On the (Rest of the) Net.

Santa Barbara gunman Elliot Rodger isn’t the only one who feels awkward about their lack of sexual experience. Women feel like this, too!

“The notion that all women can get effortlessly laid, if only they open their legs, reduces the reality of female experience, transforming women from complicated individuals to the vessels for male sexual desire…” [Nerve]

Still with Rodger, taking the pressure off sex might have made him realise that losing your virginity doesn’t change your life. [Vice]

Finally, he wasn’t a “virgin madman, he was an entitled madman with four guns… Misogyny actually kills people.”

ICYMI: Feminism in Elle magazine.

You’d better #pitchbitch: a new initiative to encourage women writers to get their stuff out there. [Kill Your Darlings]

Pregnancy on TV. [Los Angeles Magazine]

Finally: alcohol doesn’t cause rape, rape mentality causes rape. [Times Free Press]

ABC’s disability discussion website Ramp Up will cease publication at the end of this month, thanks to the new government’s budget.

On the (Rest of the) Net.

the mindy project casey mindy

Why does Mindy only date white guys on The Mindy Project? [Jezebel]

The onscreen virginity trend. [Daily Life]

Fuck the friend zone; what about when guys you have a purely platonic interested in put you in the “girlfriend zone”? [Insert Literary Reference]

On masturbation and shame:

“In The Ethical Slut, perhaps the best-known ‘catechism’ of progressive sexual morality, Dossie Easton and Janet Hardy make the case that ‘the fundamental sexual unit is one person; adding more people to that unit may be intimate, fun, and companionable, but it does not complete anybody.’ Masturbation matters, they argue, not merely because it helps you learn what you want sexually from a partner, but because it helps bring ‘your locus of control into yourself.'” [The Atlantic]

Racism isn’t about being impolite. [New Matilda]

James Franco defends Baz Lurhmann’s adaptation of The Great Gatsby. [Vice]

The “skank flank”: what happens when you get a tattoo and are automatically deemed a slut. [Bust]

An ode to Barbara Walters. [The Cut]

Image via Entertainment Weekly.

On the (Rest of the) Net.

What it’s like to be an empowered sex worker. Yes, they exist. [MamaMia]

Stella Young prefers to be called a “disabled person” than a “person with a disability” despite the government’s Reporting It Right guidelines, thank you very much. [The Drum]

A recent altercation with a friend over something I wrote about them on this here blog has formed the basis for an “Ask Rachel” post. [Musings of an Inappropriate Woman]

The opinion piece in last Saturday’s Good Weekend by food critic AA Gill about how men think women should dress was one I skipped over—I don’t really need to read yet another article about what men think women should do. Lindy Alexander takes Gill to task for it, though, saving me from having to rummage through the newspaper stack in my pantry to retrieve said article and get all riled up about it. [Daily Life]

Leave Lindsay Lohan alone! [TheVine]

“The A to Z of Freelancing.” [The Loop]

On the older virgin. [Daily Beast]

Carla Bruni-Sarkozy is the latest woman of note to shun feminism. [Daily Life]

TV: What’s Eating April Kempner?

 

One of the couples I’ve been wanting to get together forever on Grey’s Anatomy finally did a couple of weeks ago: April and Jackson. But, as a virgin who has apparently now broken her promise to Jesus, their love wasn’t meant to be (well, except for that second go around in the men’s bathroom during their boards!).

I just don’t get how you can be a doctor—an occupation where science, fact and the tangible reign supreme—and be religious at the same time. A job which involves you, and other skilled scientists like you, saving someone’s life cannot be clouded by “God’s way” and “oh well, they’ve moved on to a better place.”

I really hate the direction April’s character seems to be going in after her outburst during her examination, in which she tells the facilitators that first and foremost she would pray for her patients and that she’s sick of “holding back my relationship with God” from a bunch of scientists. Did the writers really have to make April’s virginity a direct correlation to her faith? I know a few older virgins who haven’t had the opportunity or are waiting to be in a serious relationship to have sex, not because they think premarital sex is “inappropriate” or that Jesus will hate them if they engage in it. April even goes as far as to say that the reason she’s even more highly strung than usual isn’t because “I broke my promise… The problem is… that it felt good.” Ahh, and so sin rears its ugly Jesse Williams-esque head.

