A Response to the Tragedy of a Trump Presidency

I have sat ~relatively~ quietly (while working on the election beat for Junkee yesterday, while working on everything else today) and watched people respond to the tragedy that is a Donald Trump presidency. I read this excellent piece in the New Yorker, and I also read Lindy West’s blistering, tragic, hopeless op-ed in the New York Times. I wanted to write a response to it all, so here it is. I don’t know how much my opinion matters on this subject, but it’s here for you nevertheless:

A lot of people are articulating with a great deal of condescension the unfortunate position that Hillary Clinton must be in. To have to concede to that man, of all people — someone so ludicrously unfit to take the job she has worked so hard for right out of her hands. To realise that perhaps (or rather most likely) she has now lost forever the opportunity to become president (an appointment that would’ve meant a whole hell of a lot to a lot of women besides her). There’s a lot of “no matter what you thought of Hillary, she is gracious in defeat” talk  — an astonishingly gendered way of saying she is behaving with the kind of decorum we demand of women: to never fight, to never rage, to never become upset or “hysterical”, to never question the lot that is handed to them. To call her gracious in defeat is to imply she is behaving as she should, as we women are socialised to behave when we lose out.
But the thing is, it’s exactly that kind of attitude that prevented Hillary from winning an election she would’ve handily won had she been a man. Had she been a man, the fact that she supported her husband in his indiscretions and some bad policy-making would’ve been irrelevant. She would’ve been a candidate in her own right, because men are never measured against anyone but themselves, while women are measured against everyone and always fond wanting. Had she been a man, the fact that she seemed cold, or “untrustworthy” or inauthentic, the fact that she used a private email server, would’ve meant nothing, a blip on the radar. Men are not cold; they’re strong and reticent. Their authenticity is never called into question, or, rather, is never a problem to be solved.
Nobody worries about the things men do that might be questionable or even illegal. An entire country just elected a man who is a narcissist and a liar, an accused rapist and fraudster, a smug elitist who twisted the grievances of the so-called “dispossessed working class”, as well as the niggling fear of wealthy white people who felt themselves becoming irrelevant and who worried they were losing their iron-clad supremacist grip on the social hierarchy. These people trusted a man who told them he would protect them, regardless of how untrustworthy that man was, because he was a man. And no matter how elitist and white and establishment Hillary is, she is still woman in charge, a figure that represents the same kind of gentle progressiveness that was embodied by a brilliant, kind, fierce black man who managed to stay president against what we now know to be nearly insurmountable odds in a society so clearly racist, misogynistic and resistant to forward momentum.
This is a severe but ultimately unsurprising loss, when you consider who is outgoing from that office and what he represents, when you consider the climatic push against so-called “SJWs” and “PC policing” (which is really just consideration, tolerance and empathy). It’s a loss that gives me the same kind of unpleasant and desperately hopeless feeling I get when I consider that we consciously — deliberately — emulate some of the darkest periods of history right in our backyard, in concentration camps we have set up to bully, oppress and torture vulnerable and innocent people to the point of self-harm and suicide. It’s that feeling I get when I realise I missed a rally for asylum-seeker rights, or a meeting at YAP because, no matter how I feel about the issue of our cruel and draconian refugee policy (passionate and sick), it’s still sometimes not enough of a priority for me to inconvenience myself over.
This is the attitude that has us voting in governments who pledge ever harsher immigration policies to keep us feeling happy and “safe”, in our own little bubbles of zenophobia and blind comfort. We do that, as a collective group, and we cannot hide from that.
This is the attitude that elected Donald Trump. And not just because rural people (the “poor white”) turned out in waves to vote for him because they finally felt that a politician was mobilising them and speaking to them on the same level, not on high like our politicians do when they take a pander trip out to Western Sydney, or when they prattle on unconvincingly about “working families” and “Aussie battlers”. It’s also the rich white men who knew that a woman elected to the highest office in the US would put a shadow on their patriarchal vice grip (the grip that accepts that a man who is an accused rapist, who openly brags about assaulting women, can become president, because men can do whatever they want, can destroy women’s bodies and minds and put their hands on them because they are men, and men are above reproach). These men, educated and supposedly socially sophisticated, voted to keep their patriarchal power for a little longer. (This, by the way, is why I am a feminist who stands for liberation, not equality. There is no possibility for equality when smart men would rather watch the world burn than give up their chance to touch a woman’s body without permission and have it be put off as “locker room talk” or “boys being boys”. The patriarchy will always exist, and will always harm all of us, unless it is toppled completely and raised to the ground.)
