Katherine Ryan: ‘Love Island’s Maura is a feminist icon’

Katherine Ryan has hailed Love Island’s Maura Higgins as a “feminist icon” – and says we need to see more women who are unafraid to talk about sex.
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Books of The Times: Andrea Dworkin, a Startling and Ruthless Feminist Whose Work Is Back in the Spotlight

“Last Days at Hot Slit,” edited by Johanna Fateman and Amy Scholder, collects work by the radical feminist who said her writing had to be “bolder and stronger than woman-hating itself.”
NYT > Books

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Miley Cyrus gives Santa Baby feminist lyrics

“Listen Santa to what I say, a girl’s best friend is… equal pay.”
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Books News: How Feminist Dystopian Fiction Is Channeling Women’s Anger and Anxiety

A growing canon of female-centered science fiction looks at questions of gender inequality, misogyny and institutionalized sexism.
NYT > Books

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Bayreuth’s First American Director Made Wagner a Feminist. What Now?

The visionary director Yuval Sharon, whose “Lohengrin” opened the Bayreuth Festival this week, is on a mission to redefine opera in the United States.
NYT > Arts

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How Southern Charm Unlikely Became One of the Most Feminist Shows on TV

Southern Charm Feature The revolution will be televised, y’all.
Ever since Oct. 5, when the New York Times published the first report detailing decades’ worth of sexual misconduct allegations against…

E! Online (US) – TV News

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Ashley Bouder, the Feminist Ballerina With a Mission

The Ashley Bouder Project’s goal? To promote the work of women and other underrepresented voices in the slow-to-change world of ballet.
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Before Ruth Bader Ginsburg Was A Meme, She Was A Feminist With A ‘Radical Vision’

“RBG” tells the story of Ginsburg’s legacy and influence beyond the internet.
Culture and Arts
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Jessica Chastain Donates $2,000 to Woman Who Criticized Her Feminist Views

Jessica ChastainJessica Chastain is a girls’ girl, through and through.
On International Women’s Day, hairstylist Renato Campora took a photo of the X-Men: Dark Phoenix actress with the message…

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Vicky Krieps on why Phantom Thread is a feminist movie

The film has been criticised for its apparent “toxic masculinity”.
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The Culture Is Changing, With Feminist Cheese

All across America, cheese making is a great way to trot away from the male herd.
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Why Stranger Things’ Eleven Is the Feminist Hero We Need Right Now

Stranger Things(Warning, spoilers ahead for Stranger Things season two, which premiered on Friday, October 27.)
“I’m a fighter.”
When Stranger Things debuted in 2016, it was clear…

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Why Stranger Things’ Eleven Is the Feminist Hero We Need Right Now

Stranger Things(Warning, spoilers ahead for Stranger Things season two, which premiered on Friday, October 27.)
“I’m a fighter.”
When Stranger Things debuted in 2016, it was clear…

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Before Boobs Were A Design Trend, Nicola L. Made Quite The Feminist Body Of Art

At 80 years old, the artist is being honored with her first museum retrospective.
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Jennifer Lawrence on Why ‘Mother!’ Is a Feminist Movie

Darren Aronofsky’s “Mother!” — about a woman (Jennifer Lawrence) who lives with her husband (Javier Bardem) on a deserted farmhouse — has generated more debate than any film to debut at this year’s Toronto International Film Festival. The Paramount Pictures release, which opens on Friday, has been shrouded in mystery, and critics are still trying… Read more »

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Gal Gadot: Either You’re a Feminist or You’re a Sexist

Wonder Woman herself would know.

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Helen Mirren Doesn’t Believe Ivanka’s ‘Feminist’ Bullshit Either

The Dame opens up about sexiness, feminism, and the Trumps.

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Ivanka Trump Is a Fake Feminist, Which Makes Her Father Proud

The Daily Show’s Michelle Wolf calls bullshit.

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How The Heroine Of ‘Ella Enchanted’ (Accidentally) Became A Feminist Icon

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This Summer, NYC’s Billboards Will Show Feminist Art Instead Of Ads

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Amelia Earhart’s Prenup Is Proof That She Was The Ultimate Feminist

There were no decorations or flowers and the two didn’t even exchange wedding rings.
Weddings
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Wonder Woman: The feminist hero we hoped for?

The first reviews for DC’s Wonder Woman are out, and not everyone thinks the Amazonian princess fares well in “the world of men”.
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Jennifer Lawrence Wears A $710 Feminist T-Shirt In Her New Dior Ads

Jennifer Lawrence is known for bringing a delightful dose of realness to high-fashion settings. And she’s at it again in Dior’s new fall 2017 ad campaign, wearing a message of feminism we can all applaud.

In the photos, Lawrence wears relaxed-fit jeans, necklaces including a choker and a “We Should All Be Feminists” T-shirt that retails for a not-so-casual $ 710, according to InStyle.

The shirt, a nod to author Chimamanda Ngozi Adichie’s famous TED talk, was sold on Saks Fifth Avenue’s website through March 28, but remains available in Dior boutiques through May 15, Us Magazine reports. A portion of the proceeds will go to Rihanna’s Clara Lionel Foundation, which funds educational programs around the world.

We should all be feminists, but it doesn’t have to cost so much to say it on a tee. Here are some cheaper alternatives.

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Style – The Huffington Post
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‘SNL’ Just Identified The Worst Kind Of Male Feminist

Saturday Night Live” just exposed the worst kind of liberal: dudes who use activism to pick up chicks.

In a digital short titled “Girl at a Bar,” Cecily Strong gets hit on by a series of men who are eager to talk about feminism. All seems to go well until Strong’s character, who’s wearing a shirt that says “The future is female,” turns each guy down.

Beck Bennett points out that he and Strong are wearing matching shirts, but turns on her when she rejects his offer for a date. “OK, bitch,” Bennett screams. “I wore this shirt and you won’t even let me nut? I followed all the rules!”

Things seem to get better when Kyle Mooney pulls the screaming man away and tells Strong he was just in D.C. for the Women’s March, saying “it was honestly one of the best days of my life.”

