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joannechocolat · 2 years ago

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On why women’s rage is a superpower

My mother hates my new book. I gave her a proof just a few days ago, and although she’s still only halfway through, she can’t wait to tell me all the ways in which she hates my novel.

“Is this science fiction?” she says. (She detests science fiction.) “Were you ill when you wrote this?” (I was.) And repeatedly, she says: “Why are the women so angry?”

I get it. She’s out of her comfort zone. At 83, with no internet, no interest in pop culture and a deep-rooted hatred of anything close to horror or the supernatural, she wasn’t my target audience. And yet it’s never easy to hear such criticism from a loved one. But in some ways, she isn’t wrong. Broken Light is an angry book. It came from a time of lockdown, when social media was my only window onto the world. It came from a place of trauma, when I was fighting cancer. It came from a place of corrupt hierarchies, self-serving politicians, anti-vaxxers, Covid deniers, victim-blamers, and those eager to blame all their woes on minorities. And of course, it arose against the background of the #MeToo campaign and the Sarah Everard murder – a murder that shocked the nation, not least because the murderer turned out to be a serving police officer with a reputation for sexual misconduct - which unleashed a collective howl of protest, as well as an ugly, misogynistic backlash. Even so, my story came as something of a surprise to me: the story of a woman’s rage, and, on reaching the age at which women often feel least valued, her coming into her power.

It surprised me, most of all because I wasn’t an angry person. At least, I didn’t think I was. Those who know me describe me as someone who tends to flee conflict, who generally tries to find common ground, who gets upset when people fight. And yet, writing this story, I found myself saying and feeling certain things on behalf of my heroine, Bernie Moon; things I might not have said for myself, but which felt right and urgent, and true, and strangely liberating.

Anger has a bad press. A woman’s anger, especially. While men are encouraged to express feelings of justified anger, women are often criticized when they try to do the same. Angry women are often portrayed as “harpies,” “banshees,” “Furies.” It suggests that a man’s rage is righteous, but that a woman’s is unnatural, making her into a monster. Male anger is powerful. The God of the Bible is one of wrath. Seldom is he ever portrayed as expressing any other emotion. In the same way, men and boys are often led to believe that expressing emotion is weak - except for anger, which is seen as acceptably masculine.

In comparison, women are often criticized when they show aggression. Angry women are hysterical, shrill, out of control, unreliable, unattractive, unfeminine. A perceived lack of “femininity” makes a woman less valuable, less worthy of respect and of protection. The Press coverage of women victims of violence is a case in point. A victim of violence needs to be attractive, white, gender conforming and virtuous in every way if she is not to be overlooked, or worse, portrayed as somehow having contributed to her misfortune. When trans teenager Brianna Ghey was stabbed, the Press were very quick to state that her murder was not thought to be a hate crime, whilst at the same time obsessing over – and questioning - her gender. When Nicola Bulley disappeared, police felt obliged to divulge details of her struggle with the menopause, as well as her alcohol issues, even though this was privileged information and of no public relevance. When Emma Pattison, the Head of Epsom College, was murdered alongside her daughter, the Press immediately assumed that her husband George must have felt “overshadowed” and “driven to distraction” by his wife’s prestigious job. In all three cases, the victim falls under the hostile scrutiny of the Press, while the perpetrator is given an excuse. In all three cases, the victim – one trans, one hormonal, one better-paid than her husband - is effectively portrayed as “unnatural”. Subtext: Unnatural women do not deserve the protection of the patriarchy. Unnatural women come to bad ends.

Once you start to acknowledge it, rage grows at a surprising rate. Over the past three years, I have found myself growing increasingly angry. Angry at the injustices committed by our Government; t the greed of corporations; angry at the prejudice extended to those who are different.

Connecting with others on social media has made me more aware of the lives and experiences of those from different backgrounds to mine, and with different levels of privilege. For a long time I’d been resistant to calling myself a feminist. Feminists are angry, I thought. What right have you to be angry?

Growing older, I realize that this was my mother speaking. A woman of a certain generation, who although she was aware of the challenges of living in a patriarchy, still had a level of privilege that many women do not share. White, professional, cishet women can sometimes have the luxury of choosing not to be angry. White, professional, cishet women can sometimes have the illusion of equality. But feminism isn’t only for just one kind of woman. A feminist must look beyond the limits of their own experience. And that’s where the anger really starts: anger at injustice; anger at corruption and lies. Most of all, anger at the prejudice against certain people for just being themselves; for being transgender, or Black, or old, or simply not conforming to what a white, patriarchal society expects and values. And once you start seeing injustice, you start to see it everywhere. It’s like an eye, which, once opened, cannot unsee inequality.

My anger flourished in lockdown. A time of growing divisions. Masks are invaluable in a pandemic, and yet they inhibit connection. They serve as a kind of reminder of who can speak, and who is to be silenced. While Boris Johnson was urging the public to trust the police, a vigil for Sarah Everard was broken up, with violence, by officers citing lockdown laws. While elderly people were dying alone; while I drove for four hours just to go for a half-hour walk in the park with my son; while I sat alone in my chemo chair, politicians were partying. Billionaires were enriching themselves. Behind the mask, the eye opened wide. I caught myself making faces behind my disguise at strangers. There was something weirdly liberating about this; as if, behind the piece of cloth, I could express myself at last. Not unlike writing a book, in fact. On screen, the eye opened wider. Bernie Moon, my heroine, was unlike like me in many ways, and yet anger connected us. The anger that comes from helplessness; from seeing others mistreated. Anger at a society that propagates inequality. And the anger that comes from hormones – those mood-altering chemicals that everyone produces, and yet which allegedly make women erratic; unreliable; hormonal.

In his novel, Carrie, Stephen King tells the story of a girl, whose telekinetic powers are unleashed by her teenage hormones. Carrie is unpopular, bullied, isolated. Her rage finds an outlet in her power. Driven to breaking-point by the bullies, she becomes a monster. Of course she does: after all, the author of this tale is a man, writing from the perspective of a couple of thousand years’ worth of patriarchal inheritance. In literature, a woman’s anger is unnatural; monstrous. It leads to terrible, unnatural things: makes murderers and infanticides of Clytemnestra and Medea; monsters of Medusa and Scylla. Unnatural, monstrous women are always punished in literature, even while acknowledging that they are often the victims of men. And unnatural women are often seen as physically repulsive – a reminder that, to be valued and loved, women must be young, and pure, and conform to the standards of beauty set out by their society. In literature, just as in life, those women who do not conform tend to be less valued, less seen, and when they do appear, do so as wicked witches, evil stepmothers, ugly crones and hideous travesties of womanhood.

