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The Character Assassination of Hillary Clinton

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The Character Assassination of Hillary Clinton

Watching Countdown with Keith Olbermann used to make me feel a little less alone in the world. I live in New York City, where everyone I know predicted the heinous mess the Iraq War would be long before it was even fully sold to the American public, but it was comforting to see and hear our views broadcast beyond the tiny bubble of Manhattan. After all, my somewhat liberal sister only lives an hour away and she voted for Bush in 2004 because she said he made her feel “safer.” In recent months, however, it’s become increasingly difficult to watch Olbermann, as he seemingly takes some kind of sick pleasure in trashing Hillary Clinton. There is plenty to condemn about the New York senator’s poorly managed campaign, and by displaying a willingness to criticize a Democrat I suppose he thinks he’s proving himself to be an equal-opportunity watchdog, but the smug, venomous bias with which he disparages Clinton for things he might otherwise shrug off if there weren’t someone more appealing running for President reveals an obvious prejudice, if not a specific agenda.

Barack Obama has been touted not only as an agent of change, but as a symbol of hope. But it’s Clinton who has proven to be the true spokesperson for hope—or, if her most recent declarations that she can still win are any indication, she’s refusing to acknowledge that the Kool-Aid even exists. Perpetual calls (Olbermann calls them “few”) for Clinton to drop out of the race when she has every right to stay, even if there weren’t less than a 2% spread in the popular vote between the two candidates in either direction, rightfully angered some of her supporters. The Democratic primary season ends on June 3rd and there’s no reason why anyone vying for the nomination should bow out until all the votes, super or mere mortal, have been cast. If Democrats think the primary season is too long, they should shorten it. And Clinton’s support is such that it can’t—and shouldn’t—be ignored. There’s a reason both candidates have endured this long without toppling the other, and it’s not simply because Clinton’s supporters are racist and Obama’s are sexist.

That said, my support for Clinton has gradually eroded with every bombastic claim of potential victory and with every seemingly opportunistic Clinton/GOP collusion against Obama. I find myself more and more convinced of Obama’s electability and competence every time I hear him speak, not to mention each time I see him referred to as “BHO” on FOX News’s screen crawl. (As if having a Muslim name—or hell, even being Muslim—should be a deal breaker to be a viable presidential candidate anyway.) If Clinton should have dropped out by now, it’s not because her chances of winning the nomination are slim to none (they are at this point), but that the consequences of her becoming the nominee would likely be too catastrophic, too loaded with potential resentment and whispers of conspiracy, racism and theft for the party to overcome. So it is with complete and confident objectivity that I say: Leave Hillary alone.

I’m once again feeling alone. The country at large has finally come around to truths about the Bush administration and the wars it has waged that some of us have known for years. But the demonization of the Clintons, especially Hillary, by supposed liberals is mind-boggling. When radio talk show host and Obama supporter Joe Madison told Chris Matthews last night that “some people” believe Clinton might have been delivering a “coded” message to would-be assassins when she cited Robert F. Kennedy’s murder during the 1968 Democratic primary as a reason to remain in the race, Salon editor-in-chief Joan Walsh’s head practically exploded—and rightfully so. Never mind that “some people” is itself essentially coded language for talking heads when they want to make a point about something they believe without having to actually take credit for it. It seems Walsh is one of the few rational thinkers thinking out loud in the media right now.

I removed myself from MoveOn.org’s mailing list shortly after the organization officially endorsed Obama. Not because I didn’t support Obama (I did, and do), but because I was tired of constantly receiving newsletters with headlines trashing another candidate I also supported. It’s like getting emails from your dad talking smack about your mom right after the divorce. Apparently unbeknownst to MoveOn, there are actually people out there who both support Clinton and believe the Bush administration is one of the most destructive things to happen to our democracy (and possibly the world) in at least a generation. You don’t need a law degree to know when something stinks like bullshit and the 2000 election, the war in Iraq, the Hurricane Katrina debacle, and almost every other piece of domestic and foreign policy enacted by George W. Bush and his cronies were just that. When Mom and Dad are fighting, however, picking sides can get real messy real fast, and Oprah’s plummeting favorability ratings in the months since she endorsed Obama might be proof of that.

