Black Feminism

What a ‘Black Helen of Troy’ Reveals About Hollywood and Mythmaking

PUBLISHED 8/5/2026 by

The conversations over a Black actor like Lupita Nyong’o portraying the iconic Helen of Troy, “the most beautiful woman in the world”, reveal a broader discomfort with depictions of dark-skinned Black beauty in Hollywood.

Whether Nolan intended to or not, Nyong’o’s dual roles reinforced the white feminine ideal, since her Helen does not threaten whiteness as the beauty status quo, nor does her Clytemnestra establish her as sufficiently feminine. 

Writer Karen Attiah argues we don’t need a Black Helen so much as we need more “Black mythologies. … “We don’t need Black Helens of Troy. We need more Wakanda women. We need more Women Kings. We need more Queens of Katwe. It is precisely in this moment of historical erasure and rejection of even the most nominal forms of Black inclusion that Black writers and thinkers, and especially Black women, should be focusing on building out the civilizational myths, histories, and heroines we already have.”

Imagine an epic movie about Amanirenas, the Kandake queen who prevented the conquest of the ancient kingdom of Kush from the powerful Roman army circa 25 B.C.E.

Or Queen Nzinga, who fought against the Portuguese seeking to enslave her people during the transatlantic slave trade era circa 1600s.

We can hardly visualize the kingdom of Haiti in existence between 1811 and 1820 during the era of Bridgerton, as historian Marlene Daut argues, let alone tell the story of its king and queen (instead of reclaiming the British Queen Charlotte as a Black royal). 

Imagine Lupita Nyong’o cast in any of these majestic roles.

And these roles need not be historical. Imagine the same actor reprising her role as the spy “war dog” Nakia from the Black Panther franchise in her own movie spin-off, traipsing James-Bond style around the world without the need to replace James Bond himself. 

If we must wait until 2028 to witness Nyong’o on our big screens again (when the third Black Panther film is scheduled), then this moment in The Odyssey is a misuse of her talents.

A (Brief) History of Women’s Rights, 1600 to Present

PUBLISHED 6/3/2026 by and

From the Haudenosaunee women who successfully challenged warfare in the 17th century, to today’s feminist organizers defending democracy, reproductive freedom and civil rights, the struggle for women’s equality has never been a straight line. It is a story of persistence, resistance and collective action spanning centuries.

Compiled by editors at Ms. and researchers from the National Women’s History Alliance, this women’s history timeline traces the interconnected histories of feminism, abolition, labor organizing, civil rights, reproductive justice, LGBTQ+ liberation and democratic participation.

No timeline can fully capture more than 400 years of feminist history, let alone every movement, leader, victory and setback that has shaped the ongoing fight for equality. Rather than offering a comprehensive account, this chronology highlights pivotal moments and turning points that help tell the story of how women have expanded the boundaries of freedom, democracy and human rights in the United States and beyond.

The timeline is part of Ms. magazine’s FEMINIST 250: Founding Feminists project, a multimedia essay series marking the 250th anniversary of the Declaration of Independence by examining the women and feminist movements that have worked to make the nation’s founding promises more fully realized. Through reported features, essays, interviews and historical analysis, FEMINIST 250 explores not only where we have been, but where we must go next to achieve true equality.

FEMINIST 250’s Parts 2 and 3—Feminist Lessons and Feminist Futures—drop this month on MsMagazine.com.

Black Women, Beauty Politics and the Power of Rage in ‘Is God Is’

PUBLISHED 5/23/2026 by

In one of the film’s most surreal scenes, the twins at the center of Is God Is—Racine, “the Rough One,” and Anaia, “the Quiet One”—pretend to be strippers for a room full of men. But while Racine is welcomed, Anaia is rejected because her scarred face disrupts the men’s fantasies.

That moment crystallizes one of the film’s central questions: What happens when Black women refuse to shrink themselves for the comfort of others?

