Blake Lively, Gwyneth Paltrow and, yes, Beyoncé didn’t wake up like this. [The Cut]
Rihanna is a feminist icon. [Birdee]
“In sexual pornography, the intended result is orgasm—and a temporary quelling of desire for sex. In emotional pornography, the end result is tears and hope—and a temporary quelling of desire for love. One caters to the stereotypical feminine sexual desire to see the sex act narrativised—it’s all about the building-up-to, much less about the money shot—while the other switches the priorities, disposing of exposition in favour of one climax after another. Both, however, are but temporary substitutes, and ultimately end in the hunger for more sex, more emotional fulfilment, yet with distorted instructions on how to obtain them.
“It’s a version, however glowy, of the American dream. But it’s not the dream of the 1950s, with its yearning for the single, nuclear-family home, the freedom to consume, the white picket fence, the washing machine, the perfect mother. Rather, the Sparks American dream harkens back to the 19th-century iteration, with its visions of a bucolic rural space, rugged individualism, and the security of the sprawling extended family, where the men are men and the women are women.” [Buzzfeed]
Hook and the dadcentricity of the ’90s. [The Paris Review]
Feminists have daddy issues. [Medium]
I’ve probably linked to this before, but in the week Beyonce secretly releases her musical (and video!) feminist manifesto, unpacking her views on women’s equality—and our views on her—seems particularly pertinent. [Bitch]
But can we really take advice about sticking it to beauty ideals from a woman who chucked a tanty over unflattering SuperBowl photos and curates her Instagram feed to within an inch of its life? [Double X]
In defence of the single girl. [Double X]
On being a “bad feminist”. [The Virginia Quarterly Review]
Yet more musings about American Horror Story: Coven and its uncomfortable attitudes about race: is it all about white guilt? [In These Times]
I wanted to cut and paste the whole paragraph on Rihanna’s “Pour It Up”, sexual and creative agency and slut-shaming, but since it’s a lengthy portion of the article, head on over and check the whole thing out for yourself: “‘Slut-Shaming’ Has Been Tossed Around So Much It’s Lost All Meaning”. [Jezebel]
Tavi Gevinson is a Bitch (well, she was interviewed by them).
Dating in a push up bra (NSFW). [The Lingerie Lesbian]
American Horror Story: Coven‘s race problem. [Feministing]
Navigating victimhood in statutory rape. [Double X]
In case you forgot, R. Kelly is a sexual predator. [xoJane]
The years’ most unlikely famous feminists. [Feminist Times]
Lily Allen just released the feminist anthem of the year, with accompanying satirical video to boot! [Jezebel]
Though there are some important discussions that need to be had around the racism and objectification of the video. Is accessorising with scantily clad black women in the name of parody still using black culture as a commodity? [Birdee]
Most critiques of the song and video point to yes, just one reason being that it perpetuates the racism of white artists critiquing hip hop and rap music. I would’ve loved to see a black artist come out with this song and video, as it can be interpreted as Allen condemning black music culture without checking her privilege. I also think the themes of the video get a bit muddled: what genre is she trying to critique (“Blurred Lines”, Miley’s rachetism, the rap game…?) or is it the music industry in general? [The Trillest Villain]
Lily’s not the first female pop star to attempt to satirise the genre. [ThinkProgress]
Let’s all move to Iceland! [Daily Life]
Lip Mag‘s following in the footsteps of Rookie and Jezebel and releasing their own yearbook. Get 25% off when you preorder.
“The Problem with Sweden’s Feminist Film Rating.” [Daily Life]
The misogyny of the left. [New Statesman]
Why racial colour-blindness is a crock. [Daily Life]
Speaking of, Julianne Hough’s blackface Halloween costume totes wasn’t racist, says a white girl. [Thought Catalog]
48 hours in New York, in which I get a mention, you know, ’cause I’m there right now! [Musings of an Inappropriate Woman]
I’ve been thinking and wanting to write about Sex & the City 2 for quite some time, but I was never sure of the right angle to take. Having just rewatched the whole series, culminating in the arguably ill-fated films, I think I’m ready to dip my toe in the shark-infested waters that surround Sex & the City 2.
SATC2 picks up where the first film left off: the franchise’s ascent into affluence but its decent of integrity. And where better to splash some new money than the “new” Middle East: Abu Dhabi.