But what would happen if a woman took control of the narrative? In recent years, we have observed a number of retellings of Greek myths from the point of view of the monster. Stone Blind, by Nathalie Haynes; Medusa, by Jessie Burton; Circe, by Madeline Miller. In both cases, the monstrous woman is seen from a different perspective; her rage absorbed and justified; her narrative reclaimed from a patriarchy that seeks to tame and subdue a woman’s rage, even at the cost of her life.

My new novel, Broken Light, comes from the same process of reclamation. It owes a debt to Carrie, but I have avoided the explicitly paranormal theme of the original, as well as the girl-on-girl bullying and the psychopathic mother. In my version, Carrie lives; marries her childhood sweetheart; internalizes all her rage and suffocates her power. Until the menopause – a topic which until recently has been largely misunderstood and taboo – at which point her power returns, and with it, a new kind of freedom. Freedom from the male gaze; from the responsibilities of motherhood; from the largely impossible expectations of society. Unlike puberty, menopause is triggered by a lack of certain hormones; and yet the symptoms can be just as dramatic and isolating. Loss of libido, exhaustion, depression, emotional outbursts as well as unpredictable and alarming hot flashes – my version of Carrie’s pyrokinesis. Whether my heroine’s powers stem from any kind of paranormal source is very much up to the reader to decide – after all, paranormal is only a step away from unnatural. And what counts as unnatural is in the eye of the reader – an eye that has been opened, I hope, to a series of new possibilities.

One is that rage is natural. Living in a patriarchy, women have a right to their rage. In fact, it seems more unnatural to me when women are not angry, given how much misogyny remains in our society. And growing old is natural. Being hormonal is natural. Differences are natural; so are disabilities. All women matter; whatever their age, or colour, or sexual orientation, or marital or reproductive status. The value of a woman’s life should not be defined by her popularity, or her age, or her looks, or her kids, or her value to the patriarchy. And no-one else gets to decide what a woman ought to be. A woman is not what, but who - a person, not an object; an active participant in her world. Women have lived too long behind the mask. They deserve their own stories. Stories in which they are allowed the full range of human possibility. So, to answer my mother’s question: Why are the women so angry?

Because it’s a superpower.

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sheikfangirl · 1 month ago

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Besides Zelda, what are some other video games you are into? What other fandoms are you in?

Dearest Anonymous,

Here are games who made the cut for my favorites games series of all time (excluding LoZ my no1 fav!)

My taste varies from rpgs to sci fi action, to survival horror, to text base. I particularly enjoy story driven single player games...and I think my pic is a clear example of my obsession for the "the power of love triumph's over evil" trope haha

The original Mass Effect Trilogy: My ultimate power fantasy. I wish I was Commander Shepard IRL. Without going into details, that game series pretty much saved my life.

Dragon Age Origins: I am still hunted by some of my moral choices.... also, Morrigan, my beloved 🥵 Special mention to The Witcher 3!

The Last of Us: Naughty God and their character writing.... Unpopular opinion, I adore both games but i prefer part 2 by far. The themes. The character nuances...a game that made me want to throw my controller away when I got to the final battle 😭💔

Horizon Zero Dawn / Forbidden West: Post-Apocalyptic Sci Fi open world reclaimed by nature where you fight robots...hmmm... reminds me of something....

Final Fantasy VIII: Not perfect from a long shot...so many thing doesnt make sense in the story, so many plot holes and broken game mechanics...BUT I DON'T CARE!! I LOVE THIS MESS!! And I adore Squall Leonheart's character design and it shows in the way I draw Link's hair....

Final Fantasy IX: Criminally underrated in my opinion. It's my favorite Final Fantasy. All the FF history easter eggs, the music, the environments. Beatrix is hot. Kuja is hot.

The Ace Attorney Series: So f****** ABSURD! This is japan humor at it's best. Calling a Parrot to the witness stand is one of the greatest video game moments ever 🤌 And I play with the mic. I love yelling OBJECTION in my DS mic!

Lunar 1 and 2: My heart warms just looking at those boxes... 🥹♥️The characters (designed by Yoshiyuki Sadamoto, the same artist who designed Evangelion's characters) the simple but charming story, the pixel art, the romances... and the game is surprisingly HARD!!! Man, i want to replay them right now. If you never heard of this JRPG and love stories about the power of true love, CHECK THIS OUT!!

As for my fandoms in general...hmmm...it would be quicker for me to list things i don't like than the opposite lol. But i am a HUGE science fiction nerd, you can think of the classic obvious franchises and go deeper.

I'm a Buffy the Vampire Slayer fan too and all the drama that was revealed after #MeToo broke my heart on multiple levels...but thats another story.

Cheeeers!

#ask me anything #video games #sheik fangirl

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ritchiepage2001newaccount · 4 months ago

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Project2025 #CorpMedia #Oligarchs #MegaBanks vs #Union #Occupy #NoDAPL #BLM #SDF #DACA #MeToo #Humanity #FeelTheBern

JinJiyanAzadi #BijiRojava Raqqa largely liberated, Rojava revolution holds commune elections [UPDATES]

The flags of the Women’s Protection Units (YPJ) and Shengal Women's Units (YJS) were planted in the city centre of Raqqa, which had been the capital city of ISIS, on September 14…

RELATED UPDATE: Şîrîn Mihemed serves the Rojava Revolution with her pen and voice

RELATED UPDATE: Lessons From Rojava for the Paradigm of Social Ecology

RELATED UPDATE: SDF arrests ISIS leader in Raqqa

RELATED UPDATE: Kongra Star expresses solidarity with the resistance of women in India

RELATED UPDATE: Kurdish activist Kenan Ayaz sentenced to 4 years and 3 months in prison in Germany

RELATED UPDATE: American troops, Syrian Democratic Forces capture ISIS leader behind prison break

RELATED UPDATE: [VIDEO] US captures ISIS leader in Syria

https://thehill.com/policy/international/4859156-us-captures-isis-leader-in-syria/

RELATED UPDATE: 5th Children's Festival continues in Raqqa

FURTHER READING:

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originalleftist · 13 days ago

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I'm taking a break from Tumblr. I don't know when I'll be back.

My timeline is just wall-to-wall posts glorifying the UHC shooter. and I frankly find that I can no longer stand it.

It's not just that these posts are glorifying an act of terrorism and vigilante murder. It's certainly not out of any particular sympathy I have for the victim- though I do take the unpopular position that even bad people, even those who violated the rights of others, should still have rights. And if one of those isn't the right not to be murdered, all the other rights are a moot point.

