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Bet On Black-ish: ABC's Hit Series Returns, Promising The Perfect Dose Of Honest Humor

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(Photo courtesy of ABC/Bob D'Amico)

Following the success of an impressive network debut, ABC's standout series Black-ish steps into its second season having secured a spot amongst the most celebrated shows on television.

Anchored by the dynamic, Emmy-nominated duo of Anthony Anderson (Dre) and Tracee Ellis-Ross (Rainbow), the cleverly insightful sitcom brilliantly brings to life the different experiences of a hard-working family battling with the challenges of first-generation affluence -- and that family happens to be black. The show's premise places an observant lens on public perception and the looming stereotypes that often plague the black experience, while seamlessly rolling out a hilarious combination of inside jokes multiple generations of African Americans can connect with.

"It's about living the American Dream, while assimilating to this homogenized world and maintaining a sense of identity," said Anthony Anderson. "We pride ourselves on telling stories that are diverse to spark point of view and start conversations."

At the finish of their first season, the series soared, rising to become the second-highest rated show on primetime television next to Fox's breakout drama Empire. More notably, Black-ish received a 2.28 rating with the 18-49 year-old demographic.

"We knew we were doing something special," said Kenya Barris, creator and executive producer of the show. "Based on our experiences, we believed we had the ability to tell honest stories as truthfully as we can with some humor."

It's about living the American Dream, while assimilating to this homogenized world and maintaining a sense of identity. - Anthony Anderson


Speaking to the impressive strides the show has made thus far, Anderson gives credit to delivering a strong solution for the longtime absence of such shows on television. "It's been such a long time since major network TV had a black family comedy, so people weren't expecting it," Anderson stated.

The last memorable programs to make a massive run on national television depicting accomplished and aspirational black families were The Fresh Prince of Bel-Air and The Cosby Show. Like Black-ish, both reflected a tight-knit group of relatives with colorful personalities sharing one roof, ranging in age and interests, operating under a set of guiding principles that merged tradition with changing times.

Though it's expected that nostalgic audiences may reminisce on that era when watching the show, Anderson and Barris have their sights set on setting a new trend for today's generation. "It's a tremendous compliment to be compared to the Cosby show, but we're focused on making our own mark here."

Despite tackling a variety of relevant topics that resonate widely within the black community, less than a quarter of their viewership is African American. "We'd love to reach our people," said Barris. "But, if the live audience wants to watch something else, they can easily say 'I'll just DVR Black-ish' - and DVR's are very strong amongst our African American audience as we go against one of the most successful shows in history in Empire."

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BLACK-ISH - "THE Word"-- Jack performs the song "Gold Digger" at a school talent show and when he sings a lyric that includes THE word, it leads to his possible expulsion from school. ANTHONY ANDERSON and LAURENCE FISHBOURNE (Photo courtesy of ABC/Kelsey McNeal)

Setting a bold and intentional tone for the new season, the premiere episode sheds a funny, yet soberingly truthful light on the N-word. As the country continues treading through the evident turmoil of racism, injustice and senseless killings, the timely topic strikes a sensitive spot for the black community.

"It's part of our culture, so we wanted to give an honest and unique take on it," said Anderson. "In this time when we're suppose to be an elevated society, the word is still as prevalent as Jim Crow."

Mirroring the difference in perspectives and beliefs about the word, the emphasis was providing a well-rounded look at where the N-word fits within different social circles and segments of society.

"In the episode, we give all of our characters a different voice," claimed Anderson. "It's low hanging fruit, and we see it as a right of passage - but culturally it's become a trend, or fad slang word colloquialized for everyone."

Promising to produce a collection of episodes that touch on several prevalent topics, everything from black men's health to how people view guns, season two is projected to be more transparent and progressive than ever. "Every week you're getting honest topics," declared Barris. "This is a show the whole family can watch uncensored, and each member can take something away from it."

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Friends Series 1 - Six Things I Never Knew I Knew

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Sorry... 26. Ross is TWENTY SIX in series one? But I am 26. That is my age. He is a grown up man who is my age.

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That was largely my reaction to watching the entire series one of Friends again. I've of course watched Friends a lot since it finished, I mean I'm not an animal, but never in any order. I tended to follow it in whatever order the TV channel that was carrying it wanted to throw at me. One minute she gets off the plane, the next skinny Chandler is all up in Janice's grill clutching on to that hideous/fabulous leopard print boot. The series turns 21 this week, and to honour that milestone I decided to go back to the start, old fashioned DVD boxset-style. A re-watch, a rebirth, a rediscovery (NOTE FROM EDITOR: calm down).

Age aside (TWENTY SIX?), I discovered six key things I didn't know I knew during my more crazy mixed up viewing habits. So here we go, Friends series 1... a re-reaction.

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1 'The Rachel' hairstyle is a blink and you'll miss it situation. Full disclosure, I hate that hairstyle. I understand that thousands, if not millions, of 90's ladies wanted it on their heads, but it is awful. Thankfully, it actually wasn't in it for very long. To my eyes, about half the first series includes 'The Rachel' and then that's all folks. That's the power of the Aniston though right, I mean I'm not saying she's Jesus but let's be real, she was sent here to save us all.

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2 - Poor Phoebe. She just doesn't get a look in. Minor stories like the thumb in the soda thing, and a token love story with lovely David, but that's really all we see of her. Could she be more supporting cast? If you want evidence of how little is about her, I give you this: David reappears later in the show's run to represent Phoebe's great love, yet he's only in it for ONE episode of S1. That is how much screen time they gave the Buffay's great love story. Well done everyone, it's not like Kudrow is a national treasure or anything.

3 - In contrast, series one really is the one about Ross and Rachel. Seriously, between Ross' divorce, his baby, Rachel's wedding walk out, her journey from spoilt to, well, less spoilt, her relationship with Paolo (who, I might add, gets three episodes in series 1. That's two more than David... case rested) -- it's just non-stop with those two. Plus, of course, the 'will they won't they' starts. Now don't get me wrong, I'm as into the whole Ross / Rachel thing as the next 90s kid, but I had no idea these two were so all encompassing.

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4 - Joey is not stupid, nor is he creepy with women. I get it, character development etc. But really, he's actually kind of witty and charming in S1. He's sarcastic and slightly deep (that whole thing with his dad, too cute). I quite like some dumb Joey moments, but in the end I thought they got a bit annoying. Our Italian Stallion could have been so much more. Alas. (EDITOR: seriously, calm down)

5 - What's with the beam? Monica's apartment has this weird beam in it that is def removed at some point. I don't like it and I'm glad she changed it. I don't think Monica's decorating is always on point (purple, really?), but she werked it out with that decision -- it would have been the first thing to go if I lived in that palatial apartment.

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6 - I'm about to come out. This is a big moment for me so be kind. Monica is my favorite character.

Phew, it feels so good to say it out loud, when's the parade (etc). Basically, Monica is sarcastic, tough when she needs to be, deals with her crazy mother, is not that bothered that she's supremely uncool and has a deep rooted pride in the apartment she keeps spotless. I'm not saying I relate to her, but when the shoe fits... (NB Mum I'm totally kidding, LOVE YOU).

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That's it, done. I am E.X.HAUSTED. On to series two...

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Longmire Is As Addictive As Potato Chips

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TV Review - Jackie K Cooper
Longmire (Netflix)

The fourth season of Longmire is now available for streaming/viewing on Netflix and it is well worth your time to watch the ten new episodes. This contemporary western drama's first three seasons were seen on A&E but Netflix has now picked up the show ands hopefully will bring us many more new seasons.

The great thing about having the entire season available on Netflix is you can watch it as little or as much at a time as you wish. When a show is as entertaining as this one is, it becomes like potato chips and you can't watch just one. You will probably want to devour the entire bag (series) as quickly as you can.

On Netflix the look of the show this season appears to be brighter, not in content but in look. The colors are richer, the scenery more defined. The content however is still dark as Sheriff Longmire (Robert Taylor) and his group of deputies goes through one traumatic event after another. Still there is some sunshine at the end of the tunnel as Walt Longmire does find a new love interest. This may not sit too well with Deputy Vic Moretti (Katie Sackhoff) but it is time Walt got past the grieving stage for his deceased wife.

The show immediately solves the identity of Walt's wife's killer and also reveals the outcome of the conflict between Deputy Branch Connelly (Bailey Chase) and his father (Gerald McCraney). Plus there are new situations involving Walt's daughter Cady (Cassidy Freeman) as well as Walt's best friend Henry Running Bear (Lou Diamond Phillips).

There has been no drop in quality occasioned by this move from A&E. The plots are just as tight, the acting just as skilled, the entertainment value just as high. Taylor continues to make Longmire a unique hero, complex but ingratiating. The supporting cast is strong and each player gets his/her time to shine in a subplot.

If you have watched Longmire in the past you will want to get to these episodes immediately. If you have not watched it before then take a chance. This series is just different enough to separate it from all the other "debuts" showing up for your viewing pleasure. It is one of a kind and that is rare in what is being offered these days.

Longmire is a modern day western. That says it all. Now go eat some potato chips and watch the show.

Jackie K Cooper
www.jackiekcooper.com

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Caitlyn Jenner Is Not a Perfect LGBT Rights Advocate

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BY PRESTON MITCHUM

In a recent interview with talk show host Ellen DeGeneres, Caitlyn Jenner revealed a surprising fact: The former Olympian and transgender icon did not always approve of same-sex marriage. In fact, she didn't come around on the issue until this June's Supreme Court decision,Obergefell v. Hodges, which gave same-sex couples the legal right to marry in the United States. Even then, as she claimed in the Ellen segment, Jenner wasn't particularly excited:



Jenner received even more backlash when, in her interview with the Today show's Matt Lauer, she proclaimed that a Halloween costume replicating her Vanity Fair cover would not be considered offensive. Jenner admitted that she recognized many people in the trans community disapproved of the idea -- likely because it makes a caricature out of the lived experiences of an already marginalized community -- but she said: "I think it's great."

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Many trans advocates weren't too thrilled with that idea. Vincent Villano, formerly of the National Center for Transgender Equality (NCTE), explained to The Huffington Post, "There's no tasteful way to 'celebrate' Caitlyn Jenner or respect transgender people this way on the one night of the year when people use their most twisted imaginations to pretend to be villains and monsters."



These two comments by Jenner -- her lukewarm feelings about marriage equality on one day, followed by apathetic feelings about of her being a costume the next day -- have sparked obvious backlash on the Internet, with many bewildered that a trans woman viewed as a mouthpiece for LGBT issues could hold views detrimental to her own community.

But in being a wealthy, white celebrity whose every move is news, Jenner has incredible privileges that many trans people never will. For example, black trans women experience violence at disproportionately high rates. And while they continue to scream #BlackTransLivesMatter, Jenner receives accolades like the Arthur Ashe Courage Award at this year's ESPYs and her own television show.

However, that public platform doesn't mean that Caitlyn Jenner is a perfect advocate for all LGBT people, or even for all trans people. Just because she's a trans woman doesn't mean that Jenner should understand why same-sex marriage is so important to cisgender lesbian, gay, and bisexual individuals--as sexual orientation and gender identity are two different things -- and she's earned her own learning curve on the issue. What people are expecting from Jenner is perfection solely based on her trans identity being made public -- and that's a problem.

The idea that Caitlyn Jenner must be a perfect advocate runs the risk of assuming that trans people cannot think differently, or if they do, their transness is diminished. The sad truth is that many individuals still have lukewarm support of marriage equality. According to a 2013 Pew Research Center survey, 93 percent supported same-sex marriage, and while 74 percent agreed with that statement "strongly," another 18 percent were less adamant, saying merely that they favored gay marriage.

But even if all of those people supported same-sex marriage, it does not make them perfect advocates for equal rights. And that's what gets lost in this conversation.

Being frustrated at every single one of Jenner's mistakes assumes that her perfect answers will lead to the eradication of trans discrimination. It won't. While Jenner is an easy target to show our frustrations of her not being fully supportive of marriage equality, fighting her isn't leading to anyone's liberation anytime soon.

The National Transgender Discrimination Survey highlights that 26 percent of trans people lost a job due to bias, 50 percent were harassed while at work, and 78 percent of trans students were harassed or assaulted. The transphobia that drives the discrimination is exacerbated when the trans person is a person of color and also faces compounding racism because of the multiplicities of their experiences.

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So, of course, this is not to suggest anyone should feel bad for Jenner -- she'll be just fine. But it appears that the frustration surrounding Jenner is wrapped up in understanding that because she is a trans woman that this should immediately translate into recognizing the rights of cisgender LGB individuals, including marriage. Assuming that Caitlyn Jenner and other trans people should be vocally supportive of marriage equality, if at all, also runs the risk of allowing cisgender LGB people to assume that we have been perfect advocates for trans people when we have not.