Then there are the white women (especially wealthy white women), who exit polls have shown turned out in droves to vote for Trump because they believed, wrongly, that protecting their privilege of whiteness was more important than protecting their rights as women — than protecting the vulnerable women who are their sisters. These women are the argument for intersectionality, because intersectional feminists could not vote for a man who will do so much damage to ALL women, just to protect their own white supremacy. As Lindy West says in her glorious NYT op-ed, “white women who voted for Trump […] your shelter is illusory”. You will suffer — certainly less than other women who are not protected by the swathe of wealth and whiteness — but you will suffer the injury of a Trump presidency that will attack women without mercy. These women are socialised not just to believe that their whiteness is paramount in their voting for self-protection, but who are also socialised to distrust, fear and tear down a woman who dares to step off her own designated path and demand that she be given a job that is considered to be for men only. These women have been conditioned to think “How dare she” and to punish her, and ultimately themselves, for her insolence. This, perhaps more than anything else, makes me so deeply sad; I am disappointed, grief-stricken, that society has failed women enough that they have done this to each other and to themselves.
We can be disgusted by these people who voted for Trump — because they were afraid of losing their power, of losing their privilege, of losing their “manhood” to a woman president — but in a way we’re all these people because at some point we all choose to protect our own absurd, blind “luck” (to be born white, to have the privilege of wealth, to be an Australian, to be straight, cis, male, able-bodied, whatever) rather than protecting those for whom we should mobilise, exploit and, yes, sometimes sacrifice our “luck” and privilege. We are not better because we are disgusted by a Trump presidency. We’re just not.
I’m sad for a lot of things that Trump’s win appears to prove. That, as my housemate bitterly noted, hatred will always be more powerful than anything else. That the system of white male power is unable to be broken, toppled, even nudged in the most gentle way by a rich white woman taking power. That, to paraphrase West again, people (even other women) do not respect women, do not care for women, do not even like women. How could they if they voted in winning numbers for a man who so clearly hates women and wishes to cause them harm? That women are so maligned in our world that we will vote a rapist as president before we vote for a woman who has never quite represented what society considers a “good woman”/”the right woman” to be.
I’m sad that men continue to avoid accountability, consequences and punishment for disrespecting, hurting, raping and oppressing women. People don’t like talking about how Hollywood protects rapists and abusers. If these men are simply “accused” rather than convicted, they’re “innocent until proven guilty” and they’re men who are being unfairly judged; however, the women who accuse them, the potential victims, are untrustworthy, “guilty before proven innocent” of lying about these men. (God forbid they be innocent before proven guilty; they are, after all, just women.) We don’t trust women; we don’t believe women. Half a century of women have come forward to accuse Bill Cosby of sexual assault, and yet people are still on the fence about his guilt. There is video footage, photographs of bruises, witness accounts and an out-of-court settlement to back up Amber Heard’s claims that she was abused by Johnny Depp, but when I wrote an article about how he has escaped reproach, how Hollywood continues to protect him and to sign-off on his abuse by their protection, the comment section was bombarded with “How dare you! Innocent until proven guilty!” Charles Saatchi grabbed Nigella Lawson by the throat in a crowded restaurant; he assaulted her in public, in broad daylight. Onlookers took photographs, staff did not intervene, and the media speculated about the “reasons” why Saatchi might have grabbed her (as if there is ever any justifiable reason to assault a women — what a truly despicable thought). Gable Tostee was recorded stopping Warriena Wright from leaving his Gold Coast apartment, telling her she couldn’t leave because she had been a “bad girl”. He locked her out on a high balcony while she screamed and attempted to escape him. And yet he has walked free from ANY responsibility for her death (even just the minimum possible sentence for the role he so clearly had, even if it cannot be proven that he murdered her) because men cannot believe that a woman would rather jump to her death then endure what he might have had in store for her — what might perhaps be a fate worse than death. Wayne Carey kicked a woman in the face, and he gets to sit on an AFL commentators’ panel on “White Ribbon Day” (what a fucking joke), earning thousands of dollars talking smack with other entitled men without reproach.
Trump is a president who has been accused of raping a child, who has openly bragged about assaulting women, who has made lewd comments about his own fucking daughter on the television. He is living proof that powerful men who assault women don’t ever really get punished; they get made president. How is that something we can explain to the children we know, who will grow up understanding that even a highly privileged and unbelievably qualified woman cannot get a job she deserves; who will grow up believing that men can do what they like to women and still get everything they want because they are men. This is how we raised oppressed girls and entitled boys; it’s not how we raise progress. 
We don’t like women; we don’t believe women; we don’t protect women. How much more evidence do we need? How is this possible? How is this real life?
I’m scared for the women I know, and the women I don’t know — for how their lives might be broken or extinguished by the kind of sentiment that puts a man like Trump in power. That sentiment is what drives men like those “Yeah The Boys” dickheads, men who feel their right to hurt women, to dominate women, slipping away from them, and who act out in violence and sadistic anger to claw it all back. 
I think I’m most sad that Trump’s win seems to indicate that words are meaningless. He is a man who has nothing to say for himself. His words have no meaning (sometimes literally); his speeches have no profundity, no gumption, no purpose other than to mobilise mass hysteria and false elation. I watched Trump’s acceptance speech. It was nothing. Other politicians have made speeches that have changed lives, changed the world. We study these speeches, quote them, teach them as examples of how to stand up for what is right. What can we learn from a man who, underneath it all, has nothing to say for himself? If that man says nothing and still wins, then words must be meaningless. For a writer, this might be the toughest pill to swallow. 

