This is a dark summer for geek girls. Though superhero and comic book-based films are all the rage these days, it’s male crime-fighters who get all the attention: there are no films starring female superheroes on the horizon.
When I was 12, I was in an abstinence-only sex-ed program where I learned that I should only have sex with someone to whom I was married. Then, in high school, some of my friends and I decided that premarital sex might be okay as long as it was with someone we were really, really in love with.
Now, most of my friends have decided to simply have sex with whomever they choose. But I haven’t.
Masha Tupitsyn writes about film, feminism, love, and being human in a media-drenched culture. Her new book, Love Dog, is a multimedia print version of a one-year blog project on love. The text is interspersed with film stills, URLs for movie clips and music videos, and more.
Love Dog feels like (one version of) what a book should be right now—a print text that's constantly in conversation with other texts and people and mediums.
Though the media seems to “discover” women in comedy once every few years, the truth is that they’ve been there from the beginning. From early stand-ups like Phyllis Diller and improv pioneers like Elaine May, through today’s breakout television stars like Mindy Kaling, women have played a crucial part in every era of modern American comedy.
Yael Kohen’s comprehensive oral history We Killed: The Rise of Women in American Comedy (which comes out in paperback this October, with a new introduction by Kohen) follows a vast and varied cast of over 150 comedians, writers, actors, directors, and others, who together provide a definitive look at the lives, careers, successes, and struggles of female comedians in America.