But when Strong turns him down too, Mooney unleashes his wrath.

“I freaking marched for you. You won’t get down on this?” he yells while grabbing his crotch.

Even Alex Moffat in a pink pussy hat can’t seem to get it right. He name-drops Sen. Kamala Harris (D-Calif.), then presents Strong with a very disgusting offer. 

After “SNL” scored its highest ratings in years by picking apart President Donald Trump’s administration, it seems like the show decided it was time to make fun of the left too.

And creepy, fake feminist men are a hilarious start.

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Books of The Times: A Warm Biography of the Fantastical, Feminist Angela Carter

Carter wrote some of the 20th century’s unforgettable first sentences, and her novel “Nights at the Circus” was named the best of James Tait Black Prize winners.
NYT > Books

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Here’s Why Botox Might Be Feminist After All

The cosmetic procedure costs almost double for men than it does for women, which means Botox might be feminist.
Allure
These are the best post-workout beauty kits to help cleanse, hydrate, and refresh your skin as well as your makeup after a sweat session.
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MillionaireMatch.com - the best dating site for sexy, successful singles!
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The Most Showstopping Feminist Moments at Fashion Week

Check out the biggest and most empowering feminist Moments at Fashion Week, from brands such as Mara Hoffman and Prabal Gurung.
Allure
The Australian body and skin-care brand has a new launch, the Frank Body Glow Mask, which is officially available today.
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28 Reasons It Pays To Have A Feminist Marriage

We’re calling it: A feminist marriage, where both partners respect and treat each other as equals, is the very best kind of marriage. (Also, studies suggest the sex is better, so there’s that, too.)

Below, 28 solid reasons to fall in love with someone who recognizes that feminism benefits both women and men.

1. There’s parity in your relationship. You push each other to reach your goals and full potential, because ultimately, you know you’re stronger as a team.  

2. You’re not wedded to outdated gender expectations. Want to be a stay-at-home dad while your wife brings home the bacon? Go for it.

3. There’s no place for “locker room talk” or “boys will be boys” excuses in your relationship. You hold each other to a much higher standard than that.

4. When it’s time to clean the house or do the laundry, you divide up the chores according to preference and workload, not gender. Also worth noting? A 2015 study from the University of Alberta suggested that people in more egalitarian relationships have higher relationship satisfaction and more sex than couples who leave it to one spouse. 

5. Another reason feminist couples have better sex? Feminist men recognize that a woman’s pleasure is just as important as theirs. There’s no rolling over and falling asleep prematurely. (How rude.)

6. While we’re on the subject of sex, your partner would never slut-shame you for your sexual past. Your “sex number” is no big deal.

7. You have the luxury of not having to explain the importance of Planned Parenthood to your S.O. (And if your partner is worried about a weird bump some place down south, you know just where to direct him or her. Thanks, PP!)

8. Mansplaining is not an issue you have to deal with in your own home, thank goodness. 

9. You both know a woman’s place is anywhere she damn well pleases ― and that if you both choose to work, it just means more income.

10. Ideologically, your partner believes that the world is a better place when women are empowered. As noted feminist (and our favorite ginger) Prince Harry once put it, “When women are empowered, they immeasurably improve the lives of everyone around them — their families, their communities, and their countries.”

11. Your partner loves your body but recognizes that the decisions you make regarding it are yours and yours alone. Sexual and reproductive rights matter to both of you.

12. You don’t fret about maintaining relationships with friends of the opposite sex. Your partner knows you can and should have relationships with other men and other women. 

13. If you’re a man, you could get proposed to ― men don’t always to be the one to pop the question!

14. Your wedding can be as heteronormative and traditional or as modern and unconventional as you want. (So feel free to forgo the garter belt toss if you find that awkward as hell.)

15. If your partner’s guy friends start badmouthing feminism, you know he’ll correct them. (Bonus points if he has Chimamanda Ngozi’s definition of feminism memorized because you blast Beyonce’s “Flawless” nonstop.)

16. Your complaints and concerns are never delegitimized because of your sex, and your partner sure as heck would never say, “sounds like someone’s on their period.”

17. You don’t look at each other as a project or someone to “fix.” Men don’t need to be anyone’s knight in shining armor and women shouldn’t feel like they can “love away” a man’s problems. You each take ownership for your own issues and go into the relationship as whole and independent people.

18. If you decide to marry, you can do whatever you want with your last names. Take his surname, have him take yours, hyphenate, create a hybrid/combo last name ― it’s your call. 

19. Your partner is proud ― not resentful ― of your career accomplishments. He or she pushes you to accomplish everything you want in life, on your own timeline ― be it your career, passion projects or having a family (or all three of them).

20. Phrases like “man up” or “don’t be a pussy” are off limits. The beauty of feminism is that it benefits men, too; your partner can be as vulnerable or as emotional as he wants and it doesn’t make him less of a man. 

21. It feels so good to be with someone who appreciates your brain just as much as your beauty. 

21. If you have kids, you can give them the talk about consent and the birds and the bees as a team. (Phew, what a relief.)

23. You both recognize that paid parental leave is good for everyone. (Hopefully, your work places recognize that too and offer paternity leave.)

24. Through your relationship, you get to model what a marriage of equals really looks like to your kids. 

25. But if you were to divorce, you recognize that both parents deserve to be in your kids’ lives. 

26. If your husband is out with the kids and someone says “looks like mom has the day off!” you can both roll your eyes about it later on.

27. Your marriage and definition of monogamy can be as traditional or unconventional as you want it to be. 

28. Your partner understands why you felt compelled to go to the Women’s March. Hell, they probably joined you and wore a “this is what a feminist looks like” shirt. It doesn’t get any sexier than that. 

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A Guide To Feminist Swag That Gives Back To Planned Parenthood

Republicans have confirmed that they are once again coming after Planned Parenthood, pledging to strip federal funding for the health care institution as part of their effort to repeal Obamacare. It’s a move that would disproportionately affect low-income women, as the organization receives most of its federal funding through Medicaid ― and it could go into effect as early as next month

There are a lot of ways to push back, like donating, calling your elected officials or volunteering. There’s also the option of buying swag that gives back.

