Why Women Should Write Their Own Roles

Michelle Rodriguez made us swoon this week by using the Fast and Furious 6 (6!) press junket to speak out about the problem of good female roles (via Jezebel): 

It’s so hard to find really good writers. It’s a fairly new, last-twenty-year thing to have strong, independent, free-spirited women on film. Eighty percent of the writers are guys, most of them are married in Beverly Hills and they’re married to some woman who obviously annoys them or they wouldn’t write the way they write.

Actress-comedian, and now writer, Suzanne Smith had the same feelings when she tried to navigate Hollywood, so she recently did what more women are doing all the time — she created her own damn material. She wrote for us about how she got started.

“Nobody knew what to do with me besides me.” –Roseanne Barr

As an actor, I have always known this, but only at 36 years old did I finally have the courage to take action and start my own web series. Prior to this project, I was a working actress, with roles in Sex and the City, Law and Order, and Double Whammy, an independent film with Denis Leary. I always loved being part of a team and working with talented actors, directors and crew. Early in 2003, I had a near-death experience, which changed everything, including the way I looked at sharing my talent and the purpose of my life. In all actuality, I thought about leaving acting completely and focusing more on other interests, including writing, making collage art, and running a story time for children. But the acting bug had never completely left me, and in 2008, I got back into acting class with Wynn Handman, which inspired me to merge my writing and acting interests. Suddenly, I was creating my own characters, and it felt right.

I had always loved Woody Allen, Larry David, Christopher Guest and John Cassavetes. This new approach gave me full creative control, and I started creating parts for myself that were fuller female representations. I loved the roles that others had scripted, but let’s face it, the really meaty parts for women are few and far between. I remember Wynn saying to me in my early 20s, “You are not an ingénue.” I interpreted this to mean that my natural character was too strong for many of the existing female roles. I had always been a character actress, but apparently it confused people that I was “attractive.” I had auditioned for many big parts, but there were very few that I felt connected to. Plus, some of the feedback on my appearance was confusing. I was told I was “too thin,” “too fat,” “not fat enough” because I had a “pretty face.” Then I was told that there weren’t a lot of roles for me at my age. After my brush with death, I realized that life is too short to fit myself into someone else’s box.

When a friend suggested a couple of years ago that I play a quirky psychic with strong opinions, I took to the idea. Earlier this year, I launched Saige Winters: My Psychic Life, which I now cast, produce, write, co-direct occasionally and act in. Creatively, I have never been happier (though I do like the collaborative process and am open to playing excellent roles). I love having the freedom to tap my artistic and comedic sides without having to fit into someone else’s agenda. There are so many different types of women walking this earth, each of us unique and strong in her own way. This experience, which includes the positive feedback I’ve received, affirms for me the need for us all to live our true north—and write our own roles.


‘Frances Ha’ Shows The Pain of Losing Your Best Girlfriend

Frances HaThe only really disconcerting part of “Frances Ha” (opening May 31, nationwide June 14) is that the filmmakers decided to shoot it in black and white. Not that there’s anything wrong with black and white; the shadows pop and even the bleakest landscapes look beautiful. It just kinda screams artsy pretension, especially since the film is mainly set in New York among 20-something hipsters. 

But that’s not fair to this lovely little gem, directed by Noah Baumbach (“The Squid and the Whale”), nor are the inevitable comparisons to Lena Dunham’s “Girls” (though some of those might have been avoided by not casting Adam Driver in a supporting role).

Because “Frances Ha” is a great look at women’s friendships, particularly those intense bonds you form in your late teens/early 20s that, when they end, hurt far worse than any romance.  [Read more...]


Celine Dion, Feminist?

_23_-_dion_07_0655_fnl_2Among the last words you might think of to describe Celine Dion is “feminist.” Feminine, for sure, perhaps to an embarrassing degree for a lot of us. (Not that femininity is embarrassing, as much as our traditional ideas about femininity — that is, the bald expression of FEELINGS — make us squeamish.) She has always been all grand feeling, exposed nerve endings, belting at the top of your lungs and “diamonds are forever,” right? But I just finished this book about her, called Let’s Talk About Love: A Journey to the End of Taste, and it will change your life if you are a critic; it also hints at the possibility that Celine could be a feminist, especially when she’s working in her native language, Quebecoise French. I’ll just quote the book here, which you should totally read:

Céline’s albums since Let’s Talk About Love have gained some restraint, the singing and arrangements have become more up-to-date and “tasteful.” Her latest French release, D’Elles, goes very high-culture, even intellectual—it’s a concept album in which all the lyrics were provided by female journalists and novelists from Quebec and France. (One review was titled, “I Am Woman, Hear Me Think.”) At the 2007 Oscars, she was asked to sing a new piece by the renowned (and cosmopolitanly hip) Italian film composer Ennio Morricone, who was receiving a lifetime-achievement award. And her next album might go even further. Titled, warningly to fans, Taking Chances, it is rumored at the time of this writing to include songs by the rock band Evanescence, ex-Eurythmics musician Dave Stewart, the R&B artists Ne-Yo and R. Kelly (who’s built up cachet with the loony audacity of his musical soap opera, “Trapped in the Closet”), producer The-Dream (who made Rihanna’s massive hit “Umbrella”) and, most unlikely of all, that chart-topping studio avant-gardist, Timbaland. It is almost as if Céline has figured out how to be cool, American-style.

I don’t know if Celine will ever be 100-percent cool, or feminist — but we should all give her a chance. I love her song “Taking Chances” — how about you?


Revisiting Sleater-Kinney

2311I’ve had a few Sleater-Kinney songs in heavy rotation on my iPod for years: Every time I go to karaoke (which is a lot), I’m bummed that I can’t sing “You’re No Rock ‘n’ Roll Fun,” which should really be mainstream enough for such treatment. But alas, those lists where great pop songs go to die/live forever are apparently no place for such punk spirit. Just one more way these ladies don’t get their due — you can get every Green Day and Sum 41 and even Sex Pistols song you could possibly want to croon along with. But it’s also just one more way these ladies get to retain their sense of infinite cool.

I will admit to my own mainstream, semi-uncool reasons for having recently gorged on Sleater-Kinney downloads on iTunes. Mainly, the IFC comedy sensation Portlandia ignited my intense girl crushery for Carrie Brownstein — I haven’t wanted to copy everything a pop star wears/does/thinks so badly since I plastered my walls with Debbie Gibson posters. From there, I got into her current band, Wild Flag, which is, obviously, awesome. You haven’t lived until you’ve seen Brownstein work a stage with her guitar. And now I’m mainlining old Sleater-Kinney.

For the uninitiated, Sleater-Kinney came out of the Pacific Northwest’s intersection of grunge and riot-grrl movements, combining the best elements to produce the kind of polished pop-punk the best of the ’90s and aughts bands brought us. In this case, the pop punk just happened to come from three chicks: Brownstein, Corin Tucker, and Janet Weiss. Their lyrics were as cleverly post-modern as Nirvana’s, maybe even more self-aware: “So you want to be entertained?/Please look away/We’re not here ’cause we want to entertain/Please go away/Don’t go away.” And they did meta as well as, if not as often and self-consciously as, Fall Out Boy. From “Turn It On”: “Don’t say the word if you don’t want it done/Don’t tell me your name if you don’t want it sung.”

While they certainly address female-oriented issues sometimes — the infectious “One More Hour” pines for a lesbian relationship without making a spectacle of it — their revolutionary quality came mostly from showing girls could play with the big boys without compromising their feminism or femininity. Any girl listening to any Sleater-Kinney today would come away with one message: We are as capable of shredding and wailing as any dude currently blowing out the speakers in his parents’ garage.


Revisiting Liz Phair’s ‘Exile in Guyville’

I recently reassembled all of Liz Phair’s landmark 1993 debut album Exile in Guyville on my iPhone, having long ago lost various tracks somewhere between my first dubbed cassette, my CD version, and one crash of my old computer that destroyed all my old music. Some tracks had filtered through the mess somehow — it was maybe related to the fact that I ripped some music from friends and family in an effort to resurrect my music collection. So for the past three years “Help Me Mary,” “Girls! Girls! Girls!” and “Flower” have remained in my regular rotation, but the rest of the album had vanished. One could certainly do worse than those three songs (my inner frat girl never gets over the dirty-ironic humor of “Flower”), but downloading the whole thing over again has allowed me to investigate the phenomenon of ’90s-debut Liz Phair anew — and just in time for its 20th anniversary.

[Read more...]


Translating Female Pop Stars’ Quotes on Feminism

The media likes to ask female pop stars about feminism. A lot. In fact, for some reason, young female singers are bombarded with this question so much that it has become its own news category. When someone like Taylor Swift or Beyonce answers the question, “Are you a feminist?”, the Internet blows up with critique. There never seems to be a right answer.