It’s easy to be upset when you’re a privileged white women living in Australia, where this news is devastating but not immediately so fucking terrifying and dangerous. And so the other part of accepting our part, as privileged people who put ourselves first at great detriment to others, is to just stand aside and listen to the people who are going to be most in danger from a Trump presidency: people of colour, immigrants, LGBTQI+ people, disabled people. These people are in actual danger; Muslim women are worried to walk out of the house in their hijab, are being begged by members of their families to stay hidden; trans people are terrified of being erased and trapped further by cruel legislation that denies their very right to exist. These people need a voice and we have to move out of their way: listen to them, ask them what we can do to help, allow them to take their rightful place leaders in the movement against this white supremacy, “conservative nativism”, patriarchal extremism that is slowly strangling all our governments. Be angry, but don’t be selfish. We must move over, sit the fuck down and listen.

 

I don’t think there’s any point in moving from this anger and pain to hope for the future — not yet. We need to feel this pain, anger, horror, whatever, to remind ourselves that we are all culpable, and all capable of doing the equivalent of voting a man like Donald Trump to the presidency. It’s a pretty unpleasant lesson to learn, but clearly it’s one we need.

2016 Golden Globes: there’s nothing funny about Ricky Gervais, kids

Good news, friends, the Golden Globes happened! It’s always worth remembering that the Globes is secretly the best awards ceremony because it is crazy and crazy is good. The clothes are generally more fun, the wins are often more surprising and the celebrities are drunk. Seriously, what could be better?

This year the Globes backslid into the depths of hell to bring us that shrivelled old cucumber stuck to the back of your refrigerator:

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That’s right, Ricky Gervais is back to repulse you (and to recycle jokes made by Amy and Tina last year, as above). If you like dated references, jokes about molestation and sexism, and transphobia, strap in.

SO. AWKWARDLY. TERRIBLE.

Thankfully, Fusion has lovingly catalogued all the uncomfortable facial expressions from the celebrities in the audience who felt forced to pretend they are good-humoured about casual bigotry:

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I think we all wish these two (or, like, literally anyone else besides Ricky Fucking Gervais) were hosting instead:

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In case you were worried that Gervais would set the tone for the rest of the night, Jonah Hill dragged Awkward Channing Tatum and his Gambit hair (the real winner of the 2016 Golden Globes) onstage to do a dud bit about the bear from The Revenant, reminding everyone that Jump Street only works because of Channing Tatum. So, you know, off to a ripper start.

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Here, Jane Fonda is all of us: unimpressed.

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Then, just to ensure we remember that white men ruin everything, Quentin Tarantino was a racist.

 

Anyway, winners! Lots of people and things won! Some of those things and people were great, like the win for charming, talented Rachel Bloom as Lead Actress in a TV Series, Comedy or Musical, for her delightful show Crazy Ex-Girlfriend.

The win, and her crackpot acceptance speech, will hopefully encourage more people to watch Crazy Ex-Girlfriend, which is an amazingly good show.

(YOU’RE WELCOME.)

One of the big surprises of the night was Mozart in the Jungle, Amazon’s tiny baby classical music comedy (apparently!) starring Gael Garcia Bernal and Bernadette Peters, which won the Best TV Series, Comedy or Musical category, and also secured a win for Bernal in the Best Actor category.

Now, don’t get me wrong, I really enjoyed Mozart in the Jungle‘s first season. I imagined as I watched that the show had a fun niche audience of orchestral instrumentalists or former orchestral instrumentalists (like me) and the parents of orchestral instrumentalists or former orchestral instrumentalists (like my mother). Which is great for that niche audience, desperate as we are to see actors pretend to play instruments. But that is not an award-winning show, and Gael Garcia Bernal’s performance is not an award-winning performance (it’s even less of an award-winning performance than Aziz Ansari’s Dev, the performance I had assumed would take out the statue over last year’s winner, Jeffrey Tambor, because the Globes loves to reward newcomers and to appear ‘hip’ and ‘with it’). But, sure, give all the gongs to Mozart in the Jungle, a sketchily produced, albeit thoroughly entertaining, peek into the apparently scandalous world of orchestral music. This is why we love the Globes, because the Globes are batshit crazy.

But, you know, Bernal is such a sweetheart so I guess whatever:

Plus, this slightly wasted yet hilarious cutaway gag from fellow nominee Aziz Ansari:

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Sly won a Best Supporting Actor award for his return to the Rocky franchise in Creed and marble-mouthed awkward sweetness at us, but then rudely did not thank the director Ryan Coogler or the film’s star, the divine Michael B. Jordan. Scandal!

COOKIE WON. Taraji P. Henson served it up in her amazing, salty acceptance speech. Well deserved.

And Lady Gaga cried and oversold it when she won her Golden Globe. (It’s a Golden Globe, Gaga, chill out.) She also called Ryan Murphy ‘a wonderful human being’, which . . . doubtful.

Then Oscar Isaac came onstage to be basically the hottest, most charming, most talented and most suave man alive right now.

Also, Brie Larson, Hollywood’s most underappreciated (and probably most talented) young actor, won a thing! YESSSS LARSON. YES.

