Billie Eilish is perhaps the most talented artist of our generation…and I don’t throw that around lightly. At only 13, Eilish wrote “Ocean Eyes” alongside her brother Finneas and launched her prolific career. And at the fair age of 22, Eilish has 24 GRAMMY Award nominations and nine wins, two Oscars, two Golden Globes, and countless other accolades.
Beyond that, she recently announced her third album, HIT ME HARD AND SOFT, to be released May 17, 2024. She spent the days leading up to the announcement building excitement by adding all of her Instagram followers to her “Close Friends” list. Eilish had the most Instagram followers in 48 hours…with her count increasing by 7 million followers total.
While her debut album, when we all fall asleep…where do we go?, was a chart-topper in its own right, it landed Billie every GRAMMY it was nominated for at the ripe age of 18…Eilish has solidified herself as one of the most revered and sought-after popstars in the world.
Eilish recently caught media attention for quietly revealing her sexuality. In an interview with Variety, she states that she’s always liked girls…and assumed people always knew that. In a viral snippet from her new song, LUNCH, she details a love affair with a girl.
But people don’t only adore Billie for her catchy tracks that consistently top the charts. It’s not just her songwriting ability and unique vocals that keep us hooked. People love her because she’s unafraid to speak her mind.
Whether it be complaining about too many influencers being at an awards show, or calling out other artists for using unsustainable practices…Billie does not hold back.
Billie Eilish On Sustainability
Eilish home
rethinkingthefuture.com
The Eilish home is iconic for many reasons: it’s where Billie and Finneas recorded her debut album, countless other songs, and EPs, in an effort to conserve water there’s no grass, and the roof is covered in solar panels. And being environmentally conscious extends beyond the four walls of their home.
When the hottest young talent is discovered at such an early age like Eilish, record labels are chomping at the bit to sign them. It’s like when a D1 athlete is ready to commit to college…you have your pick.
But what Eilish and her mom, Maggie Baird, were looking for wasn’t about money or label-perks…they were seeking a solid sustainability program. And while that may seem like standard practice, most labels didn’t bring up environmental policies during these meetings at all.
After signing to The Darkroom via Interscope Records, the struggle didn’t stop there. Billie Eilish and her family have been consistent contributors to the fight against climate change.
Maggie Baird has since started Support + Feed, which focuses on the climate crisis and food insecurity. Support + Feed helped Eilish’s 2022 Happier Than Ever tour save 8.8 million gallons of water through plant-based meal service for the artist and crew members.
During Billie’s 2023 Lollapalooza performance, she aided the launch and funding of REVERB’s Music Decarbonization Project – which guaranteed all battery systems used during her set were solar powered. The MCD’s overall mission is to lower – and eventually eliminate –the music industry’s carbon emissions.
But more recently, Billie Eilish called out other artists for releasing multiple versions of vinyls in order to boost vinyl sales. In an interview with Billboard, she says,
“We live in this day and age where, for some reason, it’s very important to some artists to make all sorts of different vinyl and packaging … which ups the sales and ups the numbers and gets them more money and gets them more…”
Artists convince fans to buy different versions of their albums by offering exclusive features on each vinyl. Take Taylor Swift, for example, who released five separate vinyl versions of Midnights, each with a different deluxe “Vault” track.
While Billie may not have been trying to shade one artist in particular, the point is that she’s fed up. After being the rare artist in the industry who go out of their way to remain environmentally conscious, Eilish sets the bar high.
How Eilish’s New Album Is Sustainable
Billie for "Hit Me Hard and Soft"
William Drumm
Social media users were quick to claim Eilish was hypocritical by announcing that HIT ME HARD AND SOFT will have eight vinyl variations. However, each vinyl is made from recycled materials – either 100% recycled black vinyl or BioVinyl, which replaces petroleum used during manufacturing with recycled cooking oil.
This just illustrates that Eilish wasn’t directing criticism towards other artists for using vinyl variants to gain album sales…but she does think there are better ways to do it that benefit the environment without hurting their sales.
Swiftonomics: The Economic Impact of the Eras Tour
Taylor Swift's Eras Tour donations are literally doing more than most local governments. This is what we should expect from all billionaires.
Swifties, this one’s for you. It seems like Taylor Swift's Eras Tour has lasted eons. Yet somehow, there’s always something to talk about. Just thinking about how much she’s accomplished while on tour makes me want to buckle down, lock in, and channel my inner girlboss. But while I can’t even be bothered to cook dinner at home after a long day of work, Taylor is accomplishing milestones most musicians can only dream of. Let’s recap.
The Eras Tour began in March 2023 with its North American leg. It’s set to go until December 2024, with dates in Europe, Australia, Asia, and South America— spanning 152 shows across five continents.
As the queen of multitasking, Swift hasn’t stopped at just selling out stadiums. Since the Eras tour began, she’s released multiple albums — both new and old — and shaken up the tour setlist with each new release. Her list of new releases started on the first day of her tour with “All Of The Girls You Loved Before,” which was quickly followed up by “The Alcott,” a feature on The National’s album — reciprocity for their work on her pandemic era albums, Folklore and Evermore.
She also released Midnights: Late Night Edition (including the iconic collab with Ice Spice), as well as not one but two album re-releases — Speak Now Taylor's Version and 1989 Taylor's Version. As if that wasn’t enough, she announced her latest album, The Tortured Poet’s Department, in a GRAMMY’s acceptance speech. Talk about legendary. Since its release, she’s also been churning out deluxe versions and remixes to keep us on our toes. The Eras Tour was even made into a Blockbuster film that brought Beyonce to its premiere. Star power: confirmed.
But that’s just her work life. Her personal life is just as eventful. She ended her 7-year relationship with Joe Alwyn in April 2023. Then entered into a brief but controversial fling with 1975 frontman Matty Healy. Though it didn’t last long, the relationship was enough to inspire a whole album and catapult her into her current romance with Travis Kelce, aka Amerca’s first nepo boyfriend. Now they’re the American Royal couple — and she somehow had time to fly from tour to his Super Bowl performance.
We all have the same hours in the day as Taylor Swift, but how she uses them will always be a mystery to me. I work eight hours a day and can barely manage a social life. Meanwhile, Taylor has it all — though conservatives are turning on her for daring to be a woman in her 30s who’s not married with kids. If that’s not proof that women can’t do anything right, I don’t know what is.
