Anime is one of Japan’s main cultural exports and a large part of its cultural identity, but feminists have pointed out that the genre has long had a problematic relationship with gender and racial representations. The site Anime Feminist, founded by U.K native Amelia Cook, analyzes diversity and representation in this art form.

On February 20, Smollett was charged with his first felony, for filling out a false police report, and on March 8, he was indicted on 16 counts of making false statements to the police.

South Africa’s entertainment industry has historically told monolithic narratives of black lives. While these narratives do reflect the reality of many black South Africans, they are not the only experiences of black South Africans and, moreover, not the only experiences black South Africans should be told are available to them.

In the sixth and final season of House of Cards, President Claire Underwood has an opportunity to transcend Frank’s murderous scheming and set a more uplifting example, but instead forcefully pushes back against obstacles in her way and continues to fight for power at any expense.

As someone with an eating disorder, I knew Insatiable’s fat jokes and jokes about eating disorders would trigger me. What I was unprepared for, however, were the many biphobic jokes that were also a major part of the show’s storyline.

Popular but vicious characters like Regina George in Mean Girls, the spoiled but well-meaning protagonist Cher Horowitz in Clueless, and ambitious, cunning Blair Waldorf (Queen B of the Upper East Side) in Gossip Girl are all as beautiful, wealthy, self-centered, and ambitious as they come. There’s also another trait they all share, however, a trait that seems to be a key element of the “popular girl” trope: signs of have an eating disorder.

On the surface, the Netflix hit GLOW is a show about the making of a show — specifically, the 1980s TV show “Gorgeous Ladies of Wrestling” (G.L.O.W.) that inspired the series. But beneath this plot lies a far more interesting exploration of women’s experiences in the entertainment industry, and in the world at large, in the 1980s through a modern lens.

As a black person with light-skin privilege, it took me a while to understand that society treats dark-skinned black people with a similar indifference and insensitivity to that which the ugly duckling experienced.

Closure is one thing, but concocting an entire series based on the constant reminder — and, in the aforementioned case, physical destruction — of one’s past partner directly places this past relationship, and inherent to that, her past partner, as the cornerstone of Becca’s journey to find love is disempowering to Becca as a multidimensional person.

Feminist writer Allison Yarrow seeks to answer that very question in her new book 90s Bitch. Yarrow talked to the FBomb about how and why this “bitchification occurred,” as well as its implications for current and future generations of feminists.

When we talk about increasing and diversifying female representation in Hollywood, it seems it is women who feel the most pressure, who feel the most responsible, to counterbalance this misrepresentation by giving voices to a wide range of characters of different colors, ages, sexualities, and backgrounds.

The voracious-but-still-skinny-woman trope of a character rails against unrealistic body standards and eats tons of high-calorie foods, but somehow weighs very little herself.

Gabby Antonio Smashes the Imperialist, White Supremacist, Capitalist Patriarchy! is a web series that challenges systems of oppression in both its production and its content.

Wendy Williams recently unfortunately contributed to an already prevalent culture of victim blaming and silencing women.