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	<title type="text">Emily St. James | Vox</title>
	<subtitle type="text">Our world has too much noise and too little context. Vox helps you understand what matters.</subtitle>

	<updated>2022-10-13T17:30:37+00:00</updated>

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				<name>Emily St. James</name>
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			<title type="html"><![CDATA[What’s so scary about a transgender child?]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/policy-and-politics/23281683/trans-kids-transition-medicine-surgery" />
			<id>https://www.vox.com/policy-and-politics/23281683/trans-kids-transition-medicine-surgery</id>
			<updated>2022-10-12T15:51:24-04:00</updated>
			<published>2022-09-29T07:00:00-04:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="LGBTQ" /><category scheme="https://www.vox.com" term="Life" /><category scheme="https://www.vox.com" term="Politics" />
							<summary type="html"><![CDATA[When Mae Sallean was a teenager, her body and mind began to slip away from each other. Her body and face began to sprout thick hair, her voice dropped, and she felt dissociated from her physical form. Something had gone wrong, and she could not reconcile the person she was with the person the world [&#8230;]]]></summary>
			
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<p class="has-drop-cap">When Mae Sallean was a teenager, her body and mind began to slip away from each other. Her body and face began to sprout thick hair, her voice dropped, and she felt dissociated from her physical form. Something had gone wrong, and she could not reconcile the person she was with the person the world perceived her as. The disconnect left her profoundly depressed and deeply lonely.</p>

<p>Mae knew, somewhere deep down, that she needed to be a girl. She lacked the language for it. In Mae&rsquo;s heavily religious Texas community, the existence of queer people was barely acknowledged, and trans people, she says, were only seen &ldquo;in pornography and on <em>Maury</em>.&rdquo; But she <em>knew</em>, all the same.</p>

<p>When Mae was 15, her mother discovered a secret box full of women&rsquo;s clothing that Mae wore when no one else was at home. Though very Christian, Mae&rsquo;s mother didn&rsquo;t freak out. She wanted to help. So she found a Christian counselor for Mae. The counselor, who had no formal training, tried to convince Mae that being trans was one of the worst things she could be and that if she didn&rsquo;t change her ways, she would go to hell.</p>

<p>&ldquo;He framed it on the same level as pedophilia,&rdquo; Mae says. &ldquo;That was the number one thing that stuck from those meetings until I started transitioning: I am on the same level as a pedophile.&rdquo;</p>

<p>The conversation about trans kids right now is fundamentally broken. Because it is led, by and large, by cis people, it focuses on the potential regret children and adolescents might have after transitioning, and ignores the social, physical, emotional, and psychological costs of <em>not</em> transitioning. It ignores the reams of studies that underline the need to support trans kids. It ignores the lived experiences of many trans people, who despair that they were kept from transitioning as youths.</p>

<p>Until this year, this conversation about trans kids had mostly been carried out in the media, with publications from the <a href="https://www.nytimes.com/2022/06/15/magazine/gender-therapy.html">New York Times</a> to the <a href="https://www.theatlantic.com/magazine/archive/2018/07/when-a-child-says-shes-trans/561749/">Atlantic</a> to the <a href="https://www.latimes.com/world-nation/story/2022-04-12/a-transgender-psychologist-reckons-with-how-to-support-a-new-generation-of-trans-teens">Los Angeles Times</a> publishing stories that suggested medical practitioners aren&rsquo;t doing enough to vet potential transitioners under the age of 18. &nbsp;</p>

<p>Lawmakers were listening, and the 2022 legislative session introduced a new spate of bills aimed at <a href="https://www.vox.com/first-person/22977970/anti-trans-legislation-texas-idaho">stopping children from accessing trans-affirming health care</a>, among plenty of other anti-trans legislation, especially against an <a href="https://www.washingtonpost.com/education/2022/08/25/fischer-wells-trans-athlete-kentucky/">incredibly small number of trans kids</a> playing sports in school. In all, <a href="https://freedomforallamericans.org/legislative-tracker/anti-transgender-legislation/">34 states have considered</a> anti-trans legislation in some form.</p>

<p>Steps taken by the state of Texas to prosecute providing health care to trans kids as child abuse mark the most extreme end of this push. Entered as supporting evidence for Texas&rsquo;s measure? A recent piece on trans kids <a href="https://www.texasobserver.org/emily-bazelon-transgender-healthcare-debate-new-york-times/">from the New York Times</a>.</p>

<p>But those stories weren&rsquo;t about passing legislation, at least on their face; they were typically aimed at a presumed audience of parents. The Atlantic <a href="https://media.them.us/photos/5f52a7fdcd66b83c941a20ec/3:4/w_810,h_1080,c_limit/atlantic-mina.jpg">emblazoned on a 2018 cover the words</a>: &ldquo;Your child says [he&rsquo;s] trans. [He] wants hormones and surgery. [He&rsquo;s] 13.&rdquo; Only it <a href="https://www.poynter.org/ethics-trust/2020/the-atlantic-tried-artistically-show-gender-dysphoria-cover-instead-damaged-trust-transgender-readers/">didn&rsquo;t use the right pronouns</a> to refer to the real trans boy who served as its model.</p>

<p>Parents have been receiving an onslaught of messages about what could go wrong if their child was to transition; they&rsquo;ve rarely been asked to consider what could go wrong if they weren&rsquo;t able to. We are running, in real time, an experiment on what happens when you don&rsquo;t accept trans kids.&nbsp;</p>