In Aleshea Harris’ Gothic revenge thriller, ugliness becomes both a burden and a source of power, as the film transforms into a stereotype-busting meditation on misogynoir, beauty politics and righteous rage.

As the twins travel cross-country seeking vengeance against the father who burned their mother alive, Harris layers the conventions of the revenge genre with distinctly Black feminist aesthetics. The film moves between absurd comedy, trap music, intimate sisterhood and brutal violence while interrogating the ways Black women are expected to manage their pain, suppress their anger and perform acceptability. Anaia’s scarred face and Racine’s consuming rage become mirrors of the same misogynoir that shapes Black women’s lives—whether through beauty standards, domestic violence or the demand to remain silent.

What makes Is God Is so striking is its refusal to look away from the “ugly.” Harris insists that Black women marked by violence, scars and fury still deserve visibility, complexity and even divinity.

The film embraces the “angry Black woman” and the “ugly” Black woman as figures worthy of space, power and humanity. In doing so, it expands the tradition of Black feminist filmmaking by asking viewers to confront the realities dominant culture would rather ignore—and to recognize the beauty, dignity and selfhood that exist beyond respectability.

‘They’re Taking Our Humanity Away’: Kimberlé Crenshaw on Her Memoir, America’s Future and Why the Fight for Justice Requires ‘Backtalking’

PUBLISHED 5/14/2026 by

For decades, pioneering legal scholar and activist Kimberlé Crenshaw has shaped the language we use to understand systemic injustice—from coining the term “intersectionality” to helping launch the #SayHerName movement.

In her new memoir, Backtalker: An American Memoir, Crenshaw traces the personal and political experiences that shaped her work, while warning that the attacks on critical race theory, feminism and Black women are inseparable from the broader erosion of democracy itself.

In this wide-ranging interview, Crenshaw reflects on Anita Hill, Clarence Thomas, “intersectional failure,” the backlash against Black women leaders and the dangers of what historian Timothy Snyder calls “anticipatory compliance.” She argues that today’s political moment—from attacks on independent journalism to the dismantling of civil rights protections—demands a more expansive understanding of solidarity and resistance.

“The other side doesn’t want us to feel empathy,” Crenshaw says. “They’re taking our humanity away, the thing that makes us humans and not a machine.”

Crenshaw also speaks candidly about the personal costs of “backtalking” to power, the unfinished grief that continues to shape her activism, and why she still believes collective action and moral clarity matter.

“One step forward can lead to five or 10 steps back,” she says. “When we see the forces of retrenchment coming on the horizon, we must pick up every weapon we have to fight against it.”

‘Who Will Revere the Black Woman?’ Remembering Nancy, Cerina and So Many More

PUBLISHED 4/22/2026 by

Even though I did not know Nancy Metayer, my heart is utterly broken by the loss of her life and the violence of her death. The night before her funeral, I joined a virtual vèyè in her honor—a space to keep watch, to remember her impact and to hold one another in communal care.

That same day, news broke about Dr. Cerina Fairfax, also killed in her home. I did not know her either, and still, I was gutted.

Nor did I know Pastor Tammy McCollum, Ashly Robinson, Qualeisha Barnes, Davonta Curtis or Barbara Deer—Black women killed in just a matter of weeks. And to think these are only the names we know.

In moments like this, I find myself returning to a question first posed by Abbey Lincoln decades ago: “Who will revere the Black woman?” The reality of this violence—and the way it is so often explained away or softened—makes that question feel as urgent as ever.

Black feminists have long named the patterns, the structures and the stakes. And still, we are left mourning, naming and insisting: We will not let their lives be forgotten. We will continue the work in their honor—because we revere them.

Sally Hemings and the Making of Democracy

PUBLISHED 3/30/2026 by

The United States was founded not through declarations of equality, but through the labor of Black women whose political work reproduced the nation, even as it was erased from the democratic archive. 

Sally Hemings is rarely situated within the United States’ democratic legacy, despite her central role in the material conditions through which democracy was made possible.