In 2015, 17 trans women of color have been murdered but rarely will you hear a cisgender LGB person discuss this fact or show outrage. It's one of the many reasons #TransLiberationTuesday began this year -- to honor the lives of trans people and to call out the cisgender LGB community for remaining silent while wanting others to stand in solidarity. Because of this, a group of 22 trans women of color activists penned an open letter urging cisgender people to stand up for trans women. 

The letter read:

We also have to hold LGBT, or "Gay, Inc." organizations accountable for their complicity in promoting ideals that benefited White gay maleness at the cost of silencing and excluding the presence of transgender women of color. ... Instead of fighting for liberation along side of transgender women of color, these organizations used their position of White and cisgender privilege to oppress us inside of their organizations while appropriating our struggles to create the illusion of diversity for those outside the LGBT communities.


And this is why disappointment from cisgender LGB people is so frustrating: We often expect trans people to speak up for us when we rarely offer a word of support for them. As the murder rate of trans women of color increase, so does our silence.

It's easy to be outraged with a person receiving public attention, but that anger also needs to turn inward. What's frightening is that when we reach our social justice journeys, we often expect others to immediately be on the ride, despite the fact that it takes most of us a lifetime to get where we are. This is what cisgender LGB folks are doing to Jenner. Caitlyn Jenner is not a bastion for civil rights -- and neither are many cisgender LGB people who want everyone on our side of justice and equality.

Preston Mitchum is a Washington, DC-based essayist, activist and liberator. He has written for the Atlantic, Ebony.com, The Huffington Post, Think Progress and theGrio. Follow him on Twitter.

This article was originally published on the Daily Dot.

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White Men Like Matt Damon Know All There Is to Know About Diversity

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BY DERRICK CLIFTON


Let's just all take a moment and give a round of applause to all the white men who benevolently offer their wise counsel to women and people of color on matters of diversity

Without their wisdom and tireless efforts, television and movies today would be nowhere close to portraying the realities of Americans from all walks of life. And the people leading most productions, networks, studios, and awarding organizations reflect the spirit of that commitment.

In reality, it's a hollow, apathetic spirit. Even as people from underrepresented communities highlight the persistent pitfalls in representation, both in front of and behind the camera, the industry still finds a way to congratulate itself for a job well done. And so much so, it will trick the public into believing that it's listening and truly committed to giving everyone a fair seat at the table -- even when the same white men running the show keep the seats reserved for members of their boys' club.

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It's what explains the audacity of both Matt Damon and Ben Affleck's Project Greenlight, and a Vanity Fair feature that heralded "Why Late Night Television Is Better Than Ever." Within the same week, both platforms managed to put white men front and center in conversations about inclusion, diversity, and equity in the media. They not only glossed over ongoing problems, but did so while talking down to and over women and people of color who have long forced the issue. 

And the message was clear: It's OK to include narratives about people of color and women, as long as white people (especially men) remain in complete control.










In one instance, Damon -- a rich, industry-backed, white male screenwriter and producer -- dared to dictate to an experienced Hollywood producer (and a black woman) how to handle issues of diversity in the filming process. "When we're talking about diversity you do it in the casting of the film not in the casting of the show," he said, after Effie Brown points out a glaring problem with how a sole black character is portrayed, and why it'll be crucial to hire a culturally competent person to direct it. It's something any wise manager might want to keep in mind, especially when the only black character in a project is a female prostitute being slapped by a white pimp. But as Jezebel's Kara Brown notes, Damon dismissed Brown's appeal, essentially saying "that they don't have to hire any diverse filmmakers on Project Greenlight as long as they throw a few women and black people onscreen."


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And in Vanity Fair, longtime contributing editor David Kamp praised the revitalized "mix of new faces, shows, and platforms," following recent seismic shifts in late-night televisions lineups -- notably as Jay Leno, David Letterman, and Jon Stewart took their final bows, and Stephen Colbert moved from cable to network. To Kamp's credit, he noted that women are "conspicuously missing" from late-night TV, even with Samantha Bee's impending debut on TBS and Chelsea Handler's move from E! to Netflix. But even so, the optics of the headline and the photo of late-night hosts (with Bee and Handler not included) spoke volumes on social media -- late-night television still isn't so great if you're a woman or a person of color. 

The latter of both categories was nary mentioned in the story, but if we're counting all 12 hosts, something is clear: For two groups that make up roughly half the population, they each represent only 16 percent of late-night hosts. It's a fact that wasn't lost upon the likes of CBS, NBCComedy Central, or any entertainment journalists in recent years, when the Internet made it abundantly clear that it was time to break up the white male stranglehold on late-night hosting slots (and writing staffs).

But for now, this is how diversity works in America. White men continue taking the lead, even when they'd probably be better off taking more of a seat -- and working with the leadership of women and people of color.










To be clear, white men and women aren't monolithic social categories, and there's diversity within those ranks as well. For example, a gay white man who isn't trans will likely have different career, education, and life experiences when compared to a heterosexual, white woman. In either case, both parties have a different set of privileges and limitations based on gender and sexuality.

At the same time, both groups have one thing in common: they're still white. And as a result, of no fault of their own, they just won't be as privy to the experiences of people of color beyond whatever they're able to learn.

Even though Handler and Bee are now the standard bearers for women in late-night TV, which is a step up for gender diversity, both women are still white. Reportedly, Amy Schumer turned down a Daily Show hosting gig, satisfied with her current show and because it didn't feel like the right fit. Yet for women of color, who live at the intersections of race and gender, there is no late-night host who looks like them, and relatively few major films where they're running the show.

Notably, the Daily Show's Jessica Williams quieted the online cheers for her to replace Stewart, emphasizing that it's not the job she wants, and of course it's her prerogative. But that she was easily identified as a qualified alternative, and one that wasn't white nor male, suggests that audiences want more diversity in late-night TV, not less. Within the past two years, many black women (and their allies) pressed hard for Saturday Night Live -- weekend late-night television if you will -- to stop putting black men in drag after Maya Rudolph's departure and actually hire black female comedians. The push culminated in roles for Leslie Jones and Sasheer Zamata. (Nasim Pedrad, an Iranian-American comedian on the cast for five seasons, left shortly after to pursue other projects.)

And over on the big screen, a 2015 study from the Bunche Center at the University of California, Los Angeles, highlights that -- based on major film releases in the 2012-2013 season -- people of color remained outnumbered two-to-one among film directors and three-to-one among film writers. As for women, they too, are outnumbered, at a ratio of eight-to-one among film directors and four-to-one among film writers. In the executive offices, it's even worse for women and people of color, where management at almost every level is roughly 90 percent (or more) white and overwhelmingly male.

But if we're still following Matt Damon's logic -- in which he knows better than an experienced black female producer -- the only diversity focus necessary comes through how film roles are cast, not who's directing, writing, producing, or even green-lighting projects. 



The status quo isn't solving the problem. Although inclusion and diversity translate to various historically underrepresented and marginalized groups. Yet in the context of entertainment, even with some measurable advances along the strict lines of gender and sexuality, race remains perhaps the most salient marker of the disproportionate power and privilege held by white men (and some white women) in power. But based on the prevailing reasoning on the issue, all it takes is affirming the leadership of expressly (or aspiring) progressive white men who think they know a thing or two about issues of diverse representation. As far as how women and people of color are represented, it's by incorporating their issues -- as filtered through mostly white male staffs -- whereas a few people from either group get hired in visible roles for optics. But many of those immensely powerful men have no idea about how to truly include marginalized perspectives, or engender more access and equitable division of power in the industry.

No matter how well-intentioned, the mostly white male late-night hosts, film producers, and directors can't rely on their thoughts alone to substantively address ongoing issues of inclusion. No amount of self-education in the world is a replacement for one straightforward, yet seemingly Herculean task: Hire diverse people of color at every level, in front of and behind the camera.

And when there's a discussion about diversity, remove white maleness from the center.

Derrick Clifton is the deputy opinion editor for the Daily Dot and a New York-based journalist and speaker, primarily covering issues of identity, culture, and social justice. Follow Derrick on Twitter: @DerrickClifton.

This story originally published on the Daily Dot.

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PrEP Is Ready for Prime Time

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It's time for an update. Pre-Exposure Prophylaxis (PrEP), aka the anti-HIV pill, is ready for Prime Time. And now, it is not just a statement proclaimed by the CDC, global HIV activists and local health departments. Last night, Shonda Rhimes done did it again. While gripping a sizable portion of America to their seats to find out who killed Rebecca on How To Get Away With Murder (spoiler alert later), she dropped a bit of knowledge on Shondaland. At the end of last season, we find out that Oliver, the boyfriend to one of the main characters has been diagnosed with HIV. The boyfriend, Connor, immediately hugs him and the scene ends.

During Thursday's episode, we see how their sexual relationship evolves immediately thereafter which mimics the experiences of many People Living with HIV. When Connor wants to have sex --as always -- Oliver declines because he is still having a hard time feeling like a sexual being soon after learning of his HIV diagnosis and also for fear of transmitting HIV to Connor. Connor then desperately pleads to at least do other sexual activities instead of having "sex-sex" (read: anal intercourse) that can make HIV transmission highly unlikely. To top it off, Connor reminds Oliver that he has started PrEP to prevent infection (in the event of an exposure). You know PrEP...the drug that when taken daily, as prescribed, has been shown to prevent HIV infection up to 96 percent of the time. Actually if you do not live in certain regions of the United States and/or part of particular HIV-aware circles, you probably have not heard of this biomedical breakthrough. Also you may be unaware that a large group of gay men in San Francisco were given the medication and it was shown be 100 percent effective for that group. Yes, 100 percent of those men.

In a short scene of this episode, HTGAWM quickly addressed reduced self esteem post-HIV diagnosis due to stigma, safer sex alternatives and PrEP. This conversation was held in the context of the mundane life of two people who are getting to know each other better as they become more serious romantically. Did the show discuss all, or even the majority, of the details about safer sex alternatives, ways to overcome depression post-HIV diagnosis, how to access treatment and supportive services,and how PrEP can work and cannot work for some individuals? No, absolutely not. This is a Prime Time television show focused on a myriad of rapidly moving dramatic topics set against murder mysteries. It is not an HIV Prevention PSA by any stretch of the imagination. PSAs regarding PrEP, access to treatment safer sex and thriving (not just surviving) with HIV are the jobs of myself and my colleagues worldwide.

In the meantime, Pop Culture is buzzing about the fact that -- SPOILER ALERT -- Bonnie is responsible for killing Rebecca; Wes may be the eventual attempted murderer of Annalise; and Annalise is bisexual. Oh and there is a drug that can prevent HIV. Stay tuned.

In the meantime, Carry On & PrEP!!!

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It's Been Four Years Since Stephen Colbert Created a Super PAC -- Where Did All That Money Go?

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Before taking over as host of The Late Show, Stephen Colbert was interviewed by Salt and Light -- a Catholic media foundation -- in anticipation of the arrival of Pope Francis in the United States. The host asked Colbert what he would like to see the pope talk about during his visit to Congress.



Colbert: The corrupting influence of money in politics, because it reinforces not looking out for the poorest or the least of my brothers. I think that's what they need to hear the most because until you can control the money you will not control the message of Congress, and so you won't get action in Congress that looks out for average people. One thing I've learned ... I had a super PAC for a couple years ...


Host: What ever happened to that money?


Colbert: Good luck finding out.


The host suggested they needed an investigative journalist to look through the paper trail. "You'd be the first journalist who tried," Colbert quipped.

We were surprised to hear that no one had followed the money trail. So, Mr. Colbert, we at the Sunlight Foundation would like to accept your challenge.

Sunlight's Senior Staff Writer Melissa Yeager went step-by-step down the Colbert super PAC money trail to demonstrate how complicated it really is to follow the money under our current campaign finance system.

In the interest of transparency, we're going to walk you through the process and provide all the links, which will hopefully help you monitor the cash flow of 2016 candidates. The resources we used include campaign finance reports from the Federal Election Commission, nonprofit disclosure forms known as 990s from the Internal Revenue Service, our own Real-Time Federal Campaign Finance tracker, as well as financial statements and press releases from the charities that received funds from Colbert-affiliated entities. Finally, we did some good, old-fashioned research on Google, LinkedIn and social media.



All right, let's get started!

