More Than A Magazine, A Movement
Renaissance—Beyoncé Knowles-Carter’s fifth self-directed film—is about how to shine your light, how to give others shine, and how to sit in darkness until the light comes again.
In this season of light, we have a tremendous opportunity to observe a Black woman in her prime at 42 years old making art, working at her craft, raising her children, and surrounded by a strong network.
“On Oct. 22, 2020, a group of anti-abortion extremists forced their way into the Washington Surgi-Clinic, a facility that provides abortion care in Washington, D.C.” So begins investigative reporter Amanda Robb’s alarming account of a violent attack on an abortion clinic in the nation’s capital.
Here’s some of what else you’ll find within the pages of the upcoming Winter 2024 issue of Ms. magazine: how online abuse is used to intimidate, discredit and silence people; women activists in Afghanistan and Iran are calling on the international community to stop gender apartheid; and the top 10 most disappointing TV series cancellations of 2023.
The Exorcist: Believer employs its Caribbean-based opening scene not to locate an “origin” for demonic possession, but to follow an actual blessing in the form of a protection spell over an unborn child. Given how Haiti has been traditionally demonized in Western culture, this representation already elevates this film as a counter-narrative.
In the end, the latest installment of The Exorcist does much to alter Black representations in the horror genre, giving them due reverence and centrality in a mainstream movie while also allowing them to survive.
In Oppenheimer, Nolan’s depiction of atomic history is credited to one man. We sometimes see women and wives, albeit as a backdrop. Emily Blunt and Frances Pugh do great work with very few words spoken. The women’s work in—in this case meaning their function—is sexual: as muse, mistress, mama. But any potential power in these roles shifts at the whims of men. The real performances of this film—science, law, politics, violence, espionage—are seen and spoken without them.
“What work do wives do? They understand male scientific and military might and destruction from the perspective of the unwitting receiver (or observer or support), which is the role most of us play.”
“There are no guns in Barbieland.”
The characters—and some of the audience, all of whom likely scanned the theater for exits before sitting down (it is the “real world” of America, after all)—sighed deeply, relieved the Kens couldn’t inflict the horrors we see in the news every day.
The Barbie movie reveals one of the patriarchy’s dirty little secrets: Not only does the patriarchy exclude and punish women; but it also harms men who don’t meet the very narrow definitions of ‘manhood’ that are most favored.
Millions of men have already seen the movie and enjoyed it immensely. This success is a testament to our ability to laugh at ourselves and some of the less attractive features of male-dominated cultures, without crying foul and embracing an unearned victim status.
With opening weekend now in the rearview mirror (of her pink convertible), Barbie has raked in more than $200 million at the box office—smashing prior records for women-directed and summer blockbusters. Reviews have run the gamut. But it is the Wall Street Journal’s take, in particular, that caught our eye—and reviewer Kyle Smith’s quip that Barbie “contains more swipes at ‘the patriarchy’ than a year’s worth of Ms. magazine.”
To this, we at Ms. say: Hear, hear! We’ve been tackling feminist issues for five decades—including in our forthcoming book, 50 YEARS OF Ms.: THE BEST OF THE PATHFINDING MAGAZINE THAT IGNITED A REVOLUTION. So we know firsthand the force behind this magazine and its vast community of readers.
Girls are showing up, shaping popular culture for the better. Their choices tell us about friendship, connection, and how to forge joy in this world.
Of course, the power of girls as consumers and taste-makers isn’t new. And life remains pretty damn hard for young people. But when I see the Swifties in their ecstatic thrall, or the pink-clad Barbie hordes stampeding toward the theater, I think: We could all use a little more of that sincerity and exuberance in our lives.
In Barbie, Greta Gerwig pushes her message of feminist disruption as far as she can for a mainstream movie. She is reckoning with Barbie’s legacy and literally rewriting the script through active questioning and engagement. It’s a huge start.
Despite our collective love for larger-than-life motion pictures, I must lament the dearth of images of Black women in heroic, star-turning roles.
But in Barbieland, a topsy-turvy world where women run things—in contrast to the “real world” of patriarchy—we can imagine women in every possible role. Let’s hope Barbie’s commercial success encourages more support for films that feature diverse women as big-screen heroes. There are so many more stories to be told.