In shaping the conditions of her children’s freedom, Hemings exercised a form of maternal political authority that governed who could move beyond enslavement. This labor stands in sharp contrast to Jefferson’s authorship of democratic ideals, which articulated freedom in abstract and ambiguous terms, while Hemings produced freedom materially through the governance of reproduction and kinship under constraint.

Hemings’ strategic negotiations secured her and her children’s futures within a political order that both denied her legal personhood and depended on her labor.

(This essay is part of the FEMINIST 250: Founding Feminists series, marking the 250th anniversary of America by reclaiming the revolution through the women and gender-expansive people whose ideas, labor and resistance shaped U.S. democracy.)

In a Time of Backlash, the Combahee River Collective Still Shows the Way

PUBLISHED 3/27/2026 by

Combahee was born in response to the murders of 12 Black women in Boston at a time when racial violence had a pernicious vice-hold over the city.

When so many Black feminist icons of their generation have gone on to become ancestors, we are privileged to have access to these women, and other Black feminist elders like them today. At a time when books are being banned, there are galling attempts to erase the histories and the stories of marginalized groups, the radical beginnings of the Combahee River Collective must be amplified. These women were proud of their African American heritage, unequivocal about their socialist politics, and unabashed about their lesbian identity. They have as much to teach us now as they did then.

Equal Pay Is Getting Pushed Further Away. We’re Pushing Back.

PUBLISHED 3/25/2026 by and

Amid the celebrations of Women’s History Month, it is a bitter irony Equal Pay Day—marking how far into the year women must work to earn what men did in the previous year—has been pushed back to March 26. The end of the month is shadowed by the knowledge that the gender pay gap still exists and is widening.

Black women, women with disabilities, moms and all women of color are paid significantly less than white men in comparable positions. Affordability is already a concern, with prices rising at the gas station and the grocery store. The pay gap is compounding these concerns to create further financial disparities for women of color.

Misogynoir à la Française

PUBLISHED 1/6/2026 by

A few days before Christmas, the French satirical magazine Charlie Hebdo featured an abhorrent caricature of esteemed journalist, author, filmmaker, and activist Rokhaya Diallo. The grotesque image, which we will not reproduce here, shows a half-naked Diallo dancing on stage dressed in a banana skirt. Her features were exaggerated in the manner of time worn racist propaganda—contorting her nose, mouth, and eyes for a minstrel-like effect. Next to the image was an audience pointing and jeering underneath a sign that read “The Rokhaya Diallo Show: she ridicules the separation of church and state all over the world.” There is no question that Diallo was targeted for her widespread international success and renown as an antiracist activist, as well as her prominence as a Black feminist voice decrying racial injustice, sexism, and misogynoir in France and abroad. The timing felt insidiously intentional— the magazine chose to end the year with a decidedly harmful message to Black French women as a holiday send off.

bell hooks Taught Us to Imagine Freedom. Universities Are Forcing Us to Fight for It.

PUBLISHED 12/15/2025 by

On the day bell hooks became an ancestor, four years ago today, my beloved friend, comrade and co-conspirator Black feminist sociologist Shawn McGuffey and I were consoling one another over text when he wrote, “We should do something.” “Say less,” I replied.

We had institutional support from Northeastern University at a time when universities and other institutions were publicly and ceremoniously committing to funding DEI related initiatives in the tidal wave of so-called racial reckoning that occurred in the aftermath of George Floyd’s death. The first symposium took place two months later on a cold and clear February morning in 2022. This annual gathering became an important tradition that we looked forward to each year.

This week, we mark four years since the woman born Gloria Jean Watkins, a Black feminist writer, academic, professor and activist became an ancestor. But in 2026, there will be no bell hooks symposium at my university. Due to university wide fiscal austerity, we will not mark the anniversary this year in any official way. It is a tremendous loss, for our students and for our community locally, nationally and internationally.

As I grappled with my own grief over this loss, I had to also reflect deeply about what it means to be a Black feminist scholar in the academy today.