Identity is, for me, a point of departure for alliances, which need to include all kinds of people, from trans to working people to those taxi drivers that J. K. Rowling is worried about. Identity is a great start for making connections and becoming part of larger communities. But you can’t have a politics of identity that is only about identity. If you do that, you draw sectarian lines, and you abandoned our interdependent ties.

Almost every credible analysis of this past election points to several dominant issues: dissatisfaction with the economy generally and anger over inflation particularly, immigration, and the vague but profoundly powerful anti-incumbent sentiment that’s swept the entire democratic world.

“Woke” certainly didn’t cost Democrats the election, but the discursive and emotional conditions of the woke world are an albatross around the neck of liberal elites who heavily influence public perception.

you can’t build a political coalition through emphasizing difference, you can’t staple together certain minority identities while rejecting majority identities and win elections.

The surrogates Trump assembled were able to appeal to the "frat bro or finance bro culture," says Janfaza, because "to them, many of these men who have built these companies, ecosystems and media platforms, show them a version of success to work toward." "The way that Trump was able to include many of these male figures in his cohort was very impactful," she added. "And while yes, Taylor Swift, Lady Gaga and Beyonce also have massive, massive audiences, we have to understand that the way young people are consuming their media and entertainment just looks drastically different than it did for prior generations."

Women spend twice as much time as men, on average, on childcare and household work. All groups experience a free-time gender gap, with women having 13% less free time than men, on average. Mothers spend 2.3X as much time as fathers on the essential and unpaid work of taking care of home and family Young women (18-24) experience one of the largest free-time gender gaps, having 20% less free time than men their age Working women spend 2X as many hours per week as working men on childcare and household work combined Mothers who work part-time spend 3.8X as much time on childcare and household work as fathers who work part-time Married women without children spend 2.3X as much time as their male counterparts on household work Among Latinos, mothers spend more than 3.6X as much time as fathers taking care of children and doing household work

The unequal division of unpaid work in the home, such as cooking, cleaning, and shopping for food and clothing, is a powerful testament to the tenacity of old gender norms. Women do significantly more of this work than men do, even when there are no children living in the home. This holds true for women regardless of their marital status, their employment status, or their level of education.

Among all adults without children, women do twice as much household work as men, dedicating 12.3 hours per week to these tasks, on average, compared to 6 hours for men. Similarly, among all single people without children, women do nearly twice as much household work as men, spending 10.6 hours per week on household tasks compared to 5.7 hours for men.

getting married seems to exacerbate the burden of household work on women. Married women do substantially more household work than their single women peers, while married men spend just a few minutes a day more than their single peers. Married women without children do 2.3 times as much household work as their male counterparts (14.3 hours per week versus 6.2 hours).

Working women spend significantly more time than working men on unpaid work in the home. This is the case whether they work full-time or part-time. It is the case whether they have children or not. Take household work like cooking, laundry, and the like. Women who work full-time do 1.8 times as much as men who work full-time; they spend 9.7 hours per week on it compared to 5.4 hours for men. Women who work part-time do 2.5 times as much household work as men who work part-time.

Across every group studied, men spend more time than women socializing, watching sports or playing video games, or doing similar activities to relax or have fun. Women overall have 13% less free time than men, on average. The gap balloons among some groups, with women having up to one-quarter less free time than men.

Women overall have 13% less free time than men, on average. The gap balloons among some groups, with women having up to nearly one-quarter less free time than men.

there is a wide gulf between our ideals and our realities, as we have seen in this report on how Americans divide the work of taking care of home and family. One reason for the persistence of these gender disparities is that the U.S. has failed to modernize its public policies to fit 21st century economic realities. Even though 78% of American women are in the labor force, the nation’s social infrastructure is still largely premised on the assumption that mothers will be at home with children.

Every high-income nation in the world provides for paid leave for new parents—except the United States. Most provide ample financial and institutional support for childcare and preschool. Our peers devote a substantial share of public spending to family benefits, but the U.S. invests only minimally in supporting families. For instance, family benefits account for 2.4% of GDP in Germany compared to 0.6% in the United States.

Even when young children enter school, typical American school hours are grossly misaligned with the workday, forcing families to either spend money on after school care or reduce their work hours.