Look, other people won things. Who cares! There’s a full list at the bottom of this post.

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SO, FASHION. Yum. Clothes were generally pretty good this year. Plus, all my red carpet dreams have come true because I can finally say this: categorically the least amount of white and beige I’ve ever seen on a red carpet. For the most part, no one was competing to be the saddest bride left at the altar, or the most disappointed bridesmaid in a dress that is supposed to be ‘peach’ but is really ‘nightmare’. It was all jewel tones and sleek lines and grown-up realness. What a time to be alive.

First, let’s deal with the Most Bestest (with help, as always, from inimitable fashion commentator Will Kay):

Jennifer Lawrence in Christian Dior on the 2016 Golden Globes red carpet

Jennifer Lawrence in Christian Dior.

Oh, how I have loved Lawrence’s long relationship with Dior – girl knows how to pull off a romantic dress. But I like this the best, unequivocally, of anything she’s ever worn on the red carpet. This is polished and so grown up, with the saucy cut-outs in the side and the impeccably styled accessories and hair/make up. My favourite Globes look this year.

Will: This is the best Jennifer Lawrence has ever looked, even better than the photoshopped Dior ads. Red is her colour; she should only wear red. This reminds me of her Oscars look when she was nominated for The Winter’s Bone. This is subtly sexy modern, ugh she just looks so good.

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Jennifer Lopez in Giambattista Valli.

This. Is. The. Business. This might possibly be my favourite most J.Lo thing J.Lo has ever done – including the time she played J.Lo on Will and Grace. Let it never be said that no one can pull off canary yellow with like a balero-cape and a diamond bolo tie: J.Lo can.

Will: She is positively J.Loing in canary. Yes, definitely canary with that caplet. (PS Yes, feature that a clutch.)

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Julianne Moore in Tom Ford.

Julianne Moore is one of my favourite people alive in this world, and here she is making more great choices in a Tom Ford Skyy Vodka bottle with a Velvet neck-shoulder collar. The dress is perfectly done, and the styling is perfectly underdone. Moore is the Most Bestest Dressed in our hearts, always and forever.

Will: Is she ever wrong?

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Cate Blanchett in Givenchy.

Our Cate knows tasteful ballsy batshit better than anyone. This is the saloon gown/unicorn hide of my dreams. The woman is luminous, and her fashion choices are inspired.

Will: Only Cate Blanchett should be allowed to wear Riccardo Tisci’s Givenchy Haute Couture. She owns it. It suits her modern refined sensibility so perfectly.

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Lady Gaga in Versace.

I assume Lady Gaga is hoping that they will reboot My Week With Marilyn? Seriously, I can’t care about Gaga play-acting breathy Marilyn Monroe in her awards speech (and her entitled, celestial glide from her chair to the stage to receive her gong), but I can get around this truly stunning Versace number, with power Bumpits built in at the sides. I wish the styling was less on-the-nose, but we can’t have everything we want in life.

Will: It has been said once, it has been said a thousand times, “Madonna is a style icon.” But jokes aside, really this is beautiful: Versace does Thierry Mugler equals power sexy woman.

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Gina Rodriguez in Zac Posen.

I’m in and out about the colour, which is sometimes great and sometimes like an old couch in someone’s great uncle’s den, but I’m all in on this flirty fun look for delightful, bubbly Gina Rodriguez, which seems to embody everything that is her Jane the Virgin. There’s that alien edge around the bust that is so very Zac Posen, and the rest of it is midnight cupcake delight delicious funtimes. And it’s totally the kind of thing I would wear to a red carpet ‘do – real-life Princess of Genovia stuff right here.

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Zendaya in Marchesa (SURPRISE!)

My god this woman is beautiful. This is a sublime romantic stunner, and SURPRISE, Marchesa has made something not dreadful and not diva vomity for Zendaya, who is giving us luscious eyes.

Will: Zendaya is perfect every time. Bitch, romance me. I usually don’t like Marchesa, but in this case their schmaltzy romantic vision works.

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Amber Heard in Your Grandma’s Glory Box.

Amber Heard is here as the literal embodiment of the film Sense and Sensibility. I approve.

Will: She looks like a curtain from a Kate Bush music video and I am here for it.

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Brie Larson in Calvin Klein.

It’s Princess Leia meets Helen of Troy meets a disco ball key ring and it might be strangling her a bit, which I think is perfect for completing the whole look. This is violent and classy all at once (as is all of Calvin Klein’s best work) and it’s ideal for showing the Awards Show Circuit you’re serious as fuck about the red carpet. Good show, Larson.

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Jill Soloway and Gaby Hoffman in WHATEVER WHO CARES JUST LOOK AT THEM YOU WILL NEVER BE THIS GRAND.

What a fucking pair.

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Kirsten Dunst in Valentino.

KAPOW. This is scrumptious and crackpot and divine and LOOK AT HER. A real Regan outfit.

Will: Kirsten Dunst has assumed her final form, and she is fucking dangerous.

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And now, onto Bestest Whitest, because someone’s always gotta fkn wear white:

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Alicia Vikander in Louis Vuitton.