The players



Before we start, we want to clarify the players you need to know:


  • The super PAC: Americans for a Better Tomorrow, Tomorrow, Inc., established in June 2011 by Stephen Colbert

  • The 501(c)(4) dark money group: The Colbert Super PAC SHH Institute, established in late 2011 by Stephen Colbert to lure anonymous donors

  • The beneficiary of the money not spent by the super PAC: The Ham Rove Memorial Fund of the Coastal Community Foundation of South Carolina



The donors



According to the Federal Election Commission website, Colbert's Americans for a Better Tomorrow, Tomorrow super PAC raised $1,237,220 in 2011-2012.

FEC filings report $1.1 million of the money raised by Americans for a Better Tomorrow, Tomorrow came from unitemized individual contributions. "Unitemized contribution" is a term the FEC uses for contributions of $200 or less. PACs aren't required to list these individually, and they appear on the filings as a lump sum. (Colbert called these people "Heroe$" and scrolled their names through the show even though he was not required to name them.)

The FEC does require candidates and PACs to individually list the names, occupations and addresses for each donor who contributes more than $200. Americans for a Better Tomorrow, Tomorrow's filings show $121,065 came from itemized individual contributions. The spreadsheet on the FEC's website can be sorted to show the top donors.



Independent expenditures



Now it's time to find out where the $1,237,220 went.



First, the easy part: independent expenditures.

Independent expenditures are any expenditure made by a super PAC either supporting or opposing a candidate made without consulting with or at the suggestion of another candidate or candidate's committee (PAC).

Americans for a Better Tomorrow, Tomorrow spent $79,526 on independent expenditures. Here's the breakdown of those, courtesy of Sunlight's Influence Explorer:


  • $31,530 supporting Herman Cain

  • $26,102 opposing Newt Gingrich

  • $20,669 opposing Mitt Romney

  • $900 opposing Herman Cain

  • $326 supporting Mitt Romney



These expenditures were political ads that ran online and on local television stations in Iowa.

So we're all following along so far? Good. Here's where it gets tricky.

Operating expenditures



Americans for a Better Tomorrow, Tomorrow spent $395,194 on operating expenditures, or the costs needed to run the campaign.

Who received that money? Not many people have looked into that part of the Colbert super PAC, and this is where it gets interesting.

When Colbert decided to run for "the President of the United States of South Carolina," he turned over the super PAC to Jon Stewart, who, in addition to hosting The Daily Show, was an executive producer of The Colbert Report.





Super PACs are not allowed to coordinate, consult with or take suggestions from candidates or their candidate committees. Yet, the expenses from the super PAC show they were paying a lot of people with obvious direct ties to The Colbert Report. This was likely an intentional way for the witty Colbert to satirize how a campaign could easily flout the "no-coordination" rule -- and no one would question or investigate the super PAC's activities.

For instance, we found the Colbert super PAC had a multitude of so-called media consultants. In fact, 14 different people and companies were listed as media consultants to the tune of $33,963. With quick use of Google, we found several with direct ties with The Colbert Report.

In fact, most of the list of expenditures reads like the credits of The Colbert Report. Again, this is similar to how most super PACs supporting a campaign are run by former aides or someone who has long-time ties to the candidate.

Those include:



By our math, about $43,959 went to different team members of "The Colbert Report." The super PAC also paid money to other businesses with links to the Colbert show including:


  • MTV Networks (email communications), the former parent company of Comedy Central

  • Extreme Group Holdings, LLC, also owned by Viacom, Comedy Central's current parent company, was paid for media consulting

  • Hello Doggie, Inc., the production company for "The Daily Show" and "The Colbert Report"



And, the PAC also paid $2,755 to meat processor Plumrose in New Jersey, presumably for the vital services of Mr. Ham Rove over the period of several months. In other food-related expenditures, the PAC paid $400 for a cake congratulating Jon Stewart on the success of his book "Earth."

The PAC also spent $3,500 toward commissioning Marist Institute of Public Opinion to conduct a poll and $47,965 for T-shirts and other apparel. (Stephen Colbert tote bags, anyone?)

And, of course, it's the lawyers who always win. Americans for a Better Tomorrow, Tomorrow paid the largest amount, $90,051, to attorneys at D.C. law firm Caplin and Drysdale. On the show and on the super PAC's website, Colbert repeatedly bragged about having good attorneys. The fees likely paid for advisement on the formation of the PAC and communication with the FEC to get opinions about the legality of talking about the super PAC on TV.

Where'd the rest of the money go?



FEC filings show the balance of the super PAC's money, $773,704 went to the Stephen Colbert Super PAC SHH Institute, a 501(c)(4) nonprofit.

These so-called social welfare groups are allowed to spend money on limited amounts of political activity, but it's next to impossible to see who donated that money and where it went, a loophole that was likely not lost on Colbert and the staff of "The Colbert Report."

Nonprofits are required to file either a 990 tax form or a 990-EZ card with the IRS. The EZ card is typically filled out by organizations who have gross receipts of $50,000 or less. The 990 form N is filled out by organizations typically raising more than $50,000 and contains more itemized information about names and salaries of those running the nonprofit, its receipts and expenses, and sometimes they include donor information. There is a 501(c)(4) registered with the IRS called the Stephen Colbert Super PAC SHH Institute, but because it doesn't report having assets of more than $50,000, it's required only to turn in a postcard, not the full 990 return.



Ham Rove. (Credit: The Colbert Report/Wikimedia Commons)



IRS filings are typically at least two years behind, and it's hit or miss on how clearly they identify donors or whether they identify donors at all. By then, the election is long over and voters don't have the opportunity to see who's really behind these groups and consider their motivations when casting their ballot.

The website dedicated to the end of the Americans for a Better Tomorrow, Tomorrow says that the money went from the SHH Institute to the Ham Rove Memorial Fund, in honor of the adviser to his super PAC. The money was distributed to six different charities. Many of the charities listed the donations on their websites as coming from "Ham Rove Memorial Fund of the Coastal Community Foundation of South Carolina." That's the same foundation that handles the charitable distributions for the proceeds from Stephen Colbert's Ben and Jerry's flavor, Americone Dream. (Colbert alluded to passing the money to a second 501(c)(4) on his show.) Each of the six reportedly received $125,000.

But we found that wasn't quite the case.

Going through Coastal Community Foundation's 990s as well as press releases and the 990s of the charities in question, we were able to piece together that the Ham Rove Memorial Fund was established and the foundation distributed donations in the exact figures of:


  • $138,022 to Donors Choose

  • $141,500 to Habitat for Humanity

  • $125,000 to the Yellow Ribbon Fund

  • $125,000 to Team Rubicon

  • $136,852.41 to Campaign Legal Center

  • $136,852.41 to the Center for Responsive Politics



If you do the math, you'll figure out that that amount, $803,226.82, is $30,006 more than the $773,220 reported to the FEC. We suspect the "media consultants" may have also donated their "consulting fees" to charity.

How did the charities spend the money?



This is a whole lot of work to point out the lack of transparency in campaign finance laws. The silver lining is that the Heroe$ really did help six nonprofits continue their work.

Habitat for Humanity, Donors Choose and Team Rubicon all received the funds to help with recovery from Hurricane Sandy. The Yellow Ribbon Fund received funds to help injured service members and their families. The Center for Responsive Politics and the Campaign Legal Center both renamed their conference rooms in honor of Ham Rove.



Deep breath, everyone. We made it.

It's important to point out that following the money for Colbert's political finance groups was a long, long process. But despite the arduous amount of research we did, tracking the cash flow of Americans for a Better Tomorrow, Tomorrow was actually much easier than it would be for almost every other case. Mr. Colbert flaunted his super PAC on cable television and left plenty of bread crumbs for journalists to follow; we knew where the money ended up and were able to fill in the gaps. Without these clues, it may have been simply impossible to track. Needless to say, few candidates for political office will be as generous -- leaving the public in the dark.

So, what do you think, Mr. Colbert? Did we find all the money?

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How I Learned to Love My Latina Roots

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Growing up in the Bronx, a daughter of a Cuban father and Dominican mother I was surrounded by Latino pride. Granted, back then it was predominately Puerto Rican pride. Somehow, my friends always assumed I was Puerto Rican because I spoke English and "looked like them."

Back then, being Dominican or Cuban was not common or popular. The Dominicans that were in school were all new to this country and occupied the English as a Second Language (ESL) classes. But we were Latinos. We all shared a pride in speaking Spanish. We never questioned our curves -- actually we made sure we flaunted them! We shared the love of the same music, our parents cooked the same food, we shared similar if not exact family stories. It was all familiar.

The only time I found it odd to be Latino was during history class when we would learn of different cultures or a time in history that never included any of my people. Where were we in the roaring '20s or '60s marches? Why didn't these history books ever discuss my cultura? No mention of us inventing, creating, discovering -- nothing.

For a brief time, I started to suspect that perhaps we suddenly appeared on this earth out of the blue, like a new species! It certainly didn't help that when I would turn on the television I wouldn't see anyone that looked like me. Films weren't being made with actors that sounded like me or people I grew up with. No one was telling our stories! We were missing! Where were we?!

When High School came around, I decided to apply to LaGuardia H.S. The "Fame school" and venture out of the Bronx. I left friends behind and all that beautiful Latino pride that was part of my everyday existence. I was suddenly in unfamiliar territory with people who questioned the very things that I grew up loving about myself.

Suddenly, the sound of my voice was different from those around me. My new classmates made fun of the way I pronounced certain words. My diction teachers gave me many vocal exercises so I could have a more "neutral"sound. My curves were viewed as being too much. I was suddenly "overweight" or too bottom heavy! Being told my butt was big was no longer a compliment. Even my style of dressing was viewed as wrong.

And it didn't help that once again I discovered that not only were my people, my culture, missing from text books, but we were also missing in my drama classes. I was surrounded by names of playwrights that once again didn't reflect my life, my history. We would be assisgned roles from plays that never had a Latino character in it.

So I learned to get rid of my accent. I started to dress different. I lost a ridiculous amount of weight. I started to learn other dialects and feel conscious whenever I had to speak. My very essence was being stripped from me. My young self was made to feel invisible in history and out of place in her current world.

Somehow leaving the comforts of my Bronx neighborhood I was made to feel that in order to succeed, I couldn't be who I was! Latinos didn't seem to have a place. By the time I was getting ready to graduate high school, Rosie Perez had come on the scene and JLo was slowly making a name for herself. Accents and curves were suddenly making a mark in the industry! Lauren Velez looked like she could be my prima and she was on TV! And John Leguizamo was dominating with his raw funny honestly in his one man show.

Looking back on those early years, I feel regret. I wish someone would've told me that I didn't have to lose my essence to make my mark. I would've told my 14-year-old self during that time that the sound of my voice was beautiful and needed! And that I would be asked time and time again in my professional acting career to use a Spanish accent at every audition that would come my way upon graduating.

In fact, my first audition I would be told that I needed to sound MORE Spanish! I was told I didn't sound the way I looked (excuse me?!). Of course, I must add here that part of being a well-rounded actor is to be able to step into many roles. So I am grateful for the training.

I am grateful for all the plays I read written by playwrights from all over the world. Unfortunatley, missing from those lessons were my beautiful gifted Spanish playwrights who also deserved to be part of the curriculum. I wish I wasn't made to feel in those early days that somehow my type, my sound, my curves, would not be accepted.

I wish someone would've shared with me that my cultura was just as important as those in all those school text books -- that Cuba, the Dominican Republic, Puerto Rico, Mexico, Columbia, etc. all had rich and very important histories. And that many of our people came to this country and contributed to it's history. That we also fought for rights, that we contributed to the development of this country as well as where we were from. That our history was also filled with politicians, doctors, inventors, playwrights, musicians, actors and painters, etc.

I wish I would've told my acting teachers that although I loved Tennessee Williams, I wanted to do a scene from Federico Garcia Lorca or Pedro Calderon de La Barca. I would've questioned why we had to learn southern dialects and not Spanish ones.

Now I can only grow from those past experiences. I can share with my daughter, nephews and nieces the knowledge and pride that I carry with me. I can let them know that it's ok to have pride and sound and look different no matter where you go and what you decide to do in life.

All those things I wish someone would've shared with me, I now have an obligation to share. All of my struggles, the struggles of all those that came before me, the stories my Cuban father now passes along to my daughter and her classmates on "bring a relative to school day" to discuss his political life in Cuba and his journey to this country.

I also know that it's different today. I know that now we are seeing more Latinos in politics, Latinos making history like Justice Sonia Sotomayor. The first Latina Supreme Court Justice in U.S. history, from the Bronx I might add! I can make sure that although Juno Diaz's novels may not be part of a curriculum that my daughter knows he exists and is a Dominican Pulitzer Prize winner. I can take them to see a musical written by Tony award winner and Puerto Rican Lin-Manuel Miranda.

