Obvious Child‘s treatment of abortion as an important moment in both the development of the main character and her romantic relationship is just one of the beautiful ways the film—a raunchy joke-fest with an undeniably humanistic heart—deals with women’s choices and power.
In her recent—at moments, hilarious—article about the race to make millions by “appifying” the laundry business, Jessica Pressler repeats some surprising and infuriating tropes about the service economy that are, frankly, retrograde for women.
In this powerful slam poem, Ethan Smith recounts his separation from the girl he grew up being, and both apologizes to and reconciles with his former self. [via UpWorthy]
Twitter has come under fire from mainstream journalists and institutional gatekeepers, derided as “toxic” and a “poisonous well.” But this opposition to Twitter—to its strengths as a democratizing platform—is as old as media itself.
If Kimye can show us anything, it’s that we still have a long way to go when it comes to smashing gender roles.
RH Reality Check recently spoke to Lindsey Averill and Viridiana Lieberman, who are crowdsourcing funds for Fattitude, their documentary about fat prejudice. The filmmakers discuss the core principles of Fattitude, the harassment they’ve experienced while making the film, and much more.
This BuzzFeed video draws attention to the ridiculousness of forcing gender roles on children by demonstrating how it looks when these roles are imposed upon adults in a work environment. [via UpWorthy]
As many of our readers know, on Monday morning RH Reality Check posted a graphic on our Facebook page that included a link to an article on another website that, as many people rightly pointed out, is transphobic. This should not have happened and I apologize.
The central argument in Lean In is that one can strategize their way through the patterns of structural sexism. But Abramson’s firing provides a powerful case study for the fact that we cannot win a game we are rigged to lose.
The Kermit Gosnell film raised more than $2 million from 26,574 backers to produce a lurid movie dramatizing the Gosnell trial in what will most likely be anti-abortion propaganda.