Partly it's because of what it reveals about where we're heading, or maybe where we're already at: a society where terrorism is normalized, and indeed enthusiastically embraced, across the political spectrum. Where murder is not seen as wrong, or even a necessary evil, but something cool and sexy. A fandom to stan. And it reminds me of all the other principles that the Left has (largely) thrown under the bus in recent years, and all the other people and groups I've had to cut ties with as a result:

-Opposition to Misogyny/Patriarch- 2022, Depp v Heard (we could also talk about Democrats who keep trying to rehabilitate Al Franken, when it comes to hypocrisy no the subject of MeToo).

-Support for science and the public good- 2022, the bipartisan embrace of COVID denial.

-Opposition to war crimes, genocidal antisemitism, and Nazis- 2023, Hamas fans.

-False flag and rigged election conspiracy theorism- 2024, US election.

-Opposition to gun violence and extrajudicial murder, 2024, UHC shooting.

And, my hands aren't clean here. In particular, I've been far to cavalier about violence in the past, especially in other context and countries where it does not affect the status quo of my country or put me at risk directly. But this is (another) wake up call.

The problem is, I don't know what to do about it.

In the past, I would have just reported and blocked these fuckwits. I've done some of that. But I'm finding that I can't keep doing it, for a couple of reasons.

First, because far too many of these people are people I liked and respected. I am once again seeing that no matter how carefully I curated my circle to keep out the extremists, the tankies, the antisemites, the transphobes, the Putin-lovers, the Depp trolls, and every other variety of faux-progressive hypocrite, something else comes along and once again I find the people I thought were ethical and reasonable... aren't. That they'll jump on the latest hypocritical glorification of authoritarian violence as long as THIS one appeals to their personal sensibilities. It seems like I'd have to block half my followers to be rid of it.

And second, because I honestly can't justify reporting accounts for political speech, even violent political speech, when I know that the regime coming in in the US (and already in place in many other countries) is one that might throw someone into a cell to be tortured for an offensive joke. Nobody deserves that, not even terrorists.

But at the same time, if I have people supporting terrorism on my page, and I don't report and block, I feel complicit.

And, frankly, I can't stand to see it any more.

It has reached a point where I do not feel there is any way I can be in this space and conduct myself ethically. Maybe walking away is just another form of complicity, but it's all that I can do until things change or I figure out where I stand.

#US #Politics #Election #UHC Shooting #Terrorism #Stochastic Terrorism #Hypocrisy #Useful Idiots #Horseshoe Theory #Psy-Ops #Political Violence #Content Warning Antisemitism

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taylortruther · 10 months ago

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i’m curious if you’re comfortable answering what places have you branched out to besides the atlantic as you’ve moved further left???

so this is hard to answer, because you can't just go to one source. i didn't just replace the atlantic with a single other publication, i just outgrew it.

anyway, i read A LOT. i've always been interested in issues of gender, inequality, prejudice, even before i knew what they were called. so beyond resources, i encourage you to read a lot, read from many different sources, and read critically. it is up to you to distill the truth from fiction, opinion from fact. also, you must think critically. you have to take the information and apply it, let it challenge you, let it stack up in your brain until you have convictions that you can actually justify.

🚨 also, disclaimer: i do not endorse EVERYTHING these publications or sites have printed. i don't co-sign every opinion these activists hold. i am sorry if i am ignorant to some crime against humanity within! i'm certain all the resources here are considered "problematic" or biased in some way, or to someone. some publications serve corporate interests, some have problematic business practices, some writers have problematic histories, and some of the info will challenge your worldview in a way that might seem harmful and cause you to deem them problematic. 🚨

mainstream news is still essential to stay aware of what's going on in the world (al jazeera, npr, cnn, to name a few) -- but these are some of the corporate interests i was talking about. they're biased, heavily, but sadly can't think of a news site that covers world news that isn't somehow beholden to their corporate overlords.

magazines, such as: mother jones, the nation, tempest, jacobin, dissent, inverse (for science) -- some of these are socialist publications. some, like mother jones, do excellent investigative reporting. you must know the difference between that and editorial - they are all valuable, but they aren't interchangeable. you will find a lot of editorials/opinions here, and you should assume any of them are owned by a bigger company and might be subject to their interests.

a selection of books i've loved at various times in my life: "aint i a woman? Black women and feminism" and "feminist theory" by bell hooks; "revolution and evolution" by grace lee boggs; "so you want to talk about race?" by ijeoma oluo; "bad feminist" by roxane gay; "unpacking the invisible knapsack" by peggy mcintosh; the publications of jackson katz, who researches what we now call toxic masculinity.

i also follow a lot of activists/thinkers, such as:

ericka hart - sexuality and Black history educator

tarana burke - founder of the metoo movement, Black feminist activist

laura danger - discusses domestic labor and gender inequality in relationships, and how global inequality creates it

megan jayne crabbe - writer and body positivity activist

ijeoma oluo - activist and author of "so you want to talk about race?"

abolition notes - not an activist, but a resource for educational material

following magazines and activists is probably the "easiest" solution, because you can expose yourself over time. read articles as they interest you, don't look away when activists say something that initially seems too extreme. idk! hope this helps!!

#recs #turning off rbs for now because i don't know if i want this to escape containment #socio #politics

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dhaaruni · 2 months ago

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I was re-reading your Whatever Happened to MeToo piece, and I still agree with most of it. I was wondering if you've ever read the original babe.net article detailing the assault allegation against Aziz Ansari?

https://babe.net/2018/01/13/aziz-ansari-28355

The woman's account includes not just "bad sex" but instances of him continuing to make physical contact with her even after she turned away or got up and walked away, multiple times. There are quotes like “He really kept doing it after I moved it away," and "But the main thing was that he wouldn’t let her move away from him."

I'm also not certain that the court of public opinion has acquitted him. For example there's this top comment from an r/Fauxmoi post about him: https://www.reddit.com/r/Fauxmoi/comments/13nx7tz/aziz_ansaris_good_fortune_suspended_indefinitely/

I hope this isn't too nitpicky. I know you highly value accuracy and that you champion a strongly feminist perspective. If you don't feel like discussing this topic I understand, but I was wondering if you think that individual instances described in the article constitute assault?

Basically, I don't think what Ansari would count as assault in any court of law (any amount of he-said/she-said pretty much guarantees it) but I still would warn women off dating him, if that makes sense.

It's not a perfect science but it is what it is.

#answered #anonymous

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qqueenofhades · 1 year ago

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Do you have a favorite character relationship, platonic or romantic, that’s your favorite to write purely from an author format?

