Women, Christianity and the Politics of Submission in ‘The Handmaid’s Tale’ and ‘The Righteous Gemstones’

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.

Fifteen Years of Galentine’s Day: A Celebration of Women, Friendship and Power

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.

Hollywood’s Role in Perpetuating the ‘Angry Black Woman’ Trope

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. 

‘Rhoda’ Was on the Front Lines of Seismic Change for TV Women

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.

The Best Autistic and Autistic-Coded Characters in Animation

Three years ago, I wrote a piece for Ms. about Hollywood’s blatant and continued exclusion of Autistic people, as well as the ableist tropes film and TV have continued to push in its depiction of Autism. Since the article was published, I have seen more positive strides taken in terms of Autism representation in the media, with many of those strides coming from the world of animation.

As we wind down World Autism Month, here are some of my favorite Autistic and Autistic-coded characters in animation.

Gender, Corruption and Unbridled Power in Prime Series ‘The Power’: The Ms. Q&A With Naomi Alderman

Written by Naomi Alderman and adapted into a TV series for Prime Video, The Power asks a deceptively simple question: What would happen if, overnight, girls and some women worldwide gained the ability to administer electric shocks at will?

Ms. spoke with Naomi Alderman about her novel and how she sees its television adaptation resonating in the years since the book’s initial release.

‘The Owl House’ Versus ‘Harry Potter’: Magic School Shows, Queer Representation and Medical Autonomy

The series finale of The Owl House premiered last weekend on the Disney Channel—a story of a neurodivergent Latina girl named Luz Noceda, who stumbles into a realm inhabited by witches and demons.

Just this month, Warner Bros announced a new decade-long TV series adaptation of all seven Harry Potter books. But we don’t need another Harry Potter adaptation. We don’t need a rich, white, abled, cisgender, heterosexual woman with limited feminist views representing or speaking for us. What we need are new stories—better stories. Stories that better represent human diversity and actively seek to include as many different voices as possible. The Owl House was one of those stories, and while I’m heartbroken it ended sooner than it should have, I know there will be more.