Public policy alone will not entirely eliminate these deeply rooted gender disparities. Cultural change is needed too. But smart policy can nudge along positive behavioral change that ultimately advances equity and equality. For example, several countries include mechanisms in their family policy to encourage fathers to take paid parent leave. Many Nordic nations have a ‘use it or lose it’ provision for fathers. Other countries, like Canada, provide extra paid weeks of leave to families if both parents use the time.

The unequal division of care work, particularly, affects women’s opportunity and well-being in ways that cannot be measured solely in dollars and cents.

One way Americans deal with the housing affordability crisis is to move to distant suburbs and exurbs, where housing is cheaper than it is in central cities and job hubs. The tradeoff, however, is typically a long commute to and from work. But for women who are caring for children or elderly relatives, long commutes are often not feasible. Children and elderly parents get sick and need to get to doctors in the middle of a workday. School hours begin too late and end too early to accommodate a commute to a 9-to-5 job.

when schools close due to climate-driven events, mothers might have to take unpaid time off of work or pay for childcare. As Americans experience more dangerous heat waves, wildfires, and floods driven by climate change, the caregiving demands on women can increase, as they are more likely to be the ones responsible for helping children and elderly adults stay out of harm’s way.

Social media is the lens for a lot of the show’s biggest bits and even plotlines. It is, just as in life, omnipresent, and so, even as the show spotlights the inherent ridiculousness of the extremely online, it also understands the way social media is a deranging accelerant of everyday problems, and thus a medium of everyday life.

These are all just a bunch of funny jokes about people who are too online, celebrities whose shallow fame exists only by way of the apps, and a contemporary American culture hypnotized by the blue light of screens.

In her book The Drama of Celebrity, the scholar Sharon Marcus argues that celebrity, as we know it, is a cultural phenomenon with three distinct authors. There’s the celebrity, who expresses themself through whatever art or product they make; there are the journalists who write about and photograph and criticize and otherwise construct the celebrity’s public image; and then there’s the public, who contribute devotion and imagination, and money, and love and hate.

There was a time when Marilyn Monroe emerged as an illusion, a trick of the light produced between herself, her studio’s massive press apparatus, and an adoring and vampiric public. Today, anyone can be an illusion like this, if at smaller scale.

The show by no means wants to redeem the industry, but, this season especially, it’s become invested in exposing the lazy nihilism that can come along with seeing the worst in people. If you run into a craven, soulless industry hack in the morning, you ran into a craven, soulless industry hack; if you run into them all day, you are the craven, soulless industry hack.

The Other Two is about identity. It’s a flimsy, fungible thing, and it’s a trap. It’s a point of pride and a point of embarrassment. There’s the real you that we all struggle to find and to express truthfully; there’s the version of yourself that you perform for the public; there’s the version of you that others create in and against their own image.

When you observe a human life from a far enough distance, all the trials and tribulations just become rounding errors.

Dostoyevsky said that to love someone means to see them as God intended, so why on earth shouldn’t you also be a ‘someone’? This makes me think that sometimes you have to try to look at yourself through the eyes of God: how tiny and lacking, yet how precious and important; how flawed and powerless, yet unique and loved.

There’s something very calming about believing that nobody cares about what you do, that you could just be whatever you want to be. It grants you a kind of unlimited confidence, like flooring the gas pedal on your free will. It’s liberating to think that you’re not special — not because you aren’t valuable, but because you aren’t as offensively powerful as you might think. Humility, or the simple act of focusing less on yourself without reducing your sense of self-worth, can be the ultimate source of peace.

I want to see, in hindsight, that misfortunes haven’t hardened my heart — I want to look back and see a survivor. I want to see that heartaches have not smothered my passion and that sadness was not able to keep me down for long.

You may be existentially “trapped” in the present, but your perspective doesn’t have to be. With enough distance from your own timeline, every mistake blurs into a minor miscalculation, and every letdown diminishes to insignificance. Even a bad memory, with enough time, will appear trivial — it might transform you but its colors will fade into a wistful sepia.

It's not Just the same story seen from different point of views, it's the same story in which people act and behave every time with different attitudes according to Who Is watching and his or Her fears, feelings or expectations

With his epilogue, Scorsese offers salient commentary on how mainstream entertainment has — to ensure white comfort — frequently sanitized such brutality against Native Americans, and how this specific tale has been reduced to an oft-forgotten footnote in the pages of white supremacy.

In concept, the idea of a director centering himself during a film's emotional denouement echoes the prototypical image of an ego-driven auteur. However, there's a knowing and mournful humility to Scorsese's performance here, which warps the film's most farcical scene into its most poignant.

