Migrant workers, women, and China’s modernization on screen by Jenny Kwok Wah Lau via JumpCut
Bitch Flicks’ Weekly Picks
Migrant workers, women, and China’s modernization on screen by Jenny Kwok Wah Lau via JumpCut
The radical notion that women like good movies
Amber’s Picks:
GOP women contribute importantly to the political landscape — with their looks via About-Face
The Man Who Loved Movies (and Women) Andrew Sarris Honored by MoMA, American Academy of Arts & Letters by Penelope Andrew via HuffPost
Our Reality: Teen Parents Telling Their Own Stories by Emily Manuel via Tiger Beatdown
Consciousness-raising and difference in The Woman’s Film (1971) and Self-Health (1974) by Shilya Warren via Jump Cut
Amy Poehler and Meryl Streep Are Pissed About Attacks on Reproductive Rights by Amanda Marcotte via Slate’s XX Factor
Yes, There Are Fat Women Getting Hollywood Roles…But We Still Treat Them Like Crap by Lindy West via Jezebel
Nashville, and Why All Female Rivalries Aren’t Catfights by Alyssa Rosenberg via ThinkProgress
Middle of Nowhere and the Black Independent Film Movement by Roya Rastegar via The Huffington Post
“Your Women are Oppressed, But Ours Are Awesome”: How Nicholas Kristof and Half the Sky Use Women Against Each Other by Sayantani DasGupta via Racialicious
Women on TV Step Off the Scale by Allessandra Stanley via The New York Times
Could Issa Rae Save the Black Sitcom? by Jason Parham via The Atlantic
10 Reasons We Won’t Participate in the Lena Dunham Backlash by Emma Gray and Margaret Wheeler Johnson via The Huffington Post
Why Dredd Is Really a Superheroine Movie by Alyssa Rosenberg via ThinkProgress
What have you been reading this week? Tell us in the comments!
Stephanie‘s Picks:
Gaycism and the New Normal: The “Hot” Trend This TV Season Is Bigotry by Nico Lang via In Our Words
Caroline Thomson: BBC Still Has Work to Do on Sexism and Ageism by Emma Barnett via The Telegraph
Presidential Debate Commission Co-Chair Blames TV Networks for Lack of Diversity Among Moderators by Tracie Powell via Poynter
Where the Girls Aren’t: What the Absence of Female Friendships on Network TV Reveals by Sheila Moeschen via Huffington Post
Joss Whedon’s S.H.I.E.L.D Show Will Feature A Lot of Women by Alyssa Rosenberg via ThinkProgress
Women in Film: A Feminist’s Take by Riley Stevenson via Flux Magazine
What Do Feminists Have Left?: The Factuary
“Ugh, What’s Up With All These Feminists Being Funny?” Says Chronically Unfunny Woman by Erin Gloria Ryan via Jezebel
Megan‘s Picks:
Amy Poehler’s Systematic Dismantling of the Emmys by Alex Cranz via FemPop
When Will the Media Start Portraying Black Women Without Betraying Them? by Tracey Ross via Racialicious
Rebel Wilson, Pitch Perfect and Body Acceptance by Kerensa Cadenas via Women and Hollywood
Awkward Black Girl‘s Issa Rae Gets a Sitcom with Shonda Rhimes’ Help by Alex Cranz via FemPop
Funny Women Flourish in Female-Written Comedies by Sandy Cohen via The Boston Globe
The Best Quotes from Tina Fey’s Entertainment Weekly Interview by Kerensa Cadenas via Women and Hollywood
DGA Report Shows Few Strides for Female and Minority TV Directors by Richard Verrier via The Los Angeles Times
Raising Hope Star Martha Plimpton on Politics in Television and The War on Women by Alyssa Rosenberg via ThinkProgress
What have you been reading this week?? Tell us in the comments!
