“American Horror Story” and the Rest of Hollywood Fail Fat Women
“American Horror Story” loves dressing its characters – but like the rest of Hollywood styles fat women primarily in shame.
“American Horror Story” loves dressing its characters – but like the rest of Hollywood styles fat women primarily in shame.
“Wicker” is just as good as everyone made it out to be – with plenty of sex and kink but also insight and true partnership.
At its core, horror explores the discomfort of power imbalances and if that doesn’t sum up what it is be women today, I don’t know what does.
“Mutual Discord” is full of conversations that matter, while still giving us a relationship and a woman to root for.
Like Annie on “Sterling Point,” I too have family members who I’ve never met – and there was a time when the “what ifs” plagued my mind.
“Ride or Die” has everything: (grown-up) girl power, massive action sequences, comedic relief, and rebuilding a life-saving friendship.
“Elle” isn’t an origin story (because its Elle isn’t the one from “Legally Blond”). It’s just a nostalgia-fueled crash grab.
Consolidation in Hollywood demands our attention. It’s not just an unfair commercial environment – it’s an attack on diversity and democracy.
Sure, an office romance is complicated, but navigating them doesn’t compare to figuring out your place in a family business.
Seeing my hometown of Tampico, México on screen in “Cafe Chairel” healed a little piece of me. It’s the comfort movie I didn’t know I needed.