“Rupert Murdoch and Roger Ailes, the man he hired to create the network, saw a market that felt ignored and stereotyped when attention was paid. Like any good business — and journalism is a business — they set out to reach that market.

“Fox News had some good early ambitions. But fairly early on in its existence, the network pivoted far away from straight news and intelligent conservative commentary, and leaned heavily toward the loudmouths. And after that, it went from promoting the bloviators to platforming the outright liars. That was the moment the network completely jumped the shark and pivoted from presenting alternative viewpoints to presenting an alternate reality. This is Rupert Murdoch’s most meaningful political legacy—dutifully carrying water for Trump’s MAGA movement that banished real conservatism,” Lewis wrote. “Instead of elevating conservatism, Murdoch helped undermine conservatism as a serious philosophy, skewing instead toward tabloid conspiracy theories like birtherism and ‘rigged’ election allegations.”

Much of the mockery towards Che came from the queer community, who were pretty easily able to see the difference between an authentic representation of a queer character, and a kind of walking diversity checkbox designed to bring a style of woke chaos to a story.

AJLT has clearly been engaged in the criticism of SATC - the three main characters all get a black friend who is given almost equal time and importance. And Che not only answers criticism of lack of representation of sexuality on SATC, but cuts off future criticism of AJLT.

In one scene, Che is watching a focus group give feedback on the pilot of their sitcom. A young, clearly queer member speaks up about how much they hate the “character” of Che in the sitcom. They clearly represent the fan and critical response to Che Diax in AJLT season 1, and it’s fascinating to see what the show thinks these kinds of people are - ie a minorly updated blue haired woke stereotype.

In the show, this brings Che to tears, and through this scene, our criticism of Che is emotionally rebuked. We can see that the tears of Che Diaz are the tears of the writers, appalled at our meanness.

fans are always going to be motivated by different things to the writer. A fan, especially ones with the kind of parasocial relationship to shows and characters that are big these days, are always going to want the best for the character, to see their favourites thrive and find love and get the magic sword, etc. A writer doesn’t and shouldn’t care about any of that - a writer should only be writing the best story, creating the most fulfilling narrative arc. Sometimes, when it comes to crafting a narrative, pain and suffering is important for the character, goals need to be unreached, swords remain in the stone.

Introduced as Carrie’s “modern” podcast partner, and then later Miranda’s queer sexual awakening, Che was a non-binary standup comedian who unfortunately had a lot of functions to fulfil in the story. They were a kind of stand-in to represent exactly everything that had changed in sex and dating and gender and sexuality in the years since the original Sex and The City had gracefully left our screens.

They were a truly baffling character, a kind of frankenstein’s monster cobbled together from hazy ideas of gender and queer theory, mashed into one character to be a comedic foil for the older (and somewhat startlingly conservative at times) original characters - but also as a way to try and seriously engage with ideas of representation and diversity. You never knew if you were meant to laugh at Che, or at the other character’s moments of less-than-wokeness around Che - or take them seriously.

And Just Like That - a show that can only be described as watching Sex and the City through the aged filter on TikTok while suffering a potentially fatal fever - is the greatest show on television. By that I mean it’s so bad. God I love it. It’s just inexplicably confusing, a show defined by big swings that almost never hit, but that doesn’t matter, there’s a kind of deranged joy in that. It’s almost perfect. But it’s also so weird.There seems to be a happy chaos to the show, a willingness to just put forward insane new developments for these beloved characters, and just run with it.

the reason that Che Diaz felt so out of place, a sore thumb, is  because their entire arc in the latest season is responding to fan and critical discourse.

Haigh tells this potentially maudlin story with such a light touch that even its biggest reveals hit like a velvet hammer, and his screenplay so movingly echoes Adam’s yearning to be known — across time and space — that the film always feels rooted in his emotional present, even as it pings back and forth between dimensions.

And so Haigh, in rather overt terms, slowly begins to recontextualize Adam’s sexuality as more of a conduit for his despondency than a root cause, leveraging a personal story about the consequences of keeping pain out into a primordial one about the catharsis of letting it in

“All of Us Strangers” does too, and it never shies away from how hard it can be to start again, especially once Harry begins to struggle with his own advice

To have that sense of one's intrinsic worth which, for better or for worse, constitutes self-respect, is potentially to have everything: the ability to discriminate, to love and to remain indifferent. To lack it is to be locked within oneself, paradoxically incapable of either love or indifference. If we do not respect ourselves, we are on the one hand forced to despise those who have so few resources as to consort with us, so little perception as to remain blind to our fatal weaknesses. On the other, we are peculiarly in thrall to everyone we see, curiously determined to live out—since our self-image is untenable—their false notions of us.