<p>For Mae&rsquo;s part, she struggled gamely through her teen years and early 20s, trying as hard as she could not to be trans. But her relationship with her mother, the only other person in Mae&rsquo;s circle of family and friends who knew Mae&rsquo;s &ldquo;secret,&rdquo; deteriorated. Mae remembers occasionally wishing her mother would die, as she was the only other person who knew of Mae&rsquo;s trans identity. Today, they have a relationship, but they can&rsquo;t get back what they lost.</p>

<p>While it is easy to view the conversation about trans youth on a statewide or even national scale, it&rsquo;s important not to forget that it is also a very intimate conversation, one had in individual houses across the country. For trans children, the stakes of those conversations &mdash; whether held in statehouses or in living rooms &mdash; are literally life and death.</p>
<hr class="wp-block-separator" />
<p>&ldquo;Life in a transphobic society is hard for trans people; therefore, I hope my loved one is not trans&rdquo; might be a train of thought that makes perfect sense to parents like Mae&rsquo;s mother. It also treats transness as something fungible, akin to an aesthetic preference or a changing fashion.</p>

<p>The risks inherent in treating a child&rsquo;s trans identity as a temporary fancy can be considerable. Most obviously, keeping a teenager from transitioning before puberty can make a teen&rsquo;s mind and body seem as though they are traveling away from each other at light speed.</p>

<p>&ldquo;I felt alienated from everyone around me, and I was constantly terrified of people finding out that I wasn&rsquo;t who they thought I was,&rdquo; says Nat Hunter, who first came out as a teen in 2013, then was prevented from transitioning by their parents.</p>

<p>Lily Osler (who is, disclosure, a friend) perfectly <a href="https://wacotrib.com/opinion/columnists/mark-and-lily-osler-governor-s-order-on-transgender-youth-cruel-short-sighted/article_5213c230-a19f-11ec-a962-2f2a6d0c65a9.html">captures the terror of puberty for trans kids</a> in a Waco Tribune-Herald piece exploring Texas&rsquo;s ongoing crackdown on trans youth:</p>
<blockquote class="wp-block-quote has-text-align-none is-layout-flow wp-block-quote-is-layout-flow">
<p>Puberty blockers are reversible, but the puberty that transgender kids would go through without them isn&rsquo;t. Puberty writes itself into your bones. Without blockers and, at an appropriate age, hormones, it forces transgender girls, who are girls like any other, to grow facial hair and broad, angular features, and forces transgender boys to grow breasts and wide hips. Its effects can only be reversed by very expensive and difficult-to-access surgeries in adulthood, and even then only partially.</p>
</blockquote>
<p>&ldquo;This is not experimental care. This is care that&rsquo;s been around, in a very formal fashion, for over 50 years,&rdquo; says Michelle Forcier, a professor at Brown University&rsquo;s medical school and co-editor of <a href="https://link.springer.com/book/10.1007/978-3-030-38909-3"><em>Pediatric Gender Identity</em></a>. &ldquo;We know that there are studies that demonstrate efficacy and safety.&rdquo;</p>

<p>The recent hyperfocus on trans youth is largely a media invention, says Jules Gill-Peterson, a history professor at Johns Hopkins University. &ldquo;Trans people and trans youth were never really objects of the media [until recently]. I really don&rsquo;t think most people ever encountered the idea that they shared the world with trans youth until the last 10 years.&rdquo;</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24062794/trans_kids_sketch_boards_2c.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="An illustration shows a thundercloud emerging from a background that shades from black at the bottom through pink to white at the top, casting a shadow below it." title="An illustration shows a thundercloud emerging from a background that shades from black at the bottom through pink to white at the top, casting a shadow below it." data-has-syndication-rights="1" data-caption="" data-portal-copyright="Christina Animashaun/Vox" />
<p>The recency of that hypervisibility powers the notion that trans health care is somehow still experimental, abstracting something that is fraught with life-and-death stakes. For a trans person, the changes dictated by the body they were born into might prove incredibly painful, destabilizing, or even life-threatening.</p>

<p>&ldquo;The risks of withholding gender-affirming care vary from patient to patient but often involve things like worsening anxiety, depression, and suicidality,&rdquo; says Jack Turban, a professor of child and adolescent psychiatry at the University of California San Francisco. &ldquo;Recent legislation to take gender-affirming medical care as an option away across the board is extremely dangerous and <a href="https://www.vox.com/identities/22358864/trans-issues-sports-health-care-bills-laws-arkansas-alabama-montana-south-dakota">will lead to bad outcomes</a>.&rdquo; A <a href="https://www.cmaj.ca/content/194/22/E767">2022 study</a> published in the <em>Canadian Medical Association Journal</em> found that trans teens were 7.6 times more likely to attempt suicide than their cis peers.</p>

<p>The risk of not allowing trans kids to begin living as themselves compounds the longer they are alive. In 2001, Anne Vitale, a California psychotherapist who has specialized in gender-nonconforming patients since 1984, <a href="https://www.avitale.com/essays-details/?name=the-gender-variant-phenomenon--a-developmental-review-5">published a groundbreaking paper in the journal <em>Gender and Psychoanalysis</em></a> surveying trans women at all stages of life who did not transition as young people. The picture she painted of these women in middle and old age is deeply sad. &ldquo;This anxiety, if left untreated, is manifested in &hellip; confusion and rebellion in childhood, false hopes and disappointment in adolescence, hesitant compliance in early adulthood, feelings of self-induced entrapment in middle age, and if still untreated, depression and resignation in old age,&rdquo; she writes.</p>

