There is a seduction at work in shows like these; one which plays on the viewer’s need to feel enlightened, even as it satisfies her baser desires.
What used to be a Doctor taking a human, usually female companion on time-traveling adventures, is now one white, straight guy bending time and space to help another white, straight guy get laid.
We are dealing with a strain of American thought that appropriates religion for the purposes of oppressing women, and has developed a specific rhetoric to cover up this fact. Michele Bachmann follows it, and has allowed it to shape her career.
When we find ourselves a bad girl, a nasty girl, a girl we hate, there is one surefire way to re-assert control over her: Strip her down and make her get us off. Take her sexuality away from her — it’s dangerous — and make it serve us instead.
If bookish, overeager boys would truly refuse to read about a bookish, overeager main character, simply because she was female… well, that says as much about contemporary gender relations as anything else. And what it says is depressing.
Looking back over the series–from Hermione Granger and the Philosopher’s Stone through to Hermione Granger and the Deathly Hallows–the startling thing about it is how original it is.
As Dominique Strauss-Kahn’s accuser goes down in a blaze of accusations and libel, the rehabilitation of the IMF proceeds on apace.
It’s not so much that we are at a tipping point, it’s that we’ve already substantially tipped. There are no actual, practical down sides to gay marriage, so threats of vague, futuristic, supernatural consequences are employed simply because threatening real-world consequences can’t be found.
After so many years of hearing Palin speak about “Real America,” it’s undeniably exciting to see her actually try to define the damn thing.
SlutWalk did not, and could not, speak to the needs of every woman; nor could it adequately sum up and address every facet of rape culture. Removed from its original context, it stops being simple, and became simplistic.