Will it end the crusade against Planned Parenthood and ensure more than 2 million people a year don’t lose access to essential services? Nope. Is it just one more small way to push back against a GOP that is hellbent on stripping away women’s access to affordable healthcare? Why, yes it is! So get shopping.

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Style – The Huffington Post
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Kendall Jenner Models Feminist Lingerie for La Perla

Kendal Jenner, La PerlaKendall Jenner is embracing her feminine side in La Perla’s latest campaign.
Wearing looks from the Spring 2017 collection, Jenner–plus fellow supermodels Isabeli Fontana and Liu…

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Body Language: Sisters in Shape, Black Women’s Fitness, and Feminist Identity Politics

Body Language: Sisters in Shape, Black Women’s Fitness, and Feminist Identity Politics


In her evocative ethnographic study, Body Language, Kimberly Lau traces the multiple ways in which the success of an innovative fitness program illuminates what identity means to its Black female clientele and how their group interaction provides a new perspective on feminist theories of identity politics-especially regarding the significance of identity to political activism and social change. Sisters in Shape, Inc, Fitness Consultants (SIS), a Philadelphia company, promotes balance in physical, mental, and spiritual health. Its program goes beyond workouts, as it educates and motivates women to make health and fitness a priority. Discussing the obstacles at home and the importance of the group’s solidarity to their ability to stay focused on their goals, the women speak to the ways in which their commitment to reshaping their bodies is a commitment to an alternative future. Body Language shows how the group’s explorations of black women’s identity open new possibilities for identity-based claims to recognition, justice, and social change.

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These Feminist Artists Are Tired Of Being Told To Smile

The night was March 15, 2016. Hillary Clinton had just swept the primaries in Florida, North Carolina and Ohio, thus moving one step closer to becoming the next president of the United States of America; you know, the leader of the most powerful nation in the world.

And yet, despite the epic night in Clinton’s campaign, the main takeaway was: smile. 

Joe Scarborough’s casually misogynist tweet was not shocking or unusual, but just another unsolicited quip expressing what most women already know, that they’re first and foremost recognized as pretty faces — even when they’re about to govern the free world. 

When curator Jenny Mushkin-Goldman caught word of the incident, her first reaction was immediate disbelief. “That that degree of disrespect would be leveled toward, hopefully, our future president — it makes me angry,” she told The Huffington Post. “A man would never be asked to react that way.”

The patronizing nonsense Clinton was forced to endure on the day of her win is something many women face on their daily commutes. “I’ve lived in Manhattan for 15 years,” Mushkin-Goldman said, laughing with exasperation. “Just walking down the street, it’s so commonplace to hear catcalls like that. You’re going about your business, thinking about your day, and suddenly a man you do not know calls out at you to smile.”

The catcall is insidious, in part, because it can be well-intentioned — meant to be playful or complimentary. “They don’t realize how condescending it is,” Mushkin-Goldman said. “I’m not trying to blame individuals; it’s a societal problem. What’s underneath the statement is the idea a woman exists to perform, to entertain — for a man.”

So, as a grand middle finger to Scarborough, Brit Hume, that annoying dude on your walk home, and every man who ever felt the need to comment on a woman’s demeanor or decorum, Mushkin-Goldman organized an art show. It’s called, appropriately enough, “Smile!” The all-woman group show features feminist artists united by their valiant gumption, a refusal to create or perform — or, yes, smile nicely — for anyone other than themselves.

As Mushkin-Goldman put it: “My reaction to all of this is: ‘Yeah, I’ll smile, but, buddy, this is not for you. I smile because I want to smile, because I’m happy with myself.'”

The exhibit will soon take over New York’s Shin Gallery thanks to the enthusiasm of owner Hong Gyu Shin. “He wanted to do an all-female show,” Mushkin-Goldman said, “when I told him this idea he was immediately on board.” 

“Smile!” features six artists who care too much about their work to give a f**k about what you think. One such artist is Rebecca Goyette, who always appears to be having more fun than anyone else. Goyette is known for her feminist brand of absurd pornos, in which traditional tropes and gender roles are eschewed in favor of delicious weirdness, and in this case, lots of lobsters. 

In her short NSFW film “Lobstapus/Lobstapussy,” Goyette takes over an uninhibited Greek island as a hybrid human-lobster sex goddess, where she proceeds to make sweet, strange love to her crew of barnacle boys and girls. “She’s taking the traditional notion of female sexuality and turning it on its head,” Mushkin-Goldman said. “Goyette is putting a woman in charge, following her own desires, having a sexual adventure without shame.”

Goyette brazenly embodies the spirit of sex positivity that runs throughout the show, a frame of mind pioneered over 40 years ago by fellow “Smile!” artist Betty Tompkins. Tompkins is most well known for her “Fuck Paintings,” massive black-and-white reproductions of porn clippings zoomed in on the naughty parts, which she’s been creating since the 1970s.

For “Smile!” Tompkins contributed a series of “Word Paintings,” each image featuring crowdsourced words all too often used to describe women. Beginning in 2002, Tompkins invited women to participate in her project creating “images of women comprised of words.” Some of the final products include “c**t,” “honey,” “c**ksucker,” “slot,” “slut,” “basket case,” “hot tomato” and “amateur Latina p***y.”

Another iconic feminist artist, Deborah Kass, brings text-centric work to the show with her piece “C’Mon Get Happy,” quoting the 1970s “Partridge Family” theme song. The image combines cheery nostalgia with the more serious undertones of promises unfulfilled. “There’s this sense of darkness, a commentary about the failed promises of the 1950s,” Mushkin-Goldman said. “These beliefs that women can have it all, be super powerful business people and also wonder moms, that never came to be.” 

