please don’t make people with depression feel guilty for their lack of interest in things or their inability to motivate themselves please and thank you goodbye 

on that note, please don’t make people with anxiety feel guilty about their inability to do tasks you deem simple and literally call them children and tell them to grow up because of it

(via auguris)

"Stop calling me “someone’s daughter”.
I’m someone.
That should be enough reason not to hurt me."

— Ragehound (via ladylazarus)

(Source: ragehound, via prowoman-prochoice)


Not only does the data show that young people in general are going to the theater less with the largest drop (17%) occurring in the sought-after 18 to 25 demographic, but it indicates that movies that skew toward a male audience are performing worse than ever. That’s a big problem for Hollywood, considering that their male-oriented franchises seem to be garnering less female viewers than ever, too.

Could they be tired of seeing white dudes save the world? It certainly seems like it, as over time from Spider-Man 3 to Amazing Spider-Man 2, the webhead audience has gone from 54 to 61% male, and the Transformers movies have been following that trend with a now 64% male audience. In the old wisdom, that would’ve been great news, because those demographics were thought of as an endless fountain of money and numbers like those would’ve been seen as evidence that “girls don’t like sci-fi/comic book/[insert genre here] movies.”

But with both of the most recent entries in those franchises also hitting franchise-low domestic gross numbers, it’s well past time to rethink that and work on bringing back the female audience. The male audience isn’t cutting it, and women are getting tired of movies that don’t speak to them or accurately represent them.


Summer Box-Office Problems Likely Stem From Lack of Content for Women, Surprising No One

(via becauseiamawoman)

(via theragingfeminist)


In recent years, there has been a dramatic (re)sexualisation of young women’s bodies in the media and society more broadly, which has prompted significant debate in academic and online feminist communities. This phenomenon has commonly come to be known as ‘raunch culture’ (Levy, 2005), and is considered a part of the increasing sexualisation of Western cultures wherein pornography has had an increasingly visible presence (McNair, 2002). A key feature of raunch culture involves a marked shift in constructions of female sexuality from a passive object of the male gaze to a confident, agentic and ‘up for it’ (hetero)sexual subject who freely chooses to use her sexuality to empower herself, that is, by gaining sexual power over men (Gill, 2007a, 2008). These constructions are not only evident in cultural representations of women (for example, in advertising) but appear to have taken root in the public consciousness, as products and services aimed at women to help them develop and express an ‘empowering’, explicit sexual style of femininity have proliferated (Evans, Riley & Shankar, 2010). Such opportunities include recreational burlesque classes (Regeher, 2012); pole dancing, which is now a popular form of exercise (Donaghue, Whitehead & Kurz, 2011; Whitehead & Kurz, 2009); and ‘porno-chic’ fashion such as G-strings and midriff tops (Duitz & van Zoonen, 2006). Nonetheless, these ‘new’ visions of female sexuality still appear objectifying in the sense that they emphasise women’s bodies and sexual appeal to the exclusion of other attributes, and typically do so through representational practises lifted from heterosexual pornography (Amy-Chinn, 2006; Gill, 2008).

The inspiration for raunch culture appears to stem from the idea … that an active, confident and engaged sexuality is a source of liberation and empowerment for women (Harvey & Gill, 2011). In raunch culture, this vision has materialised into the figure of the sexually agentic, ‘up for it’ woman who is unafraid to flaunt her sexuality, whether it be through a ‘porno-chic’ aesthetic or learning ‘sexy’ dance moves (Levy, 2005).

‘Empowerment’ is thus a central tenet of raunch culture, and has become a common buzzword in marketing activities and products such as pole dancing (see Donaghue, et al, 2011), as well as in some women’s positive accounts of their experiences with them (e.g. Holland & Atwood, 2009; Regeher, 2012; Whitehead & Kurz, 2009). This conceptualisation of empowerment is based on a view of female power as being the ability to incite desire in men, and hence wield sexual power over them (see Hakim, 2010). Subjective feelings of empowerment are also constructed as stemming from the self-confidence that (apparently) ensues from being found desirable under the male gaze.

