It is difficult to overstate how revolutionary these moments are for a television ecosystem that has long relegated fat women to predetermined categories: gross, hypersexual (or, alternatively, asexual), subordinate, unintelligent, and of course, shrill.
Nothing feels more millennial than the bravado of vulnerability.
“Toni Morrison, without a doubt, served as the greatest Anglophone writer of the twentieth century…[she] wrote as a Black woman, about Black women, for Black women.”
“Like most of us, the creators of Stranger Things seem unable or unwilling to imagine a storyline in which men can realize themselves as emotional beings without attaching that realization to the trauma of women. To be sure, the show’s female characters are resilient—but should they have to be?”
“Underneath its raunchy humor, Russian Doll makes the case for how important it is to help each other get through the most difficult parts of life.”
“Swift’s new politicization retains, at its center, a fixation with her own celebrity.”
2019 feels worlds away from 2013, and the more recent explosion of Asian American representation in popular culture seems to signal a hopeful shift.
The new show is especially apt in remaining grounded in its original content and style, while also making a positive strides to inspire and motivate a broader audience of children to take an interest in S.T.E.M. fields.