I feel like I’m wording this terribly, but I know for me personally, my favorite relationships to read and write from like… a fandom perspective based on what I ship? is different than the relationships that are interesting to me as an author, because trying to figure out how characters interact, trying to capture their relationship and banter and dialogue and mannerisms, I find in some ways is more fun and interesting and dynamic to write over even some of my absolute favorite relationships, because with my favorites, I read and write them so much that I’m very comfortable with them and sometimes it’s nice to know that I’m just able to go for it and write them because I trust my internal instinct about how to write them and how they act and talk.

But the ones that are more challenging to explore or more unique are in many ways almost more interesting to write, they scratch that author itch when I can pull them off, and especially enjoy.

Like, there’s the things fandom author me enjoys, and things literary author me enjoys, and while there’s a LOT of overlap I have different preferences and favorites on both sides

And honestly I think this goes for ALL writing, not just necessarily relationships? So yeah, there’s the question and I’m so sorry for the rambling, but what would you say are your favorite things and relationships and plots etc to write as a fandom author, and favorite ones as a literary author? I’m happy to try to explain more if I’m being confusing. Words. Hard. Sorry

Are you asking in terms of abstracts (i.e. overall character types/dynamics/broad themes) or specifics (i.e. actual characters/ships from particular media properties)? In general for fandom, I have certain tropes and dynamics that I gravitate toward: i.e. Trashy Garbage Man Falls For Tiny Fierce Woman Who Doesn't Take His Bullshit; Sunshine and Grumpy (any combination thereof); Stupid Homosexuals are Stupid and Cannot Communicate, Cause Problems for Themselves; Now With Even More Literal Centuries of Pining God They're So Fucking Stupid, and more. Most of my favorite and long-term ships, such as Garcy, Fivan, Dreamling, etc. fall into one or more of these categories. I also particularly enjoy or have enjoyed writing Flynn (Timeless), Hob (Sandman), Ivan (Shadow and Bone), and their associated relationships, for various reasons. I know all of their characters well and they give me joy, so it's easy to slip into their POV, create scenarios or headcanons, and put them in various settings and give them problems. So there's that.

In terms of my original stuff, I am much more experimental and interested in a broader range of styles and outcomes. When you're writing fic, you are usually heading toward a certain ending (a happy ending for the blorbos after various tribulations), and I therefore have a certain writing style for fic that reflects that. My original fiction is different and in some ways considerably darker, and pushes character boundaries, plotlines, and interactions beyond what you'll normally see in my fic. For example, I have two currently finished original novels that (and I KNOW I have said this before) I should just quit procrastinating on and publish, especially since I badly need the money. One of them, The Wives, is a dark feminist murder-version of #MeToo with an unreliable and extremely feral female narrator. The other, Wormwood, is an alternate-history science fiction saga that is a combination of The Man in the High Castle and Chernobyl. They're both considerably different from each other in tone, style, and character relationships, and they represent more experimentation, complicated morality, and plot conflict than is generally reflected in my fics, because long-form fandom writing is one kind of thing and original long-form writing is another. So hey.

I likewise am currently working on an original version of my fic The Key of Solomon, entitled The Empire of Bones, which is an epic ensemble political-magical fantasy set in a historically inspired world. @silverbirching has read Part 1 and very much enjoyed it, so I am hoping to finish that one sometime in the new year (probably not sooner, but we will see?) It is likewise quite different from The Wives and Wormwood, and will (I hope) readily appeal to fans of my fics, because it preserves some of the same themes, styles, and character dynamics, while also including a ton of original stuff, extensive world-building, and new plots, themes, and content.

Thanks for the question!

#anonymous #ask

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mostlysignssomeportents · 11 months ago

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This day in history

MERE HOURS REMAIN for the Kickstarter for the audiobook for The Bezzle, the sequel to Red Team Blues, narrated by @wilwheaton! You can pre-order the audiobook and ebook, DRM free, as well as the hardcover, signed or unsigned. There’s also bundles with Red Team Blues in ebook, audio or paperback.

#20yrsago Tablature for Super Mario Brothers https://artport.whitney.org/gatepages/artists/galloway/

#20yrsago Unix as she is spoke https://web.archive.org/web/20040215071845/http://www.eeng.brad.ac.uk/help/.faq/.unix/.pronun.html

#15yrsago Comprehensive excoriation of ebook stupidity https://arstechnica.com/information-technology/2009/02/the-once-and-future-e-book/

#15yrsago Disneyland Paris’s smoking area/stroller rental https://www.flickr.com/photos/doctorow/3246021936/

#10yrsago Marx’s prescient predictions for the 21st century https://www.rollingstone.com/music/music-news/marx-was-right-five-surprising-ways-karl-marx-predicted-2014-237285/

#10yrsago UK Parliament considers allowing secret courts to issue orders to seize reporters’ notebooks https://www.theguardian.com/media/2014/jan/31/secret-hearings-police-journalists-deregulation-bill

#10yrsago Massive collection of Soviet wartime posters https://windowsonwar.nottingham.ac.uk

#10yrsago Toronto Mayor Rob Ford ticketed, allegedly for public intoxication, in Vancouver https://globalnews.ca/news/1122528/breaking-rob-ford-reportedly-ticketed-in-vancouver-for-jaywalking/

#10yrsago Neil Gaiman reads “Green Eggs and Ham” https://www.youtube.com/watch?v=TKh_WOfxkA4

#5yrsago After #MeToo, whole industries have been blacklisted by insurers for sexual harassment liability coverage https://theintercept.com/2019/02/02/workplace-harassment-insurance-metoo/

#5yrsago Women weren’t excluded from early science fiction: they were erased https://www.wired.com/2019/02/geeks-guide-history-women-sci-fi/

#5yrsago Delayed, not saved: Foxconn’s Wisconsin “factory” announcement is a bid to help Trump save face https://www.cbsnews.com/news/foxconn-says-it-will-build-wisconsin-factory-after-all-citing-conversation-with-trump/

#5yrsago The plane(t) has been hijacked by billionaires, and we’re all passengers https://www.businessinsider.com/anand-giridharadas-billionaires-inequality-interview-2019-1

#5yrsago No Deal Brexit will lead to “putrefying stockpiles of rubbish” and “slurry” https://www.theguardian.com/politics/2019/feb/01/revealed-plan-to-deal-with-putrefying-stockpiles-of-rubbish-after-no-deal-brexit

#1yrago Netflix wants to chop down your family tree https://pluralistic.net/2023/02/02/nonbinary-families/#red-envelopes

Back the Kickstarter for the audiobook of The Bezzle here!

