Trump’s War on Women Journalists Reveals His Fear of Truth

PUBLISHED 11/21/2025 by

There is a cold wind that blows every time Donald Trump opens his mouth to belittle a woman who dares to ask him a question. Last week, that wind swept through Air Force One when Bloomberg reporter Catherine Lucey pressed him on the Epstein files. A reasonable question in a democracy: If there’s nothing incriminating, why fight so hard to keep the documents sealed? Trump wheeled toward her, finger stabbing the air, and snarled, “Quiet! Quiet, piggy.”

Lucey returned two days later—undaunted. Her courage was met with more schoolyard taunts: “You are the worst … I don’t know why they even have you.”

That is the tell of a man losing control: a loud desperation masquerading as swagger. The sound of someone terrified that truth might be closing in.

And we will keep telling the truth about Trump, about Epstein, about the women and children harmed, exploited, dismissed, erased. We owe it to the victims who never got to ask their own questions.

When the Headline Gets It Wrong: Feminism Isn’t the Problem—Patriarchy Is

PUBLISHED 11/8/2025 by | UPDATED 11/13/2025 at 9:49 A.M. PT

When I saw the headline “Did Women Ruin the Workplace? And if So, Can Conservative Feminism Fix It?” in The New York Times Opinion section, my heart sank. It felt like a headline torn from another era—a provocation that had no place in 2025.

False accusations remain extremely rare—estimated at between 2 percent and 8 percent of reports—while roughly two-thirds of sexual assaults are never reported at all. The crisis is sexual violence, not accountability.

Yet, for centuries, women have been labeled “emotional” or “petty” to justify their exclusion from leadership and public life. Hearing these stereotypes revived in 2025—in The New York Times, no less—is disheartening. At a time when reproductive rights are being stripped away and women’s autonomy is under attack, we don’t need pseudo-intellectual nostalgia for patriarchy disguised as debate. We need truth, solidarity and progress.

The message from the writers is clear: Women should know their place. But women already do—it’s everywhere decisions are made, everywhere power is exercised, everywhere the future is being built. We’re not staying in our lane. We made the road. And we’re not going anywhere.

Fear, Privilege and the Illusion of Safety in ‘Only Murders in the Building’

PUBLISHED 11/7/2025 by

As Hulu’s Only Murders in the Building unfolds, safety begins to look less like locked doors and more like open conversation.

The friendship among Charles (Steve Martin), Oliver (Martin Short) and Mabel (Selena Gomez) is where this transformation starts. Mabel—young, Latina and less financially secure—doesn’t fit the Arconia’s image of who belongs. But through her, Charles and Oliver begin to question the false comfort of wealth and privacy. Together, they build a kind of safety grounded in trust and shared vulnerability.

By its later seasons, Only Murders has redefined what security means. It’s no longer about who can afford to keep others out—it’s about who’s willing to let others in. The show suggests that real safety comes not from walls, locks or property values, but from empathy, care and connection.

Through Art and Storytelling, Artist Harmonia Rosales’ First Book Brings African-Centered Myths to Life

PUBLISHED 11/3/2025 by

When Harmonia Rosales first unveiled The Creation of God in 2017—a reimagining of Michelangelo’s The Creation of Adam with a Black woman as the divine—she didn’t just challenge art history; she remade it in her image. With her brush, Rosales flipped the script on Western depictions of power, beauty and divinity, centering Black womanhood and African spiritual traditions long erased from the canon.

Her new book, Chronicles of Ori, continues that reclamation through story. A lushly illustrated volume rooted in Yoruba mythology, the work brings to life the Orishas, divine figures of West African cosmology, and weaves them together with familiar names like Eve—both biblical and mitochondrial—into a mythology that claims space for the African diaspora beyond enslavement.

“I felt that we needed a mythology,” Rosales told Ms. “We needed something to connect to besides enslavement, because that’s what seems to be in the Western canon.”

With Chronicles of Ori, she offers that connection: a world where African gods are unmasked, women embody creation itself, and the sacred is painted in brown skin. Through her art and her words, Rosales restores what history fragmented—melding spirituality, storytelling and imagination into what she calls a new kind of mythology, one that reclaims both memory and power.

‘Liberation’ Opens on Broadway—And Ms. Magazine Is at Its Heart

PUBLISHED 10/30/2025 by

The feminist revolution has taken center stage. Liberation, written by Bess Wohl and directed by Whitney White, officially opened on Broadway on Oct. 28, 2025, at the James Earl Jones Theatre, following a critically acclaimed Off-Broadway run earlier this year.

In an interview with Vogue, Wohl said she was inspired by her mother’s work as an editor at Ms.: “The arc of history is so much longer than we realize. Already in 1970 women were feeling frustrated, like, ‘When is this gonna happen?’ … And I think that that urgency really powers so much of the story of the play.”

Activating Art for Women’s Rights and Democracy: Tiffany Shlain’s Feminist Monument Makes it to the Midwest in Advance of Pivotal Elections

PUBLISHED 10/29/2025 by

For three years running, artist and activist Tiffany Shlain has created calls to action around her feminist history tree ring sculpture in advance of U.S. elections where women’s voting rights, reproductive rights and long held democratic principles face historic setbacks. The milestones and tribulations of women’s history seared onto its surface are particularly resonant now, as many records of women’s presence and accomplishments are disappearing from public view.  

Women Made History in the East Wing. It Was Razed for Trump’s Ballroom.

PUBLISHED 10/24/2025 by and

When bulldozers began to tear down the East Wing of the White House this week to clear the way for President Donald Trump’s $250 million ballroom, historians raised alarms that important American history was being buried in the rubble, including chapters about previous first ladies and their roles uplifting women going back nearly a century.

Among the offices housed in the East Wing is the Office of the First Lady, first professionalized by Eleanor Roosevelt during her husband’s administration.

“To me, this demolition suggests that the current White House does not think that the first lady does anything of value,” said Katherine A.S. Sibley, professor of history. “I’m not talking about [Melania Trump] particularly, but the office itself—they’re not cognizant of the history.” 

‘Freeing Black Girls’ and ‘Loving Black Boys’: Tamura Lomax on Revolutionary Mothering During Troubled Times

PUBLISHED 10/23/2025 by

Tamura Lomax, a trailblazing Black feminist religious scholar, is on a mission to deliver a “Black feminist Bible on racism and revolutionary mother” with two companion books. The first, Freeing Black Girls, was published this year (2025); the second, Loving Black Boys, comes out next year.

Ms. contributing editor Janell Hobson spoke with Dr. Lomax about her latest works and the radical vision of “revolutionary mothering” that guides them.

“Black feminist mothering becomes this experiment. If people can teach sexism and hatred and racism, can we teach Black feminist politics? Is that possible? If we just do it from birth, and it’s just normal everyday talk it’s not this lesson that happens once at the dinner table but it’s just part of our everyday living. Can we do that the same way that we teach hatred?

“Revolutionary mothering is teaching those Black feminist politics everywhere—in the car, on the couch, during movie night, after the basketball game, in the football stands. It’s teaching a radical politics of our rights, our collective right to bodily autonomy first and foremost.”