Tag: Soraya Roberts

Dialogue, Twitter-style: you get called out on social media. People pile on to you. Other people pile on to the pile-oners. Soon everyone’s anxious or angry or both, no one’s really talking (or listening), and a few tech CEOs are buying new houses in Jackson Hole.

It’s surprising when stodgy institutions award progressive artists, and surprises, even good ones, are alarming — so we immediately burden the winners with the weight of symbolism.

She gets a mansion and she gets a boat and she gets a jet! And you get to suffer and then maybe pull yourself up by your bootstraps, if you’re lucky enough and bare enough of your private pain.

Competitive sports can mean professional and financial success — if they don’t compromise your mental health first. ‘Cheer’ and ‘Killer Inside: The Mind of Aaron Hernandez’ show how athletics can hurt as much as they can heal.

Cancel culture suggests we can change the world from the outside in, but the misogyny and racism are coming from inside the house.

By protecting ourselves and no one else, we destroy ourselves along with everyone else.

The muted response to Todd Haynes’s “Dark Waters” is depressingly similar to our culture’s muted response to climate change

We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in arts and culture.

Canada’s old white publishing institutions are a lesson in what happens when your media industry contracts: journalism no longer serves the reality of the country.

Women with power have the capacity to silence women with less — and they wield it. Why can’t they see that?

We watch the (women) influencers watching the (heavily female) influencing industry, but the men aren’t entirely in the dark.

Influencers who break type, like Mina Gerges or Jakiya Brown, have more than just an image. They have a story — and a plan.

When you read “influencer,” do you think “white woman”? That’s not a surprise: the stereotypes originally established offline are reaffirmed on social media by the same systems.

There’s no such thing as a 140-character exegesis: the (non)-discourse around “Joker” is the latest to prove that social media is designed for emotion, not dialogue.
 

Being an adult at the end of the world means listening to children tell the truths grown-ups refuse to actually hear.

The movie theater was once a kind of lay church, with festivals like TIFF serving as annual religious holidays — until new houses of worship opened online.

If the most financially and critically successful artists don’t feel successful, maybe there’s something wrong with how we think about success.

Should white critics cover black culture? Only if they’re able to own their whiteness.

Media and entertainment grounded in empathy are a critical part of a saner culture — and we can all help by actively producing, seeking, and supporting it.

With ‘Once Upon a Time… in Hollywood,’ Quentin Tarantino slakes his thirst for nostalgia while he plays god with another piece of history.

When men devalue the labor of women like Andrea Arnold and overvalue the work of even problematic men, it’s a triple whammy that diminishes the individual woman, women in general, and the overall quality of culture.

Journalism’s one percent would rather make up a fake feud than address the reality of the industry’s pay disparity, which benefits them and no one else.

There’s a direct line from missing and murdered indigenous women to the repression of Native women’s contributions to art and culture, but those long-silenced voices are now making themselves heard.

Maybe we can’t transcend height, but can we transcend the internalized misogyny that causes us to limit ourselves and judge other women?

The jumpsuit is great, but it won’t get you a hot priest or a BAFTA — you’re not Fleabag (or Phoebe Waller-Bridge).

Today’s public intellectuals have their own version of the American Dream, where one person, on their own, can achieve anything — including being the smartest person in the room.

What/If references the celebrated steamy genre of the 80s and 90s, but lacks its guts. Why can’t any of the new neo-noirs go all the way?

Celebrities act as a symbol of capitalism. When we question it, we question them too.

Trying so hard to set trends for the future, fashion’s institutions can’t stop stumbling over the past (and the present).

If there’s no earth, there’s no art. How do you engage in cultural criticism at the end of the world?