Walsh is dead-on when she says it’s the Clinton-hate that’s damaging the Democratic party, not the actual candidates, and the supposedly “liberal” media is the worst offender. With the guttural force, condescension and indignation he typically reserves for our country’s most morally feeble political minds (Bush, Cheney, Rove, O’Reilly, Limbaugh), Olbermann scolded Clinton during a “special comment” last week as if she were Ireland Baldwin, calling her “heartless” but stopping short of “thoughtless little pig.” “You actually used the word ’assassination’!” he scoffed with incredulity. Once again in America, the actual word is the offense, not thinking it, nor implying it, nor conjuring it obliquely as she has frequently between March 6th, when she told Time magazine almost the exact same thing, and her comments to the Sioux Falls Argus Leader editorial board. The Time quote makes it perfectly clear that in both cases Clinton was using the date of RKF’s assassination as evidence of why “having a primary contest go through June is nothing particularly unusual [so get off my fucking back already].”

The emphasis was on June, not assassination. Had she not been battling a constant drumbeat to drop out of the race, she may never have had reason to evoke the 1968 election, which has been compared to the current primary contest by those in the media (Limbaugh even publicly called for blood in the streets at the Denver convention in August) almost as many times as Obama has been likened to RFK, who—guess what?—was assassinated. Obama was armed with a Secret Service detail earlier than any other non-former First Lady candidate for a reason, and it wasn’t to keep Bill O’Reilly away.

Olbermann closed his special comment by citing a litany of statements, misstatements, blunders and contradictions he claims “we” have forgiven Clinton for when it’s clear he has not forgiven or forgotten about any of those transgressions. His rants are usually well-composed, thoughtful, incisive and justified, but this one seemed jumbled, hastily thrown together, and, worse, arbitrary, like he’d been licking his chops and waiting for that one final statement, ad or mistake to pounce and deliver the final blow in his Clinton character assassination. I can forgive you for many things, Mr. Olbermann. But I cannot forgive you this:

This blog entry was originally published on Slant Magazine on the date above.

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Kesha Gets Her Swagger Back in Raucous “Raising Hell” Single and Video

The song reprises the driving dance beats and irreverent, IDGAF swagger of the singer’s early hits.

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Kesha
Photo: Dana Trippe

Clocking in at under three minutes and featuring lyrics like “I’m still here, still bringin’ it to ya,” Kesha’s new song, “Raising Hell,” feels more like an album intro than a proper lead single. But it’s a fitting re-introduction, reprising the driving dance beats and irreverent, IDGAF swagger of the singer’s early hits: “I’m all fucked up in my Sunday best/No walk of shame ‘cause I love this dress/Hungover, heart of gold, holy mess/Doin’ my best, bitch, I’m blessed.”

Though it’s not quite a return to form, “Raising Hell” is a gospel-tinged rave-up featuring Big Freedia that provides a bridge between Kesha’s breakout sound and 2017’s more introspective, roots-inspired Rainbow. Her forthcoming album, High Road, reportedly boasts a wide breadth of styles, from dance-rap bangers to dream-pop ballads, and guests Brian Wilson, Sturgill Simpson, and, yes, even a meta-appearance from “Ke$ha” on the track “Kinky.”

In the video for “Raising Hell,” Kesha plays a very-Aqua Netted televangelist who murders her abusive husband and goes on the lam. The clip, directed by Luke Gilford, sets up a narrative thread that, based on the album’s trailer, will ostensibly run through the entire project.

Watch below:

High Road is set to be released on January 10 on Kemosabe/RCA Records.

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Watch the First Trailer for Martin Scorsese’s The Irishman

Today, Netflix has given us our first look at the film, which stars Robert De Niro, Al Pacino, and Joe Pesci.

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The Irishman
Photo: Netflix

On Monday, it was announced that The Irishman, Martin Scorsese’s adaptation of Charles Brandt’s nonfiction book I Heard You Paint Houses, will open this year’s New York Film Festival. And today, Netflix, which will release the film in select theaters and on its streaming service at some point later in the year, has given us our first look at the production, which stars Robert De Niro, Al Pacino, and Joe Pesci.

According to Netflix’s official description, The Irishman is “an epic saga of organized crime in post-war America told through the eyes of World War II veteran Frank Sheeran, a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. Spanning decades, the film chronicles one of the greatest unsolved mysteries in American history, the disappearance of legendary union boss Jimmy Hoffa, and offers a monumental journey through the hidden corridors of organized crime.”

In a statement from Film at Lincoln Center, New York Film Festival director Kent Jones, a frequent collaborator of Scorsese’s, said that The Irishman is “the work of masters, made with a command of the art of cinema that I’ve seen very rarely in my lifetime, and it plays out at a level of subtlety and human intimacy that truly stunned me.”

See the kinetic trailer, which provides us with our first look of the film’s sure-to-be-controversial “de-aging” VFX techniques, below:

The Irishman will premiere at the New York Film Festival on September 27.

