Culture
Body Freedom: Shemekka Epps Should Get to Have It Too
She’s Gotta Have It buys into the idea that self-love and body modification can’t coexist.
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(Un)smart Buddies: “Booksmart” Is an Adorably Gawky Entry into the High School Comedy Canon
If “Booksmart” endeavors to make an argument for what youthfulness can be, and for all the messy hope entangled in it, then it must unearth the muck, too.
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It’s My Party: How Conspicuous Consumption Became the Theme of Sweet Sixteens
Today’s Sweet Sixteener isn’t an exact replica of the debutante, but she reflects the same narrow view of womanhood.
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Coexisting Desires: Nola Darling Finally Gets Real with Herself in “She’s Gotta Have It”
Nola Darling understands that trauma porn is a tactic often used to beef up the work and lives of Black women for clicks and scholarships, but it is also demeaning.
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Boss Butch: “Gentleman Jack’s” Warm, Irreverent Take on 19th-Century Lesbian Desire
Gentleman Jack is unquestionably fun, but it also doesn’t set out to be an unconditional empowerment fantasy.
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Unbroken and Unbowed: Revisiting Disability Representation on “Game of Thrones”
Tyrion Lannister is a survivor in a deeply ableist family who loathes him for being a “dwarf.”
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Invisible Signs: What We’re Still Missing When We Talk about Domestic Violence
No Visible Bruises will raise awareness and save lives.
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Fire and Bleh: In the “Game of Thrones” Finale, We All Lost
We’ll never forget the show or its finale—but we’ll also never forget to look deeper at what it says about gender, representation, and episodic television as a whole.
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Cherríe Moraga Honors Her Foremothers in “Native Country of the Heart”
Capturing our foremothers’ stories is one of the ways in which women of color remember themselves.
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New Rules: Megan Thee Stallion’s Hot Girl Confidence is Super Infectious on “Fever”
“Fever” is a state of the union address for Megan’s “Hottie” nation.
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