More Than A Magazine, A Movement
Stories here about women navigating the television industry, representation on and off-screen and feminist TV show reviews.
The popular and critically acclaimed series The Handmaid’s Tale and The Righteous Gemstones each recently wrapped a successful series run.
When placed in conversation, The Righteous Gemstones and The Handmaid’s Tale expose the dangerous consequences of women participating in the cultural backlash against feminism. The tradwife ideologies that Amber and Judy negotiate, and that Serena Joy embraces in theory, become a totalitarian nightmare for women in The Handmaid’s Tale.
“Your body, my choice.” That misogynist credo is the crux of the blockbuster Netflix mini-series, Adolescence, the third most-watched English language show of all time on Netflix. The show continues to provoke debate about the impact of social media on the mental health of boys, in a world dominated by the manosphere, and its power to transform boys’ into violent misogynists.
Surprisingly, porn was the one missing element in the otherwise brilliant four-part Netflix drama.
The show centers on a 13-year-old boy, Jamie—a typical lad, vulnerable, like so many other young men, to the venom of online misogyny spewed through unbridled social media, chatrooms, blogs and podcasts. This angry ideology, masquerading as manly virtue, blames women for male alienation and promotes violent sexuality and the dehumanization of women—the very narratives of porn.
Adolescence is a powerful cautionary tale about the destructive forces of the manosphere and the isolation many young boys face today. Through the lens of Jamie’s tragic journey, the show illuminates the profound impact of online misogyny, social media and a culture that discourages vulnerability in young men. As both a fictional story and a reflection of the real lives I’ve encountered, it serves as a stark reminder of the urgent need for adults—teachers, parents and communities—to guide boys through the confusion of adolescence and protect them from harmful online influences.
If we fail to act, the tragedy we see in Adolescence may become a reality for more young men.
In the years following #MeToo, some high-profile men have embraced feminism not as a practice, but as a performance: distancing themselves from those exposed by the movement while reaping the cultural benefits of appearing as “one of the good guys.”
Galentine’s Day, first introduced in Parks and Recreation 15 years ago, has become a powerful celebration of female friendships, mentorship, and support. More than just a fun tradition, it highlights the importance of women uplifting each other in a world that often overlooks these bonds. This day reminds us that when women come together—whether in friendship or leadership—they create meaningful change. As we celebrate, we reaffirm our commitment to empowering women and fostering a more representative democracy.
A roundup of the best feminist fiction on TV this year—including Girls5eva on Netflix, Quiz Lady on Hulu, and Americanish on Apple TV.
Among the most memorable ads of the political season are a pair of 30-second spots with explicitly gendered themes featuring voiceovers from two of America’s most beloved movie stars. The ads each play on the idea of “permission structures,” the assumption that voters sometimes need to be given permission to vote for a candidate or party that is not popular with their social group.
During this election cycle, Democrats and Democratic-aligned groups seem finally to have figured out that they need to respond, in part by creating a special kind of permission structure for men to support them. Permission for men to vote for their values and conscience just might make a difference in what promises to be a very close election.
After Vice President Kamala Harris recently completed an interview with a combative Fox News host, pundits agreed she “gave a master class on what it means to be a Black woman in politics” by demonstrating cool, calm, effective leadership. The Grio’s Gerren Keith Gaynor noted she avoided the “angry Black woman” trope—a stereotype that not only permeates politics but has deep roots in the entertainment industry.
In recent years, a more diverse and empowering portrayal of Black women on the big screen has celebrated complexity and identity. For nearly all of its existence, though, Hollywood has been anything but inclusive, often illustrating one-dimensional perspectives of Black women. The history of inadequate representation—and certainly positive representation—helped form the “angry Black woman” stereotype, among other false narratives.
Having TV’s most celebrated single hitched, on what was just the eighth episode of her new sitcom, ended up dooming Rhoda only as it had begun. But the wedding itself? The ceremony? That was a massive television success. Am era-defining cultural happening. The whole country attended.
Fifty years ago: Oct. 28, 1974.
While the show ended with a whimper in December 1978, it advanced a primetime movement in the 1970s—playing out within the greater movement—that led to increased representation of women and gender issues on screen.
After seven long seasons, The Good Doctor aired its final episode this summer. For a series that has been a large point of contention among the Autistic community, for better or for worse, the show has cemented itself a seemingly permanent spot in the conversation about Autistic media representation and, more broadly, how Autism is seen by the general public.
I am Autistic, and I polled several fellow Autistic thought leaders and experts, and it’s official: The Autistic community mostly rejects the show, mainly for its oversimplified and flawed representation of Autism.