Latinos have and continue to contribute so much to this country in many areas of our daily lives. I wish my young self would've been aware of this. I wish I would've known what I know now and never have allowed any teacher, agent or casting director back then make me feel less than, not worthy or not beautiful. I'm grateful now however for those experiences because it has made me aware of my self-worth, and I am able to pass this along to the young Latino boys and girls I meet today.

As much as things have progressed from my teenage years, we still need more representation in high government positions, as company CEOs, lead actors/actresses in films, at the Emmys (especially this time around where we were clearly left out with many deserving Latino performances), Golden Globes and the Oscars. We still need to see higher enrollment in college.

We still need to make our voices heard and counted come election time. We have a responsibility to teach our children that although we may be missing from history classes we are very present in the world. I love that my daughter is growing up in a world with more faces, names and stories she can relate to.

In honor of Hispanic heritage month, make sure you share something beautiful and representative of your rich cultura!!

In honor of Hispanic Heritage Month, The Huffington Post asked celebrated figures in the community to write about Hispanic heroes who have shaped their lives and/or how their heritage has made an impact on their lives and careers. We will be sharing their stories throughout the month. But we know they're not alone. If you'd like to share your own story, email us at latinovoices@huffingtonpost.com.

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Did You Know Ash vs. Evil Dead Actress Jill Marie Jones Was in American Horror Story?

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Jill Marie Jones is the female lead and all around badass state trooper turned zombie-killer "Amanda Fisher" in the new Sam Raimi / Starz produced series Ash vs. Evil Dead, premiering on Saturday, October 31st at 9:00 pm ET/PT. Jill Marie Jones' Twitter , AVED Twitter: @AshvsEvilDead , Ash vs Evil Dead Official Trailer




Speaking with Jill Marie Jones was total awesomeness for me since I love horror movies, Sam Raimi and you know, Bruce Campbell who are both from one of my favorite shows, Xena: Warrior Princess.

I love talkers and Jill Marie Jones is just that! Try to look away from her stunning picture up there long enough to read this interview! Onward!

Tell us about your audition.

My audition for Ash vs. Evil Dead was hands down the most interesting audition I've had to date. One of the notes was to act out both scenes entirely. Now, that may sound like a regular Tuesday audition, but trust me, it was not. They wanted all the movement, which is not something that is typically done in an audition, and there was a lot! Just imagine yourself pretending to have a gun and entering a house on full alert. I was walking around invisible corners while shooting my pretend gun, fighting and getting punched by make believe people, falling to the ground, etc. It was WILD, and I loved it! They were very protective of the script and with the fear it would be leaked, we were only given the sides of the character we were reading for. Amanda Fisher's sides read like a horror drama. Funny enough, I thought that it was a typo when it said it was a comedy on my original appointment sheet. AVED is unique because you have humor, ass kicking, and of course, in true Evil Dead fashion, lots of blood...but also the horror in the show is really scary. You have all this goodness wrapped up in one show, I can't wait for the world to see it! I didn't meet the amazing Sam Raimi and the rest of our wonderful producers until after I got the offer. I did read for AVED, but there was another network that wanted me for a role. Our incredible network (STARZ) and producers swooped me up quick and offered me the show and the rest is history. I'm SO HAPPY they did because it was the one I really wanted!

What do you think about the horror genre?

I love the horror genre. It's up my dark dirty road. I grew up on Friday the 13th, Nightmare on Elm Street, Halloween....those were definitely my favorites. I wasn't really into gore until later on, but especially now after Ash vs. Evil Dead, I'm like "More blood? Yes please!"

Actor Bruce Campbell has been in the business forever. Did you ever feel intimidated by his presence?

I wasn't intimidated, but I have the utmost respect for Bruce Campbell and the character and world he created. Bruce set the tone and we followed his lead. It can be a bit scary stepping into a project so huge and highly anticipated. Luckily for me, the shoes I wear in the world of Ash vs. Evil Dead have never been worn. I'm not reprising a role so I've had the great freedom of finding her and creating without limitations. The number one thing I wanted was to do was make sure I did the legacy justice and make the die-hard fans happy.

Tell us a behind the scenes story for American Horror Story: Asylum that you never told publically?

I don't have any funny or crazy stories; however, producers and the cast members were amazing and one of the best sets I've been on. And of course, it' not too difficult playing opposite of the talented and sexy Dylan McDermott. It was like a master class.

What's it like working with the legendary Sam Raimi?

He's a genius, man! He directed our first episode. It's so inspiring to be in the company of such a creative mind. It's great when you meet someone at his level that's so kind and has a heart of gold. He has such a gentle touch in his directing style. He gets his shots, but he does it with such respect, and not just with the cast members, but with the crew. Working with him is a dream.

What are your food and workout routines?

I eat pretty healthy, but let's keep it real, I'm from Texas and I love food! Everything in moderation, right? I wouldn't call myself a fitness nut, but I'm active. I enjoy hiking, boxing, and spinning. I like to mix it up to keep myself entertained.

You played Toni Childs for six years on the series Girlfriends. What's it like working for six years with one character vs. a guest spot which might only be one episode?

It's great being able to be a part of a family for multiple seasons. Girlfriends will always live on in my heart, and having the opportunity to play such a complex character as Toni Childs was a dream come true. It is where it all began and I thank the incredible Mara Brock Akil for seeing in me what I've always seen in myself. One of the benefits for being a series regular is you have more time to find and explore the character, it's different with a guest spot. The audition may be on a Monday and it shoots that Wednesday, so you don't have the luxury of time to get in the mind of the character. On the flip side, it's definitely fun to get to do these guest spots and do something completely different than you've ever done before.

Did you ever have braces? Love that smile!

Thank you! I did, I've actually had braces twice. Once when I was in Junior High, and then funnily enough, when I was on Girlfriends. What's even crazier, three of the four Girlfriends had braces at the same time, during the same season.

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"Fargo" Is Fantastic

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Get ready world, the second season of "Fargo" is upon us and it is fantastic! The first season of the TV show, based on the movie of the same name, had critics falling all over themselves to praise it. Well they had better get out their thesaurus and find more words to describe a brilliant and beautiful show cause season 2 is a smash.

This new season of "Fargo" could best be described as a prequel to the first season in that it takes place in 1979. We observe younger versions of some of the characters who appeared as their older selves in the first season of "Fargo". Since I never saw the first season of "Fargo" these "continuations" eluded me.

The focus of the show is a war brewing between a local "family" business and a full fledged mob gang. They both want to control the illegal activity in and around Fargo. The family is headed up by Floyd Gerhardt (Jean Smart). She is supported in her activities by her three sons. Dodd (Jeffery Donovan) is the eldest, Bear (Angus Sampson) is the middle son, and Rye (Keiran Culkin) is the youngest.

Opposite them is the mob leader Joe Bulo (Brad Garrett) and his main henchman Mike Milligan (Bokeem Woodbine). Each side has an army of supporters. When the battle breaks out there will be many casualties on both sides. Caught in the crossfire will be local couple Ed and Peggy Blomquist (Jesse Plemons and Kirsten Dunst). Trying to keep order in the area are State Police Officers Lou Solverson (Patrick Wilson) and his father-in-law Hank Larsson (Ted Danson).

The plot is complex to say the least with each of the characters linked by plot or kinship. It doesn't take long to sort out who is who but the whys of their involvement is more difficult to discern. Figuring out who is in trouble and why is what makes the whole thing so entertaining.

It is hard to imagine a TV series that has ever been this suspenseful and intelligent. The acting is amazing with Smart, Woodbine and Danson being standouts from the start. Still even the most minor role is absolutely essential to the overall coverage of the "true"story, and the lesser players have to be just as good as the "stars" and they are - to the person.

Like the movie, this TV series uses humor to coat over the most vivid acts of violence. For some viewers it will all be too rough to be absorbed, much less enjoyed. However for those who can stomach the gore this is a show that shines. You grow to know the characters and either love or detest them. You watch moments of beauty formed in relationships, and you recoil in horror at the violence that erupts.

"Fargo"exists in a world of its own. You don't want to love it but you will. It is maddeningly brilliant, explicitly ugly, and fascinatingly watchable. I have seen only the first four episodes and I want more, more, more ASAP. A show like this is why cable was invented. It isn't for everyone but for those who can understand and accept it, it is fantastic.

"Fargo" airs Mondays at 10 p.m. on FX.

www.jackiekcooper.com 

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Falling Down the Rabbit Hole: The Hole in Amy Schumer's SNL Monologue

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The very popular Amy Schumer has finally hosted Saturday Night Live and I must admit, I may be too old to appreciate her. She's a phenomenon for sure, but I'm not on board with her kind of feminism. I'm not asking her to be a role model, but she brought the topic up in her opening monologue.

Sexually independent women were always my heroines. Georgie O'Keefe for one. Grace Slick for another. Her voice rocked the rock world when almost no women were singing from as sexual a place as she was and she once pulled her dress up during a rock concert showing everyone she wasn't into wearing panties. I loved and still love the elegant folk poet, Joni Mitchell, who sang about her many love affairs and told us she'd seen some "hot hot blazes come down this smoking ash". It was a brilliant poetic metaphor for hot sex without using the word "cunt" or other giving up other graphic details better left to the imagination, if you have one. Later on, Lily Tomlin became a sensation, and movies like Private Benjamin were hits. Women were freeing themselves up.

I've seen several comediennes currently on stage who have hilarious stories of sex-capades that are irreverent, and yet they are not self loathing. The names Schumer calls her body are not flattering, and although this resonates with many it seems, putting yourself down like that does not emancipate you no matter what your motive. Impossible body images are something women live with every day and everywhere. Ms. Schumer takes umbrage with that, and yet joins in at the same time. Aren't there enough billboards on Sunset Blvd. depicting women with their legs spread or offering up their asses to the world than to have to bring more the same on stage?

I had a pact with myself in my 20's that by thirty I'd be what I wanted to be when I grew up, so I got serious with myself midway through. My acting teacher and mentor, Anne Macey, set me straight, or at least straighter. She asked me, finally, whether I wanted to be a party girl or an actress. I chose the latter. The word role model wasn't used back then, but my acting teacher preached that responsibility came with a woman's work. She was a 70's style feminist. While I was studying acting I did a few plays and decided there weren't enough parts for women in San Francisco, so I started writing my own monologues for characters. I wanted better roles so I wrote them myself.

The two best female comedy prospects performing in San Francisco at that time were Paula Poundstone and Ellen DeGeneres. Poundstone was and is brilliantly cerebral and had a way of acknowledging women's obsession over body image in a crafty way. The best comics find a way to come in the back door with that material, and then walk out the front door like they own the place. Poundstone and the witty Ellen DeGeneres of course went a very long way, but back then they represented a new brand of comedy. They were the great roles that they wrote.

So when did it happen that women began to mistake drunken stupors and one night stands for feminist emancipation?

In her SNL monologue, Schumer called out the Kardashians as pitiful role models and it was a nice moment. Her line about the Kardashians treating the faces they were born with as just a suggestion was spot on, and then she lamented the lack of better role models. But in the next moment she talked of grabbing her ankles, offering up "any hole" to her ideal sex icon, Bradley Cooper, who had expressed an interest in her. "Any hole's fine" said Amy after striking the pose for him, figuratively. There seemed to be an attempt to throw the line away, but I rewinded and it was still there. Wow. Is the quarterback of the football team really worth that kind of degradation?

Much of Schumer's act is about sex and female pleasure. I came of sexual age in a free-wheeling era, when not having sex on the first date was considered impolite. We were giving the milk away and telling the cow go fuck herself. Back in the 70's women decided orgasms during sex were a must. We wrote about them in excess and took so much "responsibility" for our own pleasure it made everyone nauseous. But I can tell you that what most liberated young women were after then in the long run was romantic love along with real sexual pleasure. We just didn't want to admit it.

Why must we abandon a feminine notion of attraction to be set free? Why must we take on the personage of the quintessential bad-boy, the misogynist frat house prig who mocks women who attach emotionality to sex and don't know how to pole dance? Schumer's women are girls who masturbate at the movies the way men once did in porn houses. I don't seek that kind of equality. I'm not ashamed of the fact that I have more estrogen than testosterone. My energy is feminine, and that doesn't make me a weakling.

Masturbation is a dreary word invented by someone who never did it, I'm sure.

I started early and it kind of freaked my mother out when it became my favorite pastime. But I've never felt the need to do it in public. In my experience it was always the guy who wanted to have sex in public places. I hate mosquito bites. I have always been attracted to masculine men, but I don't want to be one.