#pluralistic

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fullhalalalchemist · 2 years ago

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https://neurosciencenews.com/neuroscience-pornography-brain-15354/

https://onlinelibrary.wiley.com/doi/abs/10.1002/ab.20367

https://exoduscry.com/articles/violent-porn-is-shaping-children-everywhere/

https://nbc-2.com/news/2021/01/12/heres-how-your-porn-habit-could-be-helping-human-sex-traffickers/

https://www.washingtontimes.com/news/2021/oct/26/former-porn-stars-recall-industry-abuses-struggles/

https://www.collectiveshout.org/porn_stars_speak_out

https://www.engadget.com/2016-04-21-legal-porn-sites-hiding-child-abuse.html

https://www.nytimes.com/2020/12/04/opinion/sunday/pornhub-rape-trafficking.html

https://www.abc.net.au/news/2021-06-18/pornhub-videos-lawsuit-rape-exploitation-minors/100227966

https://www.bbc.com/news/technology-58917993

https://finance.yahoo.com/news/porn-could-bigger-economic-influence-121524565.html

https://pubmed.ncbi.nlm.nih.gov/19862768/

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3050060/

https://endsexualexploitation.org/articles/three-ways-domestic-violence-is-connected-to-pornography/

https://verilymag.com/2015/08/porn-industry-playboy-mansion-sex-trafficking-belle-knox-rashida-jones-holly-madison

https://fightthenewdrug.org/how-porn-can-promote-sexual-violence/

https://fightthenewdrug.org/can-tell-difference-metoo-stories-porn-plot-lines/

-ncose, exodus cry, ftnd, endsexualexploitation, are all far-right christian fundamentalist organizations who's goal is to eradicate all queerness and sexuality from the public sphere. they do not gaf about traffiking becaues none of their resources have ever actually gone to traffiking victims. leila mickelwait fucking post CSAM on TWITTER that she had saved on her phone. SEVERAL of these news articles take their info from them and use them as a source when they just lie and make shit up all the time about traffiking and porn. and all these news sites just repeat what they say with NO fact checking. they are not trustworthy sites and should never be used as sources on anything.

-there is NO medical consensus on porn addiction. it is not a 'real thing' and most of the time the source is some form of religious guilt, shame, depression, etc and sex is the quickest way to get endorphins. which is why porn is such a big economic influence. porn has always been one of the main drives of pushing innovation.

-linking a few studies does not prove anything. thats literally not how science works. yall need to also understand that porn is going to affect different people differently. cis men and cis male teens who already don't ever evaluate their role in society, or ever think twice about gender roles and already have their set-in-stone ideas about sex and gender are going to be affected differently. these studies never take into account the sociological aspect of these men and where they stand on sex and gender or how they interact with each other.

people are obsessed with sex and porn! they always have been! sex and sexuality is normal and desirable and yall need to stop acting like it isnt or is some huge taboo thing or that it NEVER has affected our society and shaped how we do things. people have ALWAYS been obsessed by it and it has always shaped laws and society.

#antiporn #anonymous #asks

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leblogdemarinaetjeanmarie · 2 years ago

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MARDI 23 MAI 2023 (Billet 1 / 3)

Nous venons de recevoir ce document envoyé par un sympathique voisin, très cultivé (principalement dans le domaine des techniques et des sciences), très informé, très bricoleur… et adorable avec nous. Il nous a déjà rendu de multiples services. Cerise sur le gâteau, il a de l’humour. Nous lui avons demandé de qui il tenait ce texte, il a botté en touche. Si ça se trouve, c’est peut-être lui qui l’a écrit… car en plus, il est modeste.

Ce texte est à lire à haute voix, il est tragiquement drôle !

________________________

Une prospective qui circule... et qui, avec ou sans virgules, ne manque pas de nous apostropher !!!

Ce matin de 2035, mon fils de 8 ans m’a fait une crise et a menacé d’appeler le 119 car je refuse qu’il aille à l’école en jupe & avec du vernis aux ongles. Ma fille Julie de 15 ans, qui se sent « non binaire », m’a traité de « boomer » car j’ai refusé de l’appeler « iel » en parlant d’« elle » et parce que je refuse de changer son prénom à l’état civil. Elle veut s’appeler « Jul » pour ne pas qu’on puisse supposer son genre. Et aussi parce que « Jul » est son chanteur préféré.

Je pars au boulot à vélo, car depuis la loi Hidalgo de 2026, la voiture (même électrique) est interdite dans les grandes agglomérations. Je parcours donc 35 km tous les jours à vélo. Avec la chaleur de ce mois de juillet, j’arrive au boulot trempé et décoiffé.

Mais ce n’est pas grave, c’est le cas de tout le monde : ici, personne ne se regarde et personne ne se juge, car c’est passible d’une amende et, éventuellement, d’une peine de prison selon la gravité de la remarque.

Mon patron me fait savoir qu’il m’a mis un blâme car, hier, j’ai écrit un mail sans écriture inclusive et qu’une cliente s’en est plainte. La prochaine fois, c’est la porte ! Il faut que je fasse attention à ce que j’écris et à comment je l’écris. Et aussi à ce que je dis…

Ma nouvelle collègue, qui partage mon bureau, n’est pas là aujourd’hui, car c’est sa semaine de « congé menstruel ». C’est un congé mis en place depuis 2023 afin de permettre aux personnes possédant un vagin (sans distinction de genre, pour éviter d’éventuelles stigmatisations) de rester à la maison, pour motif de règles douloureuses, une semaine par mois.

Grâce à son absence, je peux donc exceptionnellement fermer la porte de mon bureau. En effet, après le mouvement #MeToo, la France a imposé l’interdiction de « portes closes » lorsque des employés de genres différents travaillent ensemble. Certaines entreprises créent même des « espaces safe », c’est-à-dire des bureaux sans aucun homme hétérosexuel pour éviter tout risque d’agression sexuelle.

A midi, pour la pause déjeuner, je n’apporte plus de viande dans mes plats, car j’en avais marre de me faire traiter de « carniste », de « spéciste » ou carrément d’arriéré par mes autres collègues – pour la majorité d’entre eux devenus « végans ». Par ailleurs, lorsque je fais les courses au supermarché et que j’ose m’acheter un rare morceau de poulet à 45 euros le kilo, je me fais systématiquement dévisager par les autres clients, emplis de dégoût.

Le soir, tout en grignotant mon bol d’insectes accompagnés de pousses de soja (bien plus écoresponsable que mon bifteck d’antan), je peux enfin me distraire devant un film Netflix : c’est l’histoire de Napoléon, joué ici par Omar Sy, et Joséphine, sa femme, jouée par une actrice mexicaine dont le nom m’échappe. La parité dans ce film est parfaitement respectée et on apprend, par ailleurs, que Napoléon était bisexuel, afro-américain et musulman. Le film a d’ailleurs obtenu 12 oscars, battant ainsi le précédent record de 11 statuettes, remporté par « Titanic », un vieux film qui racontait l’histoire grotesque d’un couple blanc hétérosexuel, voyageant dans un paquebot de luxe au début du XXe siècle.