Clearly, she’s working late because she’s a singer. No wonder Taylor Swift became a billionaire months into her tour in October 2023. Her net worth is currently around 1.3 billion dollars, making her the only female musician to become a billionaire from her music.
Other entertainment billionaires like Rihanna, Kylie Jenner, Kim Kardashian, Jay-Z, and Kanye West have joined the three-comma club thanks to ventures like clothing brands, beauty products, and other entrepreneurial pursuits. Rihanna has her FENTY Empire. Kim has her award-winning SKIMS. Ye had Yeezy. But Taylor has an unbeatable catalog of publishing.
But Taylor isn’t just different from other Billionaires because of how she earned her money. She’s the Taylor we know and love because of how she spends it. Her rollercoaster Eras Tour is how she’s made much of her fortune. And she’s using it to give back in monumental degrees. From individual donations to investing in local infrastructure, Taylor is changing lives on a macro and micro scale. And teaching us what to expect from all billionaires in the process.
The Eras Tour Bonuses — Talk About Workplace Benefits
First to make headlines were the Eras Tour crew bonuses. While some of us get rewarded with a pizza party or a $10 gift card to Starbucks, Taylor casually dropped $55 million in bonuses for her tour crew. The massive sum was paid out to everyone who makes the Eras Tour go around, from truck drivers to dancers and sound technicians.
In fairness, these bonuses are so well-deserved. Taylor’s shows are over three hours long. Imagine dancing for that long — because Swift certainly isn’t the one with the impressive moves — for hundreds of tour dates. Or remembering countless combinations of light cues to go with a setlist that changes daily. Yeah, they’re clocking in. And if my boss had millions to blow, I’d be expecting a comfortable bonus too. But $55 Million? That’s a testament to Swift’s generosity. It's like she's Oprah, but instead of cars, she's giving out life-changing amounts of cash. "You get a bonus! You get a bonus! Everybody gets a bonus!"
It’s similar to how Zendaya gave film equity to every member of the crew that worked on her controversial black-and-white drama, Malcolm & Marie. Filmed in a few days with a bare-bones crew during the peak of the pandemic, the film was Zendaya’s passion project with Sam Levinson, in which she starred alongside John David Washington. Though the film got mixed reviews, it captured the audience’s attention all the same. After all, it was Zendaya — and we’ll watch her in anything. So since the film sold to Netflix for a hefty sum, all the crew members got payouts from the deal on top of their salaries to reward their hard work.
Bonuses and equity payouts are common in many industries, but not entertainment. Even though it’s one of the most lucrative and recognizable American industries, most entertainers don’t make enough to survive. The SAG and WGA strikes last year were proof that there needs to be systemic change in the industry. LA County has even identified show businesses as risk factors for being unhoused — after all, how many stories do we hear of actors who were living in their cars before their big break? And for many, their big break never comes. For even more, they get hired on amazing gigs with giant performers … then go right back to the grind afterward. While individual actions from our favorite stars won’t fix everything, Zendaya and Taylor are providing models for how Hollywood should treat the people who make this town go round.
And in this economy, even a little bit could go a long way. Inflation and the cost of living are not a joke. Especially when, like with many creative careers, you often have to invest in lessons or equipment for your craft. With all this considered, the impact of Swirt’s donations can’t be overstated. Imagine getting a lump sum of cash for dancing to your favorite Taylor Swift tracks? Talk about a dream job.
The Economic Impact of Swift - Swiftonomics, if you will
Like Barbie and Beyonce last year, Swift is still on a tear to boost the economy of the cities she’s in just by traveling there — ad inspiring others to make the trek, too.
The Barbie movie proved that by marketing to women (instead of just making Marvel flops like Madame Web that aren’t really targeted to women at all), the entertainment industry can make giant profits. Barbie fever went beyond the theater. Thanks to a plethora of product collabs, the phenomenon rippled through retail.
Similarly, Beyonce’s Renaissance Tour tour generated an estimated $4.5 billion for the American economy. According to NPR, that’s almost as much as the entire 2008 Olympics earned for Beijing. People were taking money out of their 401ks to pay for Beyonce tickets and the glittery, silver-hues outfits to rock at her shows. Cities even started calling her effect the “Beyonce Bump.”
Swift has the same effect. She’s not just proving her generosity on a micro-scale for the people close to her, she’s having actual, tangible effects on the economy. It's like she's leaving a trail of dollar bills in her wake, and cities are scrambling to catch them like it's a country-pop, capitalist version of musical chairs.
The US Travel Association called it the Taylor Swift Impact after she generated over $5 Billion in just the first 5 months of the Eras Tour. But how does this work? It’s not like Taylor is printing more money at those shows, but it almost is. Her tour dates are pretty much economic steroid shots for local businesses. Hotels are booked solid, restaurants are packed, and let's not even get started on the surge in friendship bracelet supplies.
“Swifties averaged $1,300 of spending in local economies on travel, hotel stays, food, as well as merchandise and costumes,” say the US Travel Association. “That amount of spending is on par with the Super Bowl, but this time it happened on 53 different nights in 20 different locations over the course of five months.” That’s not to say one word about her effect on the actual Super Bowl and the entire NFL season thanks to her ball-throwing boyfriend.
It's like she's created her own micro-economy, and everyone's invited to the party. And unlike some economic theories that rely on wealth trickling down (spoiler alert: it doesn't), Taylor's wealth is more like a t-shirt cannon or the confetti at her shows — showering everyone around.
Donations that truly do good
Taylor isn’t just stepping into cities and calling it a night. She’s also not just throwing pennies at problems - she's making significant contributions that are changing lives. And more importantly, she's using her platform to encourage her fans to do the same.
She kicked off her tour with quiet donations to food banks in Glendale, Ariz., and Las Vegas ahead of the Eras Tour. Once the tour was in full swing, she continued this practice. In Seattle, she donated to Food Lifeline, a local hunger relief organization. In Santa Clara, she showed some love to Second Harvest of Silicon Valley. And let's not forget about her $100,000 donation to the Hawkins County School Nutrition Program in Tennessee.
She’s been making similar donations overseas. Taylor Swift donated enough money to cover the food bills for an entire year across 11 food banks and & community pantries in Liverpool. Swift also covered 10,800 meals for Cardiff Foodbank and many more banks across the UK and EU. Her impact is so profound that her numbers are doing more to combat issues like hunger than the government.
Can billionaires actually be good?