"Any hole is fine" doesn't do it for me. Bending over has never been my first inclination upon meeting a man I consider a sex god, and mine was Harrison Ford. The night I met him on a movie set I wrenched my wedding ring off my finger while my hand was in my coat pocket. But there my folly and my fantasy ended.

The image Schumer conjured up on national television was not a funny one. In fact, it's an image of such pornographic subservience that it's sickening. It brought to my mind the sadness of the sex trade, which is real and lurid, and into which female captives have been forced in numbers we haven't bothered to count. There in captivity they strike that pose on command. As presented by Ms. Schumer, it's every bit as soulless.

I love sexually independent characters and not all of them are feminine. Jillian Anderson's character in The Fall, who chooses her men, beds them, and never allows them back, is a masculine heroine, a woman who takes all the privileges of manhood and the loneliness that comes with that for her as a woman. Clearly she gets what she wants in bed, and she also catches the killer. She's a fantasy as well as a feminist statement.

I had plenty of casual sex in my party girl days, but it never really was. The acts themselves were fun but I was more likely to want to repeat the fun with the same guy, and then I needed to know him. Casual sex left me with an empty feeling that indeed became a hole that I tried to fill with chic cocktails and drugs, but nothing did.

Girls are watching Saturday Night Live and in the instance that there's a female host as hot as Schumer now is, they will be looking up to her. It isn't your average two-drink minimum comedy club you're playing when you take to that stage. Some of the viewers still have teddy bears in bed with them. There are better female role models out there for girls. Kristen Wiig and Melissa McCarthy to name just two who are wildly funny and and smart and fabulously liberated, in my view.

Being a woman is complicated. I don't fault Schumer for tackling the subject of female identity. I just wish she was smarter about it. Woman can play football if they want to, but must we beat men at their own game? Do we really have to?

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Monty Python's Terry Gilliam: I'm Not Dead Yet!

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Last month, Variety magazine inadvertently reported that Terry Gilliam had died, sparking a viral flurry of condolences from around the world. The rumor persisted for hours -- an eternity in Internet time -- and left unsuspecting friends and family of the original member of Monty Python's Flying Circus and the director of twelve films in shock.

Gilliam -- whose body of work includes such cult classics as 12 Monkeys and Brazil -- is, of course, very much alive and, appropriately, pitching his new book, Gilliamesque: A Pre-Posthumous Memoir. In the clip below, he shares how he reacted to being killed off and resurrected by a premature Variety obit.



For more of our conversation, be sure to tune in to Tavis Smiley on PBS. Check our website for your local TV listings: www.pbs.org/tavis.

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Dick Van Dyke: I Feel the Bern -- But Sanders Isn't 'Castable' as President

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In celebration of his 90th birthday, legendary actor Dick Van Dyke shares his personal philosophies on aging in a new book, Keep Moving and Other Tips and Truths about Aging. Van Dyke challenges all of us to stay active, engage the world around us and be enthusiastic about growing old.

In this clip, he shares his views on this year's most senior presidential candidate, Bernie Sanders, age 74, and sounds off on the dysfunction of the American political system.



For more of our conversation, be sure to tune in to Tavis Smiley on PBS. Check our website for your local TV listings: www.pbs.org/tavis.

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Danny Pintauro: 'I'm Not Here to Tell the Story They Want Me to Tell'

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When Danny Pintauro sat down with Oprah Winfrey in September and disclosed his HIV status to the world, he sparked a conversation about stigma, HIV prevention and drug use to a massive TV audience. But when Pintauro went on ABC's The View to chat with fellow child stars, Candace Cameron Bure and Raven-Symone, he dowsed that spark with gasoline and lit up the social media stratosphere in a blaze of controversy.

As his media tour continued, the insensitive questions he had been asked by Symone and Bure combined with his account of how he believed he contracted the virus spawned some fiery opinions that have left many divided.

I got the chance to catch up with this brand new HIV activist and chat with him a little about his first month as an openly HIV-positive celebrity and give him a chance to respond to the criticism he has faced.

My first question is a must for every interview. I want to know what your current theme song would be if you had to choose one?

Pintauro: A delicious song called 'I Am Not A Robot' by Marina and the Diamonds.

The lyric "Better to be hated than loved for what you're not. Guess what? I'm not a robot.' says it all!

So Daniel, this must have been an a whirlwind two weeks since you publicly revealed your HIV-positive status. Tell me, what has been the biggest surprise that you have encountered so far?

Pintauro: You cannot go into telling the world you're HIV+ and not expect surprises; you also can't go into it assuming everything will go as planned. But I think what has surprised me the most is that I'm talking about having a life-threatening illness and a drug problem and people, mostly from my own community, are criticizing me for my word choices, my apparent lack of knowledge, and doubting my truths. When did we get to the point where 'You're doing it wrong' became more palatable than 'I'm sorry and I'm here for you?'

Many people were quite upset about the way your interview went on The View with Candace Cameron Bure and Raven-Symone. Now that you have had some time to process it all, is there anything you wish you could have talked about?

Pintauro: I wish I could have redirected the questions better and brought them back to how stigma is still one of the biggest reasons people are afraid to get tested (I mean, what better an example of stigma then that interview?).

But I'm new to this world of activism and I'm still learning how to do it, I know what I'm talking about (you should see the huge binder of information I have) but I'm not perfect; I've been doing it for fifteen days. But, in a weird way, I wouldn't have wanted to change the interview because it got people talking, in a big way... and that is my biggest goal, to get people talking in every corner of the U.S. So, for that, I thank them...

Your former co-star, Alyssa Milano, publicly came out in support of you during an emotional discussion on The Talk. I think your fans want to know if you have had a chance to chat with her since then?

Pintauro: Yes! She actually called me while she was driving to The Talk but it was early in the morning and I didn't answer. It was a lovely message and I left her one after seeing her on the show. Later that night we started texting; she was my everything for the next few days. Encouraging, loving, concerned and just overall wanted to be on my side. We talked family and husbands and she connected me to some really terrific people. I am unbelievably grateful for our new story and look forward to creating lots of new chapters.

Plenty of people have come out publicly with their HIV-positive status, but few have done so on a couch with the Oprah Winfrey. Why did you choose to come out now in such a public way?

Pintauro: I've experienced the stigma first hand many times over the years. I've seen people turn a blind eye to meth on Grindr or similar sites and I'm shocked that so few people even know the meth hookup sites or porn sites exist. I have friends who have nearly died because they were afraid to learn their status (10 T- Cells) and I know someone who is homeless because of meth.

So I decided I needed to do something about it; I've turned a blind eye, myself, long enough. I have so much respect for every single person who has dedicated their lives to keeping people talking about HIV and meth but it makes me angry to know that it took a child celebrity coming out about it to get people to start listening again.

What were some of the fears you had about revealing your status?

Pintauro: You might laugh but the biggest fear I had, by far, was that I would tell Oprah and tell the world and nobody would care. That I would simply go about my life but now the lady at the grocery store would know my status. But I knew that even if that happened I was ready to go door to door to actually make a difference. I really didn't have any fears after that because I was prepared to face everything head on.

You received a lot of heat from the HIV-positive community when you answered the question on how you contracted the virus. In a Huffington Post blog, one critic wrote, "By going out of his way to link his HIV transmission to oral sex, Pintauro has muddied the overall issue of how we talk about HIV/AIDS via a more palatable transmission method. It would have been one thing if he was suddenly putting himself forward as the poster-child for the dangers of oral sex, which aren't currently part of the health class curriculum. Instead, he did the opposite, minimizing this detail with the horrid summary statement of "it's that easy.""

Can you respond to this?


Pintauro: I was having sex on meth and, although I want to believe I was safe and used a condom the right way, the truth is that when partying with meth and other drugs none of us can be absolutely sure. There are people who have sex sober and they still become HIV-positive despite their best intentions.

I have a friend who contracted HIV because he drank too much but doesn't actually remember what he did or didn't do. I have another friend who hooked up with one guy outside of his relationship and seroconverted. Mistakes happen but, like anyone who has seroconverted surely has done, I have spent endless hours going over that day trying to figure out what I did wrong. It serves me no purpose to lie about this and I'm not going to fudge my truth because it 'muddles the overall issue.' I'm not here to tell the story 'they' want me to tell. I'm here to tell my story.

Look, as more and more people came out of the 'gay' closet the community started making big advances; that ended the stigma enough to get us to where we are now. People who are HIV-positive are going to need to come out of the 'HIV' closet for us to end the stigma and make big advances... but with so much internal hate and judgement in our community, that isn't going to happen anytime soon.

We all cringed when Raven-Symone turned to your husband and asked him about your sex life during your interview on The View. Now that it has been a minute, how do you feel about him being brought into the discussion in the way he was?

Pintauro: Though my husband and I have been preparing for this for months he is just getting into speaking in front of a national audience. He had prepared a great answer to another question: 'Danny told you about his status on your first date, you said that you were 100 percent okay with it because of his honesty and character. Can you tell us more?'

It's sad that he didn't get a chance to show America what one of the hundreds of HIV-negative men and women who have decided they love their partner enough to be in a healthy serodiscordant relationship looks like. An opportunity to give hope to so many HIV+ people worried about finding love nixed in favor of talking about our sex life.

It hasn't even been a month since you took on the role of HIV activist. Tell me, what do you see yourself doing in a year from now?

Pintauro: I've been saying since the start that once the national firestorm dies down is when the real work begins and I still believe that's true. In a year from now I hope to be speaking across the country and the world (notably Australia where meth is a big problem) about PReP, complacency, meth, and stigma.

I hope to be igniting a fire within our community to rally as hard to remove HIV and meth from the gay community as we have just recently rallied to achieve marriage equality. We know how to rally, its time we rallied within. And I hope to be speaking with people regularly in some way... perhaps a Youtube channel or column, to give face to the many people who chose to come out of the HIV closet, who choose to be proud of the fact that they are undetectable and taking care of themselves, or who may still be in the middle of it.

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11 Great Spy Flicks You Can Stream on Netflix Right Now

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BY DAVID WHARTON

They're cool, calm, collected, clever, cunning, and -- if they're doing their jobs right -- uncatchable. Meet some of the greatest spies on Netflix today.

1.Three Days of the Condor (1975)

Joe Turner (Robert Redford) is a CIA analyst whose job is on the books... literally. Joe's job is to pore over books, magazines, and newspaper articles in search of patterns, hidden meanings, or even just ideas that dangerous people might decide to bring off the page and into reality. So he's thoroughly unprepared when he returns from a lunch break to find all of his co-workers gunned down by unknown assailants. After his official rendezvous to bring him in "out of the cold" results in him nearly being killed by another assassin, Joe realizes he can't even trust those within his own organization, and he's going to have to piece together what's going on or die trying. Faye Dunaway won a Golden Globe for her performance as an innocent bystander turned ally whose apartment Joe commandeers, and Max von Sydow steals scenes as a morally flexible hit man with an unfailingly pragmatic view of the world.



2. Marathon Man (1976)

I love the James Bond/Mission: Impossible style of action-heavy spy thriller as much as the next guy, but there's a lot to be said for throwing an everyman protagonist into that world of intrigue and watching them just try to survive. At least Redford's Joe Turner actually works for the CIA; Thomas Levy (Dustin Hoffman) is only related to a government agent, but the death of his brother (Roy Scheider) is still enough to put him on a collision course with a scheme involving Nazi war criminals, stolen diamonds, and non-elective oral surgery.


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Poor Thomas has the bad luck to be a guy who knows nothing but whom very bad people are convinced does know something, and one of those people is a sadistic former Nazi with a love of unanesthetized dentistry. The infamous torture scenes are both cringe-inducing and justifiably iconic, and Marathon Man earned Sir Laurence Olivier another in a long line of career highlights: a Best Supporting Actor Oscar nomination for his role as Dr. Szell. It's safe to say Marathon Man is a must-see classic.



3. Top Secret! (1984)

James Bond has been known to keep his tongue in his cheek (when it's not in someone else's mouth), but for the most part, the spy thriller genre takes itself pretty seriously. As such, it's perfectly positioned for lampooning, and the Airplane! team of Jim Abrahams, David Zucker, and Jerry Zucker lampooned the hell out of it with their underrated classic Top Secret! (Those guys love them an exclamation point.) Val Kilmer plays Nick Rivers, an American rocker who travels to East Germany and gets ensnared in a Resistance mission to rescue a brilliant captive scientist. I know, I know, it all sounds like the plot of some bad movie [looks awkwardly at the camera]. The unstoppable barrage of jokes, puns, and sight gags will make you long for a time before parody flicks had been run into the ground by the Scary Movie franchise and its ilk, and there's a solid argument to be made that the Zucker/Abrahams team was never better -- certainly, Kilmer was never better (except for maybe in Real Genius). For whatever reason, Top Secret! never got the acclaim of Airplane! or the Naked Gun movies, but it's absolutely worthy of keeping that company.



