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Gina Rodriguez Says Feminism Is Shaping How Young Boys Think Too


It’s been less than 48 hours since Gina Rodriguez presented at the Golden Globes, and she’s feeling a little out of sorts as we talk on the phone. “I left the Globes, did press for Jane the Virgin in L.A., jumped on a plane to Miami, got here last night, and then started press at 7 A.M. [for Carmen Sandiego] I don’t even know my name right now!”

It’s a whirlwind schedule, for sure, but also oddly appropriate for someone playing Carmen Sandiego, the fictional globe-trotting “thief with a conscience.” Rodriguez grew up on the game show version of Where in the World is Carmen Sandiego?, now she’s stepping into the mysterious mastermind’s shoes for Netflix’s animated reboot. “I said 1000% yes [to Carmen],” Rodriguez says. “I still can’t believe it.”

Rodriguez credits Carmen with inspiring her to travel and learn new cultures, religions, and languages. “Coming from a low-income family in the hoods of Chicago, I don’t know how much I would have desired to see the world outside of mine if it wasn’t for Carmen,” she says. “[Through the show], I got to travel to Thailand, Ecuador, Panama, Japan, and more when we couldn’t in my household. That’s OK because my parents gave us the tools and education to give us opportunities so we could eventually travel ourselves. And that’s exactly what my sister and I did.”

PHOTO: Netflix

Although Rodriguez can afford to fly anywhere she wants to now, she says it’s the lessons that she learned as a kid that she wants to pass down to the future generations. “I don’t have children yet, but I want one real bad,” she says. “All the men and women who grew up with Carmen are now in their 30s and 40s, so now they get to [introduce] her to their children.”

In the meantime, she says she’s getting feedback from other members of her family, especially her 9-year-old nephew. Before she got engaged to Joe LoCicero last year, for example, her nephew asked when they’d be getting married. “I was like, ‘I don’t know. We discussed it, but I’m going to give him space to ask me,’ and my nephew says, ‘Ask you? Why would he ask you? Women ask the men these days.’”

She says she replied, “‘Oh really? No, sweetheart, it hasn’t been traditional, but it’s really awesome to see a woman who does that.'” Her nephew’s response? “‘Well, women make more money than men.’”

“I was like, ‘Sadly, we’re still fighting for pay equity, so, no, women don’t make more than men,’” Rodriguez continues. “And he goes, ‘My mommy makes more than my daddy, and you make more, so don’t women always make more than men?’”

“I thought, How interesting. He has these women in his life living a different space than we’re used to seeing, and he is being so shaped by that,” she says. “Here I’m thinking I’m only affecting women, when I have my nephew being like, ‘I see you making deals. You’re the CEO of your company.’ So it’s a reflection to young boys that that is what a young woman can be.”

That’s why Rodriguez jumped at the chance to play “this strong, fierce, brave woman” in both the animated and live-action versions. Of the latter, she says she can’t talk about it too much— it’s in the very early stages, but she’s excited to bring Carmen to life.

“I’ve made a lot of projects geared toward older audiences, so to be able to play to this [younger] demographic where I was so inspired and motivated and encouraged to do what I love…those are transformative years,” she says. “If it wasn’t for my education, I probably would never be in the position I’m in.”

Carmen Sandiego premieres on Netflix today, January 18.



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Denouncing #MeToo Is Feminism Devouring Itself


There’s always, inevitably, a backlash. No matter the scale or integrity of a movement, its imperfections—of which there are sure to be some—are sliced open and dissected as if they are pox covering the entire body instead of a few small pimples on the chin. The faults of the few become the failings of the many—perfection becomes, as they say, the enemy of progress.

And so now, three months after the initial claims against Harvey Weinstein helped launch the #MeToo movement, here we are, with one noted female writer saying she’s “had it with the reflexive and unnuanced sense of outrage that has accompanied this cause from its inception,” another attempting to dox the creator of the Shitty Media Men list, famed French actresses calling out what they see as a “hatred of men and sexuality,” and a series of internet furors over the efficacy of the Golden Globes dress blackout, Kirsten Gillibrand’s insistence that Al Franken must resign, and a host of other issues.

