In the spring, it looked like things were looking up in terms of being able to have relevant conversations on Facebook when the social media site committed to taking rape and violent threats more seriously. But in the months since, it has become overwhelmingly clear that Facebook has no idea how to monitor content, be it misogynistic, violent, racist, or a combination of the above.
Michelle Tea is unstoppable. She runs a feminist book press, leads a high-energy performance tour, and has published four memoirs. Now, after nearly two years of documenting the trials and travails of trying to get pregnant as a queer woman, Tea is starting up a new site, Mutha Magazine, for writing about parenting issues. The site aims to address the "whole spectrum" of parenting, including perspectives from people who are nannies, babysitters, or just like hanging out with kids.
I talked with Tea on Friday, August 16, about the exciting new site.
Photo: The New York Times piece on the "opt-out generation" focused on the lives of upper-crust ladies.
If there's one thing the wives and husbands profiled in The New York Times magazine's opt-out generation cover story can agree on, it's that someone needs to pick up the house and get dinner on the table.
And while two of those wives mention having hired someone to help with domestic labor, Judith Warner's reporting shows that this work largely falls to the women themselves—the wives and moms who had made good money (one's salary was $500,000 at her peak) at careers in corporate sales and network news production, and then left to give their full attention to their families.
Pacific Rimhit theaters last month and for a movie about large robots fighting off hulking monsters, it has a surprising amount of story.
The blockbuster has a woman of color as a main character but, sadly, the film still does not pass the Bechdel Test. However, there is one familiar female voice that claims some screentime, that of Ellen McLain as the voice of the main characters' robot-fighting-machine Gipsy Danger.
In film, artificial intelligence (AI) is often given a feminine voice.
There's been a recent awakening in the film business. Studio executives seem to have realized–again!–that people of color, specifically black Americans, want to see movies that reflect our cultural and individual experiences with love.
Film bigwigs are investing dollars in movies like the burgeoning Think like a Man franchise, The Best Man Holiday, and the other black romantic comedies slated for release in the coming months.
There are few women as pleased and disgusted with the sudden revival of black romantic comedies as I am. I'm infatuated with romantic comedies. I'm not ashamed to admit that I spend hours watching modern princesses claim their princes and gallivant off into the skyline of Los Angeles or New York. These days, I watch romcoms for work: I'm a media studies scholar working on a thesis about romantic comedies.
After 50 years in the newsroom, iconic White House reporter Helen Thomas died this week. Our upcoming issue features an interview with Thomas that proves she wasn't a writer to pull any punches. Read the interview here.
The Legend of Zelda has been a beloved game for over 25 years. One of the world's most popular video games, the tale of the Zelda series revolves not around the titular Princess Zelda—who demonstrates time and time again an overwhelming tendency to get kidnapped—but around young pointy-hatted hero Link's attempts to save his magical kingdom of Hyrule from the evil clutches of the desert brigand Ganon.