On the (Rest of the) Net.


Judd Apatow makes the same sexist, conservative and boring movie over and over again. [The Guardian]


Is there ever a justification for killing an animal? [Jezebel]

Why I won’t work with Lena Dunham as long as she supports the criminalisation of sex work. [Molly Crabapple]

How do singletons feel smug now that longtime lonely girl Jennifer Aniston is hitched? [Daily Life]

My friend Camilla Peffer wrote about how her persistent acne wasn’t caused by a lack of self-love. As an acne-sufferer myself, I can totally relate to this. [xoJane]

Anti-choicers shouldn’t dare proselytise to women about abortion: we know about it all too well. [The Cut]

Sesame Street‘s move to HBO begs the question: what about kids and families without access to premium cable TV? [WaPo]

Telling a rape joke made me feel amazing. [Jezebel]

The double bind of wearing—or not wearing—makeup. [Triple J Hack]

Why you shouldn’t search for people you know amongst the Ashley Madison hacks. [Fusion]

The best of Aussie and Kiwi feminist writing from July. [Zero at the Bone]

ICYMI: The full transcript of my interview, originally published on Junkee, with Rachel Hills about her new book, The Sex Myth.

These are the books I’ve read over the past year.

Why Walmart and Rite-Aid in the U.S. shouldn’t ban Cosmopolitan.

Image via LA Times.

In Defence of Cosmopolitan.

Cosmopolitan Demi Lovato

Men’s magazines are commonly displayed behind opaque screens in servos, supermarkets and news agents but in selected department and drug stores in the U.S., such as Walmart and Rite Aid, women’s magazine Cosmopolitan will be getting the same treatment.

Victoria Hearst, great granddaughter of the man who bought the title in 1905 and contributed to making it the magazine we know today, William Randolph Hearst, is spearheading a campaign, along with the National Centre on Sexual Exploitation, to have Cosmo shielded from children’s impressionable eyes, giving new meaning to its patented “sealed section”.

The reasoning behind the campaign, entitled Cosmo Harms Minors”, is explained on the Centre’s website thusly:

Cosmopolitan Magazine glamorises things like hookup, public, anal, group, or violent sex in nearly all of their issues. We are asking that Cosmo be sold to adults only and have the cover wrapped like all other porn magazines in retail shops.”

While often overlooked as “just another women’s magazine”, Cosmopolitan in Australia, in particular, has been a bastion for body positivity with the early ’00s Body Love initiative and stories about domestic violence, reproductive rights and career goals.

In recent years U.S. Cosmopolitan has undergone a similarly feminist reawakening of sorts. Editor Joanna Coles identified the magazine as “deeply feminist” in 2013 while in May last year The Wire reported that Cosmo had “hired longtime Feministing blogger Jill Filipovic to cover politics on the website” as well as former Jezebel writer Anna Breslaw. Since then, Filipovic has written longform screeds about why changing your name upon marriage and defunding Planned Parenthood are bad ideas; comedian, filmmaker and musician Lane Moore writes as Cosmopolitan.com’s sex and relationships editor such queer-friendly pieces as what to do when you’re a lesbian in love with a straight girl and “15 Things I Wish I Knew About Being Gay When I Was Younger”; and writers such as Rachel Hills round out the wide variety of sex- and gender-positive women working for the magazine.

Hills says of her work at Cosmo examining things such as dating while trans, painful sex and asexuality, that “Since Joanna Coles took over as US editor-in-chief in 2012, both Cosmopolitan and Cosmopolitan.com have taken on a more explicitly feminist bent, hiring a lot of feminist writers that cut their teeth on the Internet, including myself. And one of the great things about writing online is that you get to cover things that would never end up in the mag—not because they’re too explicit, but because they just wouldn’t sell.”

NCSE thinks that Cosmo promotes “Sex without responsibility is acceptable and desirable” however its emphasis on protection from STIs and pregnancy is high as well as their emphasis on sex not having to be between a man and a woman in a long-term relationship or marriage.

So it’s interesting that they’ve chosen to go after Cosmopolitan now, when it’s publishing some of its most progressive content.

From NCSE’s website:

“While it only has a few nude photos occasionally, this publication has steadily declined from a somewhat inspirational women’s magazine to a verbally pornographic ‘how-to’ sex guide. What’s worse is that this magazine is purposefully targeting younger and younger audiences with Disney stars and teen idols often donning the covers and featured in the headline stories.”