One thing about me, I’m always ready and willing — knife and fork in hand — to eat the rich. Because fundamentally, can any billionaire really be good? In our late-stage capitalist horror story, the answer is usually no. Look how many of them are supporting the Trump campaign just to get some tax breaks.
But here's the thing - Taylor Swift might just be the exception that proves the rule. She's not perfect, sure. She still flies private jets and probably has a carbon footprint bigger than Bigfoot. But unlike most of the others in her tax bracket, she's not flaunting her wealth like it's a personality trait.
Take a look around. We've got billionaires trying to colonize Mars instead of, I don't know, helping people on Earth. In this context, Taylor's approach is more like Mackenzie Scott’s — Bezos’s ex-wife. She's not trying to escape to another planet - she's trying to make this one better.
And look, I'm not saying we should stop critiquing billionaires or the system that creates them. But she's just setting the bar for what we should expect from all billionaires. She's showing us that our collective power as fans can translate into real-world change. That our love for catchy choruses and bridge drops can somehow, improbably, lead to food banks getting funded and crew members getting life-changing bonuses.
So sorry to my neighbors who hear me belting “Cruel Summer” and “right where you left me” at the top of my lungs (and range). Just know it’s for the greater good.
Why Did It Take so Long to Free Brittney Griner?
Brittney Griner is free. What next?
Brittney Griner, WNBA Star arrested and held in Russia since February, has finally been set free.
“She's on her way home,” said President Biden from the White House on Thursday, December 8. “After months of being unjustly detained in Russia, held under intolerable circumstances, Brittney will soon be back in the arms of her loved ones. And she should have been there all along. This is a day we've worked toward for a long time. We never stopped pushing for her release.”
\u201cMoments ago I spoke to Brittney Griner.\n \nShe is safe.\nShe is on a plane.\nShe is on her way home.\u201d— President Biden (@President Biden) 1670505284
In the 10 months since her initial arrest, the 32-year-old star center for the WNBA's Phoenix Mercury was held in a detention center with no clear indication of when she'd return home. Griner was arrested after cartridges of cannabis-derived oil were found in her luggage.
Though Griner plead guilty to these charges, it was clear that the punishment was unduly harsh. The athlete, who suffers from chronic pain and explained that she didn’t realize the cartridges were in her bag, was charged with “large-scale transportation of drugs.”
The State Department declared that Griner had been wrongfully detained in May, signaling a more aggressive effort to get her home. But apparently, after months of negotiations, the deal finally came together over the past two weeks.
In said deal, Griner was “swapped” in a one-for-one prisoner exchange with an international arms dealer Viktor Bout, nicknamed the “Merchant of Death.” If that doesn’t seem like an equal exchange, it’s because it isn’t. Biden even accused the Russian government of using Griner for “leverage” — which would explain her exorbitant punishment.
But why did it take so long to bring Griner home? We all remember Trump’s cringeworthy Tweets after A$AP Rocky’s Swedish incarceration. The phrase “It was a Rocky Week, get home ASAP A$AP” will forever live rent-free in my mind.
But that was Sweden. This is Russia.
"It's not a typical diplomatic negotiation,” Ambassador John Sullivan — who stepped down as the top U.S. diplomat in Moscow in September — said in a recent appearance on CBS Mornings, "The Russians really presented the president, President Biden, with a take-it-or-leave it proposition. One for one, it was Brittney," Sullivan said, citing conversations with current and former officials. "And unfortunately, we've had to leave other Americans, in particular Paul Whelan."
Whelan is a US Marine who's been held in Russia for close to four years on spying charges — that the US maintains are also false. Original negotiations aimed to get the two of them out of Russia, but the terms of this deal did not allow for Whelan’s release.
"We've not forgotten about Paul Whelan," Mr. Biden said Thursday, adding, “we will never give up."
In his press conference, Biden said that Griner seemed to be in “good spirits.” But what does that mean? The psychological effect of incarceration is one thing. But a Black, gay American woman imprisoned wrongfully in Russia? There's no way to imagine her experience.
After months of pleading and being continually let down by the US government, Griner is finally on her way home to her wife. It’s a Christmas miracle, for real.
Finally - Feminist Groups Release a Letter in Support of Amber Heard
Meanwhile, Lily-Rose Depp defends her silence on the Heard v. Depp trial
When the controversial Amber Heard v. Johnny Depp defamation trial went on air, it quickly became a public spectacle. Heard was found guilty of ruining Depp’s career though her 2018 Washington Post op-ed in which Heard identified herself as “a public figure representing domestic abuse.” Depp was awarded $15 million in damages and an unbelievable career comeback — the stuff of Hollywood dreams — a spot in the Fenty Fashion Show.
Meanwhile, Heard was publicly humiliated and endlessly memed by social media and on TikTok. She posted a statement after the verdict warning against the impact her own trial could have on other women.
But now — months later — a consortium of feminist organizations and prominent feminist individuals have penned a letter in support.
“The vilification of Ms. Heard and ongoing online harassment of her and those who have voiced support for her have been unprecedented in both vitriol and scale. Much of this harassment was fueled by disinformation, misogyny, biphobia, and a monetized social media environment where a woman’s allegations of domestic violence and sexual assault were mocked for entertainment,” the letter reads.
The letter was posted on AmberOpenLetter.com. It calls for any other supporters to sign the letter. Prominent figures like Gloria Steinem, over two dozen feminist organizations, as well as over 90 domestic violence experts and survivors’ advocates from around the world, and signed the letter.
The goal of the letter isn’t merely to vindicate Heard, but it’s a letter of support for all victims of domestic abuse who feel silenced. And now more than ever may feel like they’ll be punished for speaking out.
“In our opinion, the Depp v. Heard verdict and continued discourse around it indicate a fundamental misunderstanding of intimate partner and sexual violence and how survivors respond to it. The damaging consequences of the spread of this misinformation are incalculable. We have grave concerns about the rising misuse of defamation suits to threaten and silence survivors.”
But why did it take so long for this public support?
An anonymous spokesperson for the group behind the letter told NBC News that after the Heard v. Depp trial “individuals were afraid to speak out because they saw what was happening to the few who had.” The spokesperson was another victim of this harrassment. Hence, the anonymity of the letter.
Kathy Spillar, the executive director of the Feminist Majority Foundation, told NBC News her organization signed the letter after it observed what she called a “growing backlash” against women who speak out against perpetrators of sexual assault, domestic violence and intimate partner violence. “If this can happen to Amber Heard, it will discourage other women from speaking up and even filing reports about domestic violence and sexual assault,” Spillar said.