The primary criticism emerging from these detractors is that a hysteria has set in among women, that this entire thing has just “gone too far.” (In fact, “hysteria” is, ironically enough given its etymology and storied history as a linguistic tool for oppressing women, the exact word that writer Katie Roiphe used yesterday to defend her upcoming Harpers’ essay critiquing #MeToo.) Like a clutch of teenage girls in 1690s Salem, we’re apparently shrieking out men’s names with wanton disregard for their potential downfalls. We are mistaking adoration for provocation, platonic gestures for unwanted advances, or jokes for, well, something obviously not very funny. In short, we’ve devolved into a group of speculative shrews, these critics say, unaware that there is a spectrum of behavior and unforgiving of any perceived slight against our sacred bodies or minds.

In bringing to light a wide range of inappropriate behaviors in an unceasing wave over a period of several months, women have apparently gone too far. When one woman publicly reports sexual harassment she’s brave, when a small group do it they’re heroic, but when dozens of women are then motivated to share their own stories and there are repercussions for the perpetrators, they’re labeled frenzied, bloodthirsty, undemocratic. Because hysteria, of course, implies that a woman lacking full possession of her faculties has suddenly turned rabid, biting anything within range. It implies that women are not to be trusted as arbiters of what passes for platonic intimacy between colleagues and friends. And, more dangerously, that they are not entitled to speak up publicly if workplace redress has failed, or seems inadequate, or years have gone by. Because women’s judgment cannot be trusted.

And yet the truth is that while, yes, women are asking that men keep their comments and hands and penises to themselves (except in cases where they are openly keeping their hands on their penises, in which case, what the fuck), what they’re really demanding is that the crappy mechanisms that didn’t hold men accountable in the past be replaced by new ones. What most women are seeking is not specific retribution for particular men (although in many cases that is crucial) but a widespread reboot of the archaic systems that allowed predatory sexualized interactions in the workplace to go unchecked for decades.

Human Resources, the supposed sanctuary for the aggrieved, either didn’t exist or failed many of the women who tried to utilize it. Filing a complaint up the chain of command was often useless, either because the aggressor was the head of the chain or because media outlets and Hollywood studios were too enthralled of their male darlings to cast them aside or adequately reprimand them. And quitting—which far too many women have had to do as a result of toxic workplace environments—is not, despite what our president thinks, a fair or just recourse for a woman who’s been victimized. And so now, worn out by decades of passes and comments and gropes, along with even more egregious fare, women are bringing their cases public, laying bare the facts and allowing employers to decide what should happen to the perpetrators—with the much-needed added pressure the publicity applies.

This is where much of the caterwauling about “due process” and “anonymous accusers,” and “the presumption of innocence” comes in. “Are these men getting a fair shake?” legions of people are apparently asking, “Or is an unverified accusation enough to destroy a life?” It’s an important question, and one that we certainly need to grapple with. No man should have his reputation or his livelihood taken from him without a fair and thorough investigation. But this is no basis for deriding the movement or the victims, or for calling for women to stop publicly stepping forward.

First, because as Amanda Hess described on Twitter, many of these cases were investigated and adjudicated privately: “Just because the proof isn’t public doesn’t mean it doesn’t exist.” Just because the accuser is anonymous to the public doesn’t mean she is anonymous to her employer. And just because all the details of how a company investigated and what they found aren’t made public, doesn’t mean it didn’t happen. If the court of public opinion acts to condemn a man before the facts are out, that is no fault of the victim. This is why we use terms like “alleged,” in all cases, whether the accused might be a bank robber or a serial harasser—because it’s important that the public know such charges have been levied, but also that a non-media body is in charge of the final decision about his guilt or innocence.

In a New York Times op-ed Daphne Merkin claims that many women are privately appalled at the #MeToo Movement’s long reach: “There is a disturbing lack of clarity about the terms being thrown around and a lack of distinction regarding what the spectrum of objectionable behavior really is.” She adds that the accusations are “scattered, anonymous or, as far as the public knows, very vague and unspecific.”