Disney star and teen idol in question Demi Lovato, U.S. Cosmopolitan’s current covergirl, responded to the brouhaha on Twitter, asserting that as a former sufferer of an eating disorder, covering Cosmo made her feel “EMPOWERED” and “the MOST BEAUTIFUL I’ve ever felt.”

In case the campaign’s problem with a more feminist magazine wasn’t obvious enough, the very first thing that blares out at you from the its homepage is that the new Cosmo is harmful to minors.  

However Hills doesn’t necessarily agree. “I don’t think it would be accurate to say that Cosmo used to be anti-feminist and now is feminist. I spent a bit of time in the Cosmo archives last year, and some of those issues from the 1970s are phenomenal—Susan Sontag was writing for them! I suspect Victoria Hearst would have been just as appalled by the Cosmopolitan of 1985 as she is by the Cosmopolitan of 2015.”  

But what about all the other magazines? Sure, Cosmo does have some loud headlines that may draw concerned glances at the checkout (one of the first issues I bought as a teen featured Kirsten Dunst alongside “Oral Sex Lessons” that drew judgemental looks from my parents), but what about other, far more harmful magazines? I’m not necessarily talking about men’s mags in the vein of Zoo Weekly (which could be a whole different article in itself) or Playboy (which is actually publishing more progressive content itself so now it really can be read for its articles), but weekly “rags” such as NW and New Idea which are also aimed at women because we love to gossip and humiliate each other, didn’t you know? A recent survey of the periodicals on offer at my local Coles included stories about One Direction’s supposed gay coverup, “Bikini Lumps and Bumps” and “Crazy Bachelor beach catfights” (because women can’t have level-headed disagreements without them devolving into “crazy catfights”), not to mention the squillionth Jennifer Aniston-pregnancy speculation. So diversity from the heteronormative sex positions “that’ll blow his mind” warrants concealment from the general public, however body shaming, outing and misgendering people is A-OK!?

Let’s hope that common sense prevails in Victoria Hearst and the NCSE’s quest to classify Cosmo as porn. In the interim, we can take solace in the fact that the blinders they intended to conceal Cosmo’s headlines has actually resulted in drawing increased attention to its cover subjects’ decolletage.  

Related: Shaming Lara Bingle.

Elsewhere: [End Sexual Exploitation] Cosmo Harms Minors.

[Politico] Joanna Coles: Cosmopolitan is a “Deeply Feminist” Magazine.

[The Wire] Hot Spring Trend: Hiring a Feminist Blogger at Your Women’s Magazine.

[Cosmopolitan] In the Age of the Internet, Changing Your Name When You Marry is a Terrible Idea.

[Cosmopolitan] Defunding Planned Parenthood is the Opposite of “Pro-Life”.

[Cosmopolitan] 15 Emotional Stages of Being a Lesbian in Love with a Straight Girl.

[Cosmopolitan] 15 Things I Wish I Knew About Being Gay When I Was Younger.

[Cosmopolitan] What It’s Really Like to Date as a Trans Person.

[Cosmopolitan] How to Deal with Painful Sex.

[Cosmopolitan] Asexuality.

[End Sexual Exploitation] Why Cosmo‘s Content Matters. 

[SBS] Coles Bins “Sexist” Zoo Weekly.

[Daily Life] Why is Pop Culture Obsessed with Celeb “Catfights”?

[Cosmopolitan] 28 Mind-Blowing Lesbian Sex Positions.

[The Cut] Cosmo Censorship Accidentally Highlights Boobs.

Image via Go Fug Yourself.

The Reading Hour.


Tonight at 6pm marks 2015’s edition of The Reading Hour.

In celebration, here are the books I’ve read in the past year and a brief review of them.

What have you been reading since last year’s event?

Bad Feminist by Roxane Gay.

If you haven’t read Roxane Gay’s book of essays since it was released last year, then what the hell have you been doing?! Gay is one of the best writers out there, and her take on all things pop culture and the conflicted relationship feminists sometimes have with it is a must read.

Death Clutch by Brock Lesnar.

This is one of those terribly ghost-written wrestling autobiographies and the main reason I read it was because it had been sitting in my to-read pile for far too long. Brock Lesnar is one of my least favourite wrestlers mostly because he was the first one I met and he was an asshole. This book gives a glimpse as to why he’s so introverted, which can sometimes come across as rude and ungrateful.

Rebels & Chicks: A History of the Hollywood Teen Movie by Stephen Tropiano.

Having been written a decade ago, this book unfortunately misses many of the teen movies we’ve come to know and love since then, such as Mean Girls and John Tucker Must Die, not to mention the booming genre of fantasy/dystopian teen flicks. But it does provide a pretty thorough and entertaining history of many teen movies you might have missed from as far back as the ’50s and, of course, the golden age of teen flicks, John Hughes’ ’80s.  