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Disney’s Mulan Live-Action Remake, Starring Yifei Liu, Gets Teaser Trailer

The film follows a young Chinese woman who disguises herself as a warrior in order to spare her ailing father from war.

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Mulan
Photo: Walt Disney Studios Motion Pictures

Today, during the Women’s World Cup final between America and the Netherlands, Disney premiered the first trailer for its live-action remake of the 1998 animated move of the same name. The film follows a young Chinese woman (Yifei Liu) who, after the Emperor of China (Jet Li) issues a decree that one man per family must serve in the Imperial army, disguises herself as a warrior in order to spare the life of her ailing father (Tzi Ma). According to Disney’s official description of the film: “Masquerading as a man, Hua Jun, she is tested every step of the way and must harness her inner strength and embrace her true potential. It is an epic journey that will transform her into an honored warrior and earn her the respect of a grateful nation…and a proud father.”

Mulan features a celebrated international cast that also includes Donnie Yen as Commander Tung, Jason Scott Lee as Böri Khan, Yoson An as Cheng Honghui, and Gong Li as Xianniang. The film is directed by Niki Caro from a screenplay by Rick Jaffa, Amanda Silver, Elizabeth Martin, and Lauren Hynek based on the narrative poem “The Ballad of Mulan.”

See the action-packed teaser trailer below:

Disney will release Mulan in March 2020.

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Taylor Swift Drops Star-Studded, Pride-Themed “You Need to Calm Down” Video

The video takes the notion of visibility as a means of acceptance to the extreme.

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Taylor Swift
Photo: YouTube

After years of political agnosticism, Taylor Swift endorsed two Tennessee Democrats during the 2018 midterm elections, prompting a backlash from white supremacists and their dear leader, Donald Trump. In the span of less than a year, the singer went from being the Aryan goddess of the alt-right to being called out as an agent of sodomy in a sermon by a homophobic pastor and sheriff’s deputy in her home state.

Swift’s path to wokeness has been a long one, and while the launch of her new single, “You Need to Calm Down,” during LGBT Pride Month might feel like the equivalent of Google slapping a rainbow flag on their logo, her activism—which included a recent $113,000 donation to a Tennessee LGBT organization—seems like more than just a branding opportunity. “To be an ally is to understand the difference between advocating and baiting,” Swift posted on Tumblr after rumors circulated that she kisses former rival Katy Perry in the video for “You Need to Calm Down,” the second single from Swift’s seventh album, Lover.

The clip does, however, take the notion of visibility as a means of acceptance to the extreme, featuring cameos from RuPaul, Ellen DeGeneres, Adam Lambert, Adam Rippon, Laverne Cox, Billy Porter, Jesse Tyler Ferguson (whom she serenaded at a surprise performance at New York’s Stonewall Inn last week), and other queer celebrities, YouTube stars, and allies.

Directed by Swift and Drew Kirsch, the video opens with the pop singer waking up in a pastel-colored trailer home adorned with kitschy paintings and a framed Cher quote (“Mom, I am a rich man”). She makes herself a cotton-candy smoothie, takes a dip the cleanest above-ground pool you’ll ever see, and parades through the trailer park’s pride-themed festivities, which includes a “pop queen pageant” featuring drag versions of Swift, Ariana Grande, Lady Gaga, Adele, Cardi B, Beyoncé, Nicki Minaj, and Katy Perry.

The real Katy pops up for a heartfelt reunion with Swift that makes “You Need to Calm Down”—which seems to strive for, but falls short of, the campy eye candy that Perry has honed in her own videos over the years—feel like a bachelorette party at a gay bar. But just in case you question Swift’s allegiance to the cause, the video ends with a message urging viewers to sign her petition for Senate support of the Equality Act.

Watch below:

Swift’s album, Lover, is due August 23 via Republic Records.

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Mykki Blanco Is a Trans Joan of Arc in Madonna’s “Dark Ballet” Video – Watch

The self-described transfeminine rapper stars in the video from the queen of pop’s upcoming album Madame X.

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Mykki Blanco
Photo: YouTube

While presenting Madonna with GLAAD’s Advocate for Change award last month, Mykki Blanco hinted that a collaboration with the queen of pop might be imminent. Sure enough, the self-described transfeminine rapper stars in the video for “Dark Ballet,” the final track to be released in the lead-up to Madonna’s new album, Madame X.

Directed by Dutch Ghanaian visual artist Emmanuel Adjei, “Dark Ballet” echoes the themes of Madonna’s infamous “Like a Prayer” video, awash with Catholic iconography and a storyline revolving around a persecuted black person. But that’s where the similarities end. The singer only briefly appears in the clip, behind a black veil, and the burning crosses of her 1989 video are traded for a ceremonial burning at the stake.