Two artists, Emily Noelle Lambert and Emily Weiskopf, channel a similar force of energy. Mushkin-Goldman describes Lambert’s art as an abstract response to Kass’ image, a sort of “jubilant punch in the sky.” Weiskopf’s “My Mona” is her take on Mona Lisa’s smile, transforming the iconic, coy grin into a geometric landscape of pink, red and fuchsia, the softness of the fleshy hues met with the cool harshness of straight parallel lines. 

One of the darker works in the show is a piece by Hyon Gyon, made specifically for the exhibition. “It is, in a sense, an altar. Basically the pedestal men put women on,” the curator explained. The throne has distinct tiers for first, second and third place, and comes complete with a set of chains, communicating the tension of being simultaneously elevated and restricted, placed on a pedestal with no ostensible mode of escape. 

However even Gyon’s work uses humor as a primarily vehicle for dissent and liberation. “I come from a Jewish background — so humor is essential to survival,” Mushkin-Goldman said. “We remain strong and positive through humor. It is crucial to remaining strong in the face of adversity.”

“Smile!” curated by Jenny Mushkin-Goldman, opens May 4 at Shin Gallery in New York. 

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Carol Burnett Is A Feminist Hero Whether She Knows It Or Not

Carol Burnett is a bonafide feminist hero. She rose up at the helm of her own variety show decades before the question of whether women are funny was somehow a thing. While her brand of humor never contained explicitly activist messages, the very fact of her presence during the women’s lib movement, of performing each night as the first female host of a comedy variety show, was a feminist act — whether she realizes it or not.

“You know, Carol, variety is a man’s game,” CBS told her at the time, trying to talk her out of creating what would become “The Carol Burnett Show.” She didn’t listen to them, of course; she just did what she wanted to do.

As Burnett tells it, her contract stipulating guest appearances on “The Garry Moore Show” contained a clause that allowed her to pursue a variety show within five years of her 10-year contract with the network. On the last day of that fifth year, she decided to push the button.

 ”They had forgotten about it,” she said, laughing at the implausibility of her rise to prominence on a technicality.

CBS initially asked Burnett to consider a sitcom instead, but she balked at the idea of doing the same thing each week. She wanted to play different characters. She wanted to have musical numbers. She was a Broadway baby, after all.

“The Carol Burnett Show” debuted in 1967 and ran for over 10 years. It was a ratings gem for the network, heralded as a good enough excuse to stay in on Saturday nights. Burnett made waves bringing in huge names for her musical acts and convincing them to participate in sketches, with the likes of Bing Crosby entangled in her physical comedy. She parodied entire movies, using the typically uneven genre of the variety show to deliver lengthy one-acts based on cultural staples. (See: That “Gone With The Wind” skit, in which Burnett emerges in the dress made of curtains, curtain rod and all.)

In 1978, Burnett ceased production on her own, having tired of the format in the shifting landscape of TV. “I’m sorry to see attention spans so short,” she said, when asked if the show could exist today. “You know, because we did longform. Sometimes, we had sketches that were 12 or 15 minutes. We took the time to build.”

Now, nearly 50 years after the premiere, Burnett is just as affable and giggly in interviews as during her famous question-and-answer sessions. On the phone with The Huffington Post, and in conversation with Ellie Kemper at the Paley Center, she talks about her impressive legacy with a sense of bemused incredulity. Her mode of looking back at “The Carol Burnett” show is perhaps best summed up by the shruggie emoji with a speech bubble reading, “I know, right?!” 

While speaking with Burnett about the release of her “Lost Episodes” DVD collection, she tap danced around the question of taking up space in a man’s world. I attended her event at the Paley Center, hoping she’d saved her discussion of women in comedy for Kemper.

The event was punctuated with clips from the show, most of which Burnett would chuckle at as though they had happened mere days before. She discussed her early years, of having first moved to Manhattan and working on “Once Upon A Mattress.” She remembered her time on “The Garry Moore Show” as the inspiration for her titular variety hour. She was as charming and wonderful as you would hope, but when Kemper asked about the current moment for women in comedy, Burnett giggled something like, “Oh, it’s all so great!” and waved her off.

Each question about the “current state of comedy” aimed at Burnett is a request for a mission statement, a call to action with hope that Burnett will urge the current generation to continue on the path she forged in Lucille Ball’s footsteps. But Burnett is elusive. She doesn’t overanalyze her impact or think about her career in such theoretical terms as “what she means” to the industry.

“My feeling is that if I had never been born, those women like Tina and Amy would still be doing what they’re doing today,” she said during our call.

Pushed to elaborate, Burnett shrugged again. “I never thought, ‘Oh gosh, I’m doing something only the guys could do or should do.’ I never felt that. Once we started the show I was the person who wanted to be funny and sing a song or two. I never analyzed it.”

At first glance, it might seem disappointing that Burnett doesn’t own — or maybe isn’t surprised by — her impact. But, on some level, her irreverent stance is even more defining than a fiercely defensive one might be. 

Whether the result of her whimsy or intention, there is power in refusing fearfulness, in combatting the obstacles by pretending they simply don’t exist.

When Burnett first started on the “The Garry Moore Show,” she leapt out a window during one scene and screamed with relief when she hit the mattress below. She had no experience with stunts and no idea it would be there.

“I was so naive!” she gasped. “I just thought, ‘Well, I’m just going to jump and land on the floor!’ I was never taught how to do it.”

Five decades ago, she broke down barriers with the same free-wheeling bravery she used to hurl herself off Moore’s set. In that skit and across her career, Burnett has never been totally sure that anything would be there to catch her when she fell. And it never totally mattered. She became a goddess of comedy by some mythical combination of transcending the sexist nonsense and not really worrying about it in the first place.

“You just have to go out there and do it,” she said, when asked what advice she’d give young comedians before hopping off the call. “I just went out there and did it. The more experience you get, the better you’re gonna be.”