Alicia Vikander, the ingenue we have been given, even if we don’t deserve her, is delicate and delicious in this Louis Vuitton. Yes, this picture doesn’t show off the whole dress, but the pose says it all: impish, fanciful, fabulous.

(PLUS: the woman has Fassbender and he has her. It’s over, folks.)

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Will: Alicia Vikander clearly fulfilling her role as Nicholas Ghiesquiere’s newest muse perfectly. She is doing the low-key avant-garde intelligent beauty that features so prominently among Ghiesquiere’s other muses (Doona Bae, Jennifer Connelly, Charlotte Gainsbourg and Kirsten Stewart).

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Taraji P. Henson in Stella McCartney.

No words, only admiration.

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Laverne Cox in Elizabeth Kennedy.

Laverne Cox knows glamour like no other woman on this planet; she is queen of glamour. Here she wears white (white does not wear her) with super stylish hair and wine-bruise lips that she pouts coyly at us. Stop, Laverne; you have us. You have us all.

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Judith Light in Maggie Norris Couture.

Judith White is wearing that white tuxedo. Oh yes, she is wearing it.

 

And here are some Other Things. Maybe I hated them, maybe I can’t decide. Maybe you should decide.

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Katy Perry in JUST STOP OKAY JUST STOP DOING THAT.

I . . . what? Look, all jokes about Bumpits aside, Katy Perry here told everyone that she wore a Bumpit to the Golden Globes, and for the life of me I can’t figure out why she would do that.

Whatever this is, I just can’t with it, you know? Here’s hoping this is still a timely reference:

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Will: This is a joke, right. I’m confused. What is going on? There must be some mistake.

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Sarah Hay in NOPE.

Stop it. You’re here by accident.

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Melissa Benoist in a Midwestern Rehearsal Dinner With The In-Laws.

Newsboy Cap here is channelling Calista Flockart in the face region, which is funny because of Supergirl, the show that both Newsboy Cap and Calista Flockhart are on. What’s not funny? Supergirl, or this outfit, both of which are so mind-numbingly nothing they’re almost not worth mentioning. Almost.

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America Ferrera in Try Again, Please.

The colour: wrong. The drape: wrong. The accessories: wrong. Put your hand down; you’re America Ferrera and you should know better than this. (I guess she just wanted people to know it was her, not Gina Rodriguez, up there in Wrong-Coloured Yellow Disaster 2016.)

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Kate Hudson in ENOUGH.

Look, I love Kate Hudson, and I love the way she channels her mother’s Trash Treasure aesthetic while still looking so sleek and fresh. But this. This makes me tired. If this is the result of Kate Hudson and Nick Jonas boning each other, I think it’s down to all of us to make that shit stop right now.

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Will: I guess Kate Hudson is friends with Gigi Hadid and Kendall Jenner.

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Amy Schumer in Whatever.

I hate this. It’s not spaghetti straps or your Year Nine Disco outfit (Schumer’s usual weapons of choice), but I hate it all the same. The styling is, I’ll admit, far more sophisticated than usual.

Will: Hello Ms Penguin, you look beautiful.

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Natalie Dormer in BOO!

Fine, you got me. I’m terrified. Natalie Dormer raided the costume department at Witches in Britches for this outfit.

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Melissa McCarthy in Stop Making Me Do This To You.

Blah blah blah, love her, blah blah blah, hideous, blah blah blah, at least she looks happy. Rinse and repeat in 2017.

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Rooney Mara in Girl, No.

The styling is impeccable, but the dress reminds me that she was in Joe Wright’s Pan, and I don’t ever want to be reminded that she was in Joe Wright’s Pan.

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Julia Louis-Dreyfus in ZZZZ.

I adore her, and the woman always looks a million bucks but this is just SO Who Cares.

Will: I love Julia Louis-Dreyfus.

 

And now here are Some Hot Men, because the Hot Men are my favourite part, and yours, too. They are all wearing suits, but that is not what’s important here. Still, let’s look at them, in their suits, which they are definitely wearing.

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My Boyfriend Eddie Redmayne in Gucci.

My Boyfriend Eddie Redmayne is really good at dressing in suits and giving interviews.

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Jon Hamm in Dolce and Gabbana.

Jon Hamm’s wearing his post-divorce skinny bod like Poor Orange Will Arnett post-Poehler split. He’s also wearing this suit, and it is a good suit, and he is looking dapper as shit, proving once and for all that all the attractive men in the world should get divorced!

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Fit John Krasinski.

Yes, he’s wearing a suit, but what’s really important is that buffness really suits Fit John Krasinski.

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Michael B. Jordan in His Own Incredible Body (And A Suit).

OH LORD MBJ IS VERY ATTRACTIVE (and also in a suit).

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Rami Malek in Dior.

Rami Malek’s suit is a little bit different to some of the other suits but, like Rami Malek, it is pretty and interesting and I love it, I love Rami Malek and his suit.

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Gerard Butler in Who Invited . . .

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. . . Orlando Bloom in You?

