There is no amplification that is too loud for Breonna Taylor’s cause, but if our voices aren’t cohesive, the movement becomes too diluted to continue to march at its deserved pace.
On June 7, Iran passed a new law criminalizing the emotional and/or physical abuse of a child — the first of its kind in the nation.
Of the many astonishing developments to come from COVID-19, the angry assemblies of Americans in many states requesting that the government reopen the country rank high.
Recently, five teenagers in Afghanistan who make up an all-female robotics team developed a cost-effective ventilator that runs using the motor of a Toyota Corolla.
On February 28, The César Awards, which are essentially the French Oscars, awarded the Best Director honor to Roman Polanski — a man who fled the United States after pleading guilty to the statutory rape of a 13-year-old girl in 1977.
The report discovered that scripted crime television shows, which millions of viewers tune into on a regular basis, depict a false narrative about the unchecked heroism of law enforcement.
2019 was a banner year for women in the entertainment industry. But female filmmakers are still unable to break the “celluloid ceiling.”
Waves is rare in its willingness to present a blurred marriage of volatility and sympathy without preaching or suggesting anything to the viewer. The movie itself crashes down on the audience like a wave, putting viewers in a state of constant unrest.
At the crux of the debate over who has the right to say the N-word without consequence is the question of ownership. When Gina Rodriguez, or anybody outside of the black community, stakes a public claim over the word, and the culture it belongs to, they rightfully court pushback from that community.
On October 12, 2019, twenty-eight-year-old Atatiana Jefferson was shot by police officer Aaron Dean in her own home. Jefferson’s murder is yet another case of unwarranted, lethal violence perpetrated by a white police officer against a black civilian.
Gen Z makes light of things like hypothetical WWIII drafts, climate change, and the forthcoming political apocalypse because dark humor is their response to being born into a world seemingly already on fire is to laugh at the flames.
The award is well deserved, given that the influence of Missy Elliott’s work — especially her creative vision for her music videos — transcends generations and is still evident in popular music today.
Many assumed the famously red-headed Ariel would remain as such in the live action version, and Halle Bailey clearly does not fit that image. Shortly after Bailey was cast, #NotMyAriel started trending on Twitter.
The WNBA is ushering in its 23rd season, and, with it, huge changes
Since Sontag’s articulation of camp, however, camp has been elevated to a new cultural meaning and enactment, primarily by the LGBTQ community, and even more specifically by people of color in that community — a reality the Met Gala theme failed to acknowledge.
Nipsey Hussle’s passing not only leaves a crater in hip-hop but also illuminates a far more pervasive dilemma within hip-hop as well: the endurance of misogyny as a cultural norm and the understanding that a rapper’s legacy and artistry is always considered more important than the treatment of women who surrounded him.
At 22 years old, standing at 5 feet, 7 inches and weighing 164 pounds, this year Harris became one of the only women to ever earn a scholarship to play college football.
Nominations are a legitimate indication of who is worthy of not only cultural acknowledgment but a financial investment. This is why it’s crucial to pay attention not only to who is being recognized at the Academy Awards but also to who isn’t.
The media rarely covers the fact that the festival’s owner, Philip Anschutz, has donated to Republican politicians, anti-gay organizations, and organizations classified as hate groups.
The Favourite leans into the intentionality of the female characters’ sexuality and of their savagery, giving each character her own agency over both of these forces and, in doing so, casting their actions as morally ambiguous.ar
Abrams’ reluctance to concede was not only about her determination to win, but also about preserving Georgia’s electoral integrity.
Bucking the trend of male heroism, many slasher films have opted for “the Final Girl”: protagonists who are victims of murderous circumstances — who weren’t looking to fight for their lives but rather had the fight thrust upon them — but who survive nonetheless.
While it’s frustrating that Williams has to find herself navigating distractions like these instead of focusing on her 23 Grand Slam championships, Williams is nothing if not persistent.
The Scarlett Johansson incident was hardly the first time a cisgender actor was criticized for taking a role many believe should have gone to a trans actor. In fact, a pattern of cisgender actors being cast as, and then inevitably critically acclaimed and rewarded for playing, transgender characters has emerged over the past few years.
Neither the #MeToo movement, nor the basic acknowledgment of a woman’s agency, decrees the death of romance. The refusal to let go of traditional courtship, however, illustrates not just Cavill’s, but many straight men’s, inability to accept the possibility, let alone reality, of a shift in the balance of power between men and women and their equation of that shift in balance with the “death” of dating.