<p>There&rsquo;s an existential component to going through unwanted puberty, too, because with every day that passes, it becomes harder to get the world to treat you as who you are instead of what it perceives. If you are a cis person, imagine for a moment that, all evidence to the contrary, everyone in the world becomes convinced your gender is not what it is. If you are a man, everyone starts using she/her pronouns for you and calling you by a woman&rsquo;s name. One day, you start insisting to the world you are who you are, and the world insists otherwise, because it cannot conceive of a self that doesn&rsquo;t begin from the body.&nbsp;</p>

<p>Are there people who later regret transition? Yes, but the data shows that the vast majority of people who pursue transition do not regret it. In the handful of studies conducted around this question, an average of about 2 percent of respondents express regret. A separate survey questioning why people detransition found the most common reason was social pressure, often from a parent. Many of those detransitioners retransitioned later, when it felt safe to do so. (<a href="https://www.nbcnews.com/feature/nbc-out/media-s-detransition-narrative-fueling-misconceptions-trans-advocates-say-n1102686">See more on all of this data here</a>.)</p>

<p>Not every trans person knows they are trans when they are young, and not every trans person decides to undergo medical transition. Decisions around how and when to come out as trans are private and can be made at any age. Ultimately, all medical decisions made should be between a patient and a doctor. However, for the trans people who know their gender identity from a young age and want to medically transition, every year spent not doing so often becomes all the more punishing.</p>

<p>&ldquo;It&rsquo;s hard to do this as an adult. I&rsquo;ve had patients that have had 60 years of gender hormones affecting their body. They have that internal trauma of living in this physical entity that doesn&rsquo;t necessarily reflect who they know themselves to be,&rdquo; Forcier says. &ldquo;If you look at the data of gender-diverse kids who grow up with parents who provide them the support and resources they need, their depression rates are equal to peers and siblings, and their anxiety rates are so much lower than what we&rsquo;ve found for other gender-diverse persons [who aren&rsquo;t supported]. It&rsquo;s shocking.&rdquo;</p>
<hr class="wp-block-separator" />
<p>What drives so many parents to insist their child simply cannot be trans? Turban theorizes that it stems from an overly rigid fear of gender nonconformity, one that arose from the gender exploration all children naturally indulge in being met with mockery or punishment.</p>

<p>&ldquo;Those early experiences can stick with people and lead them to want to repress any nuance around gender, for fear that it may bring up difficult reflections about themselves,&rdquo; Turban says. &ldquo;Often, parents are afraid that their own children will be treated poorly by others due to their gender diversity, and so they may try to force their children to be gender-conforming, thinking they are protecting them.&rdquo;</p>

<p>That insistence is also fueled by the idea that trans kids are a new phenomenon that has popped up extremely recently, thanks to the increasingly flexible ideas about gender that have become popular online in the 21st century. Yet that notion, too, is inaccurate.&nbsp;</p>

<p>&ldquo;When we make the assumption that trans kids just showed up in 2015, the least generous version of that is that there were no trans children, period, before that. That&rsquo;s empirically untrue and easily [disprovable],&rdquo; says Gill-Peterson. &ldquo;The more sophisticated version of that assumption is, &lsquo;Of course, there were trans kids, but they didn&rsquo;t medically transition. That didn&rsquo;t start until really recently.&rsquo; That&rsquo;s also flat-out untrue. Trans youth have been transitioning as long as there has been medical transition.&rdquo;</p>

<p>Gill-Peterson wrote the 2018 book <a href="https://www.upress.umn.edu/book-division/books/histories-of-the-transgender-child"><em>Histories of the Transgender Child</em></a>, which traces the last 100 years of trans childhood and the hidden history of American trans children who transitioned either socially or medically from the 1920s onward. The medicine we use to treat trans children today &mdash; often dubbed &ldquo;experimental&rdquo; &mdash; has, in actuality, been used to help trans youths transition with the support of parents and doctors since the mid-20th century.</p>

<p>The processes for treating trans children vary from clinic to clinic or even patient to patient. At present, most clinics draw from the World Professional Association for Transgender Health&rsquo;s <a href="https://www.wpath.org/media/cms/Documents/SOC%20v7/SOC%20V7_English.pdf">seventh edition of its standards of care</a>. The organization published its <a href="https://www.tandfonline.com/doi/pdf/10.1080/26895269.2022.2100644">eighth edition</a> standards in early September, though they have yet to be widely adopted.&nbsp;</p>

<p>For much of childhood, no medical interventions are pursued. Trans children first begin what&rsquo;s called a &ldquo;social transition,&rdquo; meaning that they may dress differently, wear their hair differently, or use a different name and pronouns. No changes with any permanence happen at this point.&nbsp;</p>

<p>Around the age of 10, if these kids&rsquo; gender identities remain consistent, they are often placed on puberty blockers, which delay the arrival of puberty. (Puberty blockers were first developed for cis children, and they have been used for early-onset or what is called &ldquo;precocious puberty&rdquo; since the 1980s, gaining approval from the Food and Drug Administration in 1993.)</p>

<p>It&rsquo;s only after all of this that hormones that will trigger the changes the body goes through in puberty even begin to be considered. These hormones are not prescribed until well into adolescence, usually around the age of 16, long after most of the trans kid&rsquo;s cis peers began puberty, though WPATH&rsquo;s more recent guidelines suggest beginning hormonal transition earlier may be beneficial for some teens. Surgical interventions rarely happen before the age of 18, and the most common surgical procedure teens might undergo is &ldquo;top surgery,&rdquo; in which a transmasculine person undergoes a mastectomy.&nbsp;</p>