 

 

 

 

 

 

 

 

 

Gerard Butler and Orlando Bloom are here to ruin your night with their uncomfortable irrelevance. But they are, at least, wearing suits.

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Olivia Wilde and Jason Sudeikis in Sigh.

Jason Sudeikis is wearing runners with his suit like an idiot.

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David Oyelowo in Dolce and Gabbana.

Danny Hunter is wearing a suit that is Pyjama Goodness and suave suave suave. The man is emerging as a seriously bold dresser and we thank him for him and for his suit.

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Sam Heughan in GHBGF ST AFA GNH SAR FDFBNNNNNNNNNGGGGG.

Rugged man and his mullet meets sleek suit and god the man positively drips raw sex appeal.

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Alan Cumming.

Here is Alan Cumming looking very Alan Cumming in very Alan Cumming suit. I adore him, and so do you.

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Aziz Ansari.

Mmmm, this is a sneaky crackpot suit. I like it.

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Michael Fassbender.

KABOOM.

IF

Denis O’Hare.

This is everything to me.

 

So the Globes are done. Over. See ya next year, drunks!

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(RIP me, dead now.)

 

The Winners, 2016 Golden Globe Awards

BEST MOTION PICTURE, DRAMA
Carol
Mad Max: Fury Road
The Revenant
Room
Spotlight

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE, DRAMA
Cate Blanchett, Carol
Brie Larson, Room
Rooney Mara, Carol
Saoirse Ronan, Brooklyn
Alicia Vikander, The Danish Girl

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE, DRAMA
Bryan Cranston, Trumbo
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Will Smith, Concussion

BEST MOTION PICTURE, MUSICAL, OR COMEDY
The Big Short
Joy
The Martian
Spy
Trainwreck

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE, MUSICAL, OR COMEDY
Jennifer Lawrence, Joy
Melissa McCarthy, Spy
Amy Schumer, Trainwreck
Maggie Smith, The Lady in the Van
Lily Tomlin, Grandma

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE, MUSICAL, OR COMEDY
Christian Bale, The Big Short
Steve Carell, The Big Short
Matt Damon, The Martian
Al Pacino, Danny Collins
Mark Ruffalo, Infinitely Polar Bear

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Jane Fonda, Youth
Jennifer Jason Leigh, The Hateful Eight
Helen Mirren, Trumbo
Alicia Vikander, Ex Machina
Kate Winslet, Steve Jobs

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Paul Dano, Love & Mercy
Idris Elba, Beasts of No Nation
Mark Rylance, Bridge of Spies
Michael Shannon, 99 Homes
Sylvester Stallone, Creed

BEST DIRECTOR, MOTION PICTURE
Todd Haynes, Carol
Alejandro G. Iñárritu, The Revenant
Tom McCarthy, Spotlight
George Miller, Mad Max: Fury Road
Ridley Scott, The Martian

BEST ANIMATED FILM
Anomalisa
The Good Dinosaur
Inside Out
The Peanuts Movie
Shaun the Sheep

BEST FOREIGN LANGUAGE FILM
The Brand New Testament
The Club
The Fencer
Mustang
Son of Saul

BEST SCREENPLAY, MOTION PICTURE
Emma Donoghue, Room
Tom McCarthy and Josh Singer, Spotlight
Charles Randolph and Adam McKay, The Big Short
Aaron Sorkin, Steve Jobs
Quentin Tarantino, The Hateful Eight

BEST ORIGINAL SCORE, MOTION PICTURE
Carter Burwell, Carol
Alexandre Desplat, The Danish Girl
Ennio Morricone, The Hateful Eight
Daniel Pemberton, Steve Jobs
Ryuichi Sakamoto and Alva Noto, The Revenant

BEST ORIGINAL SONG, MOTION PICTURE
“Love Me Like You Do,” Fifty Shades of Grey
“One Kind of Love,” Love & Mercy
“See You Again,” Furious 7
“Simple Song #3,” Youth
“Writing’s on the Wall,” Spectre

BEST TELEVISION SERIES, DRAMA
Empire
Game of Thrones
Mr. Robot
Narcos
Outlander

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES, DRAMA
Caitriona Balfe, Outlander
Viola Davis, How to Get Away With Murder
Eva Green, Penny Dreadful
Taraji P. Henson, Empire
Robin Wright, House of Cards

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES, DRAMA
Jon Hamm, Mad Men
Rami Malek, Mr. Robot
Wagner Moura, Narcos
Bob Odenkirk, Better Call Saul
Liev Schreiber, Ray Donovan

BEST TV SERIES, MUSICAL OR COMEDY
Casual
Mozart in the Jungle
Orange Is the New Black
Silicon Valley
Transparent
Veep

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES, MUSICAL, OR COMEDY
Rachel Bloom, Crazy Ex-Girlfriend
Jamie Lee Curtis, Scream Queens
Julia Louis-Dreyfus, Veep
Gina Rodriguez, Jane the Virgin
Lily Tomlin, Grace and Frankie

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES, MUSICAL, OR COMEDY
Aziz Ansari, Master of None
Gael García Bernal, Mozart in the Jungle
Rob Lowe, The Grinder
Patrick Stewart, Blunt Talk
Jeffrey Tambor, Transparent

BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
American Crime
American Horror Story: Hotel
Fargo
Flesh and Bone
Wolf Hall

BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
Kirsten Dunst, Fargo
Lady Gaga, American Horror Story: Hotel
Sarah Hay, Flesh and Bone
Felicity Huffman, American Crime
Queen Latifah, Bessie

BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION
Idris Elba, Luther
Oscar Isaac, Show Me a Hero
David Oyelowo, Nightingale
Mark Rylance, Wolf Hall
Patrick Wilson, Fargo

BEST SUPPORTING ACTRESS IN A SERIES, LIMITED SERIES, OR MOTION PICTURE MADE FOR TELEVISION
Uzo Aduba, Orange Is the New Black
Joanne Froggatt, Downton Abbey
Regina King, American Crime
Maura Tierney, The Affair
Judith Light, Transparent

BEST SUPPORTING ACTOR IN A SERIES, LIMITED SERIES, OR MOTION PICTURE MADE FOR TELEVISION
Alan Cumming, The Good Wife
Damian Lewis, Wolf Hall
Ben Mendelsohn, Bloodline
Tobias Menzies, Outlander
Christian Slater, Mr. Robot

 

Lena Dunham is not your mirror

My friend and I once travelled from Louisiana to New York, and she forgot to bring a book. In New Orleans we had stumbled across a depressing estate sale in a house that still smelled like sickness, and on a bookshelf I found Nora Ephron’s memoir, I Feel Bad About My Neck. My friend and I had watched When Harry Met Sally together once, so I lent the book to her for the plane.

Back at her apartment in Harlem, she returned it to me. ‘Did you finish it?’ I asked.

‘No.’

‘Did you like it?’

‘Um, not really.’ She grimaced. ‘It was okay, but she kept talking about how women always have to have manicures, and I don’t have to have manicures. So I figure it’s not for me.’

This is an understandable response when reading any work; if the subject matter doesn’t appeal, that book may not be for you.

Ephron’s memoir was published in 2006 by Random House. Now, in 2014, Random House has released another memoir from a famous female New Yorker: Lena Dunham’s Not That Kind of Girl. In the dedication, Dunham has written: ‘For Nora’. I wonder what Ephron would think about the emotional way the world has received Dunham and her work.

When I trekked to Readings two days after the release of Dunham’s memoir, the woman behind the counter was thumbing through a copy. I pointed at the book in her hands. ‘I’m looking for that.’

She handed me a copy. ‘I’m trying to decide if I want to read it.’

‘Really?’ I considered the girl. She looked about my age (24), and she worked in an independent bookstore. I felt like she was exactly the target audience for a Lena Dunham memoir.

She shrugged. ‘I like Girls and all, but I’m not sure I want to read that in a book.’

Dunham is certainly a divisive personality. I doubt there’s a show on TV right now that’s more written about than her HBO series, Girls. Dunham is young and female, two highly unusual characteristics for a television creator. She has the gall to make herself the centre of her series, to give herself attractive romantic partners and to be naked on screen when she’s not a size 0. Naturally, she attracts a lot of attention.

In the opening scene of Girls, Hannah Horvath (played by Dunham), says to her parents: ‘I think that I may be the voice of my generation. Or at least a voice . . . of a generation.’ It’s a fantastic line, but I wonder if Dunham sometimes wishes she’d never written it.

From that moment, critics and the viewing public have dissected every skerrick of the show through the lens: What Lena Really Thinks. Everything Hannah says or does becomes something Lena says or does. And because the show is called Girls, everything it depicts becomes a representation of the Everywoman.

But here’s the thing: Lena Dunham is not our Everywoman. She is not a mirror for us to hold up to ourselves so we can see everything we are reflected back at us. And nor is her work.

Clementine Ford described Not That Kind of Girl as: ‘Like I’ve somehow managed to take the voices and feelings that are constantly swirling through my head and manifest them into actual people who might one day agree to have a sleepover at my house and get drunk while watching Nora Ephron movies.’

Dunham’s voice can feel like reacquainting with an old friend you never knew you had. There’s always a sort of divinity that comes when you find someone who is a lot like you.

Like me, Dunham is a writer with social anxiety issues. Dunham’s sister is gay and so is mine. And I’m sure there are many women (one in four of us to be more precise) who, like me, find Dunham’s seventh chapter, ‘Barry’, difficult to read because it is sickeningly familiar.

But I’m sure you don’t have to be a neurotic writer with a gay sister to enjoy reading Dunham, and the measure of her success should not be in her relatability. Her memoir, her personal account of her own life, is not about us – it’s merely a window through which we might get a better glimpse of a rather impressive woman.

I do wonder whether the desire for Dunham to be ‘relatable’ is linked to her gender. No one reads Stephen Fry’s memoirs and thinks: ‘I’m not a genius dandy, so this book isn’t a success.’ Men don’t declare Seinfeld a failure because Jerry Seinfeld isn’t just like them. Perhaps their work simply transcends relatability because in the arts the male perspective is so broad. So many men have been allowed to write about their experiences, and so maybe their readers don’t always feel a pressure to relate and conform as in the comparatively smaller world of women’s writing.