Further to this, when it turns out all of April’s potential attending jobs have been pulled after tanking her boards and Jackson tries to comfort her, she says he just feels guilty because now “no one wants me”. She may have just been referring to hospitals, but I have a sneaking suspicion April also meant potential suitors.

Grey’s Anatomy is usually so progressive when it comes to matters of sex and stereotypes, so I really hope this God-fearing version of April Kempner remedies itself by next season.

Related: The Underlying Message in Grey’s Anatomy’s “Superfreak” Episode.

Image via Putlocker.

On the (Rest of the) Net.

Don’t take your anger and befuddlement on Matthew Newton out on his parents, says Mia Freedman. [MamaMia]

Where are all the older women and people of colour in movies? [Jezebel]

Funny or Die finally gave R&B crooner Brian McKnight’s “How Your Pussy Works” (“I bet you didn’t know that it could squirt!” is a sample line) a chance, even making a hilarious sock puppet video to go with!

Obama amps up his reelection campaign with his “Life of Julia” website, a project that highlights his pro-women stance and shows what a woman can expect over her lifetime with an Obama administration. [Barack Obama]

Still with American politics, how can we convince Hillary Clinton to run for President? [Jezebel]

And, still with Hillary Clinton, what her make-up-free and glasses-clad face tells us about beauty. [Jezebel]

Stella Young on the National Disability Insurance Scheme. [MamaMia]

What exactly constitutes “losing your virginity”? [Daily Life]

It’s not just Arab men who hate women. [The Age]

Where are all the manic pixie dream guys? [Jezebel]

12 Posts of Christmas: I Scream, You Scream, We All Scream for Feminism.

In the spirit Christmas, I’ve decided to revisit some of my favourite posts of the year in the twelve days leading up to December 25th. 

When Scream 4 came out earlier this year, it immediately solidified its spot in my heart as one of my favourite movies and franchises, and not just because of its feminist nature, discussed below, and in the original post.

Scream 4 marked the most recent installment of the horror franchise, which ended in much the same similar way as the past three chapters.

The killer comes back from the dead, gun-wielding Gale Weathers fires a bullet and central scream queen Sidney Prescott gets the last laugh, with fellow original Woodsboro survivor Dewey fumbling around on the sidelines.

Fifteen years after the original, it is still unbelievable as to how Dewey is on the police force, Gale is still a ball-busting rogue sleuth, albeit with a lot more Botox than the last time we saw her, and Sidney has finally wiped that weepy-eyed look off her face and is kicking ass and taking names.

In the first instalment, Sidney is an ineffectual twit who berates horror movie starlets for “running up the stairs when they should be going out the front door” when, only moments later, she does exactly the same thing!

But as I watched each movie, I slowly started to root for Sid. Not only was she dealing with the fallout of her mother’s death and the wrongful allegation against Cotton Weary for the crime in the first film, but she was also dealing with a rat of a boyfriend, Billy, friends, high school and trying not to crumble under the pressure of it all. So I’ll cut her a break.

In the second film, Sidney undergoes remarkable growth due, in part, to going off to college, but the audience can see in the way Sidney carries herself that she believes the murders are over. Oh, how wrong she was! I especially love the final scene in Scream 2, with Sidney outsmarting (one of) the killer(s), Mrs. Loomis, with the help of Cotton. Gale’s there, too, holding on til the bitter end.

The Scream franchise, after all, is about the women. It could be argued that most horror movies are about the women; female victims make for easy targets and garner more of a reaction from the audience. But Scream was one of the first mainstream horrors to advocate for equal-opportunity killing: where the men are as fair game as the girls, and two out of the seven killers have been women. More than that, they’ve been the masterminds of the whole operation; using the clueless and fame-hungry men as pawns in their bloody chess game.

