Thanks to sustained, legitimate outrage from people on the Internet and a major ethical violation, there will be one fewer outlet for white supremacists to plead their case to the American people.
Whether or not you agree with Lady Gaga’s estimation that American women are “fighting for their lives” following Trump’s win, the timing of the Republican nominee’s victory and The Handmaid’s Tale‘s spring 2017 premiere seems well-timed.
“Good Girls Revolt” resisted the militant bra-burning feminist stereotype, instead depicting ambitious young women from a range of backgrounds — a black lawyer, a blond princess, a mousy aspiring novelist — each inspired to take action for unique reasons. It made feminism seem like an endeavor that was not only vital, but thrilling — and not just because of the newfound sexual freedom.
Why are we championing diversity and inclusivity when it comes to race and gender, but not class? Class, which we all know by now is just as much a defining factor in a person’s life as race or gender (if not moreso).
The pilot of Good Girls Revolt does a good job of setting the scene for why the women decide to sue in the first place, even if the gender discrimination lawsuit that inspired the series isn’t even mentioned as a possibility until episode two.
In the New York Times, critic James Poniewozik wrote, “Representing more people in more ways is the right thing to do, and it has made TV better. But it happened largely because there was money in it.”
From Halt and Catch Fire to The Americans, some of "the best television of the moment is mining the fairly recent past in a meaningful way." Critic Meghan Lewit on what nostalgia for the 1980s and '90s might tell us about who we are now.
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