Rihanna is a feminist icon. [Birdee]
ICYMI: Physical and mental health in Orange is the New Black‘s prison industrial complex.
The damaging melodramatic tropes of the Nicholas Sparks movie:
“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]
When a person of colour says something is racist, you should probably listen to them. [Daily Life]
The Scarlett Woman 