Traditional horror operates on the premise that “she alone looks death in the face”. Not Scream, though.

Ashley Smith in “Final Girl(s) Power: Scream, writes of not only Sidney, but Gale and Dewey, staring death in the face:

“The success of the narrative is predicated now on not an individual woman, extraordinary and significantly boyish, but on the cooperation of two women who together stab, shoot and electrocute the two killers into oblivion. This moment is also notable because it is one of the many instances in Scream that utilises very self-referential language, not only does it rework the figure of the Final Girl, it talks about itself reworking the figure of the Final Girl. This moment is an example of how the film explicitly works on behalf of the female spectator. Sydney/Campbell is speaking for and speaking as one of the girls in the horror audience who want to see active female characters fighting for each other, and significantly not even bound by a sentimentalised friendship.”

Sidney and Gale start out as sworn enemies (as murdered bestie Tatum Riley says after Sidney punches Gale: “‘I’ll send you a copy.’ Bam! Bitch went down! Sid: super bitch! You’re so cool!”), but I suppose bonding over the murders of pretty much everyone you know will solidify your connection, whether or not it’s one of mutual affection for each other, or mutual hatred for the killer(s).

And then there’s Dewey. He’s a funny character and David Arquette plays him to perfection, but the sum of his survival involves him always arriving to the party 10 seconds late and missing all the action. Sure, he’s been stabbed a few times, but he’s more of the token surviving male than a fully well-rounded character. As Smith writes, “the text allows for powerful and active female figures [that] it compensates [for] with weak, ineffective male ones”.

Before Scream, to survive as a “final girl” you had to be a virgin. This works well for high school victims, as a lot of high school students are virgins. And hey, this is the movies, so so what if it doesn’t reflect real life?

The first Scream begins with Sidney as a virgin, but in the height of the killings, she throws caution her virginity to the wind and has sex with Billy. In any other horror film, this would mean she dies. (Casey Becker, Drew Barrymore’s character, and her boyfriend, Steve, die in the opening scene, as does Tatum, girlfriend of Stu, later on in the movie in the doggy-door scene. You might imagine these kids to be non-virgins, as they’re in seemingly committed, loving relationships, but this is never directly addressed.) But Scream, being the “meta-text” that it is, takes a page out of Buffy’s book, and the non-virgin fights to live another day.

But the exemplar of a strong female character in Scream is Gale. She’s not only a ball-busting, high-powered tabloid journalist who fights to see an innocent man go free but, as I mentioned above, she’s always the last one standing, alongside reluctant partner-in-crime Sidney.

In Scream 4, she’s a struggling stay-at-home novelist with writer’s block, so when Sidney—and the subsequent murders—return to Woodsboro, she jumps at the chance to help with the investigations. Dewey, and his lovesick underling Deputy Judy, don’t want her interfering with the case, so Gale goes rogue.

It is Gale who uncovers most of the developments in the case, including who the killer is. And, according to Melissa Lafsky at The Awl, she’s breaking a lot of other ground, too :

“She [Courteney Cox] slashes her way out of the 40-something female stereotype, and takes over this movie with a flick of her scorn-ready… brow. Let’s face it: Few film archetypes are more brutal than the ‘older woman in a horror movie’—either you’re the psycho nutcase… or you’re the pathetic victim… And no matter what, you’re ALWAYS an obsessive mother.

“Cox pulls off a pretty impressive coup, upstaging not only the cute flouncing teens, but also her 15-years-younger self. Her character—now successful, childless(!), and utterly bored with the ‘middle-aged wife’ role—shrugs off all orders to ‘stay out of it’ and leaps back into the murderous fray, husbands, younger blondes and kitchen knives be damned. She takes nothing for granted, and thinks not a second about sneaking into dark corners to catch homicidal fruitcakes (and bitch is 47!!!). While Arquette and Campbell slide into their ’90s cliché groove, Cox reinvents and one-ups, kicking this meta-fest to life and providing the only sexy thing onscreen, gelatinous lips and all. Gale Weathers is shrewd, aggressive, cunning, but never heartless; despite it all, she still loves that stupefied ass clown Dewey. And she does it all while sporting a better ass than the 20-somethings. And… she doesn’t even have to die for it!”