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Fat Is a Feminist Issue

Fat Is a Feminist Issue


The classic book that changed the way women look at themselves. The author encourages women to change their negative relationship with food into a positive one and consequently lose weight. Throw away your diet books.-The New York Daily News.
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Feminine Feminist tank top Funny feminine tank top LookHUMAN

Feminine Feminist tank top Funny feminine tank top LookHUMAN


Feminine Feminist – X-Small tank top: Funny feminine tank top LookHUMAN – Just because Im feminine doesnt mean Im not a feminist! Whether youre dealing with femmephobia from fellow feminists or just asserting yourself with your right to wear and do whatever you please, this lipstick loving shirt is for the feminist in you! – Funny tank top – feminine tank top. Related Terms: feminine, femininst, femme, feminism, lipstick, womens rights, self expression

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Feminist Lifting Team tank top Funny Feminist workout shirt tank top LookHUMAN

Feminist Lifting Team tank top Funny Feminist workout shirt tank top LookHUMAN


Feminist Lifting Team tank top: Funny Feminist workout shirt tank top LookHUMAN – Punch the patriarchy in the face with this feminist lifting team design. Who wouldnt want to be on a pro-feminism lifting team? Its a team of literally strong women. Get your Ruth Bader GAINSburg on with this girl power design. This shirt features an illustration of the feminist logo holding a bar bell, and the phase Feminist lifting team with the subtitle bringing pain to the patriarchy since 1848. – Funny tank top – Feminist workout shirt tank top. Related Terms: Feminist workout shirt, Feminist fitness shirt, Feminist gym shirt, punish the patriarchy, Womens Weight Lifting shirts, pro feminism shirt

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Powerful Women And Female Pleasure: Exploring The Feminist Themes Of ‘Magic Mike XXL’

Female viewers flocked to the theaters to watch “Magic Mike XXL” when the flick hit the big screen last week. And many of its fans have praised the film for its feminism.

The sequel, which follows Channing Tatum and his band of male entertainers as they make their way to their final performance at a stripper convention, has been applauded for its progressive depiction of women of various ages, body types and races, its  powerful female characters and its positive embrace of female sexuality. As the Washington Post’s Soraya Nadia McDonald noted, “Magic Mike XXL” even passed the Bechdel test.

As entertainment writer for Cosmopolitan.com Patti Greco told HuffPost Live, the film’s writers may have intended to make buddy comedy, but the end result was completely different.

“Ultimately, what came out of it was a movie that centered on the idea that women’s pleasure really mattered very much,” Greco told host Caroline Modaressy-Tehrani. “[There were] a bunch of great female characters who actually helped write their parts. Jada Pinkett-Smith, [who was] a revelation in this and arguably was the most empowering and feminist part of the movie, really brought that role to the table, same with Andie MacDowell.”

Greco also applauded the character development of the film’s male stars and responded to the critique that “Magic Mike XXL” objectifies men and promotes unrealistic body standards.

“If these guys were just chiseled lunks, nobody would be that attracted to them. They actually have personality,” she said. “They actually have sensitivity and so they are feminine in some ways and it plays with the idea that you can’t just be a hunk of meat. You also have to be sensitive to satisfy a woman.”

Still the movie had its flaws, Deadspin senior culture editor Puja Patel noted.

“There are times where the film is clearly pandering a little bit,” she said. “These women kind of become a prop to tell the males character development or the story that these men are healers in some way.”

Watch the full HuffPost Live conversation about the feminist themes in “Magic Mike XXL” here.

Sign up here for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before.

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Powerful Women And Female Pleasure: Exploring The Feminist Themes Of ‘Magic Mike XXL’

Female viewers flocked to the theaters to watch “Magic Mike XXL” when the flick hit the big screen last week. And many of its fans have praised the film for its feminism.

The sequel, which follows Channing Tatum and his band of male entertainers as they make their way to their final performance at a stripper convention, has been applauded for its progressive depiction of women of various ages, body types and races, its  powerful female characters and its positive embrace of female sexuality. As the Washington Post’s Soraya Nadia McDonald noted, “Magic Mike XXL” even passed the Bechdel test.

As entertainment writer for Cosmopolitan.com Patti Greco told HuffPost Live, the film’s writers may have intended to make buddy comedy, but the end result was completely different.

“Ultimately, what came out of it was a movie that centered on the idea that women’s pleasure really mattered very much,” Greco told host Caroline Modaressy-Tehrani. “[There were] a bunch of great female characters who actually helped write their parts. Jada Pinkett-Smith, [who was] a revelation in this and arguably was the most empowering and feminist part of the movie, really brought that role to the table, same with Andie MacDowell.”

Greco also applauded the character development of the film’s male stars and responded to the critique that “Magic Mike XXL” objectifies men and promotes unrealistic body standards.

“If these guys were just chiseled lunks, nobody would be that attracted to them. They actually have personality,” she said. “They actually have sensitivity and so they are feminine in some ways and it plays with the idea that you can’t just be a hunk of meat. You also have to be sensitive to satisfy a woman.”

Still the movie had its flaws, Deadspin senior culture editor Puja Patel noted.

“There are times where the film is clearly pandering a little bit,” she said. “These women kind of become a prop to tell the males character development or the story that these men are healers in some way.”

Watch the full HuffPost Live conversation about the feminist themes in “Magic Mike XXL” here.

Sign up here for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before.

Also On The Huffington Post:

 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



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Powerful Women And Female Pleasure: Exploring The Feminist Themes Of ‘Magic Mike XXL’

Female viewers flocked to the theaters to watch “Magic Mike XXL” when the flick hit the big screen last week. And many of its fans have praised the film for its feminism.

The sequel, which follows Channing Tatum and his band of male entertainers as they make their way to their final performance at a stripper convention, has been applauded for its progressive depiction of women of various ages, body types and races, its  powerful female characters and its positive embrace of female sexuality. As the Washington Post’s Soraya Nadia McDonald noted, “Magic Mike XXL” even passed the Bechdel test.

As entertainment writer for Cosmopolitan.com Patti Greco told HuffPost Live, the film’s writers may have intended to make buddy comedy, but the end result was completely different.