I stand by the series and even the first movie, but Carrie and the girls are pressing my loyalty with their Arabian adventure. Samantha throwing condoms around the souk in an effort to assert her empowerment (a sentiment I don’t disagree with, but can we please respect multiculturalism?) followed by some covered Muslim women revealing their gaudy designer garb under their abayas and hijabs because FASHUN = the end of gender inequality could certainly have been omitted from the second cinematic outing and it still would have been a semi-palatable film. While these antics blatantly show how out of touch SATC has become, the girls’ ignorance is echoed throughout the film when Charlotte gets sucked into having “the Forbidden Experience” (purchasing black market designer wares) and questions what the call to prayer means. You’d think that before jetting off to the land of “desert moons, Scheherazade and magic carpets” women who are as free as they are would be a little more in touch with the culture and what’s expected of them there. Smart Traveller, hello?!
What I do like about the Middle Eastern flair of the film, though, is the thematic parallels between women wearing veils to silence their voices and the question of whether Carrie, after five books and countless “I couldn’t help but wonder”’s (literally; I lost count after about ten when I rewatched the series. Repetition, much?!), should shut up.
This seems to be the consensus, as New York magazine’s review of her latest book, I Do! Do I?, is titled “The Vow of Silence”. And in the accompanying illustration, Carrie is drawn with tape across her mouth, to echo the silencing of their Middle Eastern counterparts: “It’s like they don’t want them to have a voice,” Carrie observes. Synergy!
The concept of women’s voices is echoed elsewhere in the films’ storylines, with Miranda quitting her job because her misogynist boss didn’t respect her “strong female voice”, and Charlotte blaming Samantha for “open[ing] her big mouth” about her hot, braless nanny being a distraction for Harry.
Looking back on enlightenment of the series, it makes me sad that the insight into women’s lives, sex and otherwise, that it was so famous for has been completely erased from Sex & the City 2 in the name of capitalism and cultural insensitivity.
Related: In Defence of Sex & the City.
The slave narrative of Orange is the New Black. [The Nation]
Still with Orange is the New Black, literature on the show. [Bitch Magazine]
SlutWalk Melbourne is next weekend, and last year’s speaker, Emily Maguire, talks about why she supports the movement. [SlutWalk Melbourne]
I reviewed Patricia Cornelius’ Savages for TheatrePress. Head on over and check it out, and then get to fortyfive downstairs quick smart!
50 not-so-obvious feminist pop cultural items. [Flavorwire]
Tony Abbott’s sexism is more than just a “gaffe”. [AusVotes2013]
Mark Ruffalo is pro-choice. [Stop Patriarchy]
What the Harriet Tubman “sex tape” means for black feminism. [Ms. Magazine]
Are politicians the new Ryan Gosling? [Daily Life]
And in the wake of last week’s “sex appeal”-gate, Cleo rates Canberra’s sexiest and unsexiest men. A step towards equality or should everyone just shut the eff up about it? [MamaMia]
Fuck “strong female characters”. [New Statesman]
Last night’s (or very early this morning, if you’re still keeping track of when it airs) episode of The Mindy Project dealt with Mindy’s tendency to date douchebags. And who’s douchier than a prostitute, amiright?
Mindy certainly has sexism and racism problems, and the former was never more evident than in “Pretty Man”, in which Mindy picks up a guy, Adam, in a bar who turns out to be a sex worker.
Mindy is disgusted by this and kicks him out of her apartment before they actually engage in what Adam is employed to do, but that doesn’t stop him showing up at her office the next day to get remunerated for his time.
There are lots of ill-thought out jokes about prostitution (even Adam refers to himself as a “prostitute” which I’m not so sure is the preferred term amongst the sex work community), trustworthiness and Pretty Woman (after all, The Mindy Project is a sitcom born out of its protagonist’s love of romantic comedies).
But what the Adam storyline really serves as a metaphor for, whether intentionally or otherwise, is the desire to change a man.
While Mindy is encouraging Adam to pursue is real dream (because no one could ever really want to be a sex worker) of being a singer/songwriter and buying him clothes à la Pretty Woman, Mindy’s friend Alex is trying to mould new boyfriend Danny into the partner she wants him to be: more outgoing and less uptight.
So while this episode is not necessarily man-friendly—it is a change to see a male sex workers portrayed as negatively as female sex workers are—, it’s more detrimental to the womenz: we’ll find faults with any man, whether they’re a prostitute or a rich doctor.
Image via Fox.
Chris Brown, R. Kelly, Surfer Blood… What are we willing to overlook in order to enjoy pop culture? [Grantland]
How many times will you see your parents before they die? [See Your Folks]
“Bindi Irwin: Feminist Warrior?” [MamaMia]
In defence of Sex & the City. [The New Yorker]
And, furthermore, in defence of Miranda Hobbes. [Women & Hollywood]
Why women in sport matter. [Lip Mag]
Image via Ask Your Feet.