You go, Gale!

Related: I Scream, You Scream, We All Scream for Feminism.

Scream 4 Review.

Elsewhere: [Girl Power: Feminism, Girlculture & The Popular Media] Final Girl(s) Power: Scream.

[Wikipedia] Scream Queen.

[Wikipedia] Final Girl.

[The Awl] Scream 4: The First Mainstream Feminist Horror Film.

On the (Rest of the) Net.

 

Post of the week: Catherine Deveny on body love. [MamaMia]

On sexual harassment and “nightclub feminist success”. [Musings of an Inappropriate Woman]

Atheists are just as bad as rapists… and feminists. [Jezebel]

Lingerie football. What do you think? Personally, I’m not a huge fan of playing sports in underwear, but I don’t have much of a problem with it. [MamaMia]

“The Problem with My Week with Marilyn.” [Jezebel]

All long-term monogamous relationships are a transaction, says Ms. Elouise, so what’s the big problem with “paying your wife for sex”? [Feminaust]

Facebook, girl-hate and “I’m a better feminist than you” tête-à-têtes. [Howling Clementine]

XOJane on the message Breaking Dawn sends to virgins.

The Manic Pixie Dream Girl trope extends to indie films, too. [The Atlantic]

iPhone 4S’ Siri is pro-life, apparently. [Gizmodo]

When hemlines rise, so does bitchiness. [Jezebel]

Stella Young on the disability pension myth. [MamaMia]

Former Wordsmith Laner Sarah Ayoub-Christie tries to reconcile her modern marriage with her traditional Lebanese upbringing. [MamaMia]

“Teaching Good Sex” in school. What a novel idea! [New York Times]

Men in porn:

“The straight male performer must be attractive enough to serve as a prop, but not so attractive that he becomes the object of desire. As [porn publicist, Adella] Curry puts it, ‘No one wants to alienate the male audience’.” [Good]

Image via MamaMia.

On the (Rest of the) Net.

 

While I don’t agree with most of the Prime Minster’s actions, this cake of Julia Gillard getting attacked by a crocodile is a bit much. Northern Territory Senator Nigel Scullion didn’t seem to think so, and neither did the voters who crowned him the winner of a local cake baking competition! Scullion could be investigated for insinuating violence against Gillard. [Sydney Morning Herald]

Six steps to come across smarter. [MamaMia]

The best is yet to come, despite some peoples’ seemingly dreary destinies? [Girl with a Satchel]

Read the full version of this article on Kate Ellis being too sexy, which I wrote about in my Sunday Life review last week. [MamaMia]

Amy Winehouse’s death was treated like a spectacle by the media. [The Guardian]

Naww, the languages of love. [MamaMia]

Rachel Hills has some nice things to say about my nice things to say about her Sunday Life column last weekend. [Musings of an Inappropriate Woman]

Following on from her post on Musings last week, Hills writes for the Sydney Morning Herald on the assertion that young people are no longer interested in sex.

 

How your Tweets can betray your gender. [Fast Company]

“Clare’s Law: Should Abuse History be Revealed to New Partners?” Hell to the yeah! [Sydney Morning Herald]

There’s no such thing as “having it all”. [We Mixed Our Drinks]

On the (potential) end of Law & Order: SVU:

“I can’t imagine life after SVU. Mariska Hargitay is taking it much better than me:

“‘For the past 12 years Chris Meloni has been my partner and friend, both on screen and off. He inspired me every day with his integrity, his extraordinary talent and his commitment to the truth. I love him deeply and will miss him terribly—I’m so excited to see what he’ll do next.’