4-6. The Hunt for Red October (1990) / Patriot Games (1992) / Clear and Present Danger (1994)

Not every spy-thriller hero can spend their days gunning down parkour-running terrorists and bedding femmes fatale. Like Three Days of the Condor's Joe Turner, Jack Ryan is a CIA analyst, more adept at using his noggin than a Walther PPK. Ryan is arguably the most famous creation of novelist Tom Clancy, all three of the original Ryan films are currently available on Netflix Instant. In The Hunt for Red October, an esteemed Soviet submarine commander (Sean Connery) goes rogue, planning either to defect or to unleash nuclear armageddon on the U.S. -- and it's up to Jack Ryan (Alec Baldwin) to discover which. In Patriot Games, an act of spontaneous heroism puts Ryan (Harrison Ford) in the crosshairs of a vindictive IRA terrorist determined to take his grudge out on both Ryan and his family. In Clear and Present Danger, Ryan (Ford again) takes on both South American drug cartels and disreputable elements within his own government. The Jack Ryan character has been rebooted twice in the years since -- played by Ben Affleck in 2002's The Sum of All Fears and by Chris Pine in 2014's Jack Ryan: Shadow Recruit -- but nobody has yet topped Harrison Ford in the role.







7. Mission: Impossible (1996)

Netflix Instant is decidedly lacking in the big spy action icons at the moment: no Bonds, no Bournes, not even a Bauer. Thankfully the freshman outing of another venerable modern spy franchise is available, should you chose to stream it. Mission: Impossible could have been just another forgettable remake of familiar I.P., but director Brian De Palma and screenwriters David Koepp and Robert Towne provided enough twists and turns to relaunch a franchise that is still going strong nearly 20 years later. (The fifth installment, Rogue Nation, has earned nearly half a billion dollars worldwide since its release on July 31, and a sixth film is already in the works.) Based on the hit '60s TV series created by Bruce Geller, Mission: Impossible stars Tom Cruise as Ethan Hunt, a member of the Impossible Missions Force, a covert agency tasked with handling, well, impossible missions. When one such mission goes bad, Hunt's entire team is killed, leaving him on the run and suspected as a mole by his own government. In order to clear his name and bring the true culprits to light, Hunt must form a new team of former IMF agents and stage a heist that seems... well, you know. Mission: Impossible II is also currently available on Netflix Instant, but you would be well advised to just pretend that entire film self destructed before it made it to screen.



8. Confessions of a Dangerous Mind (2002)

Of all the films on this list, Confessions of a Dangerous Mind is definitely the weirdest. And I say that with full knowledge that Top Secret! includes an entire sequence that was shot backwards. Based on a memoir by The Dating Game creator Chuck Barris, Confessions of a Dangerous Mind chronicles Barris's life as a game show host, TV producer, and globe-trotting assassin for the Central Intelligence Agency. And yeah, that last part is pretty much why Wikipedia includes a "citation needed" option. Needless to say, Barris's stories of moonlighting as a government hit man are considered dubious by many, and the CIA itself has given his claims the official governmental designation of "horse puckey." Then again, who would you suspect of being a trained killer less than the guy who gave the world The Gong Show? If anything, I'd expect him to be the target of assassins. Either way, it makes for one hell of an entertaining yarn, and Confessions star Sam Rockwell is a hoot and a half in the role of Barris, with director George Clooney serving dual duty as the CIA agent who recruits him.

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9. Inglourious Basterds (2009)

When it comes to assassination plots, it doesn't get much bigger than trying to kill Adolf Hitler. And while several real-world attempts failed to take down the German dictator, Quentin Tarantino's World War II epic spins a ripping good yarn imagining what could have been. The flick actually follows two separate plots to take down Der Führer: one by the so-called "Basterds" themselves, a group of Jewish-American soldiers led by the grizzled Lt. Aldo Raine (Brad Pitt), and the other by a young French theater owner who's nursing a very personal grudge against the Third Reich. Eventually the dueling conspiracies join forces, culminating in a truly unforgettable night at the movies and one of the most audacious film endings ever recorded. Basterds is easily one of Tarantino's finest films, and the movie would be worth your time even if all it ever accomplished was to introduce the world to Christoph Waltz. The German-Austrian actor's brilliant performance as the Jew-hunting SS agent Hans Landa provides both a screen villain worthy of standing shoulder-to-shoulder with the genre's best and one of the most nail-bitingly intense opening sequences I've ever seen.



10. The Debt (2010)

Like Inglourious Basterds, The Debt focuses on a team of crack Nazi hunters, but it takes place long after the final shots of World War II were fired. Director John Madden's thriller opens in 1997 at a ceremony celebrating the release of a book recounting how, in 1965, a trio of Israeli intelligence agents tracked down and killed a notorious Nazi war criminal, the so-called "Surgeon of Birkenau." After one of those now-aged Mossad agents meets with a tragic end, flashbacks begin to peel back the layers of the story and reveal the truth about what happened all those years ago -- a truth that isn't quite as neat and tidy as the official account claims. The story unfolds in both the past and the present, showing how young Rachel Singer's (Jessica Chastain) capture of her target went wrong, and following older Rachel's (Helen Mirren) attempts to set things right and finish her mission after many long years of spinning a lie. (The Debt is a remake of the 2007 Israeli film Ha-Hov.)



11. Tinker, Tailor, Soldier, Spy (2011)

It took over three decades for John le Carré's 1974 novel Tinker Tailor Soldier Spy to make it to the big screen, but director Tomas Alfredson pulled out all the stops, assembling a frankly ridiculous cast that includes Gary Oldman, Colin Firth, Tom Hardy, Benedict Cumberbatch, John Hurt, Toby Jones, and Mark Strong. Oldman earned an Oscar nomination for his performance as George Smiley, a former British intelligence agent who was forced into retirement after the death of an agent and the international incident that followed. He's called back into the game for a good old-fashioned mole hunt: Rumor has it there's a traitor embedded somewhere inside British Intelligence, and it's his job to smoke them out. Tinker Tailor Soldier Spy also picked up a Best Adapted Screenplay nomination for writers Bridget O'Connor and Peter Straughan. (Le Carré's novel was previously adapted into an acclaimed 1979 BBC TV miniseries starring Alec Guiness as Smiley.)



Photo via Anonymous 9000/Flickr By C.C. 2.0

A version of this story originally appeared on the Daily Dot.

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Donald Trump To Host 'SNL' Again, But How Did He Do Last Time?

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BY CHRISTINE FRIAR

You're hired! Donald Trump will be hosting Saturday Night Live's Nov. 7 episode with musical guest Sia, bringing the Donald back to the stage for the first time since 2004.

Twitter, predictably, has some complicated feelings about it.

But how much promise is there of live sketch comedy starring Donald Trump being enjoyable now that he's a presidential hopeful? Let's take a look at his first stint hosting the show back in April 2004 for some clues.

Monologue

This segment is always a good gauge of how nervous the host is, and Trump seems very at ease on the stage. He does a good job poking fun at himself, and he even ad-libs a little bit when women in the audience give him flack for a dating joke. Is it laugh-out-loud funny? Nah. But if he's not in his element, he's at least element-adjacent.

"Boardroom Band Practice"
It's kind of hard to mess up a sketch where you're playing yourself and Amy Poehler and Fred Armisen are in a punk band with you. Trump talks his way through most of his lines without anything to write home about happening, and then Maya Rudolph and Poehler send you to riot grrrl heaven by harmonizing vocals on a song called "She's Got Class."

"Trump's House of Wings"

This sketch dares to ask the question, "What if Donald Trump bought a wing restaurant in suburban New Jersey and filmed a commercial for it?" It's very, very silly, and Trump gets pretty into it: He dances during the theme song, he bites his lip, he claps his hands. Heck yeah, Donald. Good work.

"Fathers and Sons"

Trump plays a character here! A dad! Who is grumpy! Because he thinks his son's ideas aren't good! So we're not too far off from Trump's public persona, but paired with sweetie Seth Meyers, it counts as acting. Then Jimmy Fallon and Horatio Sanz come in and have a very hard time not giggling through the rest of the scene, so everything is beautiful and nothing hurts.

"Live! with Regis and Kelly"

We're back to Donald's safe zone here since he's playing himself; they even work in a plug for his book. If you like Darryl Hammond and Amy Poehler's Regis Philbin and Kelly Ripa impressions, then great news. That's what's going on here comedy-wise.

My verdict? This episode will be fine. Tons of people will tune in, because tons of people love to have opinions about Donald Trump, and the comedy moments will come off good-to-OK as long as they let him play himself in sketches that rely heavily on crowd-pleasers.

Basically, SNL doesn't have too tough a task on its hands here. Donald Trump's not going create wild physical moments like Melissa McCarthy or sing and dance like Justin Timberlake, but he will deliver his lines, pause for applause, and let America enjoy laughing at him--and when you're performing live, those aren't the worst things to bring to the table.

Illustration by Tiffany Pai

A version of this story originally appeared on the Daily Dot.

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Matt Damon Is Right On Coming Out In Hollywood, But Not For the Reason You Think

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BY YASMIN NAIR


Poor Matt Damon. Every time he opened his mouth in September, he put his well-shod foot in it. First, his comments to Effie Brown about diversity and Project Greenlight were criticized far and wide. Barely two weeks later, Damon became the center of yet another controversy, this time involving out gay actors in Hollywood.

Here is the story as was initially presented: Damon told Elizabeth Day of the Guardian that gay actors needed to stay inside the closet if they wanted to succeed. He pointed to Rupert Everett as an example of someone who had, in effect, screwed things up for himself by being an out gay actor.

It's worth looking at the original interview to see what really transpired.

Referring to the fact that Damon had played Liberace's lover in the 2013 television film, Behind the Candelabra, Day asked Damon, a straight man: "Is it harder for actors to be openly gay in Hollywood?" The response from Damon was, "I'm sure. When Ben and I first came on the scene there were rumors that we were gay because it was two guys who wrote a script together."

He continued, "It put us in a weird position of having to answer, you know what I mean? Which was then really deeply offensive. I don't want to, like [imply] it's some sort of disease--then it's like I'm throwing my friends under the bus. But at the time, I remember thinking and saying, Rupert Everett was openly gay and this guy--more handsome than anybody, a classically trained actor--it's tough to make the argument that he didn't take a hit for being out."

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So this is, to be fair to Damon, a far cry from the impression that he said, in essence, "Stay in the closet!" And rather than blame Everett for being out, Damon was simply pointing to and implicitly criticizing the Hollywood system for shutting him out.

And yet. Some of what Damon did say reveals a lot about Hollywood's sense of how sexuality ought to work.

In another part of the interview, Damon says, "I think you're a better actor the less people know about you period. And sexuality is a huge part of that. Whether you're straight or gay, people shouldn't know anything about your sexuality because that's one of the mysteries that you should be able to play."

Day and Damon both go on to play up how "normal" he is:

Other than this, Damon insists he's entirely normal. He has a wife, Luciana, whom he met while filming in Miami in 2003 when she was working behind a bar, and the couple have four daughters ranging in age from four to 16 - Alexia, from Luciana's previous relationship, Isabella, Gia and Stella. Damon is a self-confessed family man. He has a rule that they will never be apart for more than two weeks while he's filming. His daily life is so average even the paparazzi have decamped from outside his home in Los Angeles because he never does anything that merits a photograph.


Here's the problem, though. Damon ignores, perhaps not willfully but simply because he knows nothing different, that his constant talk of his marital status and his "normal" family life is part of his sexuality.

Normal? Normal is a sexuality. Normal is "straight," and if Damon didn't have this "normal" life and wife and four children to serve as confirmation of his "normalcy," he would have been hounded for possibly being gay, just as his pal George Clooney was for years before he finally, after years of declaring he had no interest in marriage, tied the knot with Amal Alamuddin.

Or take an even better example: Angelina Jolie. Today, Jolie exists on an ethereal plane, flitting elegantly in exquisite designer outfits between her palatial residence in France and other homes on several continents, her large and multicultural brood of children and iconic blonde husband in tow, the equally large retinue of nannies and caretakers carefully tucked out of view in all photographs. She's not just some token "Goodwill Ambassador" for the United Nations but a bona fide Special Envoy of the UN High Commissioner for Refugees, an actual diplomat.