<p>Still, whether a trans person is able to access any of this care is dependent on a variety of factors, mostly stemming from parental approval and doctors trained in providing trans health care. The care is extremely similar to the care that already existed in the 20th century. Kids are just more likely to be <em>aware</em> of it now.</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24062721/trans_kids_sketch_boards_3.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Against a background that fades from blue on the bottom to pink at the top, a pair of kids’ white sneakers hang by their laces from an overhead utility line." title="Against a background that fades from blue on the bottom to pink at the top, a pair of kids’ white sneakers hang by their laces from an overhead utility line." data-has-syndication-rights="1" data-caption="" data-portal-copyright="Christina Animashaun/Vox" />
<p>Children who transitioned in the 20th century often had to independently discover the terminology that helped them explain who they were to skeptical families and the medical establishment. Gill-Peterson says that what unites those kids with today&rsquo;s trans youth is a relentless self-advocacy.</p>

<p>&ldquo;Stuff that we think is a 21st-century mindset, there are trans kids in the 1960s espousing these things in handwritten letters to doctors,&rdquo; Gill-Peterson says. &ldquo;It shows how dogged and determined these kids were. They taught themselves the medical literature. They learned how to speak the lingo that adults needed to hear.&rdquo;</p>

<p>Gill-Peterson points to a trans girl she dubbed Vicky for her book. Vicky lived in rural Ohio in the 1960s, and she learned of the pioneering New York endocrinologist Harry Benjamin, whose 1966 book <em>The Transsexual Phenomenon </em>made him someone Vicky hoped could help her. She wasn&rsquo;t yet old enough to legally decide to begin transition without her parents&rsquo; consent, Benjamin informed her. When she asked, her father completely rebuffed her. She ran away to Columbus, where she roomed with another young trans girl. She was committed to a psychiatric ward, a fate that befell many trans people in the 20th century, before her father finally relented and allowed her to receive hormone treatment.</p>

<p>Gill-Peterson&rsquo;s book is littered with stories like Vicky&rsquo;s, those of trans people who found ways of being themselves, despite the system being stacked against them. She says Vicky&rsquo;s story could easily take place in 2022. She just might find out about trans people from the internet rather than a newspaper story about a doctor in New York, and the forces keeping her from transition would most likely be her parents, but might also be the state she happened to live in.</p>

<p>Too often, parents make the assumption that, well, sure, maybe trans people exist, but it&rsquo;s good to take a wait-and-see approach with kids, because that&rsquo;s safer than those kids undergoing hormone therapy or more invasive procedures they might later regret. It seems to make intuitive sense in a society that privileges the cis experience, and it is natural for parents to want to protect their children at all costs.</p>

<p>Yet that protection can turn harmful if it removes the child&rsquo;s agency. Leave aside, for a second, that the process for treating trans children <em>does</em> require extensive mental health screening to ensure the safety and certainty of the trans child.&nbsp;</p>

<p>&ldquo;Number one, why would you ever toss aside your kid like that?&rdquo; Forcier says. &ldquo;Number two, not allowing your kid to transition or saying, &lsquo;I&rsquo;m not going to make a decision about this,&rsquo; that&rsquo;s not a neutral decision. That&rsquo;s a choice that has significant consequences.&rdquo;</p>
<hr class="wp-block-separator" />
<p>For all the justified concern around the tenor of the media conversation and especially around anti-trans laws, the single biggest gatekeeper holding trans kids back from transitioning is their parents. In every story about a trans child trying to come out, there is a moment when they tell a parent. In most of the stories I have heard, that moment goes poorly, and that parent reacts badly. Given some of the dark statistics surrounding trans identities, a bad reaction by a parent might be understandable. Yet by far, the quality that most unites trans youth who are not at risk of suicide is <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7578185/">parental support</a>.</p>

<p>Alex Taylor, for instance, grew up surrounded by queer people, thanks to parents with a wide, diverse friend circle. But when they tried to come out to their parents at 13, they were rebuffed and sent to summer camps that, they say, toed the line of conversion therapy. Now, they no longer speak with their parents. Throughout their adolescence, Alex says, their parents kept asking them to be patient. Alex says that&rsquo;s an undue expectation to place on any child.</p>

<p>&ldquo;They&rsquo;re my parents. I&rsquo;m not supposed to need to have patience for them. And if I am going to have patience for them, that&rsquo;s a gift, and they don&rsquo;t get to expect that from me,&rdquo; Alex says. &ldquo;They were never going to be okay with me being my own person. And they forced me through a puberty that I didn&rsquo;t consent to.&rdquo;</p>

<p>Mae, the trans woman from Texas who tried to come out as a teen, can appreciate that everyone, from her mother to her Christian counselor, thought they were doing what was best for her. She also isn&rsquo;t sure why they projected what they thought was best for her onto her without really talking to her about it first.</p>

<p>&ldquo;Everybody wants what&rsquo;s best for their kid. Even the most malicious reactions, I believe that, ultimately in their brains, somehow they&rsquo;re rationalizing it as doing the right thing,&rdquo; Mae says. &ldquo;There&rsquo;s a strong desire for a lot of people to mold their kids into being good people, but they&rsquo;re not working with unformed clay.&rdquo;</p>

<p>I talked to a half-dozen trans people prevented from transitioning as youths for this article, and in those conversations, I asked them to think about how the supersize anti-trans conversation being driven by lawmakers made them think back on their own teenage experiences. Yes, they said, the focus on anti-trans laws is important. Just as important, however, is recognizing that one of the implicit targets of those laws and of the trans skepticism in the media is parents who might otherwise be supportive.&nbsp;</p>

<p>Raise enough doubt about the effectiveness of trans health care for youth, and you can convince plenty of parents who might even live in otherwise progressive havens, says Nat Hunter. They tried to come out at 14 but were pushed back into the closet at every step by their purportedly progressive parents. Now they have a relationship with their parents, who finally accepted them after years of transition, but the damage was done in the moment they failed to accept their child.</p>

