In the past three days, The New Yorker’s published two supremely important personal essays tied to the #MeToo Movement: earlier today, this one by Junot Díaz that everyone’s talking about, and this one by Molly Ringwald from the weekend. While Díaz’s is a gutwrenching revelation and Ringwald’s is a nuanced analysis of the sexual politics of John Hughes movies, both are fascinating in the way these unearthed, underlying narratives of sexual abuse and assault put the respective art in question — Díaz’s novels, Hughes’ “wholesome” teen films — in a whole new context.
give it a reread
give it a reread
give it a reread
In the past three days, The New Yorker’s published two supremely important personal essays tied to the #MeToo Movement: earlier today, this one by Junot Díaz that everyone’s talking about, and this one by Molly Ringwald from the weekend. While Díaz’s is a gutwrenching revelation and Ringwald’s is a nuanced analysis of the sexual politics of John Hughes movies, both are fascinating in the way these unearthed, underlying narratives of sexual abuse and assault put the respective art in question — Díaz’s novels, Hughes’ “wholesome” teen films — in a whole new context.