Advertisements for dinner-related items are almost always loaded with gender weirdness. The doting mom cooks for her nuclear family, and they love her for it–thanks to the help of whatever fantastic instant food item is being showcased. This is such a well-worn commercial trope that we often don't notice it unless it is absent, which is (sort of) the case with the latest campaign from Stouffer's: Let's Fix Dinner.
Of Katherine Heigl's box office currency in Killers–the disappointing rom-com action flick now bombing in a theater near you–Time magazine's Richard Corliss had this to say:
[Katherine Heigl] has come close to the traditional definition of a star: someone who will get people to pay to see her in bad movies.
The article goes on to deconstruct why the derivative spy rom-com isn't performing up to expectations, which weren't particularly high to begin with. While some exploration of seasonal box office precedent–early June is the largely the time for gross-out comedies–is legitimate, Killers misses the mark for one specific reason: the filmmakers' failure to understand what constitutes successful use of the "So I married a secret agent" trope.
I had the occasion to visit Juneau, the capitol of Alaska, last August, and within five minutes of seeing the city, declared that McCain's people must have lost their continence when they landed there, knowing that no way was this Sarah Palin thing going to end up well. Because honestly, the place is so small, so isolated, so everything that Washington, DC isn't, that there would have to be armies of people on hand to get Ms. Palin up to speed on how to run a vice presidential campaign. And in hindsight, it's a lot to expect of anyone that teams of condescending DC staffers wouldn't produce some bitterness. Just maybe not the kind of bitterness Palin is dishing out in her ghostwritten memoir.
Then I started pinpointing where my discomfort rested: though people—including me—sexualized Mr. Gore (on Twitter, at least) either as object of lust or of sexual derision, rarely did I hear anyone say the same either way about Ms. Gore.
The Office is a show about an everyday office and the romances therein. There are a lot of fairly responsible portrayals of verbal violence and references to sexuality, but there are few opportunities to portray rape. But on the rare instance that rape does enter the narrative, The Office whiffs it by playing into tired patriarchal tropes about false rape allegations and making a mockery of male rape victims.
Upon hearing about our library's need for zines, Virginia Paine hand-delivered a stack of her diary comics to our office, tucked inside of a paper bag package. When I arrived at the office the next day, I was pleased to find the parcel sitting on my desk. I read all of them before the day was over.
While I like Iggy and the Stooges, Huey Lewis and the News, and Joe Strummer and the Mescaleros, this week's Bitchtapes mix is dedicated to the women who front bands not just musically but by name as well. From country to soul, and the sixties to today, here's a pack of leading ladies to get your weekend going!
Image: Cartman looks angrily at the camera in front of a tank full of manatees and balls.Both South Park and Family Guy have issues. But which privilege do they insist upon most thoroughly? At what rate do these shows oppress which bodies, and in what way? Which is more offensive? In the next few posts, I'm going to take a quantitative (though inherently subjective, of course) look at exactly how offensive these shows are. I will take five episodes spread over the course of each series and analyze the rate at they make offensive comments or jokes, whether in language, image, or action, and break it down by sexism, racism, classism, ableism, cissexism, sizism, and heterosexism.