Le film terminé, je décide de me glisser dans mon lit pour continuer ma lecture du moment « La Gloire de mon parent n° 1 ». (Pour les plus anciens comme moi, ce livre s’appelait autrefois « La Gloire de mon père », et faisait partie de la série « Souvenirs d’enfance », de Marcel Pagnol).

Je vais, d’ailleurs, bientôt attaquer « Le Château de mon parent n° 2 » qui est la suite du premier. J’ai hâte.

Ne riez pas, on y va en courant…

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3liza · 1 year ago

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Feynman reveled in blatant misogyny and sexism. In “Surely You’re Joking”, Feynman details how he adopted the mindset of a pick-up artist (an outlook he also claims to have eventually abandoned) by treating women as if they were worthless and cruelly lashing out at them when they rejected his advances. He worked and held meetings in strip clubs, and while a professor at Cal Tech, he drew naked portraits of his female students. Even worse, perhaps, he pretended to be an undergraduate student to deceive younger women into sleeping with him. His second wife accused him of abuse, citing multiple occasions when he’d fly into a blind rage if she interrupted him while he was working or playing his bongos.

When a physicist falls in love :)

Richard Feynman's love letter to his deceased wife, 1946.

#friendlymathematician is a terf #heres a better reblog of the feynmen misogyny

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funnygirlszine · 3 months ago

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Funny Girls: Evolving female narratives in 21st century British stand-up comedy.

Now that it's all over, the Funny Girls critical rationale for your viewing pleasure...

Part I. Introduction

Funny Girls is a multimedia project discussing women in comedy, through a print zine, as well as an online platform. Eleanor Tomsett in her thesis states ‘Stand-up comedy as an art form has emerged from, and been developed within, male dominated spaces’. (2019). This project aims to challenge these patriarchal industry structures and platform female comics, who have continuously had to battle with the stereotype that women aren’t funny, perpetuated by attempts to investigate scientific or philosophical reasons for this as in Christopher Hitchens’ ‘Why Women Aren’t Funny,’ (2007). This project was inspired by the limited research on women in British comedy, and it hopes to prove that these women are worthy of further study and promotion as narratives around gender in comedy evolve in the 21st Century. Additionally, it aims to explore the zine as a vessel for both female liberation and fandom, justifying it as the perfect medium for the subject matter.

In this rationale I will discuss the contextual background of women in comedy, how narratives have shifted in light of the #metoo movement, the importance of intersectionality, and social media’s impact on stand-up comedy. I will explore riot grrrl and science fiction fanzines as notable comparisons to my project in zine history. Further, this rationale will cover the research methods, requirements, and practical output for this project. It will also reflect on the timeline originally set out in the project proposal, noting any changes.

Part II. Conceptual Framework

It is fairly recently that a larger number of academics have begun to delve into the study of contemporary performed comedy, with the first Comedy Studies journal published in 2010. However, the analysis of the place of humour in society, in such works as Taking Laughter Seriously (Morreall, 1983), has been prevalent. Stand-up comedy can be traced back as far as the Middle Ages, to court jesters and fools. In his 1985 article Standup Comedy as Social and Cultural Mediation, Lawrence Mintz describes the ‘undervalued genre’ of stand-up as ‘the purest public comic communication’ and as a ‘vitally important social and cultural phenomenon’ (1985, p.71) – one which has developed significantly since his time of writing, necessitating updated analyses. Mintz additionally observes that American female comics at the time, such as Joan Rivers or Phyllis Diller, were ‘voicing changing attitudes about gender roles […] as a result of the most recent wave of feminist agitation’ (1985, p.75). Indeed, as feminists have become more agitated over the years, it has become evident that the content performed by female comics is often a helpful social commentary on gender roles, whether direct or indirect. Much of the literature on comedy favours discussions about the American landscape, and Tomsett notes that women ‘have been considerably overlooked in existing literature on UK comedy in favour of male performers.’ (2019, p.11). Therefore, this project aims to bring female comics operating in the UK to the forefront.

In recent years, female comedians have become more prominent in the UK, which could be partially attributed to increased visibility on television and in particular comedy panel shows. Lawson & Lutsky’s linguistic study of Mock the Week season five, which aired in 2007 and of seasons 1-14 featured the most women, showed that the five female guests across the season contributed just 4% of the overall words spoken (2016, p.151). This statistic is indicative of the culture around female comics at the time, and industry veterans Victoria Wood and Sandi Toksvig had both criticised the ‘laddish’ nature of panel shows, with Wood commenting that “A lot of panel programmes are very male dominated, because they rely on men topping each other, or sparring with each other, which is not generally a very female thing,” (Khan, 2009). In 2014, BBC chief Danny Cohen announced that, following recommendations from the BBC Trust, the BBC would no longer produce any panel shows that featured an all-male cast (Cooke, 2014). The ‘UK Panel Show Gender Breakdown’ database, created by Stuart Lowe, monitors every appearance on a panel show and categorises them by gender, collating data from 1967 to present (2024). The data indicates a positive trend in the increasing presence of female guests, with significant improvement since Cohen’s 2014 announcement – In 2014 the ratio of male to female appearances was 71:29 and in 2023 this had increased to 62:38.

Another notable shift in the female comedic narrative has been changing attitudes in a post #metoo era. As the culture of women being silenced has evolved, both male and female comedians since 2020 have become much more vocal about issues in the industry. British comedy in particular has seen its own movement pushed forward with the release of Channel 4 Dispatches investigation on sexual assault allegations against Russell Brand. Comedian Lucy Beaumont explains that comedy is rife with predators, as where ‘in any workforce you would go to HR’ comedy doesn’t have a similar structure due to its freelance nature (Chrisp, 2023). Between Katherine Ryan and Sara Pascoe openly discussing these issues in Backstage with Katherine Ryan (2022), and the dramatization of Richard Gadd’s experience with an abuser in the industry in Baby Reindeer (2024) it is clear that this discussion is becoming less taboo. This is indicative of a changing narrative as in sharing their stories women can take control and ensure predatory behaviour is not normalised.

It is true that there has been significant progress for women in comedy, but arguably this success primarily extends to white women. Lucy Spoilar discusses how UK media has set up the idea of ‘the humourless Muslim woman’, essentially doubling down on the notion that Muslim women are oppressed and inexplicably reaching the conclusion that they would therefore not be able to engage in humour (2022, p.75-77). Jessyka Finley asks, in reference to black women in stand-up comedy, how marginalised communities can create art ‘when their aesthetic and rhetorical choices sometimes perpetuate stereotypes’ (2016, p.781). These are just short examples demonstrating that women of colour have to work twice as hard to succeed in comedy as they work against stereotypes and discrimination. Therefore, this project has taken an intersectional approach, prioritising platforming women from a variety of backgrounds.