Heard supporters were not the only ones who were persecuted. Depp’s 23-year-old daughter — actress Lily-Rose Depp — recently spoke out in a November Elle cover story and all the hate messages she received.
Depp fans aggressively called on Lily to support her father. However, she remained silent during the trial. “When it’s something that’s so private and so personal that all of a sudden becomes not so personal,” she told Elle. “I feel really entitled to my secret garden of thoughts … I also think that I’m not here to answer for anybody, and I feel like for a lot of my career, people have really wanted to define me by the men in my life, whether that’s my family members or my boyfriends, whatever.”
"I’m not here to give myself to the world to be eaten alive," a sentiment shared by many of the women implicated in the trial. Focused on her own career and stepping out of her parents’ shadow, Lily-Rose said, “I’m really ready to be defined for the things that I put out there.”
Drake and Megan Thee Stallion: The Memeification of Black Female Suffering Continues
Megan Thee Stallion just rightfully called out Drake for appropriating her trauma and using it to prop up his wack new track, “Circo Loco.”
Everyone has lost their damn minds.
Megan Thee Stallion just rightfully called out Drake for appropriating her trauma and using it to prop up his wack new track, “Circo Loco.”
The latest Drake album just dropped, and on it — of course — some classic misogynoir. Her Loss, a joint project with 21 Savage, dropped early this morning and immediately sparked controversy.
In the song “Circo Loco,” Drake appears to accuse Megan of lying about being shot by Tory Lanez in 2020.
Back in 2020, Megan revealed on Instagram that she had to have surgery for a foot injury. “I suffered gunshot wounds, as a result of a crime that was committed against me and done with the intention to physically harm me."
Yet, when it was revealed that Toey Lanez was the shooter, instead of empathy and care from the community, the internet erupted with jokes at Meg’s expense. It was so shocking that prominent celebrities posted, reshared, and tweeted memes about Megan. This jaw-dropping display of disregard for a Black woman’s safety — particularly since she’s experienced domestic abuse — made one thing clear: Black women are heart-breakingly vulnerable and unprotected. Even the most famous, most prominent, most “loved” among us.
\u201cBlack women are so unprotected & we hold so many things in to protect the feelings of others w/o considering our own. It might be funny to y\u2019all on the internet and just another messy topic for you to talk about but this is my real life and I\u2019m real life hurt and traumatized.\u201d— TINA SNOW (@TINA SNOW) 1595020907
Fast forward to 2022 and here we are again, watching Megan’s trauma being exploited as a joke and a throwaway bar in a bland-bland-bland and boring song.
In the track’s opening bars, Drake rapped, “This bitch lie ’bout getting shots, but she still a stallion/She don't even get the joke, but she still smiling.”
The song doesn’t mention Megan by name, but we get the point. The point? The complete disregard for Black women’s trauma.
And we’re tired of it. So is Meg.
\u201cStop using my shooting for clout bitch ass Niggas! Since when tf is it cool to joke abt women getting shot ! You niggas especially RAP NIGGAS ARE LAME! Ready to boycott bout shoes and clothes but dog pile on a black woman when she say one of y\u2019all homeboys abused her\u201d— TINA SNOW (@TINA SNOW) 1667538790
A rep from Megan’s team released a statement saying, "Despite the irrefutable evidence that Megan was a victim of gun violence, the ignorant continue to support her attacker."
I’m deeply disappointed but hardly surprised at Drake’s careless use of Black female pain for his clout. It's a concerning phenomenon that has deep roots in this country’s racism, where people we perceive as “other” get less empathy. And Black women often bear the brunt of this harsh reality.
In a seminal New York Times article, Sarah Sentilles dissected the prevalence of Black pain depicted in the media by referencing Susan Sontag’s Regarding the Pain of Others, saying, “Sontag argued that showing only photographs of violence that happens abroad generates separation between subjects and viewers. These images imply that tragedy is inevitable and unavoidable—and therefore more acceptable—when it’s experienced by faraway people; they create the sense that violence is something that happens elsewhere and to others.”
The othering of Black women makes people like Drake feel comfortable doing crazy, destructive things — like making fun of domestic abuse for clout.
\u201cAnd when the mf facts come out remember all y\u2019all hoe ass favorite rappers that stood behind a Nigga that SHOT A FEMALE\u201d— TINA SNOW (@TINA SNOW) 1667538932
This is really coming from an album with a cover featuring a Black woman. Pretty obvious that Black women are props for this project. To objectify. To misappropriate this merely for his power and status. And to silence.
This week has been a barrage of pop culture foolishness. I am ready for it to be over.
Lizzo, Zendaya, and Abbot Elementary - Black Excellence Won at the Historic 2022 Emmys
Who won at the Emmys? Lizzo, Zendaya for Euphoria, The Abbott Elementary Cast, Jerrod Carmichael, and more Black Excellence
But who can blame me? It’s been a big few weeks in Hollywood. The Don’t Worry Darling drama — I won’t rehash it here … but we’re worrying. And the rest of the Venice Film Festival, the beginning of New York Fashion Week, the My Policeman premiere at Toronto International Film Festival (Harry content, so obviously, I couldn’t look away). AND the death of Queen of England.
Phew! It’s been a week.
But there I was, doomscrolling my evening away, when I saw an angel. It was Zendaya, at her red carpet best strutting about in a classic Valentino gown. I literally let out a gasp. But what was this for? A movie premiere? Fashion week? Is it the Dune 2 Premiere already?
No — it was the Emmys. And wait … hold on … you’ll never guess … but they were actually kind of good?
There was a lot to talk about on television’s big night. The big shows, the finest fashion, whether or not Pete Davidson was mocking Kanye West (again) — there. Is. So. Much. Think about.
But mostly, I can’t stop thinking about that one Issa Rae quote from the 2017 Emmy awards: “I’m rooting for everybody Black.” Because the 2022 Emmys was an exquisite night for Black excellence.
Issa Rae - 'I'm rooting for everybody black' - Full Emmys Red Carpet interviewwww.youtube.com
Other big wins went to Squid Game, White Lotus, and of course, Succession. But the amount of Black excellence conferred was affirming.
Here were the biggest wins for the culture from the 2022 Emmys:
Zendaya Makes History - Again
I love her, I love her, and I’ll never stop. Zendaya is a force to be reckoned with. This former Disney star has had the best transition from a child actress to a bonafide movie and television star. She just made history AGAIN when she won Outstanding Lead Actress in a Drama Series for her role as Rue in the second season of Euphoria — making her the youngest-ever actress to win the award twice.
