When a screenwriter-turned-director snags numerous Oscar nods in one year alone, it’s not surprising that they'll try to sweep the Academy Awards with ambitious films again and again. But when that director is Paul Haggis—the white guy famous for his deeply problematic and dubiously dubbed“progressive” film on racism Crash (2004)—each continued effort is heartily dreaded. Haggis has had plenty more commercial success with films like Casino Royale and Quantum of Solace, but his latest attempt, Third Person, likely won’t even be able say that much.
Anyone who grew up with an Arab father knows how tyrannical Middle Eastern men can be: they talk louder than anyone else in the room, make inappropriate jokes at the dinner table, and their flatulence will clear a room with after eating too much lamb (but only after all the guests have left). That’s my dad, at least.
This article was co-written by Adriana Maestas and Maegan E. Ortiz.
A basic principle of American democracy is representation. Our country is built on the premise that an elected government represents the way its citizens look, think, and act. It’s an important principle. “When people have the personal experience, when they look like you and talk like you, they are more likely to represent you. They have same cultural experiences or have faced the same situation,” says Jessica González-Rojas, Executive Director National Latina Institute for Reproductive Health.
But we all know it doesn’t actually work this way.
“May all beings be happy,” is a Buddhist incantation that has always moved me. Unfortunately, with his recent comments, recording artist Pharrell Williams seems to be saying,“I, as a wealthy male celebrity, am happy. The rest of you are on your own.”
As a child, Sheila Bapat watched her mom do all the housework. Abroad, visiting family in India, she saw her female relatives do the same. Over at her friends' houses, she observed their moms take care of all things domestic as well—politicizing Sheila from an early age to see the relationship between gender, justice, and domestic work. In her new book, Part of the Family? Nannies, Housekeepers, Caregivers and the Battle for Domestic Workers' Rights (Ig Publishing), Sheila has studied these relationships and the workers on the forefront of demanding justice.
This month, the final book in Karen Sandler's dystopian young adult sci-fi series Tankborn hits the shelves. I profiled the series last year on Bitch as part of a series on portrayals ofgirls of color in dystopia and eagerly awaited the series' third-and-final title, Rebellion.
I'm stuck between the rock and the hard place. My partner and I recently married but we've been together for seven years now. I'm from a country in South America and he's from the US. His family has been very nice to me but it hasn't been easy.
E.J. Assi and Nada Shouhayib star in Detroit Unleaded, where their characters fall in love in a Detroit gas station.
As an Arab American with a background in media criticism, I often feel like a broken record, calling out the endless stereotypes of Arabs in U.S. popular culture. I long for transgressive representations, those that break the mold and offer audiences thought-provoking stories about humanity. When I find them, I exclaim, “Alhamdulillah!”—an Arabic expression that literally means, “Praise be to God,” but culturally translates as: “Hell, yeah!” The independent film Detroit Unleaded deserves such a shout-out.
The scene is familiar to any fancy home design magazine reader: the perfectly appointed living space full of gleaming surfaces, fluffed up pillows, artfully arranged flowers next to tasteful objets d’art. But painted in to this pristine domestic landscape is the woman who is actually responsible for the polishing and dusting and cleaning of the space—Edith, a brown-skinned woman waiting for her check.