“Speak for yourself, Benson. Unless what he is doing is going back to taking his clothes off on HBO, I’m finding it difficult to muster up enthusiasm for my favourite detective being anything other than that. If anyone needs me, I’ll be crying in bed watching the entire first season on Netflix.” [The Hairpin]

In praise of Joan Holloway. [Pamflet]

Mia Freedman debriefs on the Cadel-Evans-sportspeople-aren’t-heroes hullabaloo from last week. More on this to come next week on The Scarlett Woman. [MamaMia]

Emily Maguire on society’s obsession with female virginity, from April last year. [The Monthly]

The Sweetest Thing, Bridesmaids, Bad Teacher & the Female Raunch Comedy”:

“Comedic movie actresses have to be allowed to not be hot. Not like, high-heel-stuck-in-a sewer-grate, frizzy-flyaway-hair, Anne Hathaway-in-nerd-glasses not-hot. I mean genuinely not-hot. Full-attack mode physical-comedy not-hot. John Belushi not-hot. Not-pretty enough to be actually funny, because vanity contraindicates comedy. And this was the most revolutionary aspect of Bridesmaids; the pratfalls are actually pratfalls, the dick jokes are legitimately obscene.” [Grantland]

Women who don’t wear makeup are “arrogant, lazy or deluded, and frequently all three.” That counts me out, then! [The Daily Mail]

Three years on from Vogue Italia’s “all-black” issue, has the racial landscape of the modeling industry changed? You tell me… [Jezebel]

Tiger wife Wendi Deng-Murdoch’s defensive right hook, which came to the aid of her almost foam pie-faced husband, Rupert, has renewed “belief in love”. [Newsweek]

“In Defence of Imperfection.” [Persephone Magazine]

“30 Years of Women on MTV.” [Jezebel]

Images via MamaMia, Fast Company, Jezebel.

I Scream, You Scream, We All Scream for Feminism!

 

Scream 4 marked the most recent installment of the horror franchise, which ended in much the same similar way as the past three chapters.

The killer comes back from the dead, gun-wielding Gale Weathers fires a bullet and central scream queen Sidney Prescott gets the last laugh, with fellow original Woodsboro survivor Dewey fumbling around on the sidelines.

Fifteen years after the original, it is still unbelievable as to how Dewey is on the police force, Gale is still a ball-busting rogue sleuth, albeit with a lot more Botox than the last time we saw her, and Sidney has finally wiped that weepy-eyed look off her face and is kicking ass and taking names.

In the first instalment, Sidney is an ineffectual twit who berates horror movie starlets for “running up the stairs when they should be going out the front door” when, only moments later, she does exactly the same thing!

But as I watched each movie, I slowly started to root for Sid. Not only was she dealing with the fallout of her mother’s death and the wrongful allegation against Cotton Weary for the crime in the first film, but she was also dealing with a rat of a boyfriend, Billy, friends, high school and trying not to crumble under the pressure of it all. So I’ll cut her a break.

In the second film, Sidney undergoes remarkable growth due, in part, to going off to college, but the audience can see in the way Sidney carries herself that she believes the murders are over. Oh, how wrong she was! I especially love the final scene in Scream 2, with Sidney outsmarting (one of) the killer(s), Mrs. Loomis, with the help of Cotton. Gale’s there, too, holding on til the bitter end.

The Scream franchise, after all, is about the women. It could be argued that most horror movies are about the women; female victims make for easy targets and garner more of a reaction from the audience. But Scream was one of the first mainstream horrors to advocate for equal-opportunity killing: where the men are as fair game as the girls, and two out of the seven killers have been women. More than that, they’ve been the masterminds of the whole operation; using the clueless and fame-hungry men as pawns in their bloody chess game.

Traditional horror operates on the premise that “she alone looks death in the face”. Not Scream, though.