Zendaya was nominated for four Emmys for Euphoria Season 2: two for Outstanding Original Music and Lyrics from songs she co-wrote for the show, one for producing, and another for Outstanding Lead Actress. In 2020, she was the youngest-ever Emmy winner for Outstanding Lead Actress in a Drama Series. And her nominations this year alone made her the youngest two-time nominee in the category and the youngest producer ever nominated. AND THEN SHE WON! Brava!
Lizzo is Halfway to an EGOT
Lizzo is not merely a singer, a business owner, and an activist (“About Damn Time” is the anthem for the midterm elections) — she’s now an Emmy winner, too. She beat out shows like Ru Paul’s Drag Race and The Amazing Race with her historic show Lizzo’s Watch Out for the Big Grrrls to snag the Emmy for Outstanding Competition Program.
“When I was a little girl, all I wanted to see was me in the media – someone fat like me, Black like me, beautiful like me,” she said in her speech. “If I could go back and tell little Lizzo something, I’d be like, ‘You’re going to see that person, but bitch, it’s going to have to be you.’” A word!
With a Grammy and now an Emmy under her belt, all she needs is a Tony an Oscar have an EGOT. We see you Lizzo.
Quinta Brunson, Sheryl Lee Ralph, and Abbot Elementary Won Big
Social media is like the broken clock that’s right, twice a day. And when the internet exploded over the riotously funny Abbott Elementary, they were truly onto something. This incredible show is one of the most refreshing things on television — and it was rightfully received an award at this year’s Emmys.
Sheryl Lee Ralph took home the Emmy for Best Supporting Actress in comedy with a goose-bump-raising speech that began with her singing, “I am an endangered species.” Then writer and star Quinta Brunson took home the Emmy for Best Comedy Writing — the second black woman ever to win the award (I will not talk about Jimmy Kimmel). Abbott Elementary also won an Emmy for Best Casting — recognizing the incredible (and nominated) acting performances by Brunson, Janelle James, and Tyler James Williams. I’ll be here waiting for season 2.
Jerrod Carmichael Gets His Flowers
One of the most incredible cinematic efforts I’ve ever witnessed is Jerrod Carmichael’s HBO special Rothaniel. This comedy special feels like a therapy session, a support group, and a confessional all in one. While, yeah, being laugh-out-loud funny. Spoiler alert (kind of): After a long career and life spent afraid to confront what his sexuality would mean for his family and his life, the comedian came out as gay.
In this revealing and vulnerable special, he reinvents the drama and breaks boundaries while telling jokes. This is what comedy is for.
No wonder he won the Emmy for Outstanding Writing For A Variety Special. “I made something that was of great personal consequence to me, and this definitely contributes to the meaning of it,” he said earnestly and charmingly. “I’m not a sore winner, but I’m going to go home because I can’t top this right now.”
(And if you missed his SNL Monologue, he deserved an Emmy for that alone)
Jerrod Carmichael Monologue - SNLyoutu.be
And I can’t top this feeling either. It feels so-so good to watch my people win. Shout-out to the Emmys for a surprisingly good show, adding some wholesome energy to this chaotic time.
Free Us From the Miu-Miu Cropped Set Industrial Complex
The skin-flashing set has captivated stylists everywhere, but it only accentuates the fashion industry’s inherent thinness fetish
Miuccia Prada ate with that set … but at what cost
Every once in a while, a brand’s product line holds literally every stylist captive. From the cult of House of Sunny, Paloma Wool, and other avant basic trends, to high-fashion, it-items like the Bottega padded cassette bag. Or, do you remember that week when everyone was wearing The Row. Sometimes everyone is on the same page. Each time, it reflects something about the state of the industry.
Currently, the thing everyone wants is a barely-there, cropped set from Miuccia Prada’s Miu Miu brand.
Everyone’s wearing it. Nicole Kidman on the cover of Vanity Fair, Zendaya in Interview Magazine, plus countless models and fashion darlings during fashion week and beyond. It’s inescapable. It’s iconic. But what it says about fashion? Insidious.
Paloma Elsesser is one of the most recent fashion models to be spotted in the two-piece, but one of the first non-skinny people to don the daring number.
In a recent interview in i-D, Elsesser talks about being a plus-size Black model, often flaunted around by the media. Although the article captures the moment, the fashion landscape, and the fact that despite the current parade of body positivity buzzwords nothing has changed.
Elsesser’s astute observation about NYFW February 2022 and the current trendscape asserts: “Sex – or at least a voyeuristic notion of sexiness – came back to fashion in full force, not seen so brazen since the hedonistic, champagne-soaked days of a previous era. It was only inevitable, given the preceding months of cabin fever – and years of culturally-enforced puritanism. Often, it felt revivalistic, both in aesthetic and attitude; Y2K, warts and all. Bared bodies arrived on the catwalk in skimpy silhouettes that showcased glossy, svelte bodies. To put it bluntly: the runways clearly didn’t reflect the conversations that a sexually-empowered generation are having about bodies and sex-positivity, but rather reverted to celebrating a singular beauty standard – one that appears as narrow-minded as it is narrow-hipped.”
Elsesser confirms this idea, saying: “Last season, even though it was all about sex, it was statistically the least body diverse season in the last five years. And I was like, “But weren’t y’all putting us in stretchy knit dresses for the last fifteen years anyway? So, couldn’t you put us in this mesh dress now?”
Elsesser and the interviewer add fuel to the already raging fire which is fatphobia in fashion. And with the resurgence of Y2K fashion, this trend is becoming more brazen.
Low-rise jeans, stomach baring ranks, and now this? Y2K fashion was born in the aftermath of heroin-chic and in the heyday of Paris Hilton, Effie from Skins, and modern-day diet culture.
It was also the zenith of sites like Tumblr, whose influence was on more than just style, but on an entire generation’s beauty standards. According to The Berkeley Beacon, “Much of the app’s popular outfits and sought-after styles were centered around a degree of beauty built on unhealthy and unattainable standards. Tumblr alone played a large role in the popularization and fetishization of extreme skinniness, often to the point of disordered eating.”
As niche trends from that era return, each one unlocks the memory of how fucked up that era of skinny-fetishization was. Are we doomed to repeat the mistakes of the past?