One recent development for mobility in comedy has been the virality of social media clips. In my interview with Mary O’Connell, she commented on the impact that the pandemic had in this regard –

“We didn’t know what would happen with live so lots of people turned to online content […]. Stuff that works for live doesn’t always work for online and vice versa but I really admire the creativity of the comics who are able to do both.” (2024)

It’s an evolution that has allowed comics to expand their audiences, and in general has attracted more fans to stand-up comedy as a whole. Additionally, it has birthed a new genre in short form comedy, and comedians such as Mawaan Rizwan, Rosie Holt, and Munya Chawawa have actually started out online and later transitioned to live comedy, circumventing the traditional route of performing at smaller circuit gigs. However, some comedians have noted negative consequences of the viral video. As the popular videos on TikTok and Instagram often feature crowd work, new audience members go to shows with the expectation that they are supposed to interject throughout, leading to an increase in heckling (Stahil, 2023). I observed this during my primary research, when attending a work in progress show in which comedian Danny Scott was barely able to get halfway through his set during the allotted time due to the severity of audience interruptions – I spoke with him in the interval, and he expressed that he had noticed more heckling overall and was finding it difficult to deal with. Another issue with these viral clips is that the jokes can age quickly, audiences could be disappointed to hear a viral joke live a year after it was first circulating online. Social media can do wonders for a comedian’s career, helping shows sell out overnight, and massively boosting interest in a way that just cannot happen organically. However, the onus is on new audiences to make an effort to understand and respect etiquette at live events.

Funny Girls as a zine is intended to be reminiscent of the punk riot grrrl era, coming as ‘a direct response to the dominance of straight white men’ originally in the punk scene but here transposed to the British comedy landscape (Darms, 2013, p.7). In addition to being an homage to punk female liberation zines, it is also essentially a fanzine for stand-up comedy. The first British fanzine was a Novae Terrae released in 1936, a print for science fiction lovers. At first the content of these early science fiction zines was serious, or ‘sercon’, but around the 1950s that developed into ‘fannish’, which had more of a focus on fandom (Hansen, 2022, p.7). The traditions of fandom and feminism within zine culture solidified zines as the most appropriate vessel for Funny Girls as a project. Jeanne Scheper notes that whilst zines are an analogue form, the ‘qualities of self-making, self-publishing, and participatory community-building across time and space’ are reminiscent of digital social media platforms familiar to Gen Z and suggests that this may be the reason for their recent resurgence in popular culture (2023, p.22). Based on this, Funny Girls extends past solely a print endeavour, offering a digital extension in the form of a Tumblr blog.

Part III. Methods

My intention had been to conduct interviews with several female comedians, but after reaching out to the comedians featured in the zine, I did not have much success. Mary O’Connell was the only comedian who was able to engage with the interview questions. This lack of response meant that I needed to reconsider my approach to the articles in the zine. Reflecting on this, I should have cast a wider net and explored further avenues past simply messaging on social media. I was quite rigid in wanting to feature these exact comedians, but I should have just messaged a wider range and been more open to including further features. If I were to do it again, I would also contact agencies, promoters, or other industry specialists. It also might have helped to send an example or overview of the zine to show what the tangible product would be and possibly foster more interest or desire to participate.

Despite the setback in securing personal interviews, I was able to engage with the abundance of high-quality text, video, and audio interviews available online. These provided valuable insights and featured a lot of relevant information, giving me confidence that I would still be able to create solid profiles/features for each comedian.

Watching the documentaries ‘Caroline Aherne: Queen of Comedy’ (2023) and ‘Victoria Wood: The Secret List’ (2020) was very insightful in contextualising the evolution of female comedy and pre-2000s influence on contemporary comedians.

Visiting the Glasgow Zine Library was crucial for the development of this project, seeing a diverse collection of zines that followed no defined path was very inspiring. Exploring different styles and themes helped immensely with both the visual development of the zine and with narrowing down content decisions.

Tomsett’s thesis Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms, previously mentioned, informed much of my practice as one of the only comprehensive studies of women in the British comedy industry.

Part IV. Practical piece

I am really pleased with the final product as it has a strong identity. It is pink, both in reference to the riot grrrl zine ‘I (Heart) Amy Carter’, and as an unashamed embracing of a typical ‘girl colour’ (Dockertman, 2023). The Funny Girls logo is a deliberate feminisation of the iconic Comedy Store laughing mouth, serving as both a homage and an acknowledgement of the patriarchal nature of classic comedy institutions. Later, when deciding how many copies to print, I realised that it could potentially become a copyright issue if I were to distribute it on a wider scale.

Navigating the printing process was fairly challenging, as I wasn’t sure how to choose page weight and finish. Extensive research into publishing standards was undertaken to determine my desired print quality.

I chose to do a Tumblr blog as the extension of the zine, rather than a website as originally planned, because this felt more in line with the homemade spirit of zines. A website felt too corporate and polished and would be more appropriate for a magazine. Tumblr’s posting format offers the flexibility needed to link to external sites, accommodate long-form entries, and share visuals, making it ideal for the project’s needs over other social media platforms.

The relationship between the zine and its digital extension is what distinguishes Funny Girls from conventional zine projects. Where the print zine would be maybe a quarterly print, the blog would serve as a constantly updating real-time archive of supplementary content. I like the idea that some of the audience would find it online as relevant to their interests (zines or comedy) but that a physical copy could intrigue a potential reader who scans a code to find out more and is presented with a wealth of further information. In the future, I plan to review and reprint the zine with no time sensitive information so that it can be circulated without dating quickly.

The incorporation of QR codes modernise the traditional zine format and make it interactive, which I love and think works well – when I visited the Glasgow Zine Library there were many copies that I wished I could’ve engaged with further. I’d hoped to circulate the zines to analyse the data on QR code usage but due to time constraints this was not possible.

A digital version of the zine has also been published via Issuu, a site that allows readers to flick through the pages in the same way as they would if they had the paper copy. This means that double page spreads can be viewed as intended, and any online fans would be able to access the zine content without needing to track down a physical version.

Part V. Project requirements

The zine was created using a combination of Procreate and Canva. Initially, the intention was to preserve the homemade quality typical of zines, but Procreate’s lack of text functionality proved challenging. Handwriting was impractical as it required constant erasing and resizing for edits. Ultimately, I decided that it was worth sacrificing the handmade look and turned to Canva for its familiar interface and useful tools. As my visit to the Glasgow Zine Library exposed me to digitally produced zines with more polished aesthetics, I felt confident that the zine did not necessarily need to look ��raw’. I created the zine using a magazine template, then ended up having to purchase Canva Pro to resize it down to A5 for printing. This cost could have been avoided if I had more thoroughly researched the printing requirements.

