Women’s frustration at being used as pretty props in music videos isn’t new and isn’t limited to country music. One of Lily Allen’s recent offerings, “Hard Out Here”, makes the same point as Maddie and Tae do in their debut, “Girl in a Country Song”—women aren’t just ornamental—but Maddie and Tae do it better. By using role reversal and putting the boys in the painted-on cutoff jeans, they successfully achieve the absurd to skewer the use of women as props. Lily Allen’s raunchy choreography and slow-motion closeups didn’t provide enough contrast to typical music videos to achieve the skewering. Plus, Allen’s song was about female physical exploitation in general yet all of her backup dancers doing the crotch slapping choreography were women of color. On the whole, her video leaned more to the hypocritical than the satirical.
Here are both videos for comparison. Allen’s “Hard Out Here” is after the jump as it is NSFW.
I very much appreciate your contribution to the discussion about sex and marriage yesterday. As I made explicit in my answer to Dr. Helen Smith’s reply, I think these disagreements about marriage and sex are really expressions of more fundamental philosophical and religious conflicts. These comments of yours in particular jumped out, indicating that our worldviews start from very different places as I already knew from these years of enjoying your great comments and occasional pieces. Emphases mine:
Male orgasm — his spasmodic release of tension and seminal fluid — is not the reason a decent man cherishes his lover’s body and access to it. That there are a fair number of “indecent” men roaming about need not cloud the central issue.
Indeed, a mature, self-assured man, properly reared and past the urgings of adolescence, is less concerned with his own physical pleasure than with bringing pleasure to her. Her desire for his desire, with all that follows from that, gives him what he most wants: the opportunity to bring her pleasure, even if he gets little or none for himself. This has often been dismissed as merely a form of politeness, but in fact it’s the source of his greatest sexual fulfillment and, apart from progeny, his principal reason for wanting her to want him.
Yes, there are men so self-absorbed that a woman’s sexual desire is merely an opening through which to seek their own fulfillment, including the evanescent and essentially trivial pleasure of orgasm. Yes, there are men who never bother to learn “what she likes.” But in any decent society these will be a minority.
I’ve written over the years about my ideological shift from Nation-style progressivism to Tea Party conservatism. I’m not the person today that I was a decade ago at 20, in the middle of my undergraduate days when I expanded my studies from English to political science. Amongst the many shifts that I’ve made gradually over the years as life experiences and new philosophical influences chipped away at the ideology I was indoctrinated in from K-12 through college, one of the most fundamental has been my change in understanding human nature. It’s a change from what Victor Davis Hanson has described as the “therapeutic view” to the “tragic view.”
When I was a progressive who supported big government programs and a dovish foreign policy it was because I naively assumed that most human beings wanted the same things, were decent people at heart, and could be trusted not to deceive others. Multiculturalism taught that all cultures were equal and all religions expressed the same basic, universal moral values. Anytime someone did something wrong it was because they were ignorant or mentally unbalanced in a way that was distorting their perception of consensus reality. Sure, occasionally nature would make a mistake and burp out serial killers, child molesters, or Hitlers but in general such people were aberrations. Thus it was possible — and necessary — and moral to move forward with trying to reason our way to a perfect, peaceful world by convincing everyone else what was best for them to do.
But I don’t believe that at all anymore. Now I believe the exact opposite. The state of nature from which humanity escaped is chaos, cruelty, hatred and selfishness. More people in the world are evil than good, more of the cultures in the world will die through suicide rather survive. It’s more normal for humans to worship death than for them to pursue eternal life. And the pimp-prostitute, promiscuous, polygamous sexual culture is more natural and universal than monogamous marriage. The absolute nuclear family that powers American prosperity is an aberration that we take for granted — see James C. Bennett and Michael Lotus’s amazing America 3.0 for more on this. And in failing to understand and defend this culture today it’s slipping away.
10. If guys didn’t look like heroin-addicted street dwellers…
Before committing suicide, musician Kurt Cobain copyrighted the grunge look that came to define Gen-X/millennial crossovers in the ’90s. A reaction to the preppie style made famous by ’80s yuppies, grunge involved a level of disheveled that transcended even the dirtiest of ’60s hippie looks. Grunge trademarks included wrinkled, untucked clothing complemented by greasy, knotted hair and an expression best defined as heroin chic. The style depicted an “I don’t care” attitude that took punk’s anti-authoritarian attitude to a darker, more disengaged level. Grunge became the look of resigned defeat among American males.
