I wrote recently, on Twitter, that I was getting the word "feminist" tattooed on my ass. I was only joking, but I might as well have been serious. It's true that in all the most important things I am—mother, writer, hiker, wife, daughter, seeker—feminism is at the center. It's a descriptor so clear and permanent it seems to me it's inked on my ass whether it's literally there or not. I've been a feminist since before I knew what a feminist was. It's an indelible part of my identity and it informs everything I do.
I love Stevie Nicks. Who doesn't? However, I came upon her music only within the last couple years—I'm by no means a Stevie expert. So I was excited to see In Your Dreams, the new film Nicks and collaborator Dave Stewart directed, at SXSW this month; the screening was a chance to learn more about Stevie from herself and an opportunity to wear a Stevie-approved ensemble (long flowing skirt obviously).
Joseph Gordon-Levitt stars in his directorial debut, Don Jon, which centers on the life of a "porn addict" Jersey guido named Jon Martello.Though plenty of people will likely flock to a film that centers on two sexy stars and a porn addiction, Don Jon attempts to deconstruct the ways in which rigid notions of masculinity and femininity are damaging.
When it first started, Girls was automatically compared to Sex and the City, mainly because it was about four female friends in New York. And really that's where the similarities, for the most part, end. All season, our characters have been messy and aimless, desperate for things that they seemingly cannot attain. And that process has been rife with ugly, rotten situations, and depressing, humiliating sex that has no place in the alternate reality of Sarah Jessica Parker's show. But last night's show—the season finale—veered into rom-com territory.
After these terrible crimes come to light, we all want to see them result in major change. Harvard University is sponsoring a policy task force "to offer recommendations to India and other South Asian countries." But the group received a critique from Delhi blogger Nivedita Menon, who wrote in a post called "Harvard to the Rescue!" that Harvard would be better able to discuss rapein South Asia not from the ivory tower, but by consulting with feminists on the ground in India.
This idea of cleansing oneself has permeated this season—and the theme continues in this episode. Our characters here aren't particularly good at cleaning up and starting afresh, but what they are good at is self-sabotage. In this episode, "On All Four," several characters successfully take themselves out at the knees.
Last week, a woman at Adam's Alcohollics Anonymous crowd set him up with her daughter, Natalia. Surprise, surprise, the two actually hit it off. Suddenly, they're going to see romantic comedies starring Sandra Bullock, taking lunch breaks together and even attending friend's engagement parties. Natalia seems good for Adam, mostly because she's completely up-front about what she wants. When the two first have sex, it at first seems awkwardly negotiated. But Natalia tells Adam what she won't do, what doesn't work for her, and is clear about her boundaries. Adam isn't really used to. He says, "I like how clear you are with me." To which Natalia responds, "What other way is there?"
Classic film National Velvet (1944), tells the story of horse-obsessed Velvet Brown (played by a 12-year old Elizabeth Taylor) winning the Grand National on an "untamable" horse with the help of drifter Mi Taylor (played by Mickey Rooney). Based on a novel by Enid Bagnold, the film received positive reviews and earned actress Anne Revere, who played Velvet's mother, an Oscar for Best Supporting Actress. More recently, National Velvet was chosen for preservation by the United States National Film Registry in 2003.
Beyond the accolades and awards for being a well-made film, National Velvet is often cited as a great feminist movie for its depictions of the wise and supportive mother and for young Velvet following her dream to compete in the all-male Grand National.
But is this film about a girl overcoming sexism with the help of her exceptional horse and family still relevant nearly 70 years later? Do its depictions of Velvet Brown have anything to offer today's girls and women?
Girls, I love you. But this week's episode just didn't work.
This could be because it's hard to keep momentum after a string of excellent episodes, but this week's uneven episode "It's Back" was built on out-of-nowhere plot points.
The episode opens with Hannah receiving a phone call from ex-boyfriend Adam which she seems nervous about.After stopping at a store to buy chips to cope with the call, she carefully counts out a specific number of chips before counting the number of times she chews them.
Hannah's parents are visiting—her mother is attending a conference where she's excited to meet so many other women who "feel like I do about Ann Patchett." While waiting on Hannah to meet them at their hotel for a Judy Collins performance, they give her a "Hannah cushion of 15-40 minutes." Hannah shows up but looks pretty disheveled.
Over drinks, Hannah's parents can tell what's going on. Her father asks if her head is filling up with too much and she's getting count-y again. Her mother expresses the worry she felt that Hannah's Obsessive Compulsive Disorder (OCD) would hinder her from having a real life. This was my "what?" moment. Not that it's unrealistic that Hannah could have OCD, but that in the scope of the show, it's never even come up before at all.