Dunham’s book isn’t just a relatable jaunt for upper-middle class twentysomething white women; it’s also a beautifully written, funny and engrossing self-reflection. It is cogent, lyrical and sometimes intriguingly dark, like a grown-up nursery rhyme. Dunham’s book, like her Girls, absolutely holds up even if you’re not searching for some part of you in her words.

If you are looking for your own reflection, you may find it here in Dunham’s book. Or you may not, and that’s okay too. But even if you’re ‘Not That Kind Of Girl’, it might still be a pretty excellent read.

Game changer: celebrity endorsements of feminism

‘So, do you think Emma Watson’s speech is a “game changer”?’ my housemate asked me as we crossed paths this morning. Housemate was prompted by a report he’d just heard on the radio regarding Emma Watson’s much-circulated speech for the UN on gender inequality and the #HeForShe campaign.

‘No,’ I replied as I laced up my shoes, ‘I think it’s great, but it’s not a “game changer”. I’m not sure I even know what that is.’

You might be different. Perhaps you believe that the words of an eloquent, attractive celebrity can change centuries of ingrained inequality. And that’s okay – it’s a lovely idea. I am not so optimistic.

The minute the Emma Watson speech popped up on my Facebook news feed, I hit ‘share’. I’m a feminist, plus I enjoyed Emma Watson’s pixie cut back in 2010.

And sharing on Facebook is easy. Thanks to the news feed, you handily receive all your news updates from like-minded acquaintances and the sympathetic media outlets you follow. You never have to step out of your ideological comfort zone. You don’t even have to comment on what you share; my simple ‘yup’ status, which accompanied the Emma Watson article I shared, sufficed. Then those aforementioned ‘like-minded acquaintances’ will ‘like’ the post, and possibly share it themselves.

These sorts of advancements in the productivity of social media are, in many ways, brilliant. Now you can find a circle of people within your circle of people with whom to celebrate Beyonce’s 2014 VMAs performance, or to bemoan the continued existence of Robin Thicke.

But here’s my problem with calling a speech given by Emma Watson that’s gone viral a ‘game changer’ – who is it really changing the game for?

Celebrity attitudes towards hot-button cultural issues are significant. As much as it can be vexing to admit, these people are often role models or tastemakers for society. Because we thrust them into the spotlight, we indulge in their opinions – whether or not it’s constructive to do so. But their significance exists on a spectrum.

When Katy Perry and Lana Del Ray tell magazine interviewers that they don’t believe in feminism because they have no need for it, their rejection damages the movement just a little. Especially at the bottom end, where young women and men are making their minds up about whether or not gender equality is important to them. When Beyonce releases an album that is a love letter to feminism, or Taylor Swift reveals that her friendship with Lena Dunham made her aware of the importance of the movement, the issue inches back into the spotlight.

And consider how the White House press team uses American celebrity influence to hammer home PSAs about issues that divide their community, such as gun violence or sexual assault. Jon Hamm telling you that sexual violence is ‘on us’ is vastly more potent than being told by some faceless feminist blogger, because Jon Hamm is very famous and unfairly attractive.

These celebrities coming out for and against gender equality has a trickle-down effect. It may spread the debate into circles that would otherwise shut it out. It might prompt a think piece that gets shared on Facebook and Twitter. It could encourage housemate to ask over breakfast: ‘What do you think of Emma Watson’s UN speech?’ And hopefully all of this prods people to make up their own minds about the significance of gender equality (albeit lubricated somewhat by how much stock they put into the opinion of Taylor Swift or Emma Watson).

But maybe all it does is continue to box us into our own little ideological circles, fuelled by ‘likes’ and ‘retweets’ and the knowledge that our favourite pop singer thinks the same way we do, and is therefore just like us. Or perhaps it trivialises the issue, as we are forced to wonder: Who cares what Joseph Gordon-Levitt thinks about feminism anyway?

I prefer to think these ‘celebrity endorsements’ are positive, because at least they promote discussion. This is fantastic, but these are tiny elfin tiptoes in a movement that has been struggling forward – or shoved roughly backwards – for over a century.

And with the positive comes the negative: the backlash that Susan Faludi wrote about, which festers in MRA blogs and troll-filled comments sections, in the posts of Women Against Feminism, in your office lunchroom where Steve from marketing and Jane from accounting are talking about how feminism is over because equality has already happened.

And these messages – these opportunities to share, debate and think about an issue as significant as gender equality – are for the privileged few. Does word that Emma Watson told men to take up the cause of gender equality reach the parts of the community where that message is most needed? Do the women who aren’t on the privileged front line of feminism know that Watson is fighting for them too?

A woman of influence speaking out about gender equality is a wonderful thing, but Watson’s speech will not change the world.

What’s really important is what happens after, and what keeps happening after every public discussion about feminism and equality. It’s turning around in the lunchroom and telling Steve and Jane that you think they’re wrong, that feminism is still necessary. It’s what everybody else does that matters.