Madame Bovary by Gustave Flaubert.

This was one of those books that, no matter how hard I tried, I just couldn’t get into. The main reason I stuck with it was because it was a gift and I wanted to tell its giver that I’d actually read it.

Wolf Hall by Hilary Mantel.

Carrying on from the funk that Madame Bovary got me into, I spent a few weeks reading this on public transport (which, at over 600 pages, is no mean feat!) but my mind wandered elsewhere.

Not That Kind of Girl by Lena Dunham.

Of all the celebrity memoirs I read over the past year, I’d probably recommend this one the most, if only for the salacious alleged molestation Dunham detailed and her experiences breaking into sexist Hollywood.

Too Much Money by Dominick Dunne.

Not one of Dunne’s better books but a carefree romp for the reader nonetheless.

The Bling Ring by Nancy Jo Sales.

This was also a gift from the same person who gave me Madame Bovary. I’m pleased to report it held my attention much more than Flaubert.

Fun Home by Alison Bechdel.

Another gift, and one of my first forays into comic books. I enjoyed it more for the story than Bechdel’s illustrations.

Mockingjay by Suzanne Collins.

By far the worst instalment in the Hunger Games trilogy. I know it’s set in a dystopia, but Mockingjay was thoroughly depressing.

Yes Please by Amy Poehler.

I had such high hopes for Yes Please, but it was mediocre, both in writing style and humour.

Maybe the Moon by Armistead Maupin.

One of only two books written by Maupin outside the Tales of the City franchise, I didn’t fall in love with the characters as I have with his previous books, but it was an interesting story based on the life of Tamara De Treaux, the actress who played E.T.

Water for Elephants by Sara Gruen.

Not as good as the movie and I struggled with the animal cruelty portions.

Female Chauvinist Pigs by Ariel Levy.

One of the most overrated feminist texts I’ve read. This is probably a testament to the fact that it was written ten years ago and feminist theory has come a long way since then, baby. A lot of unnecessary scaremongering not unlike this recent Vanity Fair article on Tinder and online dating in general.

The Night Listener by Armistead Maupin.

Maupin’s second non-Tales book, it was turned into a film in 2006 starring the late Robin Williams which was dubbed as a “psychological thriller”. While I would say the book is far more campy than a psych thriller has a right to be, I did enjoy the suspense of Maupin’s fictionalised real-life encounter with Anthony Godby Johnson, the young author of a book about his abuse as a child, which later turned out to be a hoax.

Living Dolls: The Return of Sexism by Natasha Walter.

A poor woman’s Female Chauvinist Pigs.  

The Secret History by Donna Tartt.

This book could have stood to be shorter, but it is very suspenseful and lives up to the hype.

Wild Things by Brigid Delaney.

I had high hopes for this modern-day Aussie version of the aforementioned The Secret History set in the residences of an elite Sydney university. The local spin increased the novelty factor, but I was expecting more.

An Untamed State by Roxane Gay.

Not for the easily triggered, Gay has a knack for writing about suffering that is second to none.

Redefining Realness by Janet Mock.

If you ever need to explain the plight of trans people and how to talk to and about them, I can’t recommend Janet Mock’s memoir highly enough.

Bitchfest: Ten Years of Cultural Criticism from the Pages of Bitch Magazine by Andi Zeisler (ed).

A selection of some of Bitch magazine’s best pop culture writing from its inception in 1996 to this book’s publication in 2006. Another decade has passed since then, so it’ll be interesting to see if Bitch comes out with another collection. I hope so. In the meantime, subscribe to them.

The Beauty Myth by Naomi Wolf.

There’s a lot to be said for feminist theory that is accessible to its readers and I don’t think The Beauty Myth is. I found it hard to stay focussed on some of its more wordy theories and criticisms.

Periods in Pop Culture by Lauren Rosewarne.

Who would’ve thought there were enough examples of menstruation in pop culture to warrant a whole book?! I enjoyed this exploration of periods in pop culture and its demystification of something that is normal but rarely discussed.

Death on the Nile by Agatha Christie.

I was obsessed with this movie as a kid so I thought I’d finally read the book. The movie trumps it TBH.

Deep Water by Patricia Highsmith.

I had different expectations for this relationship thriller but I was pleasantly surprised by what Deep Water turned out to be.

Laurinda by Alice Pung.

