The real purpose of sports journalism over my adult life hasn’t been to perform journalism. It’s been to act as the PR arm of businesses sports journalism needed to succeed in order to make money for sports journalism.
“There are 1,696 active players in the NFL. Even if, as FiveThirtyEight’s Benjamin Morris found, NFL players are arrested on domestic assault charges at rates that are, relative to income level, “downright extraordinary,” very few of them will ever beat women. Most of them are good guys trying to do a job. Still, the job they do is part of a culture of aggression. Football is a pantomime of war, down to the pseudo-military tactics. But it is not a pantomime of violence. It is actual violence.”—Together We Make Football «
“I left my home for a myriad of unsexy reasons—mainly, I wanted to live a life for myself, one of my own design, removed from limitations, uninhibited by the glaring heat of my mother’s co-dependency—but also to get away from you, the aunties, the entity that wanted to Ziploc me into a tiny digestible package, removed from my peculiar ilk. According to all of you, and vicariously through my mother, I am not allowed to live my life in a way that is emotionally better for myself. The decisions I make are wrong; unfit for a woman, culturally deplorable.”—A Letter To My Aunties | The Hairpin
Mark Taylor is KQED’s senior interactive producer for arts and culture and teaches media theory and criticism at USF and the Art Institutes of California. He’s on Netflix’s five DVDs-at-at-a-time plan, which costs $27.99 a month ($33.99 including Blu-ray) and has long used Netflix to preview films he’s considering teaching in class. But he says he can no longer rely on the service for research the way he once did.
“My experience is that you end up with a bunch of things that have a very long wait and then they never come,” he said. “Things that were once available aren’t anymore.” Nine of the films at the top of his DVD queue are very long waits, he said, “sitting there forever.”
I’ve noticed this! Especially as I was compiling the list of options for watching movies for feministfilmclub; I find it ridiculous that Netflix doesn’t have a copy of Christopher Strong to rent.
“There’s a story about [Civil Rights activist] Fannie Lou Hamer that we’ve been trying to get off the ground with Alfre Woodard to play the lead and Harry Belafonte as one of the producers. Another is a limited series about the life of Louis Armstrong, which Charles Dutton and I took around a couple years ago. I just pitched a TV series about James Michener’s Alaska, about the history of Alaska right after the United States bought it, which people really don’t know much about and would make a great miniseries. I’ve gotten to know the sons of Julius and Ethel Rosenberg, who were given the electric chair for espionage in the ’50s, and they’ve always wanted a movie or TV series about their parents’ case. So I’ve actually written the script for that already.”—Interview: John Sayles Tells S&A About ‘Go For Sisters,’ | Shadow and Act Somebody fund the Sayles projects already!!!
“a self-perpetuating cycle can come into play, at least in legacy companies. Men are in charge, and are more likely to promote other men. Women see fewer women rising to top jobs and grow more likely to leave journalism. Thus, fewer women are around to apply for those promotions. Men become even more likely to promote other men to both the most important posts in the business and the jobs that serve as steps toward them.”—Where Are the Women? - Nieman Reports
“Girls’ limited access to equipment and encouragement is often cited as the reason for the disproportionately low number of women in music, but the male-dominated sphere of music journalism also imposes discrete critical standards upon women.”—Radical Strain – The New Inquiry
“At a time in which America is consumed with Ebola fears, a very real and preventable health crisis could explode in our backyard. With a whooping cough outbreak growing even faster than the swelling non-vaccination rate, questions of responsibility, both personal and collective, deserve urgent answers.”—Los Angeles Vaccination Rates 2014
“It’s beyond silly to say that any woman who is getting smacked around thinks it’s acceptable to be smacked around. No one knows better than a woman who is being abused that it is wrong. Not leaving isn’t the same as consent. I stayed because I was traumatized and isolated. I believed that Hank really loved me and that no man with less passion/ anger (those words were conflated for me) would ever love me like him.