Megan‘s Picks:
“No Love in the Wild” [on Beasts of the Southern Wild] by bell hooks via NewBlackMan (in Exile)
Black Power Takes Center Stage at TIFF with Angela Davis Documentary by Melissa Silverstein via Women and Hollywood
Fox Host to Scarlett Johansson: “You’re Worth Millions” — Pay for Your Friends’ Contraceptives “Instead of Asking Me” via RH Reality Check
Gender, Power, and Chris Brown’s Battered Woman Tattoo by Lisa Wade via Sociological Images
James Cameron: ‘Hollywood Gets Action Women Wrong’ by Hadley Freeman via The Guardian
From Lena Dunham to Junot Diaz, How to Write People Who Aren’t You by Alyssa Rosenberg via ThinkProgress
Mandy Patinkin Left Criminal Minds Over Show’s Subversive Misogyny by Alex Cranz via FemPop
Everything You Need to Know About SNL’s New Lady Cast Members by Intern Scarlett via Bust Magazine
Amy Poehler Teaches You to Feel Better About Your Body by Lindy West via Jezebel
Stephanie‘s Picks:
‘Marigold’ and ‘Moonrise’: Summer 2012 Indie B.O. Champs by Scott Myers via Go Into the Story
TIFF Programmer Dishes on Film Roles for Women, George Clooney and Saying No by Derek Carkner via CityNews Toronto
Is Parks and Rec the Most Feminist Show on TV? by Emily Heist Moss via Rosie Says
Beginning to See by Karina Longworth via Slate
Feminist Africa Issue 16. 2012: African Feminist Engagements with Film via African Gender Institute
A Woman Among Warlords via Indiegogo
In Defense of “Bachelorette’s” Mean Girls by Willa Paskin via Salon
The New New Girl: Mindy Kaling Promotes Herself Out of The Office and Into The Mindy Project by Jada Yuan via Vulture
Dear Mr. Akin, I Want You to Imagine… by Eve Ensler via The Huffington Post
Amy Poehler Stands Up for Domestic Workers by Alyssa Rosenberg via ThinkProgress
Stephanie‘s Picks:
Must We Worry About the Boys of ‘Brave’? by KJ Dell’antonia via the New York Times
Why I Heart GIRLS & Lena Dunham’s Body via Virginia Sole-Smith
TV Trailer Watch: Steel Magnolias via Women and Hollywood
Nora Ephron, Prolific Author and Screenwriter, Dies at Age 71 by Adam Bernstein via the Washington Post
Image Based Harassment and Visual Misogyny by Anita Sarkeesian via Feminist Frequency
Helen Mirren Calls for More Female Film-makers by Ben Child via the Guardian
Megan‘s Picks:
The Fight Against Misogyny in Gaming Enlists Some Big Names by Katie JM Baker via Jezebel
Cross-Post: Oscar Flashback: Nora Ephron: by Sasha Stone via Women and Hollywood
Magic Mike: Old Sexism in a New Package by Carole Heldman via Sociological Images
Girl Power: What Happens When Thousands of Teen Girls Ask Seventeen to Stop Selling Them Out by Kaye Toal via UpWorthy
‘Love & Hip-Hop Atlanta’ Shouldn’t Embarrass Black and Brown Women by Akiba Solomon via ColorLines
Thank God Rachel Maddow Is Depressed by Lynn Beisner via Role/Reboot
Feminist with a Funny Bone by Michele Kort via Ms. Magazine Blog
Seventeen Magazine’s New Photoshop Policy Is the Same as The Old Photoshop Policy by Jenna Sauers via Jezebel
Louis C.K. Bucks Casting Trends with Susan Kelechi Watson by Latoya Peterson via Racialicious
‘Strong Female Protagonist’ Takes on Superhero Comics — and Occupy Wall Street by Alyssa Rosenberg via ThinkProgress
Amy Poehler Interviews Tiny Feminists, Inspires Us by Alanna Bennett via The Mary Sue
Memo to Hollywood: Women Go to the Movies Too by Melissa Silverstein via The Washington Post
Leslie Knope and Ann Perkins |
When Ann was introduced in the pilot episode of the NBC sitcom as a disgruntled citizen at a public forum being hosted by Leslie Knope of the Parks and Rec Department of Pawnee, Indiana, she seemed to be one of the many cranks with whom Leslie tends to deal on a regular basis. Some of the funniest recurring characters on this show are the kooky folks who keep turning up to these forums, most notably the sprinkler-tea-making, poop-eating-dog-having woman who constantly blames her alarming lack of basic health knowledge on local government; and the “except for Turnip! Except for Turnip!” chanting guy who is a favourite in our household. But no, Ann had a legitimate complaint about a pit into which her boyfriend had recently fallen, a pit whose betterment would form the main goal of the show’s first (and worst) season.