One of the best YA’s I’ve read… well… ever. Pung has a knack for putting to paper the way inner city teens talk and the dynamics of private school girls. If you’re looking for something easy to read but gritty, Laurinda is the one for you.

Nightlight by Harvard Lampoon.

This book made me understand the nuances between satire and parody: satire is smart and crafty, parody is the equivalent of Chief Wiggum—annoying and stupid.

Bossypants by Tina Fey.

In the vein of Amy Poehler’s Yes PleaseBossypants wasn’t as good as I thought it would be. In fact, it was barely funny.

Smoke Gets in Your Eyes by Caitlin Doughty.

This was one of the best books I’ve read all year. It looks at the funeral industrial complex and argues that people have options for their loved ones in death that don’t include embalming, a sterile mortuary and an impersonal traditional funeral.

The Wife Drought by Annabel Crabb.

A lot of statistics and studies brought down what is otherwise a funny, engaging argument for more equality between men and women in the home and at work.

Big Girls Don’t Cry by Rebecca Traister.

With the announcement of Hillary Clinton’s 2016 presidential run, I thought I’d finally get around to reading Rebecca Traister’s take on the 2008 election, which has been on my to-read list for years. It was interesting, however its distant tone means I barely remember its contents only a few months after reading it.

Holding the Man by Timothy Conigrave.

This is a beauty of an Australian fictional work and I can’t wait to see the film it was recently adapted into. Very tender and sad but also brilliant.

Playland by John Gregory Dunne.

This book began the series of four books I attempted to into over the course of a few weeks but just couldn’t. I think this one was about Hollywood (as Joan Didion’s husband and Dominick Dunne’s brother, it seems only fitting) but I gave up after less than 100 pages.

Falling Man by Don DeLillo.

I got almost to the end of this novel about September 11 after realising I’d taken in nothing.

Oswald’s Tale by Norman Mailer.

Coming in at over 800 pages, I couldn’t justify giving any more than about 90 pages of my time to this biography of Lee Harvey Oswald.

The Feminisation of American Culture by Ann Douglas.

I’d bought this book six years ago when its contents may have interested me, but upon cracking its spine, I realised I was no longer.

I Remember Nothing by Nora Ephron.

The Most of Nora by Nora Ephron.

I Feel Bad About My Neck by Nora Ephron.

I decided to get into Nora Ephron after the previous spate of books that kind of made me hate reading. Whilst I’d never read any Ephron before, I did devour most of her movies over the summer, so I thought her book writing might be similar. I was right, although I did end up encountering most of her essays more than once as these collections tended to double or triple up on some of them.

Strange Justice: The Selling of Clarence Thomas by Jane Mayer & Jill Abramson. 

Another book that had been on my list for years that I decided to read upon HBO’s announcement that they’d be turning the sexual harassment of Anita Hill by current Supreme Court Justice Clarence Thomas into a biopic starring Kerry Washington as Hill. While Strange Justice isn’t light reading by any means, it did enlighten me to the politics of the case ahead of the biopic.

The Fault in Our Stars by John Green.

I was late to the party on this one. I did have a little cry as was expected, but I found its protagonist annoying, the dialogue unrealistic, and the writing misogynist at times.

The Sex Myth by Rachel Hills.

Naomi Wolf and Ariel Levy, take note: this is how you write feminist theory. With an informal, accessible tone and a non-judgemental discussion of sex, this is the seminal text about sex and feminism for the millennial generation.

Orange is the New Black by Piper Kerman.

I had no idea some of the Netflix series’ characters would be so heavily based on real people Piper Kerman encountered during her incarceration that inspired the show. While her story and her subsequent work with the Women’s Prison Association are important, I found some of the language she used alienating and transphobic, in particular.

Paper Towns by John Green.

Despite The Fault in Our Stars‘ overhype, I still had high expectations for Paper Towns, which I had written on my to-read list next to the words “debunking of Manic Pixie Dream Girl”. While the book tries hard to do that, particularly towards the end, it ultimately fails. Also, too much use of the word “ret*ard” and Quentin’s friend Ben is a complete creep who refers to women as “honeybunnies”. Gag me.

Scandals of Classic Hollywood by Anne Helen Petersen.

I love Anne Helen Petersen but I didn’t necessarily love her take on classic Hollywood which is arguably what made her famous. I’m looking forward to her dissection of more modern stars and the gossip surrounding them for her second book.

Go Set a Watchman by Harper Lee.

No wonder Harper Lee kept this original manuscript of what would eventually become To Kill a Mockingbird hidden for so long. It’s pretty average on all counts and focusses far too much on the racism we’ve all heard about. Mockingbird is by far the superior text so if you aren’t able to separate the two in your mind, steer clear of this one.

