The Closer You Get (2000)
“You should want to know what a black woman feels; you get a bunch of Jimmy's opinions every other night. But with this show you're going to get politics and pop culture told from a different perspective,” says Thede, who after writing and performing on talk shows for Queen Latifah and Larry Wilmore and becoming the first African American female head writer of a late-night talk show (on Wilmore’s The Nightly Show) has stepped out on her own with her 30-minute weekly series on Bet.
In fact, there are two Jimmys -- Fallon and Kimmel -- among the roster of straight, mostly white men hosting some of late-night’s biggest talk shows, but only Thede, Samantha Bee of [link=tt
Everyone from Jimmy Fallon to Stephen Colbert had something to say about Moore's loss, which was aided by the overwhelming turnout of African-American women for Jones.
On The Tonight Show, Fallon welcomed correspondent Yamaneika Saunders onstage, who joked that her back was hurting. "Oh no, your back is hurting?" Fallon prompted. "Yeah, every black woman's back is hurting — from carrying the election...
As Real Housewives of Atlanta fans are well aware, a bitter feud recently erupted between Kim Zolciak-Biermann, 39, and NeNe Leakes, 49, after Zolciak-Biermann’s daughter Brielle alleged she found cockroaches in Leakes’ home. The incident will play out in detail this season, but in the meantime, Brielle, 20, is adding fuel to the fire by shading not just Leakes, but also her fellow Housewives Kenya Moore, 46, and Cynthia Bailey, 50. (Zolciak-Biermann has also been fighting with Moore this season, lunging at her in a recent episode after
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
The ways in which the work, stories, and lives of black women get erased in America are legion, and infuriating. Example of the moment: It was a black woman, Tarana Burke, who started the #MeToo campaign more than a decade ago, but it didn’t get any attention until well-off white women appropriated it just a few months ago, and now, suddenly, people are listening. Burke is not featured on the cover of Time magazine for its Person of the Year designation awarded to “The Silence Breakers” over sexual harassment, though Burke is mentioned,
“It is taboo within the African American home to breastfeed your child, let alone to do it past the age of 1,” one member of the group, Rauslyn Adams, 26, tells People. “Breastfeeding has been seen by some African American women as reverting to ‘slavery days’ when feeding a child by breast was the only option.”
The lack of proper support for breastfeeding in Black
“Ten years ago, Oprah and I began to imagine what a network, inspired by her vision and values, could mean to viewers across the U.S.,” said Discovery CEO and president David Zaslav. “In an increasingly crowded landscape, Own has emerged as the leading destination for African-American women and...
Guest Post by Savine Wong
I was very lucky, and I knew it. As a woman working in the financial sector in Hong Kong, my strong command of the English language set me apart from the other women in my department. My luck struck again when I discovered the bank I worked for had a department specializing in providing financing for films and television series. It was the perfect place to do what I was good at while laying the groundwork for the direction my career would eventually take. I wanted to help filmmakers refine their projects and package them for financiers.
I did, however, notice at that time that there were strikingly low numbers of females working behind the scenes in the entertainment industry. In 2007, the conversation around gender disparity in the film
Previously cast was Kiersey Clemons by director Rick Famuyiwa, and West was set to make her debut in Justice League before a full appearance in the Flash solo film. Unfortunately, the character ended up a victim of the editing scissors and never made it to the final cut of Justice League. Not only that, but Famuyiwa is off the project due to creative differences. So, given that
According to Deadline, the story follows "an elite military intelligence specialist who jumps at the chance to take part in the selection process to become the first-ever human representative to alien life."
Sounds like it could turn out to be a solid film and I'm curious to know what else the story entails. We really don't have much to go off of, but the initial concept is interesting. It's always interesting to see the different interpretations of extraterrestrial life in the movies.
Amy Pascal has got several projects in development such as Venom, Silver & Black, and an Amazon series called Mercury 13 , which is
There's nothing sweeter than holding the title of ABC's first-ever DWTS champion! Since winning the mirrorball, Monaco continued to portray the role of Samantha McCall on the network's daytime drama, General Hospital. Monaco made her most recent return to the show during season 25, pairing up with her close pal, Cheryl Burke, and former NFL star Terrell Owens for Trio Night.
Season 2: Drew Lachey & Cheryl Burke
The 98 Degrees singer had so much fun learning how to dance on the show, that he joined the pros and troupe dancers on their DWTS tour after winning the title. At the time, he had no idea that his brother, Nick Lachey, would later compete on season 25 of the show with Peta Murgatroyd. Unfortunately for Nick, he didn't have as much luck -- he and Peta were the fifth couple to be eliminated from the competition.
Season 3: [link=nm
Liz Hannah and Amy Pascal are teaming up again. The respective co-writer and producer of “The Post” are adapting Martha Ackmann’s non-fiction book “The Mercury 13: The Untold Story of Thirteen American Women and the Dream of Space Flight” as a miniseries, Deadline reports. Amazon has already put the project into development.