Ashley Smith in “Final Girl(s) Power: Scream, writes of not only Sidney, but Gale and Dewey, staring death in the face:

“The success of the narrative is predicated now on not an individual woman, extraordinary and significantly boyish, but on the cooperation of two women who together stab, shoot and electrocute the two killers into oblivion. This moment is also notable because it is one of the many instances in Scream that utilizes very self-referential language, not only does it rework the figure of the Final Girl, it talks about itself reworking the figure of the Final Girl. This moment is an example of how the film explicitly works on behalf of the female spectator. Sydney/Campbell is speaking for and speaking as one of the girls in the horror audience who want to see active female characters fighting for each other, and significantly not even bound by a sentimentalised friendship.”

Sidney and Gale start out as sworn enemies (as murdered bestie Tatum Riley says after Sidney punches Gale: “‘I’ll send you a copy.’ Bam! Bitch went down! Sid: super bitch! You’re so cool!”), but I suppose bonding over the murders of pretty much everyone you know will solidify your connection, whether or not it’s one of mutual affection for each other, or mutual hatred for the killer(s).

And then there’s Dewey. He’s a funny character and David Arquette plays him to perfection, but the sum of his survival involves him always arriving to the party 10 seconds late and missing all the action. Sure, he’s been stabbed a few times, but he’s more of the token surviving male than a fully well-rounded character. As Smith writes, “the text allows for powerful and active female figures [that] it compensates [for] with weak, ineffective male ones”.

Before Scream, to survive as a “final girl” you had to be a virgin. This works well for high school victims, as a lot of high school students are virgins. And hey, this is the movies, so so what if it doesn’t reflect real life?

The first Scream begins with Sidney as a virgin, but in the height of the killings, she throws caution her virginity to the wind and has sex with Billy. In any other horror film, this would mean she dies. (Casey Becker, Drew Barrymore’s character, and her boyfriend, Steve, die in the opening scene, as does Tatum, girlfriend of Stu, later on in the movie in the doggy-door scene, above. You might imagine these kids to be non-virgins, as they’re in seemingly committed, loving relationships, but this is never directly addressed.) But Scream, being the “meta-text” that it is, takes a page out of Buffy’s book, and the non-virgin fights to live another day.

But the exemplar of a strong female character in Scream is Gale. She’s not only a ball-busting, high-powered tabloid journalist who fights to see an innocent man go free but, as I mentioned above, she’s always the last one standing, alongside reluctant partner-in-crime Sidney.

In Scream 4, she’s a struggling stay-at-home novelist with writer’s block, so when Sidney—and the subsequent murders—return to Woodsboro, she jumps at the chance to help with the investigations. Dewey, and his lovesick underling Deputy Judy, don’t want her interfering with the case, so Gale goes rogue.

It is Gale who uncovers most of the developments in the case, including who the killer is. And, according to Melissa Lafsky at The Awl, she’s breaking a lot of other ground, too :

“She [Courteney Cox] slashes her way out of the 40-something female stereotype, and takes over this movie with a flick of her scorn-ready… brow. Let’s face it: Few film archetypes are more brutal than the ‘older woman in a horror movie’—either you’re the psycho nutcase… or you’re the pathetic victim… And no matter what, you’re ALWAYS an obsessive mother.

“Cox pulls off a pretty impressive coup, upstaging not only the cute flouncing teens, but also her 15-years-younger self. Her character—now successful, childless(!), and utterly bored with the ‘middle-aged wife’ role—shrugs off all orders to ‘stay out of it’ and leaps back into the murderous fray, husbands, younger blondes and kitchen knives be damned. She takes nothing for granted, and thinks not a second about sneaking into dark corners to catch homicidal fruitcakes (and bitch is 47!!!). While Arquette and Campbell slide into their ’90s cliché groove, Cox reinvents and one-ups, kicking this meta-fest to life and providing the only sexy thing onscreen, gelatinous lips and all. Gale Weathers is shrewd, aggressive, cunning, but never heartless; despite it all, she still loves that stupefied ass clown Dewey. And she does it all while sporting a better ass than the 20-somethings. And… she doesn’t even have to die for it!”