<p>&ldquo;People create the scenario that they fear through their own actions. They don&rsquo;t want to say, &lsquo;I hate my child. I don&rsquo;t accept them.&rsquo; They want to say, &lsquo;I don&rsquo;t want my child&rsquo;s life to be worse, and I&rsquo;m scared of them being trans,&rdquo; Nat says. &ldquo;But acting that way is what makes kids feel unloved, and that is what causes them to be hurt. People need to understand that once you open that door, that&rsquo;s it for the rest of your kid&rsquo;s life. They know that you won&rsquo;t love them no matter what.&rdquo;</p>
<hr class="wp-block-separator" />
<p>The conversation around trans kids has now stepped fully outside of the home. Anti-trans laws use the power of the state to strip both children&rsquo;s and parents&rsquo; agency completely, and the media&rsquo;s discussion of trans kids and trans people in general too often focuses on the wrong questions.</p>

<p>&ldquo;The center-left media and the right-wing media are having the exact same conversation about trans people [right now], which is: Are there too many? What number of trans people is the right number? That&rsquo;s a really strange question to be focused on,&rdquo; says Ari Drennen, the LGBTQ program director for Media Matters for America.</p>

<p>What might happen if, in this conversation, we centered the voices of those whom it&rsquo;s actually about? As a society, we struggle to listen to children when they tell us what they need. This problem extends beyond trans kids to queer kids of all stripes, to children who tell us about abuse in their homes, to even the archetypal son who wants to play music when his dad wants him to play football. We claim to prioritize children, but we actually prioritize the idea of them, an imagined ideal that allows them as little autonomy as possible.</p>

<p class="has-end-mark">&ldquo;We don&rsquo;t listen to children. We treat children as manifestly inferior to adults. We give them less rights,&rdquo; says Gill-Peterson. &ldquo;We make them economically and politically dependent on adults. We put them in dangerous and vulnerable situations all the time. They have no control or participation in authoring the world they live in, the schools they go to, the doctor&rsquo;s offices they visit, the adults they&rsquo;re left alone with. And then we say they&rsquo;re incapable of knowing anything. Therefore, they have no ability to hold adults to account. That&rsquo;s a very disturbing way to treat a group of people.&rdquo;</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24062201/trans_kids_sketch_secondary_3.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="An illustration shows a black pyramid shape casting a shadow on one side, with the other side projecting a triangular light in blurred stripes of color in blue and pink." title="An illustration shows a black pyramid shape casting a shadow on one side, with the other side projecting a triangular light in blurred stripes of color in blue and pink." data-has-syndication-rights="1" data-caption="" data-portal-copyright="Christina Animashaun/Vox" />
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			<entry>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[Pop culture loves gender war stories. They leave something out.]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/culture/2022/9/28/23375169/pop-culture-gender-war-stories-dont-worry-darling-barbarian" />
			<id>https://www.vox.com/culture/2022/9/28/23375169/pop-culture-gender-war-stories-dont-worry-darling-barbarian</id>
			<updated>2022-10-13T13:30:37-04:00</updated>
			<published>2022-09-28T07:00:00-04:00</published>
			<category scheme="https://www.vox.com" term="Books" /><category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Movies" />
							<summary type="html"><![CDATA[In most respects, the recent films Don&#8217;t Worry Darling and Barbarian could not be more different.&#160; Darling, directed by Olivia Wilde, is a glossy period piece, set in a 1950s desert town where nothing is quite what it seems. It has opulent production values, plenty of well-known stars, and a premise straight out of a [&#8230;]]]></summary>
			
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<img alt="" data-caption="Florence Pugh and Harry Styles star as a couple in a strange, 1950s-style suburban paradise in Don’t Worry Darling. | Warner Bros." data-portal-copyright="Warner Bros." data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24059141/dontworrydarling.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	Florence Pugh and Harry Styles star as a couple in a strange, 1950s-style suburban paradise in Don’t Worry Darling. | Warner Bros.	</figcaption>
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<p>In most respects, the recent films <a href="https://www.polygon.com/reviews/23365915/dont-worry-darling-review-florence-pugh-harry-styles"><em>Don&rsquo;t Worry Darling</em></a> and <a href="https://www.polygon.com/reviews/23342834/barbarian-review-horror-twists"><em>Barbarian</em></a> could not be more different.&nbsp;</p>

<p><em>Darling</em>, directed by Olivia Wilde, is a glossy period piece, set in a 1950s desert town where nothing is quite what it seems. It has opulent production values, plenty of well-known stars, and a premise straight out of a <a href="https://www.vox.com/culture/2017/12/29/16804664/black-mirror-uss-callister-recap-season-4-review"><em>Black Mirror</em> episode</a>.&nbsp;</p>

<p><em>Barbarian</em>, directed by Zach Cregger, is a pitch-black horror-comedy, set in a modern-day Detroit that is riddled with maze-like tunnels running underneath the city. For much of its run time, it focuses on just two actors, and its production values are meant to enhance the level of grimy thrills at its core.</p>

<p>Yet in many ways, the two movies are in conversation about the same idea: Men are monsters, perhaps on some deep, essential level. In neither film does a man become a literal monster, unfurling into a giant bug-like creature or revealing himself as a vampire. In both films, men are just awful because they build systems that oppress women &mdash; literally in both cases, as it turns out. They can&rsquo;t help it. It&rsquo;s just who they are.</p>