“Ultimately, what came out of it was a movie that centered on the idea that women’s pleasure really mattered very much,” Greco told host Caroline Modaressy-Tehrani. “[There were] a bunch of great female characters who actually helped write their parts. Jada Pinkett-Smith, [who was] a revelation in this and arguably was the most empowering and feminist part of the movie, really brought that role to the table, same with Andie MacDowell.”

Greco also applauded the character development of the film’s male stars and responded to the critique that “Magic Mike XXL” objectifies men and promotes unrealistic body standards.

“If these guys were just chiseled lunks, nobody would be that attracted to them. They actually have personality,” she said. “They actually have sensitivity and so they are feminine in some ways and it plays with the idea that you can’t just be a hunk of meat. You also have to be sensitive to satisfy a woman.”

Still the movie had its flaws, Deadspin senior culture editor Puja Patel noted.

“There are times where the film is clearly pandering a little bit,” she said. “These women kind of become a prop to tell the males character development or the story that these men are healers in some way.”

Watch the full HuffPost Live conversation about the feminist themes in “Magic Mike XXL” here.

Sign up here for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before.

Also On The Huffington Post:

 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



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How Magic Mike XXL Became the Most Shockingly Feminist Movie of the Summer

If you haven’t seen Magic Mike XXL yet, close your browser, hydrate, and go directly to your local movie theater. This piece contains spoilers. No, seriously, I am going to ruin everything. When I sat…


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Why Posing Nude For Lui Falls In Line With Rosie Huntington-Whiteley’s Feminist Beliefs

Rosie Huntington-Whiteley has proved once again that she is not shy about showing off her figure. She’s wearing next to nothing on the cover and accompanying spread of French men’s magazine Lui.

Huntington-Whiteley, who looks absolutely stunning in the shots she posted to Instagram on Wednesday, oozes confidence as much as she does sex appeal, something she says stems from her sheltered, rural upbringing.

While a model posing nude for a magazine spread is hardly a new concept, it’s a decision that seems in line with the can-do spirit in which Huntington-Whiteley says she was raised. In an interview with HuffPost Live that touched on her feminist beliefs, she explains:

“I’ve been lucky in my career. Modeling is kind of a female’s world, and I feel very lucky for that. I never felt too many limitations in that industry, but it’s certainly something you think about more and more and it’s certainly something we’re seeing more and more in the media. For me, I would totally, comfortably call myself a feminist. I believe in equal rights and for women to do what they want to do,” she said.

Clearly, doing whatever they want to do includes nude photoshoots. More power to you, Rosie.

@luimagazine by @luigiandiango

A photo posted by Rosie Huntington-Whiteley (@rosiehw) on

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Catalyst Wedding Magazine Is The Answer To Our Feminist Prayers

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Credit: Betty Clicker Photography

Liz Susong and Carly Romeo, founders of the new Catalyst Wedding Magazine, felt it was time the bridal industry had a “feminist disruption.” Their magazine, which launches later this month, aims to do just that.

Instead of just featuring the white, wealthy heterosexual couples that usually grace the pages of popular bridal publications, Catalyst celebrates the underrepresented: people of color, diverse bodies, same-sex couples and the many, many people who can’t spend anywhere close to $ 40,000 on a wedding.

“Carly and I see a need for a magazine that publishes real, authentic love celebrations and diverse love stories that doesn’t allow advertising revenue to drive its content,” Susong told The Huffington Post.

In March, Susong, a “progressive” wedding planner, and Romeo, a feminist wedding photographer, set up a Kickstarter page to raise funding for the project. They surpassed their original goal of $ 8,500, ultimately raising $ 13,490.

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Credit: Cassie Rosch

Susong explained to HuffPost that Catalyst considers itself feminist on three counts: representation, roles and rights.

“Part of our mission is to increase diverse representation in wedding media,” she said. “We want to see all sorts of couples and bodies being presented in full-color, beautiful print! The editorial content engages in critical dialogue around wedding traditions and the industry at large, especially around gendered roles in the wedding planning process.”

And while Susong says the publication is a “strong voice in favor of marriage equality,” she explained that Catalyst is not a gay wedding magazine.

“We’re not just looking for a new niche market to sell glitter to!” she said. “We’re celebrating authentic love and community — no strings attached.”

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Credit: Pop! Wed Co.

Some of the features in the first issue include “Let’s Ditch The Diet,” “What Makes A Rebellious Bride” and a personal essay titled “Here In Your Love” about planning a wedding while writing a Ph.D. dissertation. And then, of course, there are the beautiful real wedding photo spreads featuring couples not traditionally pictured in mainstream bridal print publications.

“It’s important to us that the magazine is in print because while some offbeat wedding resources exist online, we rarely get to see diverse bodies in beautiful, full-color print spreads,” Susong said. “Magazines provide a tactile experience, and all of the couples together in the magazine tell one story. We think that’s really special!”

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Susong and Romeo say they are aiming to produce two volumes a year, with the second issue coming out in January 2016. So far, they have sold around 600 copies of the first issue — and counting.

You can order your copy of Catalyst here. Orders will begin shipping Memorial Day weekend.

H/T Mic

Watch an interview with Liz Susong below:

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Charlize Theron: ‘Girls Need To Know That Being A Feminist Is A Good Thing’

Every time Charlize Theron opens her mouth we fall in love with her more and more.

In a recent interview for ELLE UK’s June 2015 issue, the Oscar-winning actress discussed her experiences with the wage gap in Hollywood and how she refuses to be objectified by filmmakers.

She stressed that women need to stand up for themselves when it comes to being paid fairly — starting with simply asking to be. “I have to give them credit because once I asked, they said yes. They did not fight it,” she said. “And maybe that’s the message: That we just need to put our foot down.”

She went on to define feminism and explain why it’s so integral to achieving pay equality. “This is a good time for us to bring this to a place of fairness, and girls need to know that being a feminist is a good thing,” Theron said. “It doesn’t mean that you hate men. It means equal rights. If you’re doing the same job, you should be compensated and treated in the same way.”

charlize theron

Theron has repeatedly stood up against the wage gap. After the massive Sony Pictures hack that revealed many actresses were paid much less than their male co-stars in recent films, Theron used the leaked information to ensure pay equality with her male co-star in her film “The Huntsman.”