You go, Gale!

Related: Scream 4 Review.

Elsewhere: [Girl Power: Feminism, Girlculture & The Popular Media] Final Girl(s) Power: Scream.

[Wikipedia] Scream Queen.

[Wikipedia] Final Girl.

[The Awl] Scream 4: The First Mainstream Feminist Horror Film.

Images via The Mary Sue, Dinoray, IMDb.

On the (Rest of the) Net.

Embrace your inner slut:

“If someone calls you a slut, there’s nothing you can say to refute the claim because it never had any cognitive content anyway.

“If you try to argue that you’re not a slut, you’re implicitly buying into the idea that there are sluts out there. If there’s some criterion that will set you free, that standard will indict someone else—someone with a higher ‘number,’ or shorter skirt, or a later curfew. So we get bogged down in slut/non-slut border skirmishes over a line nobody should have tried to draw in the first place, and we all lose.

“Even virginity is not a defense against alleged sluttiness. Virgins can be sluts if they dress the wrong way, walk the wrong way, or even instill the wrong thoughts in other people. Some people will convict you of sluttitude because your body is the wrong shape, or the right shape.”

Sluts just can’t win. That’s why you should (as above) embrace your inner slut and join the SlutWalk next weekend in Melbourne, at the State Library from 1pm. I’ll be blogging more about this throughout next week.

Glee’s Mercedes just can’t get a date!

Video vixen VS. female bodybuilders:

“It is not ‘respectable’ to be black, female, voluptuous, and sexy on a stage for profit, but it is perfectly acceptable to be black, female, muscular, and ‘unsexy’. Is this double standard acceptable? Is one profession truly more sexualized than the other?”

I don’t entirely agree with this hypothesis. I think it’s far more acceptable to be conventionally and femininely sexy, as opposed to muscular and unconventionally masculine. Sure, the video vixen job title isn’t exactly perceived as a classy, “respectable” occupation, but neither is female bodybuilding. Society as a whole would much rather see women shaking what they were born with (or, you know, what the plastic surgeon gave them) than manipulating their bodies via hormones and free weights.

The surrogacy debate rages on at MamaMia

“$150,000 Doesn’t Make You Rich. Discuss.” Okay, I will: I come from a family where my mother stayed home with my sister and I, and my dad worked three jobs at some stages. I was very young then, so I have no idea how much money he brought in. But I can tell you, it sure as hell wasn’t $150,000, and we struggled to keep our heads above water week-to-week. We never had savings, we could never go on family holidays that required much travel because we couldn’t afford flights or accommodation. I missed out on all but one of my seven cousins’ weddings because we couldn’t make it interstate. My parents have only bought two houses in their lifetime: the other nine we resided in throughout my lifetime were rentals. I also don’t know how much my dad makes now, but it is a lot less than $100,000, and my mum’s on a pension. In my opinion, $150,000 a year is rich.

“Opposition leader Tony Abbott says the Government is punishing ‘aspiration and hard work’,” with the new middle class welfare breaks. Is working three jobs and hardly being able to see your family not hard work, Mr. Abbott?

How to deal with your boyfriend’s porn-watching habit.

The argument for Pixar movie heroines who aren’t princesses, “from all the girls with band-aids on their knees”.

The perils of being smiled at by a cute guy in a café when you’re not wearing makeup.

Texas’ “10 Hottest Female Sex Offenders”. “No doubt that 4-year-old boy, that 2-year-old boy and that 13-year-old girl are taking solace even as we speak that at least they were abused, molested and assaulted by a hot person.”

Hillary Clinton, brownies and Vanity Fair’s cover line.

The aftermath of the royal wedding and the state of Britain’s monarchy for the next 30 years.

Gay/straight chicken: when straight men insult homosexuality and “gay men insult women”.

“Is Kate Hudson Coasting on Cuteness?” My money is on “yes”. When was the last time she starred in a box-office smash, or was nominated for an award other than a Razzie?

Images via Jezebel, Fashion Fame.