In no way is this accurate. He “tweaked my left boob,” says Hilarie Burton of Ben Affleck. He “caught me off guard, put his hand on my thigh, and suddenly started kissing me,” a 23-year-old woman said of reporter Glenn Thrush. He “repeatedly touched her knee, and at one point, she said, slid his hand up her skirt and touched her underwear,” the New York Times reported about former Paris Review editor Lorin Stein. There’s nothing vague or unspecific about exactly what body parts men’s hands keep ending up on. It’s true that there is no worldwide governing body that determines precisely what actions lie inside the scope of sexual assault, or harassment, or inappropriate behavior. And yes, by its nature a grassroots movement will appear scattershot. Progress is messy.

But at the heart of Merkin’s argument is a sense that she believes women have shriveled up into unforgiving prudes. “Some are now suggesting that come-ons need to be constricted to a repressive degree,” she says. The letter signed by Catherine Deneuve and a hundred other Frenchwomen argues that “hitting on someone insistently or awkwardly is not an offense, nor is gallantry a chauvinist aggression.” What’s a little unwanted kissing from a married man you work for who happens to be twice your age? What’s the problem with a colleague asking over and over again to take you home and following you out of a bar if he eventually gives up? Context, something that’s disturbingly stripped from any of these critics’ writings, can easily change “a kiss on the cheek” into an obvious predatory move.

This is feminism devouring itself for the sake of playing the cool girl, as if a pinch of your ass in a meeting is something you should swat off with a smile lest you be labelled a troublemaker or killjoy. It’s a severely outdated mode of thinking about how women ought to assert their rights—in the workplace and in the world. “What ever happened to flirting?” says one of the women whose voices Merkin includes, as if we’re now wearing self-forged chastity belts over our business attire and tearing out voiceboxes that use a playful tone. What happened to flirting is that it was quietly put up with until it evolved into full-fledged pestering or hounding, and then it began to interfere with women’s abilities to just do their damn jobs.

Because, as we all know by now, this isn’t about flirting or the occasional come-on. It’s about dismantling the illusion of the workplace as having achieved some sort of utopian parity for women.

Critics argue that the current of men losing their jobs is unceasing, that this tidal wave is all too much. But how long do you imagine it will take decades of abuse and harassment to wiggle out of the holes where we’ve kept it buried? A week? A month? A year? If you’re feeling overwhelmed by the sheer number of women coming forward and accusing men, then what you really ought to be shocked by is just how many men are culpable, not how many women are seeking redress.





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These Photographers Asked Daughters to Teach Their Dads About Feminism


PHOTO: Sham Hinchey and Marzia Messina

Sham Hinchey with his daughter Penelope.

As a lot of commentators have pointed out recently—following a wave of admonishments from celebrities saying that “as fathers of daughters” they were appalled by Harvey Weinstein’s behavior—a man shouldn’t need a daughter to teach him that sexual harassment is wrong and that feminism is necessary.

But it couldn’t hurt.

Sham Hinchey and Marzia Messina are photographers creative partners, and the parents of a 10-year-old girl, Penelope. She inspired their most recent project, “Dear Daughters,”, which brought 22 men and their young daughters into their Brooklyn studio to talk about feminism and have their portraits taken.

Vida and Ray.

PHOTO: Sham Hinchey and Marzia Messina

Vida and Ray

“We really wanted to hear men talk on the question of feminism and women’s rights and the role of a woman in the society,” Hinchey told Glamour. “We thought a good place to start was with fathers who have daughters, because it might be easier for them to empathize with their young daughter so they could kind of learn through them.”

With the help of Penelope, Hinchey and Messina designed a board game to guide the discussion. It started with softball questions: “What do you think you’ll be doing when you’re 25?” and “What was life like when you were a kid?” As the game progressed, they moved on to more challenging stuff: “What do you think the phrase ‘boys will be boys’ suggests?” or “Pretend you’re in Congress and come up with a new law about women’s rights.”