10. We’re so fiercely independent that the only thing we need to be happy… is a man.
Post-second wave feminist romantic comedies rely on the Sheryl Sandberg boilerplate: upper-middle class, successful career woman with an impossibly huge apartment in big city stuffed with everything she could ever want. (See: Reese Witherspoon in Just Like Heaven.) The genre gives the image one slight twist: our heroine is secretly one step away from cultivating her very own cat collection. (See: Meg Ryan in You’ve Got Mail.) True to Hollywood fashion, who better than the big, strong male superhero to fly in to save the day?
From the messy buildup in the fat folds of Mama June’s neck (affectionately known to her children as “neck crud”) to Honey’s proclivity for bathing in mayonnaise, Here Comes Honey Boo Boo embodies the myth that everyone in America weighs a minimum of 300 pounds. One of the best episodes involves Mama June dumping a 5 pound bag of sugar into 2 gallons of lemon juice in order to make homemade lemonade. For the record, 64% of Americans are not obese. But with shows like HHere Comes Honey Boo Boo,The Biggest Loser, Extreme Weight Loss, Shedding for the Wedding, Thintervention, Dance Your A** Off, Celebrity Fit Club, I Used To Be Fat, and Ruby, we’re just a bunch of big, fat Americans.
Her fresh, All-American face premiered on comic book stands during World War II, making her the greatest enemy of the Axis powers. Daughters of original readers would go on to be inspired by Lynda Carter’s televisual portrayal of the superheroine in the 1970s. The Wonder Woman arsenal includes a dual-function tiara with bracelets to match and the awesome Lasso of Truth. Before there was Lara Croft or a chick named Buffy, Wonder Woman proved that strength could be sexy and gave Captain America a run for his patriotism with her flag-bearing style.
Recognizing a woman who appears to have parlayed her Miss America recognition into a minor-league acting gig may not seem logical, until you realize that Bess Myerson, the first Jewish Miss America, paved an uphill path for diversity in the pageant circuit. She was told by one Miss America exec that she ought to change her name to something “more gentile” and refused. Pageant sponsors refused to hire her as a spokeswoman and certain sites with racial restrictions refused to have her visit as Miss America. This was of no consequence to Miss Myerson, who was the first Miss America to win an academic scholarship. The racism she confronted was motivation for a lifetime’s work with organizations like the ADL, NAACP, and Urban League. She would go on to co-found The Museum of Jewish Heritage in New York and make boundless contributions to the city’s art community. Along with becoming a television personality, Myerson received several presidential appointments in the 1960s and ’70s and would receive two honorary doctorates.
Common law, case law, moves slowly. It basically crowd-sources notions of fairness and justice over time and turns them into rules. Normally this works well. But when the assumptions that informed the common law were faulty, then precedent drags positive change.
We can see this happening in child custody arrangements. The precedents set in the 1970s when the divorce rate rose were informed by Freudian attachment-theory studies in the post-war era on orphans, as they were the most commonly found victims of fractured families. As attachment theory developed, psychologists started studying mothers and young children. It seemed a logical first layer of detail to examine given the expectations that women took care of the children while men worked outside the home.
When the divorce rate rose in the ’70s and courts had to start declaring custody arrangements, the experts recommended primary mother care because they didn’t have data for anything else. From a 1992 “Origins of Attachment Theory” paper in Developmental Psychology:
Although we have made progress in examining mother-child attachment, much work needs to be done with respect to studying attachment in the microsystem of family relationships (Bronfenbrenner, 1979). Despite studies by Belsky, Gilstrap, and Rovine (1984), Lamb (1978), and Parke and Tinsley (1987) that show fathers to be competent, if sometimes less than fully participant attachment figures, we still have much to learn regarding father attachment.
Formal studies of children in broken homes didn’t really start until the ’80s when there were children of divorce to study and a fierce need for relevant data. And the father and child arrangements that the data recommend look little like the modern arrangements formed under the inertia of legal precedent.
There’s a lot to learn before a young man enters the world of dating. Here are the top 10 movies that have lessons that will educate him, help him, and get him ready to navigate the difficult world of dating. Let’s start with number 10:
What? Did you expect The Notebook? This movie about an alien invasion and battles between humans and bugs is nominally based on Robert A. Heinlein’s classic of the same name.