In a piece by In The Know, the ties between Y2K and fatphobia are revealed to be hypocritical and disgusting. “Not only are those trends hard to access for people above a size 2,” they said, “but when anyone else tries them on for size, they’re often seen as lazy and disheveled.”
This hypocrisy is in full view in today’s landscape. It’s not about a specific skirtset or low-rise jeans and belly tops, it’s about how we judge fashion and the value we assign to certain body types.
As Elsesser pointed out, the past year was one of the least body-diverse in fashion week history. This cannot be ignored. Despite their claims, the tastes of the industry are manifesting in Miu Miu.
Objectively, the mini skirt set is gorgeous. But why force us to watch a listless, runway parade of seemingly starving people when we’d prefer to see it above a sample size. And we should not simply meekly accept this. But we did — because it’s what we remain used to. But it’s time for that to change.
Julia Fox, Pete Davidson, KimYe and the Ambition Penalty
The difference between how Pete and Julia are treated by the press is staggering
When Kim Kardashian and Ye — then still known as Kanye West — announced their divorce, I did not bat an eye. Rumors had been flying for a while and — after a couple of suspicious Halloween costumes and Ye’s increasing Kim-targeted rants — divorce seemed inevitable.
I pretty much forgot about the announcement then, and I thought the divorce would be just as insignificant to me as your garden-variety celebrity split. Boy, was I wrong.
I don’t know what I expected given that Ye — the man notorious for interrupting Taylor Swift’s VMA speech because he believed she didn’t deserve to win — is not the most graceful loser. But his divorce is one confusing, messy spectacle we’re all forced to bear witness to, despite our attempts to ignore it. We have much more important things to focus on like Rihanna’s pregnancy or the latest Zoe Kravitz movie — now I spend my days saying "uncuh gyams" on repeat (IYKYK).
Frankly, their past few months have been a brazen press tour rather than a divorce. Each news story features a complex web of egoism, sexism, and even racism — from Kim’s problematic SNL monologue and that Blackfishing Vogue cover to Kanye’s manipulative Instagram posts. We refuse to mention the Super Bowl Instagram posts.
As the former power couple have battled it out in the public eye, their replacement relationships — or on Ye’s part, his faulty parachute relationship — have caught the public’s attention. Kim’s with the people’s favorite stand-up comic and serial monogamist, Pete Davidson; and Ye’s now-defunct tryst with actress Julia Fox has busted up completely.
Both new partners have been plagued by intense media scrutiny, but public perception of them is quite different. Why? Sexism.
Pete Davidson is well known for dating some of the most desirable women in Hollywood. While many wonder what exactly draws them to him — sometimes cruelly judging his appearance — he’s mainly applauded for dating Kim. While the innate sexism of treating Kim like a prize to be won is its own issue, this is wildly divergent from how Julia Fox has been treated.
In a recent episode of Forbidden Fruits — Fox’s podcast with co-host Niki Takesh — Fox discussed her relationship with Ye and the press’s narratives surrounding it. Fox is unphased by the omnipresent negativity, saying: "People are like 'Oh, you're only in it for the fame, you're in it for the clout, you're in it for the money.' Honey, I've dated billionaires my entire adult life, let's keep it real."
Fox doesn’t find these media accusations surprising, and neither should we. The notion that she’s self-interested, ill-intentioned, and clout-chasing comes from the ingrained idea that women who want more are bad.
Too often, women are systematically discouraged from seeking success and penalized when they do — especially if they’re brazenly shameless about it. According to money expert, Stefanie O’Connell-Rodriguez, women are punished for seeking advancements or — heaven forbid — positions of power.
O’Connell-Rodriguez refers to this as the ambition penalty, saying: “The problem with this messaging is it implies that a woman’s primary obstacle to economic power is herself, and that inequities in pay and wealth result from our own behavior. There’s no acknowledgment of how women are often penalized for pursuing their ambitions.”
To combat the ambition penalty, it’s important for society to see prominent examples of women acting ambitiously, and getting rewarded for it. Changing the culture isn’t merely about telling women to take “just” out of their emails and apologize less. It’s about demanding equitable representation and tearing down prevailing structures of oppression.
When it comes to personal finances, women are increasingly challenging notions that they’re hopeless with money and they shouldn’t have control over it anyway. The Confessions of a Shopaholic spiraling? The Carrie Bradshaw cluelessness? These tropes are long out of fashion.
Instead, it’s increasingly common to see women in pop culture claiming their financial independence. Instead of “can you pay my bills” — sorry Destiny’s Child — female artists are declaring their ability to pay their own bills and demanding respect for their financial achievements.
Despite the slowly shifting ties, cultural phenomena such as this drawn-out divorce remind us of how far there is left to go.
While Julia is branded an opportunist, Pete is considered a hero. And it’s not just Julia under the microscope. Kim has been equally accused of being with Pete for PR reasons and engineering the relationship for her own gain.
In both cases, the women are viewed as greedy and shamed about how their relationships might be in their self-interest.
Fox won’t let those accusations merely bounce off her — she’s embracing them. If she can have fun dating Ye while advancing her career, why not? “Why not see me for what I am which is a #1 hustler,” she told The Cut. After announcing their split on Valentine's Day, Fox is only just beginning to demonstrate her own vision, rather than being subject to the press — or Ye.
Despite Ye’s public parade of Kim look-alikes and his manipulative attempts to coerce her back into his life, no one questions his motives. And despite serious doubts about the legitimacy of Pete’s alliance with Kim, accusatory fingers are never pointed in his direction.
The ambition gap paints women with one brush, blinding us to the nuance in their actions. While both relationships increase the couples’ fame, the women are the ones called out for it. So what if there is a PR element to these curious couplings? Celebrity relationships have never been the exemplars of purity and virtue. This, we expect. But we shouldn’t have to expect sexism too.
In a perfect world, I’d simply discount the goings-on of KimYe, JulYe, and whatever we’re calling Kim and Pete. But the blatant sexism and problematic narratives surrounding these pairings is a glaring reminder of society’s larger issues.
Kanye West Rebranding Black History Month is Not as Revolutionary as he Thinks
Ye said he's "tired of talking about slavery," but what about when he said it was a choice?
Ye — the artist formerly known as Kanye West — is always spouting off about something. Recently, he decried NFTs, had some very Divorced Dad moments, and hurled proverbial shots at Pete Davidson.
His latest target: Black History Month.
On his Instagram page, Ye posted that he — yes he, himself, unilaterally — is rebranding Black History Month as “Black Futures Month” with the hashtag #BFM.
