The Witches Are Coming

Art didn’t invent oppressive gender roles, racial stereotyping, or rape culture, but it reflects, polishes, and sells them back to us every moment of our waking lives. We make art and it makes us, simultaneously. Shouldn’t it follow, then, that we can change ourselves by changing what we make? The movement can’t just disrupt the culture; it has to

We don’t need neutrality; we don’t need “nice.” It’s not enough to just stop being terrible. We need new work that actively challenges old assumptions, that offers radical models for how to conceive of ourselves and how to treat each other.

White Americans hunger for plausible deniability and swaddle themselves in it and always have—for the sublime relief of deferred responsibility, the soft violence of willful ignorance, the barbaric fiction of rugged individualism.

When faced with a choice between an incriminating truth or a flattering lie, America’s ruling class has been choosing the lie for four hundred years.

It’s about who feels at home in the workplace and who feels like an outsider—which, by extension, dictates who gets to thrive and ascend,

Virality is compartmentalization, turning the complexities of life into decontextualized snapshots.

Being cognizant of and careful with the historic trauma of others is what “political correctness” means. It means that the powerful should never attack the disempowered—not because it “offends” them or hurts their “feelings” but because it perpetuates toxic, oppressive systems. Or, in plainer language, because it makes people’s lives worse. In tang

But I keep returning to that old question. Men: What exactly is it that you do here?

he brought not just his showbiz sensibilities but his reality TV instincts into the Oval Office: a savant’s understanding of Americans’ hunger for “reality” over reality, for the outrageous, for the cruelty of Simon Cowell and the brazen individualism of “I’m not here to make friends.”