Why it’s important: The main character, Johnny Rico, is oblivious to Dizzy Flores, his fellow high school student. She has a huge crush on him and eventually lands him by the oldest play in the book: proximity. She sticks with him. She’s at his side in the mud and blood of battle and when it comes time for him to decide between her and the gorgeous Carmen, his original love interest is far away and way out of the picture. This is a movie with many flaws, but the singleminded pursuit of Rico by Dizzy Flores is worth examination. Plus, of course, the battle scenes are epic.
The CW is planning to add Jane the Virgin to its fall lineup. Based on a Venezuelan telenovela of the same name, Jane the Virgin is about an intentionally virginal girl who is “accidentally artificially inseminated” by her OB-GYN:
Jane stars Gina Rodriguez (Filly Brown) as a hard-working, devout Latina who is kind of hoping her boyfriend proposes — though she’s a little worried he’ll get down on one knee so she’ll finally agree to do the deed. When a mix-up at the OB-GYN leads to that artificial insemination plot line, Jane must choose whether to keep the baby — and whether to let the handsome father into her life.
Aside from containing a number of Spanish stereotypes, including the paranoid grandmother putting the fear of God into her pre-teen daughter (“Once you lose your virginity, you can never go back!“) to a cast of overtly sexualized Latinas, the show appears to be a platform for some long overdue, serious conversation regarding abortion. However, the show sounds eerily like one of the most famously influential and revered plot lines in the West’s repertoire, leaving one to wonder how a primarily Protestant audience might handle a story that’s been a hit in a Catholic country.
When it comes to the primarily pathetic representation of Latinas on television (does Sofia Vergara have to do it all?) at least Jane the Virgin appears to lack the typical trashiness of Devious Maids.
“My first response to any musician is, ‘I don’t wanna hear about your politics. I don’t care about your politics’,” says Nathan Harden. “A lot of us, the last thing we want to hear when a musician starts to speak is a political statement consolidated into a three-and-a-half minute song.
“The idea of conservative music doesn’t sound appealing to me, or anyone,” Harden adds, breaking into a laugh. “It sounds boring, right?”
Those are unusual statements, perhaps, only to those who don’t know Harden or his day job. A 2009 graduate of Yale, Harden took his alma mater to task in the book Sex and God at Yale, which deliberately referenced William F. Buckley’s 1951 conservative classic God & Man at Yale, and made Harden a sought-after commentator on the Right.
But while his writing and blogging can be found on any number of websites,right-leaning and otherwise, Harden left New Haven for Nashville (after graduating with a Humanities degree in 2009) because he was serious about pursuing a musical career. This he has done as the frontman for Band of Love, a quartet that released its debut album last year. And while Harden shies from the term “conservative music,” there’s little doubt that the passionate, polished rock on Ballad of Dani Girl offers a clear alternative to the prevailing themes of the music industry.
“It’s inevitable,” admits Harden, “that who you are comes out.”
Who Nathan Harden is has something to do with why he wrote the book he wrote, and why he makes the music he makes. Self-described in the former work as “a home-school dropout with a G.E.D.” who had twice been rejected for admission to Yale, Harden found himself appalled that his long-awaited introduction to the Ivy League was during the hijinks of Sex Week, which offered porn stars as guest professors, and graphic demonstrations of sex toys and techniques.
If it goes against the grain to claim that women are the true victims of the sexual revolution, then Harden has nonetheless made the claim in both his writing and his music. Ballad of Dani Girl is a concept album of sorts (“I’ve always been a huge fan of concept albums,” Harden enthuses, citing Pink Floyd’s Dark Side of the Moon as a personal favorite) that traces the troubled path of the title character, through the very “liberated” American landscape that has now become the norm.
This is a sort of anti-Miley Cyrus view of sexuality. It’s sort of taking what we all know, as red-blooded males, that there’s something alluring about a woman who…doesn’t show everything in the first three seconds you meet her,” he says. “It’s modesty and restraint…the erotic charge of what a woman withholds from you.”
Sex, he adds, “has always been a big part of what rock n’ roll’s about. But it’s gone from treating it with metaphor and subtlety and allusion…to a kind of tediously literal approach to sex.
“The power of restraint and even, to use a kind of literary term, the elliptical–what you don’t say, and what you don’t show,” Harden says, “is something that’s been lost in modern pop music.”