Entitled “Mercury 13,” the miniseries will be set in 1961, “just as Nasa launched its first man into space.” It will center on “a group of women [who] underwent secret testing in the hope of becoming America’s first female astronauts,” the source details. “They passed the same battery of tests at the legendary Lovelace Foundation as did the Mercury 7 astronauts, but they summarily were dismissed by the boys club at Nasa and on Capitol Hill. The Ussr sent its first woman into space in 1963; the United States did not follow suit for another 20 years.
The Academy Science and Technology Council will present “Hidden Figures/Modern Figures: A Journey of Breakthroughs in Cinema and Space Travel,” in collaboration with Nasa, on Wednesday, November 29, at 7:30pm at the Samuel Goldwyn Theater in Beverly Hills.
The evening will feature a panel discussion with Nasa scientists and “Hidden Figures” filmmakers for an examination of the past, present and future in space math, diversity and the movies.
Hidden Figures opened in cinemas on January 6, 2017.
The women, including big names like Alyssa Milano, Katie Couric and Gretchen Carlson, have used the hashtag to share photos of themselves at age 14 in an effort to raise awareness about the age of consent and underscore how a 14-year-old child is not equipped to consent to sex with adults.
The social media campaign comes four days after The Washington Post first reported on sexual misconduct allegations against Moore,
RelatedLast Week’s Ahs: Cult Recap: Revenge Is a Dish Best Served al Dente
The hour began with a flashback to the final debate between Donald Trump and Hillary Clinton, which turned out to be the night that changed everything. In response to Kai’s assertion that most Americans think Clinton is a “shrill cuck bitch,” one of Winter’s friends declared that most alt-righters are just angry young white men who can’t get girlfriends.
Harriet Hirshorn is a documentary filmmaker with a focus on social justice issues. She has chronicled HIV/AIDS activism in Africa from 2001–2013, and her work includes extensive coverage of AIDS activists. Hirshorn’s documentary work includes dozens of short films about HIV and a variety of digital projects about HIV/AIDS and women in Africa. Her films include “Mississippi I Am” (2010), “The Disappearance of TiSoeur: Haiti After Duvalier,” and “Pote Mak Sonje (Whoever Bears the Scar Remembers): The Raboteau Trial.”
“Nothing Without Us: The Women Who Will End AIDS” will premiere at the 2017 Doc NYC film festival on November 10.
W&H: Describe the film for us in your own words.
Hh: “Nothing Without Us” is the first documentary to tell the story of how HIV+ women on two continents turned a devastating diagnosis into a fight for survival — and a movement to end a global epidemic.
The film takes viewers into the twin hearts of the current HIV/AIDS pandemic — sub-Saharan Africa and Black America — to meet five women who transformed public health policy with their refusal to accept a racist and sexist status quo. Featuring an all-female cast and an exciting mix of new and rare archival footage from Burundi, Nigeria, New York, and Louisiana, this inspiring documentary traces the journey from private grief and political oppression to community leadership and collective action.
“Nothing Without Us” reveals the unsung work that HIV+ women do, not only for themselves but for children and men — from inside prison, out on the street, in the fields of healthcare, and in the highest halls of government. Along the way, viewers come to understand that the AIDS crisis — where women are more than half the epidemic worldwide and two-thirds of new infections globally, and which now affects more than 37 million women and millions of others worldwide — is far from over, and that no solution will be complete until it addresses the complex realities of all women’s lives.
W&H: What drew you to this story?
Hh: In the ’90s I was involved with filmmaker Mary Patierno and helped care for her brother David Miller until his death in 1993. I was the associate producer of her film “The Most Unknowable Thing,” about David’s struggle with AIDS that Mary finished in 1999.
Like many people of my generation, and particularly gay and lesbian people, I was traumatized by the fight-to-the-death taking place around me and I was active in Actup. Some of the archival protest footage of civil disobedience at the beginning of this film was shot by Mary and I.
To celebrate the ten year anniversary of the HIV Law Project in 1998, I made a ten minute documentary for its founder Terry McGovern about the HIV Law Project and the campaign to change the definition of AIDS to include illnesses experienced by women. In the late ’80s when AIDS was devastating communities, women who had HIV could not obtain an AIDS diagnosis, and therefore could not access services and rights because all of the studies up until then only involved men. AIDS was perceived as a gay — and white — male disease, when in fact women and communities of color were experiencing the same devastation.
Actup started a campaign to change the definition, and Terry McGovern and the HIV Law Project sued the Us government. Many years later, they won.
Fast forward to 2001, when I met Marie de Cenival, Vice President of Actup Paris and leading member of their international committee. She was focusing on getting AIDS drugs to Africa as she was about to address the first Un Special Session on AIDS in the first meeting of what became the Global Fund to Fight AIDS Malaria and Tuberculosis.
From Marie, I learned that among the millions of Africans living with HIV and dying from AIDS, there was a strong and active movement in which Actup Paris had been heavily involved since 1996 to get HIV drugs including ARVs — antiretroviral “cocktails” — into countries hardest hit by the pandemic.