I had also experimented with a free downloadable programme called Electric Zine Maker that offered more artistic options as well as text, which originally felt like a great compromise. The features were excellent, but the programme was only available on laptop or PC, and I found it quite difficult using the art features on a mousepad rather than with a stylus, so did not go for this option in the end.

To complete my primary research, I had to buy a lot of tickets to various comedy shows, ranging from £1 to £20+, along with the associated travel costs. If funds had allowed, I would have liked to attend more shows to better inform my practice. As a lone woman attending often late-night events, I had to also factor in the locations of the gigs in consideration of my safety.

Part VI. Project timeline

The timeline originally set out was delayed a little more than I would have liked. I delayed things in hope that I might get more responses from those I’d reached out to for interviews, as their insights were crucial to the depth of my project. Despite this impact, I feel that I was able to effectively manage the project timeline.

I ended up actually creating the zine in a shorter timeframe than planned, having decided to separate the design process from the content creation. Rather than simultaneously designing and writing, I wrote the content in Word whilst experimenting with designs on the side, then assembled the entire thing at a later stage. This approach streamlined the process and allowed me to focus more deeply on each aspect.

It was actually quite useful that I didn’t design until later, as I ended up using Procreate in another module, the Transmedia Horror strand of Issues in Contemporary Media. This gave me time and space to build on those skills and familiarise myself with the features in the app. When it came to designing the zine, I felt more adept and confident in my abilities, enabling me to complete it quickly.

Throughout the project, I maintained active engagement by consistently updating the Tumblr page and immersing myself in relevant events such as gigs and exhibitions. Additionally, interacting with zine creators online and at the Glasgow Zine Library allowed me to visualise the format before creation. These activities ensured that the project remained at the front of my mind, ready to apply months of primary research when it came to putting the project together.

To keep myself organised and on track, I compiled a checklist covering every single task that needed to be completed, no matter how small. This approach ensured that even when the timeline deviated from the original plan, I could maintain realistic expectations and manage the progression smoothly.

Conclusion

In conclusion, this project has successfully met its aims in creating a multimedia platform for the promotion of female comics operating within the British comedy scene. It has additionally highlighted the possibilities in modernising the zine format in a digital world.

Bibliography

Baby Reindeer (2024). Netflix, 11 April.

Caroline Aherne: Queen of Comedy (2023). BBC Two Television, 25 December.

Chrisp, K. (2023). ‘Lucy Beaumont warned of ’10 male predators’ on comedy circuit weeks before Russell Brand allegations’, Metro, 19 September. Available at https://metro.co.uk/2023/09/19/russell-brand-lucy-beaumont-comedy-predators-19519860/ (Accessed: 1 May 2024)

Cooke, R. (2014). ‘Danny Cohen: ‘TV panel shows without women are unacceptable’, The Guardian, 8 February. Available at https://www.theguardian.com/media/2014/feb/08/danny-cohen-bbc-director-television-tv-panel-shows (Accessed: 29 April 2024).

Darms, L. and Fateman, J. (2013). The Riot Grrrl Collection. New York: The Feminist Press.

Dockertman, E. (2023). ‘Is Pink Still a ‘Girl Color’? An Exploration’, TIME Magazine, 31 August. Available at https://time.com/6309632/is-pink-girl-color-barbie/ (Accessed: 27 April 2024)

Finley, J. (2016) ‘Raunch and Redress: Interrogating Pleasure in Black Women’s Stand-up Comedy’, Journal of popular culture, 49(4), pp. 780-798.

Hansen, R. (2022). Interview by Hamish Ironside. We Peaked at Paper: An Oral History of British Zines, pp. 1-36.

Hitchens, C (2007). ‘Why Women Aren’t Funny’, Vanity Fair, 1 January. Available at (https://www.vanityfair.com/culture/2007/01/hitchens200701) (Accessed: 4 May 2024)

Khan, U. (2009). ‘TV Panel shows are too ‘male dominated’, claims Victoria Wood’, The Telegraph, 9 June. Available at https://www.telegraph.co.uk/culture/culturenews/5478241/TV-panel-shows-are-too-male-dominated-claims-Victoria-Wood.html (Accessed: 29 April 2024).

Lawson, R. & Lutsky, U. (2016). ‘Not getting a word in edgeways? Language, gender, and identity in a British comedy panel show. Discourse, context & media. 13, pp.143-153.

Mintz, E. (1985). ‘Standup Comedy as Social and Cultural Mediation’, American Quarterly. 37 (1), pp.71-80.

Morreall, J. (1983). Taking Laughter Seriously. Albany: State University of New York.

O’Connell, M. (2024). Interviewed by Olivia Jones. 20 April, via Instagram.

‘Predatory Behaviour’ (2022). Backstage with Katherine Ryan, S01E02, Amazon Prime Video.

Scheper, J. (2023). ‘Zine Pedagogies: Students as Critical Makers’, Radical teacher (Cambridge), 125, pp. 20-32.

Spoilar, L. (2022) ‘Comedy, Inclusion, and the Paradox of Playing with Stereotypes: Representations and Self-Representations of Muslim Women in British TV Sitcoms and Stand-Up Comedy’, Dive In, 2(1), pp. 73-93).

Stahil, M. (2023). ‘Is Social Media Killing Stand-Up Comedy?’, Inside Hook, 12 December. Available athttps://www.insidehook.com/internet/social-media-killing-stand-comedy (Accessed: 5 May 2024)

Tomsett, E. (2019). Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms. PhD Thesis. Sheffield Hallam University. Available at: https://shura.shu.ac.uk/26442/2/Tomsett_2019_PhD_ReflectionsOnUK_edited.pdf (Accessed: 29 April 2024)

UK Panel Show Gender Breakdown (2024). Strudel. [Database]. Available at https://www.strudel.org.uk/panelshows/index.html (Accessed: 29 April 2024)

Victoria Wood: The Secret List (2020). BBC Two Television, 25/26 December.

#stand up comedy #comedy #women in comedy #dissertation #thesis

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ritchiepage2001newaccount · 11 months ago

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CorpMedia #Oligarchs #MegaBanks vs #Union #Occupy #NoDAPL #BLM #SDF #DACA #MeToo #Humanity #FeelTheBern

JinJiyanAzadi #BijiRojava The US Must Not Abandon the People of Rojava [UPDATES]

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