The video is frenetic and non-linear, opening with Blanco held captive in a stonewalled room, wrapped in a dirty white robe. Wrists bound with rope, he’s led by clergymen to be executed for an undisclosed crime. He’s then seen dancing, first in a cathedral—pleading with the men, who forsake him—and then in the church’s sanctuary, dressed in a gold corset reminiscent of the iconic one designed by Jean Paul Gaultier for Madonna’s Blond Ambition Tour. Madonna is, in effect, all over the video, but her casting of a queer person of color as the oppressed, rather than herself, spotlights the disproportionate impact of the patriarchy on minorities.

Produced by Madonna and longtime collaborator Mirwais, the song itself is an ambitious electro suite featuring a heavily Auto-Tuned denouncement of gender, lies, and fame, before the track breaks into Tchaikovsky’s “Dance of the Reed Pipes” from The Nutcracker accompanied by a robot Joan of Arc proclaiming her faith. (There’s a brief, blink-and-you’ll-miss-it shot from Carl Theodor Dreyer’s 1928 film The Passion of Joan of Arc near the beginning of the video.) The song is a reminder of the wacky magic Madonna and Mirwais are capable of cooking up together.

Watch below:

Madame X will be released on June 14 via Interscope Records.

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James Gray’s Ad Astra, Starring Brad Pitt, Gets Official Trailer

It has been a wild ride to the screen for the film, which Gray announced way back in 2016 at the Cannes Film Festival.

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Ad Astra
Photo: 20th Century Fox

It has been a wild ride to the screen for Ad Astra, which director James Gray announced way back in 2016 at the Cannes Film Festival. Originally it was set to come out in the doldrums of January, then on May 24, but as a trailer had yet to be announced in the leadup to that date, it was inevitable that the release would get bumped again. And it was probably for the best, as a film with the obvious ambition as this one wouldn’t get the attention it deserved from its studio—or is it studios?—had it opened in the midst of the confusing Disney-Fox Hollywood merger continuing to play out at that time.

Anyway, today we’ve been gifted with the official trailer for Ad Astra, and the official announcement that it will be coming out on September 20, which suggests that a world premiere at a fall festival is in order. The film tells the story of an astronaut, Roy McBride (Brad Pitt), who “travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet.”

Shot by Oscar-nominated cinematographer Hoyte Van Hoytema (Dunkirk) and scored by post-minimalist composer Max Richter, Ad Astra has been likened by Gray to Joseph Conrad’s Heart of Darkness, and described as “the most realistic depiction of space travel that’s been put in a movie and to basically say, ‘Space is awfully hostile to us.’” In addition to Pitt, who’s also a producer on the film, Ad Astra stars Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland, Jamie Kennedy, John Finn, Kimberly Elise, Bobby Nish, and LisaGay Hamilton.

Watch the official trailer below:

20th Century Fox will release Ad Astra on September 20.

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Terminator: Dark Fate Trailer: Going Back to the Well with Sarah Connor

Linda Hamilton at least makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

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Terminator: Dark Fate
Photo: Paramount Pictures

Today, Paramount dropped the trailer for the sixth entry in the Terminator series, Terminator: Dark Fate, which promises to deliver…more of the same? With this film, Deadpool director Tim Miller aims to give the series a reboot: by pretending that none of the films that came after Terminator 2: Judgement Day ever existed (sorry, Rise of the Machines fans), maybe even Terminator: The Sarah Connor Chronicles. “Welcome to the day after judgment day,” reads the poster, promising the badass return of Linda Hamilton’s Sarah Connor. And on that front, the film looks to deliver, as Hamilton certainly makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

But based on everything else that’s on display throughout the trailer, we’re worried that there’s not anything new that a film in this series stands to bring to the table besides running and gunning, with the occasional wink thrown in for good measure. Cast in point: Mackenzie Davis stars as Grace, an “enhanced human” who looks to fill the hanger-on role to Connor that Edward Furlong’s John Connor did to Arnold Schwarzenegger’s T-800, now apparently living in woodsy retirement, and at the ready to give sage advice. In short, we’re not impressed, and that also holds true of that cover of Björk’s “Hunter” by some zombie man singer.

Watch the official trailer below:

Paramount Pictures will release Terminator Dark Fate on November 1.

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The Nightingale Trailer: Aisling Franciosi and Sam Claflin Star in Jennifer Kent’s Follow-Up to The Babadook

Today, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825.