When I accompanied her as she researched economics and intellectual property laws, I witnessed firsthand many women living with HIV who were leading their countries’ activism. I realized the extent to which this was an untold, unacknowledged story and wanted to make an inspiring film about their work.
Really, I would love to make a series of portraits that would bring to light the amazing stories of thousands of characters. But in this film I had to choose only five.
W&H: What do you want people to think about when they are leaving the theater?
Hh: I want people to see that the end of AIDS actually is possible and that if everyone was on ARVs, HIV would end.
I want people to think about that without women, the end will not be possible.
The majority of Americans believe that AIDS is over. Besides the isolated and distant coverage of it — the recent spike in opiate-using populations in the rural U.S. and the growing epidemics in Asia and elsewhere — most still think that AIDS is an issue contained in Africa or a disease affecting only gay men.
Such misconceptions are dangerous, fueling ignorance and dismissal of a health and human rights crisis affecting nearly 37 million people worldwide — more than half of whom are women. Until the general public understands the full scope of AIDS and its entanglement with issues of poverty, race, reproductive justice, global inequality, and discrimination against women, no solution will be complete.
The film restores women activists to their rightful place in the historical record and asserts the current, unaddressed urgency of women’s needs surrounding HIV. The film reveals the parallel struggles that women face across continents fighting for reproductive justice, healthcare access for all, and a more complex and realistic view of how the epidemic affects women. Anyone who cares about gender inequality and its impact on social and health crises will see a vital message in this film.
I want audiences who leave the theater to be talking about that, as well as how to get a maximum number of people to see the film since distribution is always the next challenge — how to get the film to people who need to see it.
W&H: What was the biggest challenge in making the film?
Hh: I was surprised that the knowledge gap between the general population and the people involved in HIV activism was so huge, and my biggest challenge was how to include a maximum amount of information without making a film that was too dense for a general audience to digest.
W&H: How did you get your film funded? Share some insights into how you got the film made.
Hh: I bumped into Terry McGovern in Kenya when I was filming Rolake Odetoyinbo for a short piece on preventing mother-to-child transmission of HIV that I was producing for The New York Times/Herald Tribune. I had been following Odetoyinbo for several years already and I told Terry that she was an amazing activist in Nigeria, and Terry listened. Many years later, she invited me to submit a proposal to the Ford Foundation on both African women’s activism and African American women’s activism.
W&H: What does it mean for you to have your film play at Doc NYC?
Hh: It is tremendously exciting and I hope we sell out.
W&H: What’s the best and worst advice you’ve received
Hh: The best advice I have received is to persevere and have faith in my vision, and the worst advice I have received is that the world doesn’t need another documentary on AIDS.
W&H: What advice do you have for other female directors?
Hh: My advice for other female directors is to pursue their vision and not listen to the naysayers.
W&H: Name your favorite woman-directed film and why.
Hh: I am a huge fan of Chantal Akerman and Agnes Varda. I could write too many pages and stop all other activities for weeks to explain why I love them so much. The nutshell version would be Akerman for her obsession and originality, and Varda for her discipline and philosophical daring. Both of these women I feel have tremendous courage and faith in themselves and their films are daring and indicate a lack of fear of failure.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
Hh: I’m not optimistic because so many talented women filmmakers exist and yet it seems like we have decided that there are a limited number of slots for them on our radar.
As a member of the Paris-based group La Barbe, I think we have to protest the male domination of the domain of filmmaking. I don’t think it is enough to just try to make our films and fight our way. I think we also need to underscore the lack of women wherever we see it because I don’t think it’s about not being good enough. I feel that there is an old boy and new boy’s network that tries to shut us out, even when it’s unconscious.
I also believe that one way to fight this is to make the commitment to hire women in production and post-production when possible. This worked well for me. I am proud of the women who worked with me on this film and grateful for their vision and their support.
Doc NYC 2017 Women Directors: Meet Harriet Hirshorn — “Nothing Without Us: The Women Who Will End… was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
The Swiss film The Divine Order tells the tale of a group of ordinary Swiss women in a little village during Switzerland’s fight for women’s suffrage. The shocking part is this story takes place in early 1971, as Switzerland is gearing up for a February 1971 national referendum on giving women the vote. Yes, that is right, Swiss women were fighting for the right to vote as the rest of the Western world was immersed in Women’s Lib and the Sexual Revolution. It is a lot of catching up to do all at once.
People Now recently caught up with Atlanta O.G. Shereé Whitfield, and we had to ask about the bitter feud that exploded between Leakes, 49, and Zolciak-Biermann, 39, last month after Zolciak-Biermann’s daughter Brielle Biermann alleged she found cockroaches in Leakes’ home.
Whitfield, 47, who is good friends with Zolciak-Biermann, gave an update on how the Bravo star has been doing since she obtained legal counsel after Leakes accused her of being “racist” on Instagram.
“She’s holding her head up,” Whitfield said. “She was definitely