Ms. Van Zuylen is a name that many people probably find unfamiliar. It is a shame because this adventurous French socialite is credited as being the first woman to compete in an international motor race.
Helene’s husband, Baron Etienne van Zuylen, was the president of the Automobile Club of France, and thus responsible for organizing the 1898 Paris-Amsterdam-Paris Trail, a 889-mile city-to-city race. Helene participated (and finished) The Trail, becoming the first woman to ever compete in an international race.
I divorced in 1996, and in 2007 I blessedly struck it rich on a blind date and have been in a stable situation ever since.
Looking back at the eleven years I spent in the dating game (or more accurately, in and out of it), I’m struck by how many pitfalls there are and how many of them I did not manage to avoid. A retrospective review might shed light on how to arrive at a good place without taking all sorts of detours that just lead you right back to the dating game.
I’m sick of this post. Not the specific post, “The Stay At Home Mom Conspiracy Theory,” but the gist of the post: career woman goes home and is shocked to find that motherhood is more intense, boring, messy, fractured—difficult, than she thought. That the details and difficulties of motherhood surprise career women is a commonplace complaint that hasn’t quite settled on a cliche to describe it.
“Why didn’t anyone tell me it would be this hard?” she, and countless others, ask. We tried, or at least some of us did. But during their office days, women don’t like to hear about stay-at-home motherhood. First, career women rarely listen to anything that contradicts what they think they know. Second, most stay-at-home moms, when faced with the vacant stare mask of disapproval, stop telling the truth. Much like the author did. (Oh, the confidence gap is not so much a gap as a canyon with many caves and crevices.)
Usually I have more sympathy for women surprised by realities—elder women do withhold a considerable amount of information from younger women—but failure to acknowledge and express some regret about past complicity in the silencing of stay-at-home moms buries my sympathy in annoyance.
I am not one of the SAHMs who stop telling the truth. (I blogged as An American Housewife precisely because I refused to perpetrate the notion of a “mere” or any other “no really, I’m smart”’ adjective modifying “housewife.”) So I offer some truth for after the shock: motherhood doesn’t have to follow the covered-in-spit-up-with-no-time-to-shower format that typically sees women run screaming back to the office in avoidance or plunging into motherhood in full submersion. It can be sane. But to get to sane, women have to stand against conventional wisdom and peer pressure. To use the Mommy Wars analogy, sane is walking though the crossfire and ignoring the bullets as they wiz by. (Don’t worry, they’re blanks.) In my experience, fewer moms want to hear about how to do that than want to listen to facts about motherhood.
There isn’t so much a conspiracy as a crisis of confidence in which women hide behind assumptions or seek safety in numbers. Nothing gets solved. And the same posts get written again, and again, as if it is all a surprise.
This past Sunday, American audiences finally had their chance to wave goodbye to Nurse Jenny Lee, the lead character in the famed Masterpiece series Call the Midwife. However sad it may be, the departure of the show’s Hollywood-bound lead actress Jessica Raine was, ironically, in no way a traumatic one.
Most American shows die when their lead actor disappears. Dan Stevens’ untimely departure from Downton Abbeystill enrages fans over a year later. Yet, while Nurse Jenny Lee will be a much missed character, fans are far from outraged at her departure. Perhaps this is because Call the Midwife was never just about Jennifer (Lee) Worth, but about the many lives she encountered and a profession that is finally being given the credit it so sorely deserves. But there is more to the massive success of what began as a 6-episode BBC show about nursing in mid-century London’s bombed-out East End than giving credit where credit is due.
In an era of roughshod marketing tactics and semiotic overload, Call the Midwife, with its pure, heartfelt approach to the vicissitudes of life, is therapeutic television. We are a desensitized audience: No one cries when a pregnant mother is stabbed to death on Game of Thrones. Yet, everyone, including the burly guys on set, shed a tear at every birth on Call the Midwife. We are treated to an East End rife with chamber pots, not sexy chamber maids, and yet audiences are drawn to the show in droves. We love the midwives, even when they are dressed in habits and wimples; they are the ideal face of medicine, mother, and God in an era when we’ve been taught to doubt all three. Like a nurse checking our pulse, Call the Midwifereminds us that we are human after all, and perhaps not as sick as we’ve been led to believe.