“When I thought about the temperature out there — with finding out what Jennifer and Amy were being paid on a set with guy actors who are their counterparts… They’re just as good as any of the guys on there. Yeah, that p*ssed me off!” Theron told ELLE.

The 39-year-old actress also discussed what it’s like being objectified as a woman in Hollywood. “Someone thought it was a good idea to market almost the entire movie on me; objectifying me a little bit,” she said. “I got a lot of attention from it, but the problem was that, afterwards, it was like, ‘We want you to do that again. Can you just do that?’ And so I didn’t work for almost two years.”

You do you, Charlize.

Head over to ELLE UK to read more from Theron.

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Why Tim Burton Made A Film About The ‘Most Quiet, Under-The-Radar Feminist You’ve Ever Met’

Tim Burton’s “Big Eyes” tells the story of an epic art fraud centered on “the most quiet, under-the radar feminist you’ve ever met.” In many ways, Margaret Keane’s story embodies the early women’s movement. That, along with the rise of the kitsch — and another “worst” artist to add to the list with “Ed Wood” — is what Burton has set out to explore here. HuffPost Entertainment interviewed the director to talk about creating his lowest budget film in years (and whether he would ever re-consider making “Superman Lives”).

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You commissioned Margaret Keane’s work before this film was even pitched to you. What drew you to “Big Eyes” and telling her story?
I felt like it was suburban art. There weren’t Matisses or Picassos hanging on people’s walls. There were Keanes. You would see them in people’s living rooms, dentists’ offices and doctors’ offices. It was very present, and very much a time of that when I was growing up. I think they stayed with me, because they were all over the place, but also because I found them quite disturbing. I liked that kind of juxtaposition of things. I found it fascinating that so many people had them up in their houses.

That rise of the kitsch and suburbia have always been prevalent themes in your work. Is that something you wanted to explore here?
Even for people who hated it, you had to acknowledge it had a power to connect with people. There were a lot of artists who tried to rip it off. A lot of people who bought it. It became like a movement. Look at artists who were trying to copy it … This sort of came to me growing up in suburbia: this idea of the American dream, and then you have this couple — this sort of horrific couple — creating these strange mutant children. That seemed slightly representative of the end of that American dream era. This is sort of a twisted version of that idea of the nuclear family.

The true story of the Keanes is actually much more insidious than what we see on screen. What made you leave things out like Walter abusing Margaret’s dog or keeping her locked in the attic?
You know, truth is stranger than fiction. For instance, in the courtroom scene [in which the Keanes have a paint-off for ownership of Margaret’s body of work], we had to tone it down, because it was even worse than that. In fact, people have trouble believing that even now. So, it was fine line between trying to create the extremity of it and do it in a way where you’re still semi-believable. With Margaret mentioning how she is in the attic, you get the idea of it.

big eyes

In a way, Margaret Keane embodies the early women’s movement — surviving her husband’s psychological abuse and striving for her independence in spite of it.
She’s one of the most quiet, under-the-radar feminists you’ve ever met. She doesn’t have a big voice. She’s not out there on the streets, saying, you know, “Vote for women’s rights!” She did it in her own private, personal way, which I found amazing given the type of person she is.

Toning down this story is certainly another way “Big Eyes” is a departure for your work. There are not a lot of visual effects, it’s much smaller. How was the process different?
Well, it was low-budget. For me, after doing a lot of big-budget movies, it was kind of reconnecting me to having to move quickly and be resourceful. I mean, you have to do that on any film. But this you’re moving locations four or five times a day, you know, trying to make Vancouver look like San Francisco is not easy.

What was the biggest challenge with the low budget?
I think Vancouver to San Francisco, because the actors were all great. I was lucky to deal with solid people who were willing to go into the same thing of moving quickly, being there, not having to wait for people to move out of the trailer. Everyone got into the same spirit, which helped make it.

You’ve made films for two distinct generations. Do you think of this one differently?
You pick projects based on feelings. That’s why you can’t pick projects too far in advance. You don’t know how you’re going to feel. I think I felt that this one, basically because of “Ed Wood,” I like these characters that are sort of marginalized and the connection between what’s good and bad. Those are the themes that I relate to. Also, just wanting to do a low budget film after doing so many big budget films.

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What do you think about the rise of the superhero franchise. How would your “Batman” do today?
It is amazing. I feel lucky to have been around in the time before franchise was created. I was lucky on “Batman” to never hear the word “franchise,” that was a real pleasure. Now, that’s all it’s become. The amazing thing is that trends come and go. That’s a trend that obviously not only stuck, but continues to keep going. How many tortured, you know, people that become superheroes are there going to be? It’s the same story.

Okay, half joking here, but how about “Superman Lives”? Would you ever reconsider making that one? Superman films are in, meta commentary is in … the Internet would explode.
Oh, good. I’d love to make the Internet explode! That’s a good idea. I’d love to see that happen.

“Big Eyes” is out in wide release Dec. 25.
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By The Light of the Feminist Moon

In 1968, Virginia Slims cigarettes introduced a new marketing slogan (“You’ve come a long way, baby!”) in its effort to increase its appeal to female smokers. In truth, much of the world has come a long way from the crude Freudian symbolism which insists that anything long and straight represents a male and anything resembling a circle represents a female. When the Women’s Liberation Movement began to gain momentum in the 1960s, it generated a wealth of literature that would previously have been unimaginable.

  • Betty Friedan’s 1963 book, The Feminine Mystique, is often hailed as the catalyst for a new wave of sociopolitical activism.
  • Ms. magazine (which began as an insert in New York Magazine in 1971) helped Gloria Steinem become a major voice in the feminist movement.
  • And who can forget Tee Corinne’s 1973 sex education manual entitled The Cunt Coloring Book.

