Esquire’s annual “Women We Love” feature gives with one hand and takes away with the other. Hidden behind the premise of honoring them, the article puts women firmly in their place by using the traditional patriarchal tool of male approval—rewarding certain traits in the female while disparaging others.
We here at Bitch are in thorough approval of the post-Pulp Fiction Travolta renaissance that has awarded our favorite 1980s cinematic cheese-king some new credibility. Back in our prepubescent days, we wished we could be Olivia Newton-John in Grease, J.T.’s disco-dancing partner in Saturday Night Fever, and Debra Winger in the god-awful Urban Cowboy. Do you have to ask why?
Like some grizzled old-timer sitting on the porch of the homestead talking about the good old days, I think back to the first time I saw MTV and pity the prepubescents of today who didn’t have the luck to see, as I did, the wonder of MTV when it first aired. I was eight years old, alone in my living room, and somehow I knew that I was witnessing a tremendous event: a connection with something that just wasn’t accessible through after-school cartoons or Gilligan’s Island reruns.
Kids has been hailed as a film that breaks the teen-movie mold and shows a long-hidden side of young life. But, while it may be more graphic and harsh than other movies, it basically covers the same ground: voracious young male sexuality. The only innovative element of the movie—an honest portrayal of female sexual pleasure—is conflicted at best.
Back in March a horrible thing happened. After a few months of checking the newsstands for my beloved Sassy, wondering what the hell was up and why I couldn’t find it anywhere, suddenly there it was—mutilated almost beyond recognition. Peterson Publishing (they also own Guns & Ammo) bought Sassy, replaced the entire staff, and gutted the editorial philosophy—and the new staff is trying to pretend that it’s the same magazine it always was.
There’s a new front in the battle for abortion rights—the literal front, that is, of a t-shirt designed by writer and feminist activist Jennifer Baumgardner that proclaims “I had an abortion.” The shirt, initially for sale on Planned Parenthood’s national website and now available on Clamor magazine’s website, has generated controversy among not only the antiabortion community but also pro-choice feminists.
“I have a ‘glamour job’ on the Hill. That is, I could not care less about gov or politics, but working for a Senator looks good on my resume. And these marble hallways are such great places for meeting boys and showing off my outfits.” So begins The Washingtonienne, the short-lived blog of one Jessica Cutler, a young Capitol Hill Staff Assistant since dubbed the “New-insky” for her chronicling of kinky sex among D.C.’s power elite.
Gender by design on <em>Merge</em> and <em>Mix It Up</em>
Mass media, particularly so-called family television, from Bewitched to Everybody Loves Raymond, has long portrayed the home as women’s domain, an ultra-feminized realm in which housewives bustle and cluck while their hapless husbands do little more than hand out spending money and retreat to the most masculine part of the house: the study, or their favorite chair. There’s no denying the cult of the man’s chair in TV history: Those who knew Archie Bunker knew never to sit in his chair.
A Journey Into the Wide, Wild World of Slash Fiction
The kiss was not at all like Kirk had expected... “Spock, wait... wait,” he whispered desperately.... “I can’t... We can’t... You... God, Spock... I want you. Don’t you understand? I want you so much!” Kirk still couldn’t believe that the Vulcan knew what he was getting himself into.
ah, movie magic. hollywood always manages to make difficult situations turn out well after two hours—and nowhere is this more apparent than with cinematic treatments of unplanned pregnancy.
Unexpected conceptions occur onscreen with surprising frequency, but filmmakers routinely play it safe, avoiding substantial discussions of a pregnancy’s pros and cons. They keep abortion out of plots and even out of dialogue, ensuring that movies end with a heartwarming birth. Female characters rarely feel any ambivalence about carrying unplanned pregnancies to term—and why should they, when life always works out so perfectly? An unhappy and unwilling dad-to-be will convert to a pro-baby stance in time for a happily-ever-after ending. If mom isn’t too crazy about dad and would prefer to parent by herself, she’ll soon find that single motherhood is a cinch. Although childrearing seems expensive in the real world, money isn’t much of an obstacle for film parents (and made even less of one by the fact that most movies feature middle-class women with plenty of resources).