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The Nightingale
Photo: Matt Nettheim

Jennifer Kent’s The Nightingale, the Aussie filmmaker’s much-anticipated follow-up to The Babadook, premiered way back in September at the Venice Film Festival, and to mostly positive notices. Today, ahead of its U.S. theatrical release in August, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825 and follows a young Irish convict settler, Clare (played by Aisling Franciosi), who, after finishing her seven-year sentence, struggles to be free of her abusive master, Lieutenant Hawkins (Sam Claflin). According to the studio’s official description of the film:

Clare’s husband Aidan (Michael Sheasby) retaliates and she becomes the victim of a harrowing crime at the hands of the lieutenant and his cronies. When British authorities fail to deliver justice, Clare decides to pursue Hawkins, who leaves his post suddenly to secure a captaincy up north. Unable to find compatriots for her journey, she is forced to enlist the help of a young Aboriginal tracker Billy (Baykali Ganambarr) who grudgingly takes her through the rugged wilderness to track down Hawkins. The terrain and the prevailing hostilities are frightening, as fighting between the original inhabitants of the land and its colonizers plays out in what is now known as “The Black War.” Clare and Billy are hostile towards each other from the outset, both suffering their own traumas and mutual distrust, but as their journey leads them deeper into the wilderness, they must learn to find empathy for one another, while weighing the true cost of revenge.

Watch the official trailer below:

IFC Films will release The Nightingale in NY and LA on August 2.

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Downton Abbey Trailer Sees the Crawley Clan Prepping for a Royal Arrival

Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downtown Abbey Day.

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Downton Abbey
Photo: Focus Features

Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downton Abbey Day—that is, the release of the official trailer for the Downton Abbey movie. It’s been some three years since we’ve gotten to sip tea with the Crawley clan and hang out downstairs with the servants making sure that the biscuits are placed just right on the proper fine bone china tea set. And from the looks of the two-and-a-half-minute trailer, it would appear that nothing has changed at Downton Abbey since the series’s finale.

In the tradition of Mad Men’s episode-ending “next week on AMC’s Mad Men” teasers, it’s just a series of snappy snippets that suggest we’re in for more of the same, from Maggie Smith’s Dowager Countess of Grantham snarking up a storm to Robert James-Collier’s Thomas Barrow getting his gay on. And we are here for it. The cherry on top? The king and queen are coming to Downton! And as everything must be in tip-top shape for their arrival, the Crawleys must enlist the help of the one and only Charles Carson (Jim Carter), who is treated here with the reverence of a god, or a superhero from the Marvel Cinematic Universe.

Downton Abbey is directed by Michael Engler and written by Oscar- and Emmy-winning screenwriter Julian Fellowes. And in addition to the aforementioned actors, the film stars Hugh Bonneville, Laura Carmichael, Brendan Coyle, Michelle Dockery, Kevin Doyle, Joanne Froggatt, Matthew Goode, Harry Hadden-Paton, David Haig, Geraldine James, Simon Jones, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Stephen Campbell Moore, Lesley Nicol, Kate Phillips, Imelda Staunton, and Penelope Wilton.

Watch the official trailer below:

Focus Features will release Downton Abbey on September 20.

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Watch the Teaser Trailer for Andy Muschietti’s It Chapter Two, Starring Jessica Chastain and Bill Hader

The teaser seems hell-bent on satisfying those who found the first film to be an over-directed succession of freakouts.

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It Chapter Two
Photo: Warner Bros.

Today, Warner Bros. revealed the teaser trailer for It Chapter Two, Andy Muschietti’s highly anticipated follow-up to his worldwide box-office smash It. The teaser is certainly promising, if only because it seems hell-bent on satisfying above all else those who might have found the first film to be an over-directed succession of freakouts. Indeed, while the trendy retroism of that film is certainly evident across this teaser’s three minutes, there’s something rather impressive about how it forces us to spend so much time stewing in the atmosphere of dread that slowly overcomes the adult Beverly (Jessica Chastain) inside an old woman’s house as she comes to realize that she and other grown-up members of the Losers Club may not have fully shaken off the horror that is Pennywise.

In addition to Chastain, It Chapter Two stars James McAvoy as Bill, Bill Hader as Richie, Isaiah Mustafa as Mike, Jay Ryan as Ben, James Ransone as Eddie, and Andy Bean as Stanley. Reprising their roles as the original members of the Losers Club are Jaeden Martell as Bill, Wyatt Oleff as Stanley, Jack Dylan Grazer as Eddie, Finn Wolfhard as Richie, Sophia Lillis as Beverly, Chosen Jacobs as Mike, and Jeremy Ray Taylor as Ben. And, of course, there’s Bill Skarsgård, who reprises his role of Pennywise.

See the teaser trailer below:

Warner Bros. will release It Chapter Two on September 6.

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