This is not Ye’s first time taking shots at Black History Month. During the November 21st, 2021 episode of Drink Champs, Ye stated: “I need Black Future Month. I need Black Possibility Month.”
As they say, a broken clock is right twice a day. Parts of Ye’s BHM-to-BFM campaign make sense. “I’m tired of seeing us getting hosed-down. I’m tired of talking about slavery,” he said. And — for the most part — I agree with that element of his reasoning.
As many in the Black community have noted, there’s a problem with the way this country has traditionally taught Black history. From history books, textbooks, to the greater national consciousness, too much of what we know as Black History is centered on trauma and pain.
As Ye put it, there’s more to Black History than slavery and hoses. His frustrations with the overproliferation of traumatic, violent imagery are valid. However, when it comes to his takes on Black culture and Black history, Ye’s own backstory must be taken into account.
It wasn’t too long ago that Ye was hot on his ego-fueled, misguided run for President. During that campaign, he let loose many inflammatory statements during various press events. Most notably, that he views slavery as “a choice” and that Harriet Tubman “never actually freed the slaves.”
Ye’s blatant misunderstanding of what slavery was is most likely reflective of the culture at large. We’ve been taught a sanitized version of the atrocities committed to enslaved people and told to focus on Lincoln’s emancipation proclamation rather than how slavery is integral to the success of American capitalism. So, Ye’s ahistoricism is the least of our worries.
In fact, Ye’s brazen and insistent ignorance is proof of why we need Black History Month. While there needs to be a more holistic view of Black history, it’s necessary to fully comprehend this country’s complex racial past. It’s crucial to carving out a better future. We cannot only talk about slavery and civil rights, we also must discuss them in tandem with the nuances and triumphs and other neglected aspects of Black history.
Ye’s insistence on Black Futures Month feels like a dismissal of a history he’s chosen to co-opt for his own brand. His warped perspective on slavery comes from the self-aggrandizing narrative about being-self made. And that if everyone simply chose not to be oppressed — as he did — they wouldn’t be.
But navigating this country’s omnipresent structural inequality is more difficult for those of us who are not unhinged billionaires, who get away with doing actively damaging things. Many of us are not so easily welcomed in most spaces, nor so easily forgiven for our missteps. Racial dynamics may often play out interpersonally, but there’s more to them than individual action.
Teaching Black history is crucial to understanding this, especially when we shift the framework from “things that happened to Black people” to “systems which were upheld and perpetuated by whiteness and complicity.”
Interrogating the roles people still play in upholding power structures and inequality yields a better comprehension of where those structures come from. If we don’t, we’ll just have a repeat of the post-racial mythos that clouded the Obama presidency. We all witnessed how that ended … with Trump.
According to The Atlantic, the postracial myth points to a national failing to recognize what racism truly is and how deep it goes. “The postracial myth was first propagated by liberals who were eager to avoid grappling with persistent inequities. Back then, many liberals were stepping over the reality of inequality to fantasize that the nation had done the impossible — elected a Black president — because it had overcome racism …And now, even though Trump’s ghastly presidency and the ghastly murder of George Floyd awoke many liberals to the need to build an anti-racist nation, many conservatives have seized on the postracial myth to fight those efforts.”
In either case, the post-racial myth is the product of a deep misapprehension of history, and a refusal to engage with it — the same blatant commitment to ignorance that Ye displays.
According to a 2016 New York Times essay on the Trump victory, “There has never been a moment in America in which black people’s gains have not been perceived by some white Americans as their loss. And history is littered with examples of how economic and racial anxieties can create a wedge with which to destroy interracial political and economic alliances.”
Discerning how history repeats itself is essential to digging out the root cause. The very definition of the word “radical” is to get at the root. Ye’s pointing forward to Black Futures is not as radical as he thinks, because he’s not getting to the root of anything.
Instead, he struts about in his world of capitalist accumulation and glamour. Living it up in a version of Blackness that exists as a facade of culture without acknowledgment of the inequality that persists despite his own seat at the head table. Ye believes that he — himself — is the Black future, but I’m not satisfied with this either.
His rebranding fails to take into account the work of afro-futurist theorists already working to imagine and generate a more liberating version of Black Futures. A myriad of futures that do not depend — like Ye’s whole success depends — on the oppressive structure of capitalism and the endorsement of exploitative brands and companies.
In 2020, writer/curator/activist Kimberly Drew and New York Times staff writer Jenna Wortham edited a collection of art and essays titled, you guessed it, Black Futures. This book does the job of imagining, analyzing, and bringing together multi-disciplinary perspectives on Blackness that Ye didn’t manage to accomplish.
Black Futuresshares what it is to be Black and alive right now — offering more hope than Ye’s BFM. We can’t achieve it by glossing over that past, but by embracing it.
Black History Month Watchlist 2022
Best movies new and streaming for Black History Month in February 2022
February is here, and with it comes hoards of content for us to celebrate Black History Month — and while some of it is genuinely inspiring, much of it is tired and trite.
Too often, America’s Black History Month is reduced to a few anecdotes about slavery and civil rights. However, the past few years have caused a shift in the greater consciousness. Trump’s presidency exposed many dangerous and frightening corners of our country. In the face of such enmity, it’s impossible to deny that we have much work to do. Summer 2020 was a catalyst for a more nuanced conversation about systemic racism , but the good work is constant and daily.
Although the rich tapestry of Black History — much less conversations about our present realities — cannot be contained in one month, February is an exciting time to commemorate Blackness. From learning about Black pioneers to celebrating Black culture, many industries join in the opportunities to celebrate.
The film industry usually bets on the velocity of Black History Month to release projects like civil rights biopics, the occasional Black-led comedy or blockbuster. Such was the case with Black Panther, which was released with much hype in February 2018. And 2022 is no exception.
Hollywood pretty much screeched to a halt for a large part of 2020 during the pandemic. This past year is now providing a bevy of delayed content for our viewing pleasure. The pandemic also helped streaming services gain a foothold in movie-watching cultures, so a large number of this month’s most anticipated releases will happen online.
Here’s a mere smattering of the latest streaming features we are eagerly anticipating:
We Can't Have Joe Biden's "Unity" Without Accountability
Biden, Obama, Bush, and Clinton were the four horsemen of the 2021 Inauguration.
Well, Trump is out.
Joe Biden's Inauguration into Presidential office unfolded in a spectacle of patriotism with a slight undercurrent of fear following the white supremacist insurrection at the Capitol in early January.
