of Soccer, Grit, and Leveling the Playing Field” by Susie Petruccelli is a trailblazing account of triumph in the face of sexism, self-doubt and injury. In it, she gives a remarkable global tour of the women’s soccer world, and presents a stirring call-to-action to secure equal pay and conditions.
Unlike a number of women outliers holding office, Jacinda Ardern hasn’t compromised her personality to suit her career; she hasn’t become “masculinized.” Assertive and effective in politics, she invokes a style that a broad spectrum of people, of both sexes, may seek in coming generations: the strong woman—as opposed to the strongman—who embodies astuteness, along with the ability to bring opposing forces together for a greater goal.
Rachel Nichols’s lack of solidarity with Maria Taylor as two women marginalized at male-centric ESPN and her dismissal of Taylor’s unique experiences as a Black woman suggest how timely that famous refrain attributed to Sojourner Truth remains: “Ain’t I a woman?”
Pat LaMarche’s ‘Priscilla the Princess of the Park’ book series illuminates the often downplayed humanity of homeless populations, underscoring how the issue is the result of ineffective policy, not personal fault.
‘Controlling Women,’ a new book by Kathryn Kolbert and Julie F. Kay, two leading legal authorities on reproductive rights, aims to revive robust discussion of reproductive rights—and not a moment too soon—by making clear just how much is at stake in whether abortion remains legal.
‘Black Widow’ may be an enjoyable romp on the surface, but as a triumphant send-off for Natasha Romanoff, it feels hollow: too little, too late.
As a result of online misogyny, many women renounce political careers, self-censor or refrain from speaking out, while illiberal actors and authoritarians become ever bolder in their use of social media as a tool to silence opposition, roll back women’s rights and erode democratic institutions. We cannot let these practices continue, and we cannot let platforms who are able to make substantive change continue to skirt their responsibilities.
Welcome back to Feminist Faves social media roundup! This week, we’re celebrating athletes using their influence to shed light on underrepresented communities, disability advocates calling in able-bodied allies this Disability Pride month, and the beautiful art made during the pandemic.
AMC’s new drama “Kevin Can F**k Himself” upends the “sitcom wife” trope we all know and hate. When Allison—or Kevin—leaves the room, the lighting gets darker, the camera angle shifts, and suddenly, Allison is no longer a supporting character but rather the star, increasingly frustrated with her life and role.