And yet, while TV execs struggle with sex and violence in the name of Tweet power, they remain blind to Call the Midwife’s axiom for success: There is powerful endurance in simple truth. Call the Midwife will survive without the character of Jenny Lee because the show has embraced Jennifer Worth’s own mystical sense of timelessness. It is the stuff that fueled her memoirs of both London’s East End and her time as a nurse caring for the dying. Brilliantly captured in the season finale, this sense of the eternal in both life and death is what makes Call the Midwife a healing balm of a show and transcendental television in its finest form. Forget bloody battles and wild, nameless sex. Call the Midwife empowers its audience with the strength to face, not escape, life’s pressures, and the faith to believe that while “weeping may happen for a night, joy breaks forth in the morning.”
Now and then in life, love catches you unawares, illuminating the dark corners of your mind, and filling them with radiance. Once in a while you are faced with a beauty and a joy that takes your soul, all unprepared, by assault.
Wednesday, May 21st, 2014 - by PJ Lifestyle Pop Culture Debates!
In partnership with the new fiction publishing platform Liberty Island, PJ Lifestyle is going to begin promoting and co-hosting a series of debates and discussions about popular culture. The goal is to figure out what works and what doesn’t so that in the future we can promote and create better fiction and culture of our own. These are public brainstorming sessions for writers and culture advocates interested in developing a more vibrant popular culture. You’re invited to submit your answers to any of these questions — or a related one of your own! — that interests you:
Executive: God, I hate millennials. Showrunner: Yeah, but they’d totally watch a show called Selfie. Executive: A show … about taking photos? Showrunner: No no no, that’s just hook, see? It’s really a way to talk about our modern condition as a technological society. Executive: Forget millennials, I hate you. Showrunner: (quickly) Not as a serious drama. As a comedy. Executive: Really? How many jokes can you tell about … whatever the hell they’re called? Showrunner: That’s the beauty of it. You don’t need jokes, because technology is inherently funny. We’ll just throw in lots of smartphone screenshots and random buzzwords like “Insta-famous” and “oh-em-gee” and the kids will laugh and laugh. You won’t have to hire any actual writers!
One of the funniest (fictional) prospective pitch dialogues I’ve read in a while, Ha’s attack on ABC’s horrible (and horribly over-promoted) new sitcom for the fall is only one of the many signs that Selfie promises to be about as big of a hit as Viva Laughlin, the CBS non-starter based on a BBC series titled Blackpool. But hey, two episodes is better than nothing, right? And in the words of The Soup‘s Joel McHale, “Why would you cancel that? We need that.” After all, a millennial non-starter pilot that rips off one of the most popular classic movies of all time does make great material for those of us who prefer to MST our TV shows.
The real loser in this is Karen Gillan, formerly of Doctor Who, now the “Eliza Doolittle” of Selfie, who will be yet another reminder to British actors (alongside Downton‘s Dan Stevens and Call the Midwife‘s Jessica Raine) that Hollywood plays a totally different game than does the BBC. I doubt that even the Doctor could save this network bomb.
What is wrong with my children? Why won’t they let me completely immerse myself in their lives?!
Beverly Goldberg, The Goldbergs
Last week, my husband and I fell over laughing at the best line in the entire first season of ABC’s The Goldbergs. Just renewed for a second season, the autobiographical series created by Adam F. Goldberg (no relation) features, in his own words, “the orginial sMother” Beverly Goldberg, archetype of Jewish moms the world over. In his comic genius (complemented by Wendi McLendon-Covey’s masterful performance) Goldberg has managed to take a figure much-maligned over the past few decades and craft her into a clan leader who is as lovable as she is obnoxious. With her ballsy, brash bravado, Beverly is the living, breathing Jewishness in a show otherwise lacking in Jewish culture. For The Goldbergs, Jewish is not about kashrut, holidays or simchas; it is about a mother who smothers her children with equal parts love, confidence, and overprotection.
Thanks to Freud and Friedan, Jewish moms have taken a beating over the past few decades. Friedan used her own mother’s discontent with being a housewife as the impetus for her brutal criticisms of motherhood and housewifery, going so far as to describe the latter using Holocaust imagery. What Friedan failed to note early on was the antisemitic influence on her mother’s behavior. Not only was her educated mother forced to become a housewife the minute she married, she was also the victim of lifelong antisemitic prejudice. This attitude, something internalized by both mother and daughter, would later come out in brute force through Friedan’s feminist critiques of the Jewish mother. It was a position that Friedan would eventually come to regret. According to historian Joyce Antler:
…in later life [Friedan] has joined the modern aspirations of feminism with the popular emblems of her Jewish heritage, understanding that the myth of a controlling, aggressive Jewish mother has been as dangerous to the self-esteem of Jewish women (including her own) as the earlier “feminine mystique” was to all women.