<p>Especially in the wake of Me Too, people telling stories across a wide variety of media have turned their sights toward stories about the systemic oppression of women, often reimagined in a genre context. Indeed, in <em>Barbarian</em>, one character is the subject of rape accusations that could have easily been the focus of any number of Me Too scandals.</p>

<p>As long as we&rsquo;ve been telling stories, we&rsquo;ve been telling stories about the fundamental differences between men and women. Yet the emotional tenor of these stories has unmistakably shifted in recent years. What might have been fodder for an observational comedy even 30 years ago is now grist for something grim and horrifying.&nbsp;</p>

<p>Even as we&rsquo;re twisting these stories to make them darker, though, we struggle to open them up enough to encompass more complexity to gender than the scary movie equivalent of a &ldquo;men drive like <em>this</em>, but women drive like <em>this</em>&rdquo; joke. If we know gender is more complicated than a simple binary, why do so many of our stories still stubbornly fail to reflect that?</p>
<h2 class="wp-block-heading">A brief taxonomy of gender essentialist storytelling</h2>
<p>The &ldquo;men are from Mars, and women are from Venus&rdquo; plot has existed across all of storytelling history. These stories can be brilliant and thoughtful. They can expose things within society that would be harder to approach in the world of nonfiction.&nbsp;</p>

<p>Yet by their very nature, they traffic in gender essentialism, or the idea that there are certain things that are so inherent to being a man or a woman, so encoded in all of our biologies, that overcoming those qualities is all but impossible. What&rsquo;s more, those biological qualities lead to fundamental differences in our personalities and temperaments. Men are like this, and women are like this, because our bodies make us so, and good luck changing <em>that</em>. For an incredibly outdated gender essentialist take, consider the infamous &ldquo;sugar and spice and everything nice&rdquo; descriptor of little girls and &ldquo;snips and snails and puppy dog tails&rdquo; descriptor of little boys from the nursery rhyme.&nbsp;</p>

<p>&ldquo;It becomes really easy to attribute causality to that. If a woman is late, that becomes, &lsquo;Oh, just like a woman, taking too much time to get ready!&rsquo;&rdquo; says <a href="https://podcasts.apple.com/us/podcast/how-society-sexualizes-us/id1081584611?i=1000580295957">Julia Serano</a>, a biologist and trans activist who has written such books as <em>Whipping Girl</em> and <em>Sexed Up</em>. &ldquo;Or if someone&rsquo;s competitive, it&rsquo;s like, &lsquo;You know men are competitive and aggressive,&rsquo; even though we know there are aggressive women and men who are late.&rdquo;</p>

<p>These gender binary bromides take many forms and bounce through many genres. They range from dark, epic tales of horror to any given rom-com that insists there are certain ways men and women behave, such as <em>What Women Want</em> or <em>The Ugly Truth</em>. They include hugely acclaimed works of art and laughably simplistic views of what it means to be alive and have a gender (any gender). Any attempt to categorize them in broad strokes will necessarily leave some examples by the wayside.&nbsp;</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/22873037/YTLM_105_017689.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Agent 355 and Yorick (in a mask) look in concern at something just off-camera." title="Agent 355 and Yorick (in a mask) look in concern at something just off-camera." data-has-syndication-rights="1" data-caption="FX’s &lt;em&gt;Y: The Last Man&lt;/em&gt; posited a world where nearly everyone with a Y chromosome died. | FX" data-portal-copyright="FX" />
<p>In recent years, however, these stories have tended to fall into three major categories.</p>

<p>The first category is the gender apocalypse, which is a story where all the men on Earth or all the women on Earth die. Despite the subgenre&rsquo;s recent resurgence, with works like the <a href="https://www.vox.com/culture/22679725/y-the-last-man-hulu-fx-tv-comic-trans">2021 TV adaptation of <em>Y: The Last Man</em></a> and Sandra Newman&rsquo;s 2022 novel <em>The Men</em> fitting into the category, it is a very old type of story. In her 1915 novel <em>Herland</em>, for instance, Charlotte Perkins Gilman imagined a valley where no men live and women reproduce asexually.&nbsp;</p>

<p>This subgenre necessarily has to do some fancy footwork to avoid being overtly transphobic. In recent years, the stories that have bothered to worry about not being transphobic have accomplished that task by a focus on the kinds of biology we cannot see with the naked eye, as well as just how complicated that biology ultimately is. The TV adaptation of <em>Y</em>, for instance, posits the death of everyone with a Y chromosome, a category that includes nearly all trans women but also lots of seemingly cis women who were intersex and had XXY chromosomes without knowing it.</p>

<p>The second category of these stories is the &ldquo;scary man&rdquo; story, in which an abusive man &mdash; or series of men &mdash; possesses almost supernatural powers. These stories sometimes take the form of <a href="https://www.vox.com/23086827/men-alex-garland-annihilation-eden-devs-machina">Alex Garland&rsquo;s 2022 film <em>Men</em></a>, in which all men are the same horrible monster (played by one actor, Rory Kinnear). More often, however, they are about intimate, terrifying interactions between men and women, as in the 2022 horror film <em>Resurrection</em>, which follows a woman who comes back into contact with an abusive ex after almost 20 years. His hold over her seemingly still exists, and as she seems to fall back into his thrall, the viewer longs for her to escape, which she finally does, bloodily. (Without spoiling the film&rsquo;s climax, <em>Resurrection</em> also takes some daring leaps in how it uses the imagery of pregnancy and childbirth to provoke horror.)</p>