At the mercy of those we can not but hold in contempt, we play rôles doomed to failure before they are begun, each defeat generating fresh despair at the necessity of divining and meeting the next demand made upon us.

It is the phenomenon sometimes called alienation from self. In its advanced stages, we no longer answer the telephone, because someone might want something; that we could say no without drowning in self-reproach is an idea alien to this game.

Every encounter demands too much, tears the nerves, drains the will, and the spectre of something as small as an unanswered letter arouses such disproportionate guilt that one's sanity becomes an object of speculation among one's acquaintances.

To assign unanswered letters their proper weight, to free us from the expectations of others, to give us back to ourselves—there lies the great, the singular power of self-respect. Without it, one eventually discovers the final turn of the screw: one runs away to find oneself, and finds no one at home.

I had not been elected to Phi Beta Kappa. This failure could scarcely have been more predictable or less ambiguous (I simply did not have the grades), but I was unnerved by it; I had somehow thought myself a kind of academic Raskolnikov, curiously exempt from the cause-effect relationships that hampered others.

In brief, people with self-respect exhibit a certain toughness, a kind of moral nerve; they display what was once called character, a quality which, although approved in the abstract, sometimes loses ground to other, more instantly negotiable virtues. The measure of its slipping prestige is that one tends to think of it only in connection with homely children and with United States senators who have been defeated, preferably in the primary, for re-election. Nonetheless, character—the willingness to accept responsibility for one's own life—is the source from which self-respect springs.

“I don’t think we should depend on Hollywood to tell our stories with the nuance and the depth and the care that they really deserve,” Nina Wallace, media and outreach manager at Densho, a nonprofit group dedicated to preserving the stories of those of Japanese descent. “But it is true that these institutions that are in positions of power, positions of influence, put more value on stories of men like Oppenheimer, like Truman, than it does on the Asian and indigenous communities that suffered because of decisions that those men made.”

I understand how showrooms and Hollywood cannot be all-encompassing. … But I think it also points societally to the lack of nonwhite, non-U.S. initiatives or perspectives,” said Stan Shikuma, co-president of the Seattle Chapter of the Japanese American Citizens League. “That lack of more of a global perspective allows atrocities to continue to happen because we still dehumanize other people that we don’t know.”

Films about other perspectives, Shikuma said, often fall on the independent filmmaking community.

people aged 60 and over lead active social lives and value internal, psychological strengths. Aging Americans use technology: 84 percent of respondents report that they use the internet to read news, social network sites or other information on a weekly basis, despite only 29.1 percent of on-screen characters engaging with technology. On screen, one third of seniors pursue interests in hobbies and 38.5 percent attend events, while in reality, they are more than two times as likely to engage socially with friends or relatives on a weekly or monthly basis. The top five traits respondents rated as most important to aging successfully were self-reliance, awareness, honesty, resilience and safety. In film, seniors are rarely depicted as the masters of their own stories or destinies.

Yolangel Hernandez Suarez, vice president and chief medical officer of care delivery at Humana said: “As a health care company, we’re committed to helping aging Americans defy stereotypes and take steps to achieve their best health. That’s why it’s important to note that, according to our findings, seniors who report being optimistic about the aging process also report better health. As a boomer myself, I can tell you that being optimistic about my future helps me make healthier choices every day.”

There are clear gaps between the way Hollywood sees older people and the way they see themselves. Humana, the health and wellness company, surveyed 2,000 people 60 and older about whether they felt they were depicted accurately in movies and, explained Dr. Yolangel Hernandez Suarez, “the answer was a resounding no. They thought themselves to be more healthy in mind and body, more connected, and more savvy than they were portrayed in film.”

52.6 percent of the movies that featured senior characters also included comments that the researchers interpreted as ageist. Many of those comments were spoken by other characters to older people, but in a number of movies, older characters made self-deprecating or diminishing comments about their own age.

"And just get to the bigger issue that is on my mind whenever I see this stuff in the policy space, which is, again: Who are you trying to help? Who are you trying to make better off? And what public policy problems do you get up in the morning thinking about how to solve?"