The Unspeakable by Meghan Daum.

This, along with Laurinda and Smoke Gets in Your Eyes, was perhaps the best book I’ve read all year. Featuring only a few longform essays, The Unspeakable is bookended by the two standouts: “Matricide”, in which Daum explores her ambivalence and sometimes rage towards her dying mother, who passes away less than a year after her own mother with whom she had a tumultuous relationship; and “Diary of a Coma”, which details the viral infection that almost killed Daum, again, less than a year after her mother’s death. Challenging, laugh out loud funny and gasp-inducing.

In the Unlikely Event by Judy Blume.

Based on the real life events in Judy Blume’s hometown in the ’50s, where three planes crashed in the period of a few months, I expect to finish this one tomorrow. I’m enjoying the story however there are far too many characters and giving them equal time in their own little mini-chapters distracts from the central story of Miri and her family.

Related: The Reading Hour 2014.

The Reading Hour 2013.

The Reading Hour 2012.

Blood Bonds—The Sisterhood of Menstruation.

Interview with The Sex Myth Author Rachel Hills.

Elsewhere: [Bitch Flicks] Lena Dunham, Slenderman & the Terror of Little Girls.

[Vanity Fair] Tinder & the Dawn of the “Dating Apocalypse”.

[The Hairpin] Scandals of Classic Hollywood.

[The Independent] Go Set a Watchman: Atticus is Now a Racist in Harper Lee’s To Kill a Mockingbird Sequel.

Image via HuffPo.

Interview with The Sex Myth Author Rachel Hills.


A condensed version of this article was published at Junkee.

Writer Rachel Hills first began thinking about the ideas discussed in The Sex Myth: The Gap Between Our Fantasies & Reality, her first book released this Wednesday, in around 2007 or 2008. “There was a lot of stuff in the media about hookup and raunch culture and it painted a very exaggerated and hedonistic picture of young people and sex,” she says.

Hills’ sex life at the time didn’t look at all like what pop culture, like Gossip Girl and the Sex & the City movie, was telling her it should. To assuage her insecurities, she started writing on her blog, Musings of an Inappropriate Woman, and places like Vogue magazine about sex and found “lots of other people were feeling the same way, [and] that’s what inspired me to start looking seriously into those ideas.” After seven years of research and interviews spanning Australia, the U.K., Canada and college campuses in the U.S., The Sex Myth was born.

Currently living in New York, Hills is a veritable Carrie Bradshaw for a new generation, having parlayed her interest in The Sex Myth into a regular column for U.S. Cosmopolitan. She also tweets at @rachellhills.

I know you’ve spent at least seven years working on The Sex Myth. Can you give me a brief rundown of how the book went from concept to fruition?

I started thinking seriously about the ideas that are in The Sex Myth in about 2007/2008. There was a lot of stuff in the media about hookup and raunch culture and it painted a very exaggerated and hedonistic picture of young people and sex. I think most people have the media literacy to be able to look at articles that talk about 17-year-olds falling out of trees while they’re having sex or “g-stringed baboons in oestrus”, which is one of my favourite phrases, and understand that this is not what’s happening on most people’s’ Thursday or Friday or Saturday nights.

What was interesting to me was that those stories were the pointy end of the bigger narrative  happening around sexuality in our culture. Even if we weren’t hearing these very exaggerated stories, the same narratives were being told in a more subtle, insidious way in magazines, on the web and in TV shows. So there was this overall picture of sex as something that was constantly available and of course you were doing it and if you weren’t doing it there was something wrong with you.

My personal interest in the subject came from the fact that my sex life didn’t look at all like that at the time and it was something that I felt a little uncomfortable about; like maybe there was something wrong with me. When I realised that lots of other people were feeling the same way, that’s what inspired me to start looking seriously into those ideas.

The case studies and the way you weave certain people’s stories throughout the book, like Portia, Courtney and Yusuf, lend a certain familiarity and an informality. Was that intentional?

It was really important to me that the book was accessible to its readers. I wanted to write a smart book, and in some ways it’s a very theoretical book in that it references Michel Foucault and Anthony Giddens, but I think that those theories are most useful when you can see how they apply to people’s everyday lived experiences. The case studies both give the reader a break in something that could otherwise be exhausting to read but it enables you to find yourself in other people.

What was the interview process like?

I just wanted to talk to anybody who wanted to talk to me! I wasn’t particularly fussy.