The fact that Ann and Leslie got off to an antagonistic beginning makes it even more wonderful that they were able to become best friends, brilliantly subverting the cat fight trope that most other sitcoms would have gone with. Throughout the series Ann and Leslie have butted heads, but always remained respectful of each other, and their relationship is one of the best examples of female friendship in pop culture today. It is real, and it is lovely, and it is one of the two main purposes I believe the character of Ann serves on the show.
Leslie Knope and Ann Perkins |
Until the arrival of the state auditors in season three, Ann perfectly fulfilled the role of ORP. However, gradually Ben began to usurp that role, with his Jim Halpert-esque glances into the camera, and his total confusion over the appeal of Li’l Sebastian (“he just whinnied!”). Even though he worked at City Hall, Ben was more of an outsider than Ann – he’s not from Pawnee, after all. This easily set up Ann’s transition to actually working at City Hall, which makes it easier to explain why she is always there, but takes away a vital aspect of her character’s purpose.
I still believe Ann should be on the show because, like I said, her relationship with Leslie is pretty much the best thing on TV right now. But I find it somewhat ironic that a character who is part of such a feminist depiction of female relationships – that manages to be both aspirational and realistic – is so utterly two-dimensional that it seems she is only on the show to fill that role. Part of this could be due to Rashida Jones’ questionable acting talent (you have to admit she is the weak link in an otherwise phenomenal cast), but mostly I believe it is a rare lazy tendency on the part of the writers. Now that she is no longer the ORP, what is the point of Ann? Why can’t they seem to flesh her out a little?
Mark and Ann |
The flipside of the boredom is the cringing. Andy and Ann were terrible together, a fact which the show (and pretty much every character in it) has at least had the decency to acknowledge. The whole concept of Ann being attracted to Andy because she needs someone to take care of is so played out, and it was great to see the writers just stick that whole mess on a shelf and get Andy and April together, because they are a) a way better match, and b) adorable.
And then there’s Ann and Tom. Holy crap, is this a bad idea or what? It’s all the cringe-worthy grossness of Ann and Andy, all the boredom of Mark and Ann, and about the same amount of chemistry as Ann and Chris. Minus a million. First of all, Ann has never shown anything but contemptuous tolerance (is that a thing?) for Tom since the beginning. His maturity level alone is enough to tell her that he’s not worth her time. Earlier in the series, any time Tom hit on Ann it was so clearly a joke, I don’t think any fan of the show would ever be cheering for these two to get together. What possible madness seized the writers’ room and made them think this was a good idea?
Tom and Ann |
Ann: Hey we aren’t compatible at all and I kinda don’t even like you. Your constant objectification of me and lack of respect for my basic humanity tend to somehow make both of us less appealing.
Ann: Apparently nothing. Let’s ride this out.
I mean, seriously. Many people seem ready to give this otherwise terrific show the benefit of the doubt, but I’ve already had enough of waiting for Ann’s storylines to appeal to me. And the line at the end of the record studio episode where Ann agrees to go out with Tom, saying that he “wore [her] down,” would have made me quit on a less consistently feminist show. That shit is not cool.
In my (obviously super correct and valuable) opinion, Ann needs to be a lot more three-dimensional before her storylines are all taken up with relationship plots, much like in life how relationships always work out better when you’re cool with yourself first. As a viewer, I would like to care as deeply about Ann as I do about Leslie (and let me tell you something, that is pretty deeply) before I will care about how she fares in a relationship with some dude.
On the flip side of that, I need Tom’s ridiculous antics to be something we are supposed to laugh at; not something that is validated by relationships with women who are way too good for him. And we all know that Ann is probably way too good for Tom; we just need the story to show us that. Otherwise what message are we supposed to take from what used to be the most progressive show on TV?
———-
Peggy Cooke is a Canadian feminist who works as a non-profit staffer by day and a reproductive justice rabble rouser by… later that same day. Her resume has been described as “fascinating.” She writes about abortion at Anti-Choice is Anti-Awesome and Abortion Gang, and she reviews fiction set in Toronto at Smoke City Stories.
Amy Poehler as Leslie Knope |
See also: #10 in 2011, #9 in 2011, #8 in 2011, #7 in 2011, #6 in 2011, and #5 in 2011.
