Godless, Netflix's new Steven Soderbergh-produced six-part series set in a New Mexico mining town governed mainly by women, has been touted as a feminist Western, two words that typically mean opposite things.
Relying on state violence to curb domestic violence only ends up harming the most marginalized women.
Lean-in feminism and other variants of corporate feminism have failed the overwhelming majority of us, who do not have access to individual self-promotion and advancement and whose conditions of life can be improved only through policies that defend social reproduction, secure reproductive justice, and guarantee labor rights.
Where HBO's Game of Thrones once showed a one-dimensional view of female strength, it now makes clear that there are many ways to be strong.
The Sicilian born Marxist-feminist talks about the new, global wave of women-led mobilizations and the continuing importance of class politics.
The French comic series Valérian and Laureline, newly adapted into a summer blockbuster, gave the genre one of its first protagonists to powerfully own her womanhood.
“Brown men aren’t scared of brown women, they are scared of being boring and predictable if they end up with one,” Shriya Samarth, a media junkie and friend, told me over the phone. “Whereas brown women can genuinely fear the expectations of being a daughter-in-law, brown wife, etc.”
How can you attempt to craft a political, artistically rich narrative that trades in the real-life experiences of black and brown women, while ignoring them and the ways sexism intersects with racism? The bodies and histories of black and brown women prove to be useful templates for shows like The Handmaid’s Tale, but our actual voices aren’t.
Wonder Woman doesn't just subvert superhero movie gender tropes, it does it in clever ways.
This delicately powerful superhero movie made me finally see the importance of female representation.
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