<p><em>Barbarian</em> largely exists within this space, though what makes it such a fun horror movie is how it gradually subverts audience expectations of the &ldquo;scary man&rdquo; story, while constantly reminding viewers of just how awful men can be. The story was born out of fear, specifically out of the book <em>The Gift of Fear</em>. As director Zach Cregger said to the <a href="https://bleedingcool.com/movies/barbarian-zach-cregger-discusses-that-scene-full-of-tiny-red-flags/"><em>Bloody Discussing Boo Crew</em> podcast</a>, reading it caused him to reconsider how often women in his life have to think about every interaction with a man in terms of red flags that might give them pause. Cregger said, &ldquo;I just wanted to write a scene where I could load as many of those little tiny red flags into an interaction as possible. &hellip; I&rsquo;ll make this guy really nice, but I will give him a ton of these little triggers.&rdquo;&nbsp;</p>

<p>The third category can be broadly defined as the &ldquo;men just want to imprison women&rdquo; story, which usually takes the form of a commentary on heterosexual marriage. A healthy overlap exists between this and the scary man story, but the imprisonment story tends to center on existential, rather than physical or emotional, violence. It is often commenting obliquely on the idea that men would rather strip all of women&rsquo;s freedoms away than let women thrive, and that commentary can sometimes be as subtle as in the 2020 remake of <em>The Invisible Man</em>, in which a successful woman has her life eroded by her abusive, invisible husband, whose presence is always lurking, even after he&rsquo;s suspected dead.</p>

<p>On the more explicit side of the scale, <em>Don&rsquo;t Worry Darling</em> fits most of the tropes of this subgenre to a T. <strong>(Spoilers follow.)</strong> The film&rsquo;s glossy, 1950s community is revealed to be a computer simulation, where men following a Jordan Peterson-esque guru played by Chris Pine have imprisoned unwilling women to be their subservient wives. These women&rsquo;s minds are essentially wiped, but memories of their former lives sometimes disrupt their consciousnesses, leading to the film&rsquo;s protagonist doing anything she can to find a way out of her digital prison.</p>

<p>To be clear, some of the above stories are brilliant. <em>Resurrection</em>, for instance, has plenty to say about toxic and abusive dynamics that extend beyond the simplistic gender binary. Yet all of them have to be rooted in that binary to some degree. We know that gender is far more complicated than that binary, however. What happens when that knowledge bumps up against these stories?</p>
<h2 class="wp-block-heading">Why we keep telling these stories — and why trans identities complicate them</h2>
<p>If you are a storyteller, using a gender essentialist trope can also be an easy shortcut to helping an audience understand a character. We&rsquo;re so steeped in stories that introducing a character who is coded as, say, a tomboy or a &ldquo;strong woman&rdquo; is a quick way to set audience expectations about what her story might be.</p>

<p>&ldquo;A lot of basic ideas that there are particular types of people, and especially that men are one way and women another, are a very simple way to make people understand what&rsquo;s happening [in a story] without having to spell it out for them,&rdquo; Serano says, &ldquo;even though a lot of these ideas are not particularly good, helpful ideas and can be very stereotypical, problematic ideas.&rdquo;</p>

<p>Much of the first 20 minutes of <em>Barbarian</em> &mdash; before the real scares kick in &mdash; is taken up by a long conversation between a man and a woman, the scene Cregger says he filled with all those &ldquo;red flags.&rdquo; What&rsquo;s notable about this scene, however, is the ways it might have been the first scene in a romantic comedy in the 1980s or 1990s. The two characters banter and flirt, with the man gradually wearing down the woman&rsquo;s natural suspicions of him. There&rsquo;s even a pretty irresistible &ldquo;meet-cute,&rdquo; as the two characters only meet because they&rsquo;ve accidentally booked the same rental house at the same time.&nbsp;</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24059391/barbarian.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="A woman looks down a dark staircase into a shadowy basement." title="A woman looks down a dark staircase into a shadowy basement." data-has-syndication-rights="1" data-caption="Georgina Campbell stars in &lt;em&gt;Barbarian&lt;/em&gt;, the kind of movie where there’s a scary basement. | Courtesy of 20th Century Studios" data-portal-copyright="Courtesy of 20th Century Studios" />
<p>Horror and comedy are closely interrelated genres, since they both aim to provoke intense, gut-level emotional responses. Yet scratch off the surface of almost any of the premises above and you&rsquo;ll find something that might have been a comedy in the late 20th century, whether a romantic comedy or a &ldquo;gender role reversal&rdquo; comedy like <em>Three Men and a Baby</em> or <em>Working Girl</em>, films where men take on a task stereotypically assigned to women or vice versa. For instance, <em>Resurrection</em>&rsquo;s story of a bad ex-boyfriend returning to make the protagonist&rsquo;s life worse could have easily become a rom-com for a Julia Roberts or a Meg Ryan.&nbsp;</p>

<p>Even as the comedic gender essentialist tales of the late 20th century rode high at the box office and in the public consciousness, they were being subverted, too. Plenty of mainstream stories of the era, especially in the world of horror, undercut America&rsquo;s gender assumptions. (See also: <em>The Silence of the Lambs.</em>)&nbsp;</p>

<p>Online, however, that gender essentialism was being reflected and refracted in the form of free online fiction aimed at trans women and seeming cis men questioning their gender. In these stories, most published in the 1990s and 2000s and collected on online fiction archives like Fictionmania, &ldquo;men&rdquo; were often imprisoned in worlds where they were forced to perform femininity for the benefit of captors who possessed absolute power over them. (At times, <em>Don&rsquo;t Worry Darling</em> seems like an adaptation of those stories.)&nbsp;</p>