My main criteria when I started working on the book was age. The vast majority of the people interviewed in the book are in their twenties, ranging from 16 to 32 or 33 for the most part. The reason I decided to interview younger people primarily was mostly because I was quite young myself. When I started working on the book I was 25, and part of my question was around the portrayal of my generation’s sexualities which then became the scope of my research. I now feel like the book could have benefited from interviewing older people as well but that would have taken longer. It took eight years to start with so it’s probably best to limit the sample to some extent!

The people I interviewed in the book are from Australia, the U.S., the U.K. and Canada. The reason I spoke to people in those countries is because we share a common language and that enables a similarity of culture. When the language changes, often social ideals and standards change as well.

In chapter three you talk about asexuality. Last year Time magazine declared a “transgender tipping point”. Though one is about gender identity and the other sexual orientation or preference, do you think we’re close to an asexuality tipping point where people might start to understand what asexuality is?

Five years ago would we have known that trans issues would be such a big part of the conversation around gender and sexuality? Not necessarily because those issues were much more marginal then.

I wonder, what would an asexuality tipping point look like? If it means a discussion of asexuality in the media, then I feel like we’ve already been there. What’s most important in understanding asexuality as a sexual orientation is to come to an acceptance that sex isn’t this constant thing that everybody is always doing and thinking about and at the centre of everybody’s lives. Like gender, sexuality is a spectrum, so it’s not just that you’re sexual, so you’re constantly humping people, or asexual, and you have no interest at all. We all sit along different points of it and I would like to see an acceptance of the fact that we all have a different interest in sex and access to sex and we don’t all want to lead the same kind of sex life.

And a difference interest in sex throughout different points in our lives.

Exactly. When I was doing some of my more academic research, I came across a couple of sociologists from the U.S. who were doing most of their publishing in the 1970s called John Gagnon—great name!—and William Simon. They were the first people to look at sex as a social activity. One of the points they look at is the fact that sexual desire does change throughout the life cycle. Sex can feel incredibly urgent in youth, the early years of a relationship or when having an extramarital affair. But there are other times in your life when sex falls into the background and other things might be a priority.

There’s a portion on beauty and how being beautiful not only makes you desirable to others and in turn makes them desirable but that a certain level of beauty makes people think you’re sexual, even if you’re not. Does beauty take the power structure of sex to another level?

The relationship between desire and desirability is the core of The Sex Myth. If you want to succeed in any one aspect of the contemporary sexual ideal probably the most important are being desirable and desiring. First you have to want sex, then you have to be attractive enough to get it.

There was a lot of talk from your subjects about who chooses whom when it comes to sex. Ashley says “you want to appear like you are choosing to sleep with the other person, not like they are choosing to sleep with you” while later in the book Brit says “if a guy wasn’t having sex, people figured it was because he chose not to. Whereas if a girl wasn’t having sex, the only explanations were that she was religious or because she was undesirable.” It reminds me of Jersey Shore, for example, when the guys were lauded for picking up as many chicks as possible but the women were called sluts when their sluttiness actually enabled the men to get some! Can you unpack these double standards a little further?

I don’t know if Brit’s point necessarily reflects my own experiences and observations, but if we take it as being true, she is inverting the expectations. So instead of being slut-shamed, like the girls in Jersey Shore, she is shamed for not being attractive enough to get a man in that heterosexual situation.

One of the things I talk about in the book is that the feminine ideal that women are aspiring to is not this pure, submissive virgin/wife character that women might have been taught to aspire to in times past. It’s someone who is self­-actualised and in control, as Ashley spoke about, and who has sexual agency, who wants and likes sex. This new feminine ideal where we’re expected to desire sex still happens primarily in relation to other people. As a society we’re largely for it for women, but it still seems to be more responsive; so her desiring sex means that she says yes to somebody when they want to have sex with her. There’s still a taboo around female masturabation or owning a vibrator because they’re associated with female desire and getting off because you want to not because you want to please your partner.

In chapter five you talk about masculinity and sexual assault. How important was it for The Sex Myth to explore “the rape myth” that certain kinds of women/people can’t be raped?

Rape culture is obviously a huge issue within feminist debate at the moment. There are some really great thinkers—Clementine Ford in Australia comes immediately to mind and in the U.S. Kate Harding has a book on rape culture coming out a couple of weeks after mine—working on that issue. Rape culture is only one part of the politics of sex and what I wanted to do with the book is take a very broad view of how we’re expected to be sexual beyond the gendered politics of sexuality in which men behave one way and women behave another so I wanted to go beyond that but I was conscious that there were other people who were doing it really well.