The real-life Beverly Goldberg views her son’s television show as a “validation of everything she’s ever done.” I’d take her observation a step further; I believe Adam F. Goldberg’s seemingly simple, humorous portrayal of “the original sMother” is a much-needed cultural validation of the Jewish mother figure at large. Beverly Goldberg may not have the zaftig figure of her televisual predecessor Molly, but she has a zaftig heart, one that infuses the kind of family love into a sitcom setting that hasn’t existed since the Huxtables went off the air. In the midst of intense cultural debates on the value and future of motherhood, Beverly Goldberg’s intense devotion, undivided attention, and proclivity for jaws-of-life hugs are refreshing.
Happy sMother’s Day to Jewish moms around the globe. Just please remember to let your kids come up for air once in a while.
In an entry titled, “Christian women: feminism is not your friend” published on his popular Matt Walsh Blog in April, the conservative Christian commentator concluded that Christian “women (and men)” needed to stop identifying with feminism because the movement is essentially all about abortion.
Embracing the stereotypical liberal definition of feminism as a movement dedicated to starting and waging the War on Women, Walsh discussed the feminist fight for equality:
This is a pretty convincing indication that feminism has, at the very least, outlived its good. There is nothing surprising about that, because feminism, unlike Christianity, is a human construct. It’s an ideology. It’s a political theory. It’s a label. It is not eternal, it is not perfect (there’s the understatement of the decade), and it is not indispensable.
Feminism, like ‘liberalism,’ like ‘conservativism,’ like the Republican Party, like the Democrat Party, is a finite thing that exists and serves a certain purpose in a certain set of circumstances. When the times change, and the circumstances change, it will either die or its purpose will change.
Walsh then dug into medieval history, noting that women were given “equal standing” in certain English trade guilds in the Middle Ages, contrary to the following:
“The fact that guilds seldom permitted women to become masters did in the end relegate them to the least-skilled and certainly least-remunerative aspects of the trade”. This statement shows that the fact that women were not openly admitted to the professional guilds led to the downfall of the woman’s status as a worker during this time period. Since “[m]ale masters displayed no eagerness to train young women, and with few or no women recognized as masters, the guilds did contribute to the narrowing opportunity for women”.
Along with neglecting these facts, Walsh also did not note that neither the Christian Church, nor political leaders who identified with Christianity, demanded that equal professional or political rights be given to women (let alone non-Christians) on either side of the Atlantic.
Editor’s Note: The meaning of the word “feminist” changes each generation. A term that once applied to women fighting for the right to vote and for stronger laws against rape has now been commandeered by progressive activists who want to force religious taxpayers to pay for abortions and contraception under a single-payer government healthcare plan. Where once feminists fought for the right to legally use birth control pills, now today’s so-called feminists demand that they’re being oppressed if the government does not subsidize their sex life. This has led a number of people to make the mistake that feminism itself is the problem, rather than the toxic blend of Marxism and Postmodernism that has hijacked it.
Susan L.M. Goldberg rebels against this — having to do battle with both feminists and the conservatives who misdiagnose the nature of their enemies. For almost a year now Susan has been writing incredible culture critiques taking the rhetorical ferocity of her hero Ann Coulter into the realm of Hannah Horvath, Miley Cyrus, and the angry bloggers of Jezebel. With her Jewish understanding of culture and history Susan interprets modern day feminism in the context of ancient goddess worship:
“As the western world embraced and assimilated what is essentially Biblical Hebraism, adopting a biblical faith in a Messiah and melding pagan practices with adherence to the cultural norms of ancient Israel known as ‘commandments,’ we grew as a society. We overcame disease, poverty, and ignorance in many areas of life. Not ironically, the same forces that demand we turn away from our biblical foundation have also managed to plunge us into a neo-Dark Age. Modern medicine now faces new plagues, radical governments threaten new poverty, and ignorance is more rampant than ever. Nowhere is this more clearly seen than in the popular branding of Girls as a show that empowers women.”