Skip to main content

After six months of #MeToo, the burning question is: how soon can these guys come back?

Months are like dog years for men, so four months on the sidelines for a man is definitely the same as decades of groping for a woman

Gosh, remember the #MeToo movement? That was exciting, wasn’t it? All that talk about how nothing was ever going to be the same again. No longer would men get away with sexually exploiting women, and powerful men who once seemed untopplable were duly toppled. Red lines, everyone said, had been drawn. And six months on from the beginning of this movement, there’s only one question, really, that is being asked: how soon can these guys come back?

“Several powerful men, in several industries, have had their worlds kicked out from under them as the #MeToo movement has gathered momentum… Is a comeback possible?” an article in the New York Times recently asked about the American chef Mario Batali. Yes, the poor men! Those accusations really came out of nowhere for them. It might be worth interjecting at this point that Batali, a popular and powerful media figure in America, is alleged to have sexually harassed women for decades. But the allegations came out in December, and it’s April now, and we all know months are like dog years for men, and so four months on the sidelines for a man is definitely the same as decades of groping for women.

Continue reading...

from Culture | The Guardian https://ift.tt/2Jw5Ggr
Labels:

Comments

Post a Comment

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4
Post a Comment
Read more

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV
Post a Comment
Read more

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...
Post a Comment
Read more