Men bragging about how many women they’ve slept with solidifies heterosexuality. Do you think “bromance” movies like Magic Mike XXL play into and/or subvert “masculine straightjackets”, as you call them, and if so, how?

The “masculine straightjacket” is this idea that in order to be a “real man” you have to behave in a certain way. You have to be sporty, good with women, tough, you can’t show emotion, you can’t be a girl and you can’t be gay, because those things are treated as the opposite of what a real man is.

In terms of Magic Mike XXL, I think it does challenge some conventional aspects of masculinity. I like that the men in Magic Mike are in some ways incredibly masculine and stereotypically heterosexual but they’re also allowed to have this softness to them. They’re allowed to do things, maybe because they’re so conventionally masculine in other ways, like be into yoga or dance to the Backstreet Boys, that aren’t considered a threat to their masculinity. But on the other hand, they’re still fist bumping about the women they’re picking up and their masculinity is still very much derived from their success with women so I’m not sure that it completely challenges it; it’s still very conventional in a lot of ways.

I don’t talk about this in the book, but I met an academic from Connecticut recently, Christin Munsch, who’s looked at how men are able to play with and challenge masculinity. The interesting thing she found in her research is that guys whose masculinity isn’t going to be called into question—who are socially powerful or considered to be attractive by most people—actually have the most latitude to challenge other forms of masculinity. So men at the top of the social strata are most able to challenge things and men in the middle, who might be more insecure about themselves, might be more likely to cling to the “masculine straightjacket”. So Magic Mike is very much in line with Munsch’s research.

Have you seen Trainwreck?

Not yet, but I love Amy Schumer so I’m planning on seeing it at some point. I’ve heard about the narrative the film takes [damaged, promiscuous woman is saved by good man] which is weird because it’s not what you would expect from Amy Schumer. She proudly and deliberately talks about the fact that she is sexually active and that she has slept with a lot of people in situations that some people would consider to be unsavoury or promiscuous and reclaiming that is a big part of her work. So it’s kind of strange that this film would follow that conventional narrative. I wonder if that’s just about the rom-com format; it’d be pretty hard to create one that doesn’t end like that. It’d be pretty cool, though.

It might also be that it wouldn’t have gotten greenlit if it didn’t have that fairytale ending…

That’s a great point. Because films do need a large number of people to see them, compared to books! They really do have to appeal to a broad audience.

I watched a couple of interviews with Amy that have gone viral and I know that she really rejects the idea that that character is damaged. I think she said in that interview with KIIS FM that she thought of the character as someone who was having fun and [the character] didn’t think of herself as damaged. And then things change and she falls in love hence that conventional happy ending.

Something that I was aware of with The Sex Myth is that I wanted to veer away as much as possible from this narrative that people’s sex lives weren’t up to scratch but then something happened and oh, they’re having great sex. It’s a trap I fall into a little bit in the book but it’s really hard not to because those are the stories people tell about their own lives. We all like to tell our stories about our happy endings. I once was lost but now I’m found. Things used to be bad, now they’re better. That narrative of we’ll be happy in the end when we find a nice man or woman to be with is as much entrenched in our culture as the narratives that I talk about in The Sex Myth.

*This interview has been edited for length and clarity.

The Sex Myth by Rachel Hills is out now.

Image via Musings of an Inappropriate Woman.

On the (Rest of the) Net.


Rachel Hill’s book The Sex Myth, released on Wednesday, is excerpted here. [Sydney Morning Herald]

And I interviewed Rachel on the book. (An extended version to come.) [Junkee]

I also wrote about how I Am Cait might be the turning point in reality TV. [Spook Magazine]

35 of the 46 women who have accused Bill Cosby of drugging and/or sexually assaulting them have been photographed for and told their stories to New York magazine. [The Cut]

How that story came about and how they recovered from the DDoS hack. [Mashable]

What happens to mass murderer groupies when their subjects are convicted? [Slate]

In the wake of last week’s Twitter hubbub, Taylor “Swift isn’t here to help women—she’s here to make bank.” [Gawker]

Is there room for the Legends Football League in the recent revolution of women’s sports? [Grantland]

A history of World Wrestling Entertainment’s racism. [The Atlantic]

Orange is the New Black fails its Asian characters. [Hyphen Magazine]

On the “racebending” of Hermione Granger. [HuffPo, Buzzfeed]

ICYMI: My thoughts on Hulk Hogan and racism in wrestling.

Image via Musings of an Inappropriate Woman.