More than a week has passed since the 2011 Emmy Awards, but there are a few moments I can’t stop thinking about. I live-tweeted the show this year, which is both a fun and exhausting experience, and enjoyed the interactions with other people watching and reacting on Twitter. (What?! You don’t follow us on Twitter? Go! Now!) Jane Lynch did a wonderful job hosting, and threw out some memorable zingers (The cast of Entourage!).
Here are my thoughts:
Sometimes I wonder if any women at all would be recognized in film/television if the acting awards were gender neutral (and I asked earlier this year if we need a Best Female Director category at the Oscars).
Here are the winners:
I won’t say much about this, because it’s been written about in very smart ways already (check out Opinioness of the World‘s take, for starters), but it’s interesting that this setup, planned by Amy Poehler, was one of the few moments that deviated from awards show standards. I loathed Rob Lowe’s “girls” comment, even if it was part of the plan (I don’t know if it was), and feel ambivalent about the rest. Yes, the beauty pageant spoof emphasizes the fact that these shows are often most watched and discussed for What The Women Are Wearing. For many viewers, I suspect, fashion overshadows the actual awards. Women’s bodies and apparel choices are criticized and critiqued in every imaginable way, as if they are public property. But I question how effectively that message was delivered. The moment I think worked much better was Poehler and McCarthy joking about men finally getting substantial roles this year. However, it was great to see this group of talented women up on the stage together, supporting one another, and bringing a feminist sense of humor to the show.
Also, someone should tell Oustanding Supporting Actor in a Comedy Series winner Ty Burrell that repeated jokes about wearing makeup to work and being a “very masculine lady” (even in the context of imagining what his father would say about his job) doesn’t really jibe with that whole “making people more tolerant” idea.
If you haven’t already, check out our reviews of the 2011 Emmy Nominees.
Amy Poehler as Leslie Knope |
Leslie (Poehler) and Ann (Jones) |
On Geekdom and Privilege: Sympathy for the ‘Pretty’? from Racialicious
Sex, Scripts, & Single Ladies from The Crunk Feminist Collective
Riding the Bridesmaids Wave from Women and Hollywood
Wimbledon Likes Their Female Tennis Players Hot and Grunt Free from Feministing
Emmy Watch: Comedy Actresses Fischer, Poehler, Cuoco, Michele, Hatcher from Thompson on Hollywood
Film Corner! from Shakesville
Size double standards are alive and kicking on primetime TV from About-Face
Sex Trafficking Survivors Group to Dilbert Creator: Rape Isn’t “Natural Instinct” from change.org
A note to Hollywood: “maneater” and “sexual criminal” are not interchangeable terms from Feministing
Bad Teacher (review) from Flick Filosopher
Leave your links in the comments!
Bossypants by Tina Fey |
Amy Poehler was new to SNL and we were all crowded into the seventeenth-floor writers’ room, waiting for the Wednesday read-through to start. There were always a lot of noisy “comedy bits” going on in that room. Amy was in the middle of some such nonsense with Seth Meyers across the table, and she did something vulgar as a joke. I can’t remember what it was exactly, except it was dirty and loud and “unladylike.”Jimmy Fallon, who was arguably the star of the show at the time, turned to her and in a faux-squeamish voice said, “Stop that! It’s not cute! I don’t like it.”Amy dropped what she was doing, went black in the eyes for a second, and wheeled around on him. “I don’t fucking care if you like it.” Jimmy was visibly startled. Amy went right back to enjoying her ridiculous bit. (I should make clear that Jimmy and Amy are very good friends and there was never any real beef between them. Insert penis joke here.)With that exchange, a cosmic shift took place. Amy made it clear that she wasn’t there to be cute. She wasn’t there to play wives and girlfriends in the boys’ scenes. She was there to do what she wanted to do and she did not fucking care if you like it.I was so happy. Weirdly, I remember thinking, “My friend is here! My friend is here!” Even though things had been going great for me at the show, with Amy there, I felt less alone.I think of this whenever someone says to me, “Jerry Lewis says women aren’t funny, ” or “Christopher Hitchens says women aren’t funny,” or “Rick Fenderman says women aren’t funny…Do you have anything to say to that?”Yes. We don’t fucking care if you like it.