Is network TV ready for a Black Lesbian superhero?
A survey of the life, work and associations of the late New York Review of Books editor Elizabeth Hardwick, the transplanted Southerner who became a writer of note among the literary and political circles comprising the New York Intellectuals of the pre- and postwar period, she had a knack for illustrating what might have been called feminist themes by way of specific details of specific lives.
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.”
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