  • Ntozake Shange rocked the theatre community with the brashness of her 1975 play, For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf.
  • In 1996, Eve Ensler shocked audiences with The Vagina Monologues (her recent play, entitled Emotional Creature: The Secret Life of Girls Around the World, is equally provocative).
  • In 2012, Stanford-educated engineer Debbie Sterling launched a Kickstarter campaign for scientific toys designed for young girls. Goldie Blox reached its crowdfunding goal in four days

When AECOM Technology Corporation (the architectural firm designing Qatar’s 45,000-seat Al Wakrah Stadium — a $ 120 billion project planned to host the 2022 FIFA World Cup) unveiled a concept video, it was met with stunning derision from self-appointed critics on the Internet. Originally designed by Zaha Hadid to represent the traditional dhow which Qataris use when pearl diving, the architectural renderings were instead mocked as looking a whole lot more like a vulva. In a recent (unrelated) interview, comedian Sarah Silverman stated “I think vaginas really, really scare a lot of people.”

If the thought of a powerful woman unnerves insecure men, the thought of a female goddess, wizard, or magician is enough to make their dicks shrivel up and disappear. From Druid Priestesses like Bellini’s Norma to Greek goddesses like Athena, Aphrodite, Artemis and Hera; from Gilbert and Sullivan’s lustful Queen of the Fairies in Iolanthe to modern Democratic icons like Hillary Clinton, Nancy Pelosi, and Elizabeth Warren, more and more extremely intelligent and articulate women are dealing from positions of power.

In her 2010 screen adaptation of Shakespeare’s play, The Tempest, director Julie Taymor changed the character of Prospero from a male to a female (Prospera).


Taymor is not the only female director to think of changing Prospero’s gender. In Cirque du Soleil’s new show, Amaluna, Diane Paulus has taken a similar approach. The difference is that whereas Taymor is a creative force with strong artistic visions, Paulus is not. Whereas Taymor can create a thrilling opening number for the stage version of The Lion King (“Circle of Life”), Paulus’s attempt to build a show around the theme of “women” barely managed to reach for “Circle of Wife.”

This became most apparent in the stage play between Amaluna’s clowns (Jeeves and Deeda), which easily ranks as the least entertaining and “unfunniest” act I think I’ve ever seen in a Cirque show. Indeed, after building a whole number around the breeding and hatching of little chicks, the most inspired part of this act came during the curtain call when a member of the cast dragged this “family” behind him.

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A great deal of Amaluna’s strength comes from the nearly 130 costumes designed by Mérédith Caron. I was much less impressed with the musical score by Guy Dubuc and Marc Lessard (aka Bob & Bill), which was performed by an all-women band.

Because much of Paulus’s work on this show involves creating transitions between the more acrobatically inclined Cirque acts — and seeing how well she can use Cirque’s formidable stagecraft to showcase these acts — one often gets the feeling that her contribution to Amaluna falls into the category of stage direction often described as the work of a traffic cop.

Anyone who has staged a production of Aida, Turandot, or Die Meistersinger von Nurnberg knows that being called an effective traffic cop is not necessarily an insult. When large numbers of people have to move on and off stage without hurting themselves, the precision of one’s stage direction can be of paramount importance. What’s particularly interesting about Amaluna’s concept is the heavy emphasis on circles and curves in Scott Pask’s designs for Amaluna’s scenery and props.

  • The six chandeliers spread over the audience (which each has a span of over 14 feet) are made of aluminum tubes that have been bent and positioned to create the effect of a mobile.
  • The remote scenic elements (which often resemble a phosphorescent sea of reeds made with curved glow sticks) help to soften the environment, making it possible to imagine that one is in either a tropical forest or an underwater jungle of kelp and brightly colored coral.

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  • The stage floor contains a rotating turntable which allows a layered circular effect during some of the acrobatic acts that involve poles. During these moments, sections of the stage revolve in order to ensure that everyone in the audience can see each act from every angle (even though they are in plain view of the audience, the set’s automated mechanical elements have been designed to be nearly invisible).
  • The Water-Bowl which becomes a centerpiece for key contortionist/balancing acts (as well as a “womb with a view” love scene) stands 5’5″ tall, is 7’3″ in diameter, and weighs 5,500 lbs when filled with water.
  • The most fascinating scenic element is the 6,000-pound, 25-foot diameter Carousel (a custom-made ring containing downward- facing lighting clusters as well as anchor points for flying acrobatic performers). Not only does this unit allow multiple aerial performers to fly out over the heads of the audience, it can revolve in sync with the stage (or counter-rotate in the opposite direction) to give the artists and the lighting designer maximum flexibility and range of vertical and horizontal motion. The Carousel’s central acrobatic winch can lift up to 1,000 pounds at 10 feet per second; the production’s accompanying 8,600-pound grid includes three acrobatic winches which are each able to lift loads up to 400 pounds at 10 feet per second.

What surprised me was that, in a production meant to showcase female empowerment, so much of Paulus’s attempt to draw inspiration from The Tempest seemed to be lost on the audience. There was very little sense that Prospera and her daughter, Miranda, were onstage for any reason other than to mark time between circus acts. Nor did one get any sense that the Valkyries performing on aerial straps had anything to do with Miranda and Romeo.

Although Lara Jacobs Rigolo (whose frond balancing act has gone viral on YouTube) was an obvious hit, the two solo performers who scored most strongly with the audience were Evgeny Kurkin who, as Romeo, took some amazing head-first dives as part of a Chinese pole act, and Viktor Kee (who nearly walked off with the entire show). Throughout the performance, Kee stalked the stage and audience as a lizard-like Caliban figure with a reptilian tail. When he finally got to perform his juggling act atop the Water Bowl it brought the kind of electricity to the evening that had been missing from a great deal of Amaluna.

Part of Kee’s success was that he was allowed to make the kind of emotional connection to the audience that had been denied to most of the other acrobats (who had either been forced into posed attitudes or been kept in motion by the show’s revolving stage). The following video shows Kee performing at the 27th Monte Carlo Festival.

To read more of George Heymont go to My Cultural Landscape
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