But there was a time when Jolie was a wild, queer child, clad mostly in black, inhabiting intense and aggressive roles in Gia and Girl, Interrupted; jumping into pools at Golden Globe parties; and tongue-wrestling her biological brother on the red carpet.

At some point, her sexual edginess and presumed bisexuality became too unwieldy for someone who wanted to be more than a good actor in interesting roles and a tabloid favorite. As I wrote here in 2007, Jolie's career has been a steady trajectory of de-queering and straightening out. First, she married Billy Bob Thornton and the two regaled us all with tales of Very Heterosexual Sex in the back seats of limousines and walked around with vials of each other's blood around their necks. When even that got to be too much, Jolie began the next chapter of her life, one over-determined by motherhood and an eagerness to Do Something About the State of the World. Hence, the Angelina Jolie we see today.

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Boring? Sure. But in an age where it's celebrity and not cinematic success that counts, she has built up enough cultural cachet that she will continue to make the right kind of headlines and reap profits from endorsements and baby pictures; financially at least, she and her kids will be alright.

But none of this would have been possible for the old Angelina Jolie, who seemed headed to a disastrous and short-lived career, flaming out in a burst of queer ambiguity. One false step--a lesbian lover somewhere, perhaps--and Jolie will be back to trying to get suitably challenging roles in films, her queerness a taint on her sainthood. (To her and Pitt's credit, they appear to be doing an excellent job of affirming their child Shiloh's gender ambiguity.)

To return to Matt Damon and his "normal" life: His comments, whether about out gay actors or about how actors should be mysterious about their sexuality, came just before Oct. 11, which has been National Coming Out Day since 1987. To many, his words might emphasise the importance and necessity of "coming out," a ritual that is often presented as being critical not only to individual self-affirmation but to community survival. The rationale behind Coming Out Day is simply this: The more people know more gays and lesbians, the better it is for queer people who will automatically be treated better because. As the Human Rights Campaign (which has appropriated the day, even though it has nothing to do with its origins) suggests, "When people know someone who is LGBTQ, they are far more likely to support equality under the law. Beyond that, our stories can be powerful to each other."

There are fundamental problems with this rationale. First of all, the agenda of "equality"--gay marriage, fighting openly in imperial U.S wars, and hate crime legislation--is not necessarily something that everyone is on board with. And I don't just say that the co-founder of Against Equality; increasingly, there's a larger cultural awareness that the equality agenda has set us back.

There's another problem, which is the idea that people need to know queer people in order to care about them. This does not actually demonstrate a widening of our sense of social justice, but its shrinking.The idea that people will support gays and lesbians because they know them presupposes a society bereft of a rich commitment to abstract ideals of justice. In other words, surely people should support gay and lesbian/queer rights regardless of whether or not they know any such people. I, for instance, believe that clean drinking water should be freely accessible to everyone. I shouldn't have to watch someone die of thirst to feel that.

What's more, as I've written elsewhere, coming out is based on a mostly white, eurocentric notion of sexuality. Even in the United States, different groups and communities negotiate sexuality differently. As Patrick Johnson's complex oral history, Sweet Tea: Black Gay Men of the South tells us, black queerness in the South makes itself evident differently than in, say, the mostly white gay enclaves of Chicago's gay neighbourhoods. In one place, being "out" is not the point even as everyone knows you're a flaming gay man in a member of your all-gay chorus in church. In another, you are practically required to hoist a rainbow flag outside your window to indicate you're gay. Not being out does not equal being closeted in the South and in many parts of the world. In Asia and the Arab world, holding hands in public or, really, even actually having sex with other men or women, is no indication of a different sexuality.

In this context, the call to come out is not a liberatory one but coercive, demanding that we all plane down our different and complex relationships to our queerness and instead hew to a monolithic idea of what counts as queer.
Ultimately, that prescriptiveness is also what enables Matt Damon to so blithely and perhaps cluelessly state, in the same interview, that actors should keep their sexuality a mystery and that he is just a normal guy.

Ultimately, it's not the closet that damages us the most because, let's face it, we can do all sorts of things in the closet where things stay hidden. Ultimately, coming out is a one-time deal. Straightness, on the other hand, is the more tenuous and precarious place to be, always a work in progress and always under threat of being blown up with a single misstep.

It's not that queerness has to be resisted or kept a mystery, but that heterosexuality is always a work in progress.

Yasmin Nair is a freelance writer, activist, academic, and commentator, the co-founder of the radical queer editorial collective Against Equality, and a member of the Chicago-based group Gender JUST. Follow her on Twitter.

A version of this story originally appeared on the Daily Dot.

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With 'Late Show,' Stephen Colbert Treats the Internet Like an Adult

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BY BEN BRANSTETTER

Newly anointed Late Show host Stephen Colbert has turned more than a few heads with his guest list. Since taking over David Letterman's chair last month, the comedian has shaken up the typical late night roster of actors and pop stars by inviting public figures not used to drawing such attention -- like former Federal Reserve Chairman Ben Bernanke, Secretary of State John Kerry, and U.N. Secretary General Ban Ki-moon.

While politicians are no strangers to late night TV -- former Colbert compatriot Jon Stewart had each of those men on during his tenure of The Daily Show -- Colbert is embracing serious discussion in ways less similar to Letterman and more similar to Charlie Rose.

Perhaps most surprising, however, are the guests Colbert has hosted who are also outside the realm of politics and governance. Interviews with TeslaCEOElon Musk, Uber CEO Travis Kalanick, and Apple CEO Tim Cook have brought the culture of Silicon Valley to mainstream television in a way it hasn't before -- outside of the occasional evening news broadcast. This also represents an interesting and novel attempt by Colbert and CBS to lure in younger viewers. While Jimmy Fallon and Jimmy Kimmel have repackaged their format for viral-ready YouTube bits and BuzzFeed headlines, Stephen Colbert is taking tech seriously.

This is exactly what a Late Show audience needs. While Colbert had one of the youngest audiences in television on The Colbert Report, he's inherited one of the oldest. CBS has an average age of 57, the highest among the four major broadcast networks, and David Letterman left The Late Show with an average viewer age of 54. That's a demographic that has likely never used Uber, Airbnb, or Snapchat, but that didn't stop Colbert from having on all three of their respective chief executives on his show.

What this does is two things. First, Colbert gets to play the surrogate for his older audience, often asking the most basic questions about a new technology just to introduce his viewers to the concept. The best example of this was his takedown of CNN's Virtual Reality option for the Republican debate -- in which Colbert ends up watching the event on TV at a bar in his Second Life-esque environment.

But he's no luddite -- watch him bask in the awe of game designer Sean Murray's expansive and miraculous No Man's Sky.



During his Tim Cook interview, Colbert both marvels and mocks the new features of the iPhone 6S -- all while Cook walks him through it. You get that sense that he's not just doing so for the sake of comedy but for your parents. This is a good interview tactic for more reasons than breaking down the complexity of new technologies for digital immigrants. It also strips away the basic assumptions under which many tech companies function -- forcing their executives and founders to be held accountable to their own best practices.

Snapchat's Evan Spiegelsputtered over Colbert's question of how assured users should be that their messages are truly gone. Uber's Kalanick faced a similar grilling on the working conditions of Uber drivers, as well as his desire to replace those same drivers with automated cars. And just this week, AirBnB CEO Brian Chesky faced questions from Colbert over the questionable safety record of the app, whether "disruption" is really a good thing, and to what extent AirBnB is a beneficiary of the Great Recession.



But of course, this is still late night TV. None of these men faced the full scrutiny to which actual journalists might have subjected them, and the visits were clearly all in good fun.

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However, Colbert has made several moves to prove that the tenor of his show would match the seriousness of the conversations, scolding his audience for booing Sen. Ted Cruz (R-Texas) and editing out a protester's outburst during his interview with Kalanick. But by merely introducing the concept of the sharing economy to older audiences, Colbert is forcing into the light conversations typically reserved for Marc Andreessen's tweetstorms and the comments sections of Re/Code.

These are public debates that need to happen across all age spectrums, not just the older viewers of late night television. A 2014 Pew study which tested the "Web IQ" of various age groups found little difference between millennials and Gen-Xers on core facts about our digital lives. Fifty-four percent of both 18-29 year olds and 50-64 year olds said privacy policies are meant to ensure the data you give a website like Facebook will remain private and secure (they often say the opposite). Another Pew study from this past May found Americans care very deeply about securing their data online but feel powerless to do so.

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Such details are missed by late night competitors Jimmy Kimmel and Jimmy Fallon. The closest either has come to a serious discussion about technology and how it affects our lives is a recent Kimmel sketch wherein multiple people freely give their online passwords to the show. Otherwise, Kimmel is happy to interview starlets and make the same jokes about Guillermo, his late night sidekick, over and over.Fallon is a more interesting case, and one whose striking contrast shows the value of Colbert's guest list. Younger than Colbert by a decade -- yet still no millennial at 41 -- Fallon has done more than any other television personality to bring his show into the digital age.

After taking over for Jay Leno, Fallon has succeeded at creating short clips that spread widely online, both through social media and news sites (like this one). He integrates Twitter into The Tonight Show with ease, makes jokes about Snapchat without a whiff of irony, and otherwise implements the infrastructure of the social Web as good as any Kardashian.

Fallon's show lives online -- and relates to people who do as well -- but Colbert is clearly aiming higher. Rather than adopting the Internet as a tool, Colbert is obviously willing to pry open the companies that create it and see what, if anything, is inside. While he stumbled in the beginning, Colbert has matched Fallon in the ratings and even brought a younger audience to CBS. Each was specifically brought on to do just that -- speak to millennials in a way that will get them to turn on their televisions.

Colbert and Fallon have both found an ally in that quest in digital culture -- but Colbert should be applauded for not merely using it but wanting to understand it.

Ben Branstetter is a social commentator with a focus on the intersection of technology, security, and politics. His work has appeared in the Washington Post, Business Insider, Salon, the Week, and xoJane. He attended Pennsylvania State University.

A version of this story originally appeared on the Daily Dot.

Photo via Montclair Film Festival/Flickr (CC BY 2.0)

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Why Twitter's Dying (And What You Can Learn From It)

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It's early summer, and I'm in Dupont Circle. Something's off. People, I notice, seem to be suddenly tweeting much less lately. But I've got a book to finish, so I file the observation away to carefully inspect later.

It's late summer, and I'm standing in Madison Square, frowning. Something's wrong. Twitter feels like a deserted bar... people seem to be leaving early, too hastily, unsatisfied, rolling their eyes. Maybe, I say to myself, everyone's just on vacation.

It's early fall, and I'm at my favorite cafe in London. What the? Twitter's a cemetery. Populated by ghosts. I call them the "ists". Journalists retweeting journalists... activists retweeting activists... economists retweeting economists... once in a while a great war breaks out between this group of "ists" and that... but the thing is: no one's listening... because everyone else seems to have left in a hurry.

What happened to Twitter? It's a mystery, right?

Wrong.

To understand what really happened, let's examine what didn't: competition.

From the new startup du jour. They are marginal contributors at best to Twitter's sudden decline for the simple reason that people do not use them enough to attribute said decline solely to them -- and the larger reason that they are not substitutes for, but complements to, micro-messages.

Twitter's troubles are due to something deeper yet simpler, so commonplace it has become invisible. It is, in a very real sense, a victim of its own blindness.

Here's my tiny theory, in a word: abuse.

And further, I'm going to suggest in this short essay that abuse  --  not making money  --  is the great problem tech and media have. The problem of abuse is the greatest challenge the web faces today. It is greater than censorship, regulation, or (ugh) monetization.

It is a problem of staggering magnitude and epic scale, and worse still, it is expensive: it is a problem that can't be fixed with the cheap, simple fixes beloved by tech: patching up code, pushing out updates.

To explain, let me be clear what I mean by abuse. I don't just mean the obvious: violent threats. I also mean the endless bickering, the predictable snark, the general atmosphere of little violences that permeate the social web... and the fact that the average person can't do anything about it.

We once glorified Twitter as a great global town square, a shining agora where everyone could come together to converse. But I've never been to a town square where people can shove, push, taunt, bully, shout, harass, threaten, stalk, creep, and mob you.. for eavesdropping on a conversation that they weren't a part of... to alleviate their own existential rage... at their shattered dreams... and you can't even call a cop.

What does that particular social phenomenon sound like to you?

Twitter could have been a town square. But now it's more like a drunken, heaving mosh pit.

And while there are people who love to dive into mosh pits, they're probably not the audience you want to try to build a billion dollar publicly listed company that changes the world upon.