The notion of ‘choice’ is also central in raunch culture discourses. Despite the fact that current sexualised depictions of women appear highly similar to male-imagined images typically found in heterosexual pornography (a site of significant critique in second-wave feminism), the idea that women choose to emulate them for their own benefit rather than for men has gained ground (e.g. Baumgardner & Richards, 2000). Gill has theorised this as reflecting a shift from sexual objectification to subjectification, wherein objectification is understood not as something done to women by external forces (i.e. by the oppressive male gaze) but rather something that they freely choose to do to themselves for their own purposes (Gill, 2003, 2007a, 2008). This sexual subjectification is particularly evident in the advertising construct of the ‘midriff’: a young, attractive, (hetero)sexually desiring woman who is depicted as agentically using her attractiveness for her own amusement, pleasure and/or gain (Gill, 2008). An example of midriff advertising is the 2002-2003 UK campaign for lingerie brand Gossard, in which a picture of a woman pulling a pair of jeans on over her G-string is accompanied by the text “this is just for men” with the “n” crossed out (i.e. changing it to “me”; Amy-Chinn, 2006). Recent research has highlighted how the notion of choice features strongly in women’s talk across a number of contexts, such as in discussion of beauty practises (Stuart & Donaghue, 2011) and the purchasing of lingerie (Storr, 2003). As noted in this research, the emphasis on women’s own choices and desires serves to deflect any accusations that engagement in raunch culture reflects submission to men, instead positioning women as being agentically engaged in their own liberation and empowerment.

A key contingency attached to the empowerment on offer in raunch culture is the possession of a slim, toned, largely hairless body that can be flaunted to maximum effect. Indeed as Gill (2007a, 2008) and Wolf (1990) argue, in contemporary Western cultures possessing a ‘sexy body’ has become more socially valued than other traditional feminine attributes (such being nurturing or domestically skilled), and so has come to form a cornerstone of feminine identity. Not surprisingly then, many raunch culture activities are oriented towards developing one’s sex appeal and ability to perform sexiness. For example, one of the purported benefits of pole dancing classes is that, as a fitness activity, it can help women achieve a slender, toned body and hence improve their self-confidence (Whitehead & Kurz, 2009). Raunch culture has therefore been conceptualised as providing women with the ‘technologies of sexiness’ required to transform the self into the confident, sexualised feminine subject that is currently desirable (Evans et al, 2010).


Thompson, Laura (2012) Desiring to be desired: A discursive analysis of women’s responses to the ‘raunch culture’ debates. Honours thesis, Murdoch University.

(via exgynocraticgrrl)


~real men don’t abuse women~

In actual fact,

  1. yep, they fucking do
  2. being a real man is associated with masculinity, and masculinity fuels violence against women, so yes again men abuse women
  3. campaigns like this prioritise the preservation of masculinity before the safety of women

(via lucilleballbreaker)


A brilliant metaphor

(via knitmeapony)


whenever “strong female characters” insult men by calling them girls  my eyes roll so far back in my head i can see my brain cells die

(via one-fight)


Margaret Cho for Miss Representation (x)

THIS is so important to share. 

(Source: maddseline, via thewinninglight)



Handling harassment, 1940. (from PLANET COMICS)

Why isn’t this a poster?



Handling harassment, 1940. (from PLANET COMICS)

Why isn’t this a poster?

(via knitmeapony)


You don’t HAVE to forgive people that have harmed you ever like that is the most ridiculous thing I have ever heard in my entire fucking life.

If YOU feel like you need to forgive somebody because that’s what you need to heal and move on from whatever they did, then go ahead and do it. But don’t you ever sit here and tell people that they must automatically forgive folks so they can be the bigger person.

Fuck. That. Shit.

(via insufficientmind)


Never discredit your gut instinct. You’re not being paranoid. Your body can pick up vibrations, some better than others, and if something deep inside you says something’s not right about a person or situation, trust it and keep it pushing. 

(via star-blossom)

This is me. It doesn’t all have to be ‘good’ and ‘fine’. This is the room where you don’t have to be brave. I still love you.

(Source: visionsgirl, via anightofslayage)

Tags: buffy