Kevin James’ “average Joe” working-class sitcom characters play to a type well supported by the American patriarchy. Valerie James’ revenge comedy Kevin Can F**k Himself attempts to bury that dated format.
Hulu’s The Dropout, starring Amanda Seyfried as Theranos founder Elizabeth Holmes, puts gender at the center of the infamous Silicon Valley scam.
In Brainwashed, Nina Menkes intersperses film clips and candid interviews to open our eyes to the myopic viewpoint present in our most cherished Hollywood films.
There are distinct similarities between the ways we perceive the historical figure of Anne Boleyn and the contemporary figure of Meghan Markle, and that’s a shame.
Sports journalist Julie DiCaro mixes research and experience for a compelling and troubling revelation in her book, ‘Sidelined’.
Like The Contender's Laine Hanson 20 years prior, US Democratic Party Vice-President choice, Kamala Harris, cuts the oxygen feeding the US political climate's raging sexism.
Evoking both sarcasm and empathy, Butler paints Jillian and Megan as harbingers of a relatable alienation.
Auður Ava Ólafsdóttir's Miss Iceland Is at once a poetic, light-hearted narrative and a sharply edged social critique that is caustic and righteous in its portrayal of the enduring nature of sexism, misogyny and homophobia.
There's something not-quite-right, something distinctly off-kilter, about the Mermaidens' feminine voice in New Zealand's music scene.
Natalia Leite’s 2015 film Bare picks up where Barbara Loden’s 1970 film Wanda left off, each acting, indirectly, as the proto- and fourth wave- feminist renderings of the other.
Horizontal Collaboration, the superb French comic by Navie and Carole Maurel, reassesses the sexist biases of history.
Silent filmmaking was only one element of a much wider feminist movement of various forms, from the flapper to the suffragette to the birth control advocate to the bohemian female writer and political activist.