There’s a problem in both the phrasing of the question and also in these women’s comprehension of it. The media, particularly certain feminist blogs, are looking for provocative discourse and celebrities are easy targets. (Feministing subtly calls this an “annoying conversation.”) But it’s more than that. It’s problematic not only because it makes women the targets of scorn by other women, but also overlooks the bigger forces at work behind the entertainment industry that promote a patriarchal business structure and overwhelmingly value female artists for their sexuality rather than their talent.

These young women (and they are always young when they get this question for the first time) are not thinking about what it means to be a feminist at the exact moment a reporter points her microphone at them and asks them to identify with something they’re not quite sure of yet. They are not dumb, but perhaps they haven’t yet evolved into their feminist identities. And you know what? That’s perfectly okay, even for someone righteously living like a feminist without knowing it yet.

[Read more...]


Sexy Feminist: Mindy Kaling

In a way, Mindy Kaling is the anti-Zooey Deschanel, the anti-Lena Dunham. Whereas Deschanel and Dunham seem to stoke intense ire just by existing (congratulations, Anne Hathaway, you just joined this elite club, too!), Kaling inspires intense love in her fans. Young women, in particular, hang on her every word on Twitter, made her book a bestseller, and now worship at the weekly altar of her terrific Fox sitcom, The Mindy Project.

In a way, this makes Kaling the new Tina Fey. Her fame comes from this sense of deep affection that she cultivates just by being smart and funny and feminist. She writes and stars in her own sitcom. And like Fey, she has created a persona that makes fun of the pressures single career women face while not making fun of those single career women themselves. Kaling’s sitcom alter ego, Mindy Lahiri, is not exactly a feminist icon herself. Like Fey’s Liz Lemon, she’s flawed and unique to the point of bordering on bizarre (in the best way). She’s a kick-ass gynecologist who loves Beyonce and sparkly dresses and boys and romantic comedies. She talks in a baby-ish voice but can banter with the best of them. She refers to herself as “chubby” but has the sexual self-confidence of Sasha Fierce. The fact that she’s a gynecologist also allows for regular lessons in sex ed and women’s health to sneak into primetime.

This all makes her a true Sexy Feminist — and a force that will have us soon admiring some new starlet as “the new Mindy Kaling.”


Celebrating Feminist Progress On International Women’s Day

International Women’s Day (March 8th) makes us wax nostalgic about our favorite feminist icons (Gloria Steinem, Ruth Bader Ginsberg, Sarah Weddington, Hillary Clinton, Madonna). There are so many women to thank for where we are today, and even more to look to for where we are going. Our new book, Sexy Feminism, is a celebration of how far we’ve come and the liberties we are afforded today to be confident, individuals in our feminism. To embrace this sentiment, here are some polls to take, share with your friends, and discuss with anyone. Feminism can be fun, but it’s always something we should talk about.

What Is the Most Important Issue Facing Feminism Today?

Who’s Your Favorite Feminist Role Model?

What’s the Sexiest Feminist Thing a Man Can Do?

Why Did You Become A Feminist?

 


Sexy Feminist Poll: Who’s Your Favorite Feminist Role Model?

Who's your favorite Sexy Feminist role model?

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Sexy Feminist: Zooey Deschanel

Some girls in the spotlight become more than the sum of their parts, and not in a good way. Zooey Deschanel is a prime example: Just by being her, she ignites extreme emotions, many of them unfavorable. She basically invented the idea of the “manic pixie dream girl,” the archetype of a woman who can change any young, repressed man with one stroke of her quirkiness. But the fact remains: She’s a stone cold feminist.

How do we know this? Let us count the ways, and they have nothing to do with those irresistible bangs and big blue eyes. First, her character on her sitcom New Girl is quietly revolutionary: She shows us that girls who are inherently as sweet and quirky as she is love sex and have plenty of it. During the current otherwise insufferably drawn-out flirtation her character, Jess, is experiencing with roommate/friend Nick, we’ve learned that she’s all about having tons of emotionally unattached sex with her current boyfriend. Yes, blue-eyed, aggressively-banged (ha-ha), ultra-feminine Jess has knock-down, meaningless sex with a dude. Score one for the Mary Richardses of the modern era.

Second, Deschanel is a solid, multi-faceted actress, going back as far as Almost Famous. How awesome is Almost Famous? How awesome is she in it? She’s the big sister we all wish we had. She also happens to be a rock star, literally, with the band She and Him, and to throw her weight behind a very feminist, very funny, yet unabashedly girlie, website called Hello Giggles. Roll your eyes all you want about how cutesy Deschanel is, but you have to admit: She’s more comfortable with the idea of femininity than anyone we know.


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