I don’t know if it’s a truth universally acknowledged that a woman in possession of a box set of Austen novels must pass on her love of Pride and Prejudice to her children, but it was certainly true in my family.
If you've already seen the new, Sundance-anointed comedy Obvious Child, you'll likely agree that it's the romantic comedy many feminists have long waited for—talky, sweet, and fearless; entirely relatable; offering humanity and fart jokes with equal aplomb. There's no reason to think of it—as many of us do with rom-coms—as a "guilty pleasure." It's just a pleasure, full stop, and one that has the potential to finally clue Hollywood in to what female moviegoers want to see onscreen.
An Oregon Christmas tree farm worker, photographed as part of the Pineros project.
In 100 different homes across Portland this winter, Christmas trees were adorned with unusual ornaments: instead of tiny Santas and candycanes, the evergreen branches were also graced with glass ornaments etched with the name of a farmworker who helped grow and harvest the tree.
Who has the right to self-defense? How do race, class, sexuality, and gender expression affect what our society sees as violent? In 75 minutes, new documentary Out in the Nightchallenges us to consider these questions.
The film follows the case of Venice Brown, Terrain Dandridge, Renata Hill and Patreese Johnson, four women who became known as the New Jersey Four after they defended themselves against an assault on the streets of New York City's West Village.
In the last year, it seems like movie studios have learned that audiences actually want to watch movies that center on smart female leads. I know it sounds absurd but, by God, let’s run with it. Somewhere in a flat above Diagon Alley, Hermione Granger is sleeping soundly.