Though the physical event was small — due to the enhanced security measures enacted in fear of violence or resistance against the transition of power, and the persisting pandemic — and more than 191,500 flags stood in place of the people that usually crowd the surrounding area, the event was filled with prominent guests and high profile performances, both in person and virtual.
The virtual portion of the day was a mixture of performances, speeches, and video compilations 'hosted' by Tom Hanks.
Just as the Simpsons predictedvia FOX
As part of the proceedings, former Presidents Barack Obama, George W. Bush, and Bill Clinton appeared in a video giving a joint speech, which had the vibe of a group project where you didn't get to choose your partners and you got stuck with some kids you neither knew or liked.
The three most recently joined forces to volunteer to take the COVID-19 vaccine when it was first approved, and like an aged boyband, they came back for one night only, streamed live across America.
In their video, the three ex-presidents congratulated President Joe Biden and stressed the importance of peaceful transitions of power, ostensibly trying to lead by example in a show of bipartisan unity while making a point about the noticeably absent President Trump (who was on his way to Mar-a-Lago with his crying conspirators/children).
The message of the former presidents came alongside Biden urging for "unity" in his Inaugural address.
But what does this mean?
From the beginning of his Inauguration speech, Biden declared his presidency one of "history and hope. Of renewal and resolve." Referring to the historic nature of his cabinet and Kamala Harris's historic position as Vice President, Biden's self-congratulatory remarks also stir up questions.
The intentionally indefinite rhetoric asks: "hope" of what, and for whom? "Renewal" of what? Leaving an era defined by the slogan "Make America Great Again," it feels dangerous to tie a Presidency to the idea of some vague longing.
The politics of nostalgia allow the romanticization of a past which has always had as many problems as the present, if not more. Biden's emphasis on having a Presidency inspired by his predecessors refers to the presidency of Obama, but also to the other two horsemen of the inauguration apocalypse and the Founding Fathers … who we all know were flawed at best.
The desire to appeal to the American mythos reduces the oppression inculcated into US democracy to a footnote in the story — despite the fact that those institutions of inequality are prominent today.
Biden proclaimed that "the American story depends not on any one of us, not on some of us, but on all of us. On 'We the People' who seek a more perfect Union. This is a great nation and we are a good people."
… is that true?
While I would like to believe it, and perhaps there is room for more optimism and benefit of the doubt in an inaugural address than I'm accustomed to in life, moralizing the United States as a good nation filled with good people perpetuates the myth of American exceptionalism and allows for complacency.
We could be good people in a great nation, but the overpowering institutions of oppression and violence that we are socialized into make it easier to not be.
Biden did acknowledge that there is work still to be done, but it is dangerous to position the work of progress as a choice, rather than an imperative.
Biden's path to progress is simple: unity.
In one of the most pivotal passages of his speech, he said: "Speaking of unity can sound to some like a foolish fantasy. I know the forces that divide us are deep and they are real. But I also know they are not new. Our history has been a constant struggle between the American ideal that we are all created equal and the harsh, ugly reality that racism, nativism, fear and demonization have long torn us apart. The battle is perennial. Victory is never assured."
In this moment, Biden acknowledged the history of oppression in the United States and the deep-rooted divisions in its present. However, the proverbial good vs. evil dichotomy that he uses is a convenient scapegoat. It is easy to say that there are two sides of people, torn apart by outside forces, that just need to meet each other in the middle. But this is not how division in America has played out.
Progress in America cannot be a meeting in the middle of two forces with equal power, because that's not what the political and social landscapes look like. The forces of "racism, nativism, fear and demonization" have not "torn us apart" — those forces have separated and othered marginalized communities and excluded them from the American ideal.
Therefore, it is not the collective acceptance of the idea of "unity" that will heal the country, it is a commitment by the privileged to root out the divisive forces within themselves.
Unity and healing must happen as a result of progress, not at the expense of it. Biden's rhetoric leaves too much room for regression. But we must not pause to soothe the egos of white supremacists — their goals are not our goals. Biden's path to unity needs to look like accountability, not acquiescence.
In a recent Tweet, activist Bree Newsome stated that "The only path toward 'unity' is one that dismantles white supremacy." Anything else would be a continuation of the same structures that "resulted in the Civil War, Jim Crow, the Trump era & the insurrection that occurred two weeks ago. "
Many are feeling the gaps in Biden's rhetoric that could allow for placid and ultimately unsatisfying "progress" and citing the urgent importance of moving forward, rather than back to some fabled better days of a pre-Trump era.
The pre-Trump era created conditions for the Trump era. The current violence is not some aberration or some strange glitch in the matrix. It is a direct consequence of previous failures to root out the insidiousness of whiteness at the root of the United States.
The Problem With Moderation:
The shifting nature of Biden's address — his willingness to talk about the fact of American institutionalized oppression and speak out against white supremacy, but the inability to articulate the deep internal work that we all have to do for progress — does not present a progressive pillar to build the next four years on.
It builds one that reflects his whole career: willing to inch towards "slow progress," but more concerned with moderation than radical change.
But moderation is not the way to establish real change. Moderation allows for complacency and, as Newsome articulated, "the 'return to normalcy' narrative is a call to settle for surface-level displays of civility diversity in the aftermath of Trump's brutish behavior without any real push for systemic change."
Even in the highest offices of the two-party government lie dangerous white supremacists who incited the riots alongside Trump and remain loyal to the MAGA following — so if bipartisanship looks like coalescing into an agreeable union that includes and validates those beliefs, I don't want it.
Instead, change has to look like examining the conditions within ourselves and our society which gave those people their platforms and amend those with an eye towards accountability.
The idea of "accountability" has been thrown around so much this election that it has become diluted. Accountability has to be active. It has to not just acknowledge the past, but use those acknowledgments to work diligently towards a new future.
While it's hard to predict how much Biden's speech was well-crafted rhetoric and how much was committment to action, the prominent performativity of the ex-President's club does not bode well for radical change.
Rather, it signals a clinging onto old ideas of respectability and camaraderie between the powerful and the persistence of the same structures that allowed for the past violence to carry themselves into the future. It confirms that Trump's most egregious act was disrupting the illusion of American exceptionalism, which has been long held up by mythology and militarism.
But that disruption was necessary. And it is with those new eyes that we are more critical of Bush, Clinton, Obama, and the entire systems that elected them We have to be.