The social web became a nasty, brutish place. And that's because the companies that make it up simply do not not just take abuse seriously... they don't really consider it at all. Can you remember the last time you heard the CEO of a major tech company talking about abuse -- not ads? Why not?

Here's the harsh truth: They see it as peripheral to their "business models", a minor nuisance, certainly nothing worth investing in, for theirs is the great endeavor of... selling more ads.

They're wrong. Nothing could be further from the truth.

Abuse is killing the social web. And hence, it isn't peripheral to Internet business models -- it's central.

It has significant chilling effects: given a tipping point, people will simply stop using a network, and walk away... and that appears to be what's happening with Twitter. Abuse is just as central to tech that connects people as selling beef that isn't contaminated with salmonella is to an industry that feeds people. For the simple fact is that no one wants to spend their life being shouted at by people they'll never meet who are angry not at them but at the world for things they barely even said to people they barely even know.

I think it's so vital, I'll say it again, more simply: Build a platform rife with abuse, and then turn a blind eye to it, treat it as a non-issue, and you're already on tomorrow's list of has-beens... you just don't know it yet.

What really happens on Twitter these days? People have self-sorted into cliques, little in-groups, tribes. The purpose of tribes is to defend their beliefs, their ways, their customs, their culture -- their ways of seeing the world. The digital world is separated into "ists" -- it doesn't matter what, really, economists, mens-rightists, leftists, rightist  -- and those "ists" place their "ism" before and above all, because it is their organizing belief, the very faith that has brought them together in the first place. Hence, to them, it's the totem to which everyone, including you, must pay homage, and if you dare not to bow down before it... or worse still to challenge it... well, then the faithful will do what they must to defend their gods. They will declare a crusade against you.

So, step one: you say something, usually idly, that some kind of "ists" don't like, because it challenges their organizing beliefs.

Step two: they notice.

Step three: it's on. Full on guerilla info-war. Rage-mobbing, shaming, if you're a woman, probably violent threats and more. But note. In all these endless squabbles, this perpetual outrage, this non-stop-cabaret of electronic violence... we are not fighting over anything that means anything much in the first place.

Is it any wonder, then, that people are checking out of this childish game?

The engineers and MBAs and engineer-MBAs that are technoculture's cardinals and archbishops won't like -- or probably even consider -- my explanation. They will fight it tooth and nail, for the simple reason that it challenges their fundamental beliefs about the world. After all, they have organized their companies the way that they have been taught to organize their worlds. "Product" departments, "engineering" divisions, heads of "monetization", etc.

Exactly. Nowhere in this picture do we see the issue of what their products and services truly are in the first place. Organizations such as the above are devoted to the industrial age goals of ever increasing productivity and efficiency, selling at the highest price and manufacturing at the lowest cost. But just as a meatpacking company that sold tainted beef, over and over again, that made people ill, would eventually see a decline in sales, so too a social web which is infected with the abuse will inevitably see a decline in usage.

I can put that in economist-ese if you like: Network effects power social technologies, but abuse is a kind of anti-network effect, not a positive one, but a negative one: I don't benefit from you being on the network, I suffer.

Here's the real organizational tell, the giveaway, the reveal: Q&A in technology is considered an issue of code -- not conduct. Technology as a culture is so out of touch with reality doesn't even understand what business it's really in: not the code business (what is this, the 1980s?), but the enterprise of social interaction.

That is not merely a matter of bits and bytes -- but of norms and values. Hence, technology no longer understands the notion of quality in any meaningful way at all.

"Quality" isn't merely error-free code -- but abuse-free interaction.

You can create the most perfect code in technological existence -- but if all it's used for is to relentlessly demean, bully, assault, torment, pick on, trample, bicker with, shout at people, well, it's a pretty good sign that people aren't using it for much of value. And that is a central point.

When a technology is used to shrink people's possibilities, more than to expand them, it cannot create value for them. And so people will simply tune it out, ignore it, walk away from it if they can. For the simple fact is that technologies which devalue us do not create value for us. When the social interactions that it creates are little violences, then we can say that quality has fallen below the level that people will find much benefit in it. Such interactions become toxic.

But the issue of abuse is more subtle -- more invisible -- and more than all the above.

Abuse does not arise in a vacuum. A healthy mind does not (need to) abuse. Abuse is created of trauma, and it is the traumatized mind which abuses. Whether to externalize, bury, escape its anger and frustration -- the abused mind must purge it's hurt in some manner, or risk being broken, split apart by it entirely.

But the troubling fact is this.

We have created an abusive society.

We have normalized, regularized and routinized abuse. We are abused at work, by the very rules, norms, and expectations of our jobs, at which we are merely "human resources", to be utilized, allocated, depleted. We are abused at play, by industries that seek to prey on our innocence and literally "target" our human weaknessses. And now we are abused at arm's length, through the lightwaves, by people we will never meet, for things we have barely even said.

We live in a society where school shootings are the rule, not the exception, where seemingly more people will have taken antidepressants than not... and now one where nearly everyone will have been abused on the web... for a random, off-hand, throwaway comment, an idle thought, something trivial, unremarkable, meaningless.

This is an age of stagnation. Of broken dreams and thwarted expectations. What is stagnating is not just "the economy" -- but us. Our possibilities and potential, the lives that we should be living. That is what is creating a great cycle of violence. Stagnation is abuse. And we are its victims.

We have been cheated not just of our savings, retirements, jobs, social contracts -- but of what all those free us to be: ourselves. But we are also, in our anger and despair, its enforcers. Endlessly, at least on the social web, picking on, bullying, squabbling with, decrying, outraged at, one another... for nothing that means anything at all. The abused become the abusers.

That is the great megatrend which the social web is part of: the abusive society, a great stagnation cresting into a wave of anger. Do you think I overstate my case? Then step back for a moment and consider the rise of right-wing extremist parties across the globe. It is fuelled by the resentment and frustration of stagnation. And that anger and frustration, whether it is perpetual outrage, or the passive aggression of bitter irony, is perhaps today's defining culture feature. We abuse one another, having been abused ourselves.

And it is a very great problem indeed. Yet, it points to a necessary role that social technologies must play if they are to regain their relevance. The most successful social platforms will be those that reverse the cycle of abuse that is a product of stagnation. And help heal people's emotional wounds in this age of broken dreams. Those wounds are deep.

It was not a fall from grace that caused them. Nor was it a knife. It was a scalpel, sharper than sin, with a razor's edge. And so the wounds will continue to bleed until they are healed. Not with bandages, nor with salves. But with grace, mercy, love, and meaning.

So here is my epitaph for Twitter. No, it isn't really "dead," yet. But I suppose in a way that a part of it is. Perhaps its promise. Let me put my story to you like this.

We dreamed that we created a revolution. But we did not heed the great lesson of revolution.

Today's revolutionary is tomorrow's little tyrant. The French Revolution started as a glorious paean to people power. And it climaxed in a tidal wave of terror and bloodshed. So, too, goes every revolution too arrogant to history -- including the digital revolution. Cross the line, and the inquisitors will come your way. Better then, to stay silent, than to dare the fury of the revolution itself.

We dreamed, then, like all eager revolutionaries, that we would create a new order -- one where people would be freer, truer, better. We dared to upend the grey order of the power-hungry telling the powerless what to think. But we just created a new order of power-hungry fighting to command people what not to.

Like all eager revolutionaries, we didn't fully understand what revolution is. An unleashing of animal energies that unravels the very freedom it seeks to create, should it not place possibility above power.

Can we create a better web? Sure. But I think we have to start with humility, gratitude, reality -- not arrogance, privilege, blindness. Abuse isn't a nuisance, a triviality, a minor annoyance that "those people" have to put up with for the great privilege of having our world-changing stuff in their grubby hands. It will chill, stop, and kill networks from growing, communities from blossoming, and lives from flourishing.

If your purpose is social interaction, abuse is as central to it as bacterial infection is to selling meat. Get it wrong, and you might just end up like Twitter in 2015. Not a beautiful town square, but a raging mosh pit.

Good luck selling tickets to that.

This post originally appeared on Bad Words.

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Maggie Greene Will Be Just Fine... I Hope

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Disclaimer: This post contains both a spoiler and unapologetic feminist commentary on the most recent episode of 'The Walking Dead'. Please proceed with caution.

As the collective heartbeat that is The Walking Dead's fanbase returns to normal, speculation over the sixth season's most recent episode orbits two questions: Is the beloved Glenn -- former pizza boy, eternal optimist and loyal husband -- really dead? And if so, how is Maggie not going to completely lose her shit?

The second question isn't really a question. The implication is that Maggie Greene, arguably the show's strongest female character, absolutely will lose her shit upon learning that her husband has become Walker food. This loss, one in a long series of tragedies in which her stepbrother is gunned down, her father is beheaded and her younger sister is shot to death, may be the straw that crushes the embattled Maggie.

As a violent show with plenty of male fans, it is easy to assume these predictions are based on antiquated ideas of what women can and can't handle. But lovers of this show are nothing if not enlightened, rooting for the Samurai-wielding Michonne, the stalwart and newly terrifying Carol, and even Jessie, the housewife who recently went absolutely, fucking HAM on a home intruder. Unrelenting pain and continued loss have torn apart many a male character, and the implication is that Maggie will simply suffer the same fate, irrespective of the fact that she is a woman.

As with any show that focus on both the frailty and resilience of the human spirit, this is absolutely a possibility. But in a show where female characters are put on an equal emotional playing field with men, Maggie still has the ability to surprise fans, to exhibit strength beyond her male comrades. And in honor of Glenn, be he dead or alive, let's exercise some optimism and look at the record of resilience that is our favorite girl on the farm.

1. Maggie fights. Viewers can discuss ad nauseam Maggie's transition from doting daughter to zombie huntress, but fighting Walkers is par for the course in this world. This is a woman who has been attacked, kidnapped, held hostage and threatened with rape, and she fights her human attackers relentlessly. In season three, she and Rick rescue Daryl and Merle from the Woodbury community, and she shoots Oscar while escaping to prevent reanimation. After the prison is attacked and her father killed, Maggie leads the charge to find Glenn, and she fashions a weapon out of her father's pocket watch to battle the cannibals at Terminus.

2. Maggie makes connections. Maggie's ability to trust sets her apart from Rick, and it saves the group on several occasions. It is Maggie who brings Aaron to the barn, eventually leading the group to the Alexandria Safe Zone. She forgives Tara when she confesses her part in the murder of her father, and Tara becomes a key defender of the group as a result. Most recently, she befriended Deanna Monroe, becoming a trusted adviser to the community's leader at a time when trust in Rick's group was at an all-time low.

3. Maggie does what's necessary. Trusting, yes. But Maggie's no-nonsense approach to the messier of tasks often goes unnoticed as just the small feats of bad-assery that make up who she is. She leaves the farm to notify the group via horseback that Carl has been shot, bringing Lori back with her. She goes on numerous supply runs with Glenn, digs graves for the sick in prison, cuts open a pregnant Lori to deliver her baby, babysits an unconscious Eugene and a dazed Abraham after a brutal fight and, perhaps most bad-ass of all, tells her dying father it's time to let go, that she will take care of what's left of the Greene family.

4. Maggie rolls with the punches. Fighting in the name of survival may be her most noticeable skill, but it is Maggie's mental and emotional flexibility that will save her in the end. After months of relative safety on the farm, Maggie faces not only the shortfalls of her Christian upbringing but also the truth about her entire community's new Walker status. Remember when the Greenes kept two dozen zombies in the barn, thinking they had the flu? Yeah. That happened. After the death of her stepmother and stepbrother, her father and then her sister, Maggie mourns and moves on, not internalizing until the crazy sets in (Nobody's on the phone, Rick!), but also not wallowing in her loss, Sasha-style. Death after death - even as the only living Greene left -- Maggie hardens but does not become hard.

5. Maggie is hopeful. What reason does this woman have to hope? Yet it is her steadfast optimism that sets her apart from Carol, who also lost her immediate family throughout the course of the show. She marries Glenn, a seemingly pointless decision in a world devoid of laws and religion, and even considers having a baby after a pregnancy scare forces the conversation. The desire to "be alive, not just breathing," is a common theme in Maggie's character, and one that will surely sustain her in the coming episodes.

The next few weeks could prove me wrong; Maggie Greene may disappear, despair and retreat into herself. We've seen character after character shut down, lose hold of their mental stability or completely alter their personality upon finding themselves alone in this new world. But in the spirit of both Glenn and Maggie, two characters who epitomize resilience, forgiveness, optimism and strength, I choose to remain hopeful.

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