PHOTO: Sham Hinchey and Marzia Messina

Amira and Max

Sometimes, the game was illuminating because it encouraged girls to describe the world from their perspective. At other times, fathers were forced to explain a hard truth about the world to their daughters, which underscored the injustice of it for everyone. If a girl hadn’t heard the word “stereotype” before, her father had to explain what stereotyping is, why it’s wrong, and how it might affect her.

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Hinchey and Penelope took their turn with the game as well. He said that even though he and Penelope are close and both care about women’s rights, it felt good to have this kind of frank discussion with her. “We always delegate those kinds of conversations to the mom,” he says. “But if we do put ourselves in that place as dads, it can strengthen our relationship with our kids. And I think that putting men in women’s shoes for a while—that’s how we get them on board with the movement for equality.”

The family hopes to expand their project with more fathers and daughters from across the country, and to eventually publish a book featuring their conversations and photos.



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Trevor Noah talks Trump, Feminism, and Being on TV


There are moments in pop culture that you remember in terms of “Where were you when…?” Where were you when you watched Oprah declare “I love bread!” or Game of Thrones “Red Wedding”? I’m adding one: Where were you when you discovered Trevor Noah? I was a 27-year-old aspiring stand-up comic watching The Tonight Show With Jay Leno in my PJs in 2012; the South African comedian was making his U.S. debut. I thought, Who is this café au lait king who’s also hilarious? He was, to the tune of Sisqó’s “Thong Song,” “dun-duh-duh-dun” hot. But in his short set, Noah also displayed charm, presence, and damn good writing. (Of his black South African mother and white Swiss father getting together during apartheid, he joked: “My mom was like ‘Woo, I don’t care, I want a white man! Woo!’ She was crazy. And my dad was like, ‘Well, you know how the Swiss love chocolate.’ ”)

It’s no surprise to me that today the 33-year-old is writing New York Times best-selling books (Born a Crime), headlining stand-up specials (Afraid of the Dark), and making The Daily Show his own with his smart international take on America’s political dramas. We had never met prior to my visit to his office, but we instantly shared an energy that’s common among comics offstage, quieter and contemplative. Noah makes you feel hopeful that everything will be OK. His optimism might be his X-factor.

PHOEBE ROBINSON: I’ve been following your career, and to me, you seem like a feminist. Is that fair to say?

TREVOR NOAH: Yeah. Without a doubt, that’s because of my mom. My aunt, grandmother. Most of my teachers were female in school. I grew up in a world where authority was female. [But] I never thought to call myself a feminist because of branding. I had this skewed idea of feminist: I thought it meant being a woman who hates men. When I read Chimamanda Ngozi Adichie’s We Should All Be Feminists, I was like, “Oh, this is what my mom taught me. This is simple. I don’t understand why everybody is not this.”

PHOEBE:Two years into The Daily Show, how are you feeling?

TREVOR: Post, let’s say, Donald Trump’s nomination or presidency, I found an easier way to synthesize my voice into the show.

PHOEBE: How do you view the way Americans are responding to President Trump? Do you think it’s an overreaction at all?

TREVOR: I don’t think it’s an overreaction. America is dealing with the effects of an underreaction to Donald Trump when he was running and when he was Mr. Saying-Racist-Things-on-the-News.

PHOEBE: If you could get an honest answer, what would you ask him?

TREVOR: “How much money would you want [in order] to leave the presidency?” Because I think he would have a number, strangely enough. Then we’d know how much to launch the Kickstarter for.

PHOEBE: It would be funded so fast. [Laughs.] I enjoy your interview style—you have a level of empathy, even if you don’t agree with a person. How did you decide to go the humanity-first route?

TREVOR: The most important part of conversation in Africa is the greeting. In Zulu, there’s Sawubona: “I see you.” When you see someone as a human being, you begin to understand most people are doing what they believe is right. I ask myself, “What if you were wrong? How would you want someone to engage with you?”

PHOEBE: This reminds me of your interview after the election with Tomi Lahren [then a conservative host for The Blaze]. Some people were upset you had her as a guest. What’s your takeaway?