Hulk Hogan & Racism in Wrestling.

hulk hogan racist

Over the weekend an eight-year-old recording of your childhood hero Hulk Hogan using racist epithets directed towards a black man his daughter was allegedly dating at the time surfaced. World Wrestling Entertainment was quick to sever ties with Hogan, terminating his contract (yes, he still worked there!) and deleting his presence from their website.

While this by no means rids WWE, and the wrestling world at large, of their inherent racism, they should be commended for taking such drastic measures against arguably their most famous star at a time when famous men are still protected despite their wrongdoings.

A few years ago, I wrote about the challenge of rectifying my feminism with my wrestling fandom:

“[W]restling is one of the most obviously racist modes of mainstream entertainment. Let me count just some of the racial stereotypes throughout wrestling history that come to mind: The Iron Sheik was pitted against such all-American opponents as Hulk Hogan and Sgt. Slaughter during the height of the Iranian hostage crisis and the Gulf War; the Mexicools’ ring entrance comprised the use of a ride-on lawnmower, insinuating that people of Mexican descent make excellent yard workers; African American wrestler Charles Wright went from one black trope—a witch doctor named Papa Shango—to another—The Godfather, a pimp who came to the ring followed by his ‘Ho Train’; the Boogeyman was another witch-doctor-esque character played by another African American wrestler, Marty Wright (of no relation to Charles Wright); Native American wrestler Tatanka got around in traditional Native garb, such as headdresses and warpaint and carried a tomahawk; Kofi Kingston is from the Republic of Ghana, but somehow a Jamaican gimmick for his character made more sense; we all know people of African American descent are probably criminals, so why not bring two black wrestlers together in a tag team and call them Cryme Tyme?; Jim Harris played the wild ‘Ugandan giant’ Kamala, while the late Edie Fatu had a similar, albeit Samoan, gimmick as Umaga; and Mohamad Ali Vaez, of Iranian heritage, plays up the Islamaphobia angle for his character.

documentary called Wrestling for Rotary chronicles an independent wrestling gig for charity in country Victoria in 2011, where Vaez talks about the internal struggle he faces in ‘perpetrating stereotypes that my family suffers because of [racism].’

But, at the end of the day,’I’ve suffered inherent racism in the United States, so you know what? I’m gonna make money off of it.'”

I think my sentiments still stand.

Related: World Wrestling Entertainment Will Never #GiveDivasaChance As Long As It Prioritises Bad Men.

Why Are Famous Men Forgiven for Their Wrongdoings, While Women Are Vilified for Much Less?

Elsewhere: [TheVine] Can a Feminist Love Pro Wrestling?

[Radar Online] Hulk’s N Word Racist Racist Rants Caught on Tape—Foul, Disgusting Tirade Leaks.

[The Guardian] Hulk Hogan Fired by WWE After Racist Recordings Emerge.

[Grantland] A (Very) Concise History of Racism in Wrestling, 1980–Present.

Image via Lipstick Alley.

On the (Rest of the) Net.

The return of the teen girl movie. [Daily Life]

What Go Set a Watchman can teach us about contemporary racism. [WaPo]

But Atticus Finch’s racism isn’t a new thing. [New Republic]

The rise of porn gifs (NSFW). [Fusion]

Taylor Swift may have “Bad Blood” with some (most recently Nicki Minaj), but her “feminist selfies” with Karlie Kloss, Lena Dunham et al. shows what it’s like to be close to her. [LA Review of Books]

Speaking of Swift inserting herself into Minaj’s beef with the MTV VMAs for her groundbreaking videos being overlooked in this years’ nominations, it isn’t the first time Swift has both played the white, innocent victim and been at the centre of VMA controversy. [The Guardian, Kevin Allred]

The cultural appropriation of Keeping Up with the Kardashians, and how we perpetuate it by watching it. [The Cut]

Is Lady Gaga normal now? [Vulture]

Let’s clear up that Planned Parenthood selling aborted foetuses nonsense. [xoJane]

The hacking of cheating website Ashley Madison isn’t morally any better than The Fappening. [Daily Life]

In the wake of Good Weekend cancelling an article on Caitlin Stasey because she wouldn’t pose nude for them, she’s taken to Jezebel to tell her side of the story in more than 140 characters.

We need to stop devaluing women’s sports. [New Republic]

Serena Williams is the seminal athlete. [The Nation]

When painful sex continues long after the first time. [Medium]

What it’s like to be an extra on Magic Mike XXL. [Cosmopolitan]

“Pony”, “Closer” and the significance of the strip club soundtrack. [Pitchfork]

How The Bachelorette is changing the way reality TV deals with sex. [Vulture]

Clementine Ford is writing a book! [Facebook]