The Epic Feminism of ‘Mad Max Fury Road’
“Fury Road” isn’t yet another male-centric action flick—it’s an incredibly bizarre yet strangely beautiful visual epic with a story arc that glorifies women.
“Fury Road” isn’t yet another male-centric action flick—it’s an incredibly bizarre yet strangely beautiful visual epic with a story arc that glorifies women.
Jennifer Lawrence asked an intriguing question in October when she wrote about not negotiating for a better paycheck: “Are [women] socially conditioned to behave this way?”
I was curious about how many of the eight films nominated this year passed the Bechdel test with a scene, however brief, where two women with names exchange one or two sentences about something other than a man.
“Master of None” is essentially out to be my generation’s “Friends”—30-somethings navigating life and love in New York City, but with fewer laughs and more existential crises.
“Sisters” hardly breaks any new cinematic ground, but it’s a fun addition to the growing collection of movies I label “quietly feminist”—hit films like “Pitch Perfect” and “Trainwreck” that let women be raunchy and funny and multi-faceted.
Watson could not have picked a more incompatible author for her inaugural book.
Possibly the most peculiar streak in the progressive extremes of the liberal movement is the trend toward silencing women.
Along with plenty of telenovela touches, “Jane the Virgin” is wonderfully rife with feminism; in fact, it’s a media moment where the Bechdel test seems superfluous and outdated (which is at it should be).
This is by far the most inclusive “Star Wars” film yet.
Would “Home Alone” be the same without Catherine O’Hara’s speech in the middle of an airport? Have you really heard “Have Yourself a Merry Little Christmas” if you haven’t teared up over the original (and heartbreaking) Judy Garland rendition in “Meet Me in St. Louis”?