TREVOR: I don’t think there’s anything I would have done differently. I invited Tomi because she was part of the white millennial vote that went with Donald Trump. Some people got stuck on “Why would you legitimize her?” Just because you don’t know about it in your bubble does not mean it’s not legitimate already.

PHOEBE: You represent a point of view that hasn’t been seen on late night. How do you feel like you’ve changed the dialogue?

TREVOR: There’s an advantage in looking at the world and talking through ideas that aren’t talked about anywhere else in the same way. The misconception has been: Is it a black show, or is it The Daily Show? Why can’t The Daily Show be hosted by a black person and have black people working on it? It doesn’t have to be either-or.

PHOEBE: Was having a diverse cast a mission, or did it just happen?

TREVOR: If you have a room that has 12 of the same person, you are bound to get 12 of the same jokes. I never thought of the diverse cast members as a mission. I just want original people—a person who is really funny and who makes me say, “I’ve never heard that before.”

PHOEBE: What do you hope for America, and yourself, in the future?

TREVOR: I hope America manages to steer itself away from partisanship and back to patriotism; we are all Americans. And as long as I can make people laugh and feel better, I’m happy.

Phoebe Robinson is the New York Times best-selling author of You Can’t Touch My Hair and cohost of the podcast 2 Dope Queens, which will become a series of HBO specials in 2018.



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Gal Gadot Opened Up About Feminism, And It's So Powerful


PHOTO: Victor Chavez, Getty

Despite James Cameron’s whining, Wonder Woman is the hit of the summer and the beating heart of the modern superhero landscape. And the woman who plays her, Gal Gadot, is making our hearts beat with the Amazon-worthy interview she gave to Rolling Stone about growing up in Israel, her path to becoming one of the biggest stars in the world, and how much feminism has helped her along the way.

“People always ask me, ‘Are you a feminist?’ And I find the question surprising, because I think, ‘Yes, of course. Every woman, every man, everyone should be a feminist. Because whoever is not a feminist is a sexist,'” (emphasis ours) she explains, at once making feminism seem like the most obvious thing in the world and slyly hinting that those who are squeamish about the label might, uh, have some issues to work on.

Growing up in a small city in Israel, Gal — whose last name is pronounced “‘gadott,’ not ‘gadoh'” — and her sister were taught “to believe that we’re capable, to value ourselves.” And unlike many American girls, she wasn’t raised on a steady diet of media images and television programs depicting women as, well, sometimes wondrous and sometimes not so much; she was told “take a ball and go play” and ended up “a tomboy.”

From there she became Miss Israel, deliberately sabotaged her chances at Miss Universe, completed her mandatory army service, and took a quick jaunt to law school before starring in the highest-grossing female-directed live-action film. But as we know, pretty much any road a woman takes is littered with sexist mines, especially in Hollywood.

“I’ve had my moments where I’ve felt like men were misbehaving – nothing sexual, but inappropriate in a sexist way. Dismissive. Life wasn’t always rosy and peachy for me as a woman in the world,” said Gal. And though she famously did Wonder Woman reshoots while five months pregnant with her second child, during the first few months, she didn’t talk about it on the Justice League set. “The default should be that women get the job done, but there’s a long way to go and a lot of reprogramming that needs to be done to both genders,” she says of ingrained sexist double standards. It’s perhaps worth noting that while Wonder Woman was helmed by a woman, Patty Jenkins, Justice League was shot under the direction of Zack Snyder and is being finished by Joss Whedon. But don’t worry, Jenkins is working on a deal that’ll bring her back for Wonder Woman 2.

The whole article is worth a read – it starts with Gal blessing the author’s unborn daughter – and would make Aunt Antiope proud.

Related Stories:
Gal Gadot Is Wonder Woman: “She Is Not Relying on a Man, and She’s Not There Because of a Love Story”
‘Wonder Woman’ Director Patty Jenkins on the Feminist Superhero: “Being Badass Doesn’t Mean She’s Not Loving”
3 Responses to Gal Gadot Being Cast as Wonder Woman that Are Way Off-Base



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