When people act surprised that men who beat their romantic partners are charming, it makes me question their logic skills. Not all charming men are abusive, but you’re not going to have a romantic partner to beat if you’re not charming at some point. The drama and romance are often an important part. Violent and manipulative partners are not being horrible around the clock; something else draws us into them. What women would fall in love with a man that smacked her on the first date?”—Why I Married My Abuser
One of the more frequent conversations I’ve had since arriving in Europe is if I plan on consistently having strong, complex female characters at the center of my books. And the answer is: Yes, because there are not enough complicated female characters represented in art and culture, there can always be more, and it is a feminist act to do so.
This type of man is absolutely certain that he, as someone who cares about feminism, knows what will and will not help feminists. His mission is to police women everywhere, to make sure they don’t do something that might Hurt Feminism.
Being a man, he is an expert on what men think, and of course, what men think matters a whole lot. What if a man might be upset by something a woman says? He needs to stop that in its tracks, before feminism gets hurt.
“There is a ton of sociology packed into what happened on that elevator. Domestic violence, women’s rights, gender and power are at the top of the list. That’s not my beat. But the way in which the media contribute to our slavish worship and adolescent emulation of the men who play and run professional football is my concern as a media critic. So is the role media can play in public shaming. I think members of the local media need to all look in the mirror today and do a gut check on how they reported and analyzed the Rice story. Really, if you have any integrity, you need to do it — especially if your station or you are somehow financially connected to the Ravens.”—On Ray Rice story, God bless TMZ - baltimoresun.com
“Homicide needs to be widely embraced and venerated, and then the groundswell will start. People will begin chitter-chattering about it. The vast Internet will suddenly become filled with pro-Homicide propaganda. The tides will have turned. And then my other fondest wish can come true: Homicide reunion movie.”—Why Is Homicide So Underappreciated? — Vulture
“The experience of being invisible in our culture has ramifications that I don’t think any of us can really understand. I think that we need to see ourselves, in a lot of ways. It helps us know that we belong. And I think Rickie did that for a lot of people. I know that even for me, playing him, it helped me feel that I was validated in a lot of ways. And everything I heard from people who watched it was validating for me.”—Wilson Cruz on MSCL Fans and ’90s Fashion — Vulture
“what’s genuinely gross about that industry is its utter reductiveness. Year after year, it boils film culture down to a horse race, treating movies as competitors riding “momentum” or battling a “backlash” or overcoming a “snub,” rather than as what they (or at least the best of them) are: art. Yet what’s particularly odd about Oscar obsession is its built-in cognitive dissonance — every year we drool and fume and predict, as though it is all Very Important Work, while simultaneously acknowledging that nobody actually takes the judgments of Oscar voters very seriously, because they are so wrong, so very often.”—Oscar Talk at Toronto and Telluride: Enough Already – Flavorwire
I’ve been watching Army Wives for a few weeks now and have worked my way up to season 4. So after season 1, they re-cast Claudia Joy’s (Kim Delaney) daughter Emilyn/Emmalin because the part became larger… or I assumed this was the reason. I thought the original actress was just fine, and looked more like an actual teenager.
In season 3, they re-cast baby Sara Elizabeth because there was a 6 month fast forward. Logical.
But now on season 4, they re-cast the role of Roxy’s (Sally Pressman) eldest son. He went from being 10 at the end of the third season finale to a 12-year-old… and no time has past in the rest of the show. This annoys me so much that I may just have to take a break. The original TJ looked like a normal kid and was a decent actor. Replacement TJ looks like a kid who would do cereal commercials.
Not okay, show! (I know the series ended a couple years ago, but STILL)
“It’s been frustrating watching a guy with a boatload of charisma and genuine handsomeness fail to find the right vehicle, but Brody’s screwball charm is a bit out of time. It’s the type of thing that could work well opposite an Elizabeth Banks (I mean, imagine those two doing some sort of Nick-and-Nora thing). Alternately, he could fit well in the fast-talking world of an Aaron Sorkin show.”—Adam Brody: Will He Ever Happen? – Flavorwire