<p>Almost all of these stories trafficked in the same baked-in sexism inherent to the other gender essentialist takes of the era. In their bones, however, they displayed the ways in which transness complicates the gender essentialist narratives of that era and our own. Once you accept that the gender binary is something that can be escaped, you have to get a lot more creative with your gender essentialist narratives.</p>

<p>Most of the tiny handful of stories featuring trans people focus on what are sometimes called &ldquo;binary&rdquo; trans women or trans men. Binary trans people are assigned one sex at birth, but their gender identity strongly correlates with societal expectations surrounding the other. Stories will often present them as, in essence, just another man or woman, the better to continue using the gender binary as a storytelling device.</p>

<p>But inherent to transness is the idea that gender is simultaneously knowable and malleable. You can be aware you are a woman and have the world perceive you as a man, but you can also eschew gender entirely and find the world insisting you fit into its preconceived notions. These ideas immediately complicate a gender essentialist narrative.</p>

<p>Serano says that the second you start trying to account for the diversity of trans experiences, which could include butch trans women or nonbinary people or agender people or any number of other folks, these presentations of transness fall flat. Just as storytellers have ingrained senses of who men and women are, they have ingrained senses of who trans people are, which are difficult to challenge.</p>

<p>&ldquo;The way in which actual trans people subvert typical ideas about gender comes from the diversity of our experiences and our expressions of gender. In real life, that does subvert the idea that men are one way and women another,&rdquo; she said. &ldquo;But the way in which trans characters can be deployed within any given movie, TV show, or book can be used in a lot of different ways that might not resonate with trans people or be reflective of their diversity.&rdquo;</p>

<p>Thus, the people telling stories that actually complicate our gender essentialist tales are often trans people themselves. One such writer is Gretchen Felker-Martin, whose horror <a href="https://bookshop.org/books/manhunt-9781250794642/9781250794642">novel <em>Manhunt</em></a> published earlier this year. The horror title explores a world where every human with a certain level of testosterone in their body turns into a slavering, ravenous monster. Already, Felker-Martin&rsquo;s scenario is trans-inclusive, albeit in a horrific way. &ldquo;A certain level of testosterone&rdquo; leaves room for lots of people, including cis men, trans women who have yet to begin hormone treatments, some trans men, and even some cis women, such as those who have <a href="https://www.cdc.gov/diabetes/basics/pcos.html">PCOS</a>. It&rsquo;s a gender apocalypse, but it&rsquo;s one that acknowledges that what we think of as &ldquo;gender&rdquo; is complicated and messy and imperfect.&nbsp;</p>

<p>&ldquo;The way men are raised is often destructive to themselves and everyone around them, but that&rsquo;s in large part due to their cultural dominance,&rdquo; Felker-Martin says. &ldquo;There are always women who&rsquo;ve been on the margins of that or who have even been in positions of power, who will happily and without a flicker of conscience step right into it. The organizations that shape public life in America &mdash; the police, the military, the Pentagon &mdash; these are already places where women hold powerful offices. We only need to spend a day watching them to know what they&rsquo;re like when they have that kind of power.&rdquo;</p>

<p>What&rsquo;s most exciting and unnerving about <em>Manhunt</em>, however, is the way its real villains are <a href="https://www.vox.com/identities/2019/9/5/20840101/terfs-radical-feminists-gender-critical">TERFs</a>, who want nothing more than to destroy the trans women who continue to suppress their testosterone levels via medical intervention. Felker-Martin says that&rsquo;s key to her vision of a world where &ldquo;all the men&rdquo; are gone (even though they aren&rsquo;t; one of her POV characters is a trans man, for instance).</p>

<p>The gender apocalypse subgenre &ldquo;enables many women to act out this fantasy where suddenly they can stop being armchair quarterbacks and show they&rsquo;re just as capable of ruling the world as any man is, that they would do better and fix all the problems,&rdquo; Felker-Martin says. &ldquo;White women love to sit around and imagine what we would do if we had any social power. But the reason this genre has come under such intense scrutiny is because in America, white women do have a lot of social power now.&rdquo;</p>
<h2 class="wp-block-heading">The secure status quo of the patriarchy drives many of these stories — and much of our lives</h2>
<p>One notable quality of <em>Don&rsquo;t Worry Darling</em> is how intersectional it thinks it is, all the while not being particularly intersectional at all. Its world is full of women of color, but within the film&rsquo;s premise, their oppression is de facto the same as that of the white lady heroine. It reduces its one prominent Black woman character, played by Kiki Layne, <a href="https://www.huffpost.com/entry/dont-worry-darling-review-drama_n_632b200ce4b0387bc70429be">to a plot device</a>, a clue to help the white hero figure out what&rsquo;s going on. Similarly, queer women don&rsquo;t seem to exist at all within the movie&rsquo;s narrowly defined gender rubric.</p>

<p>No story can successfully tackle all forms of oppression at once, nor should it have to. <em>Don&rsquo;t Worry Darling</em> has chosen to put all of its chips on structural misogyny. This choice would feel less blinkered, however, if the movie so much as feinted toward understanding that those other forms of oppression exist. <em>Don&rsquo;t Worry Darling</em>&rsquo;s struggles in this regard nod toward a problem with the vast majority of gender essentialist stories: They are written with a limited view of women&rsquo;s oppression, one that predominantly applies to white, straight, cis women.&nbsp;</p>

<p>Serano thinks the recurrence of this storytelling trope might stem from &ldquo;cultural feminism,&rdquo; a name given by critics to a tendency within second-wave feminism (which existed in the 1960s and 1970s and was instrumental in breaking down many of the walls keeping women out of existing power structures). Cultural feminism posited that the patriarchy stemmed inherently from men, who were horrible and oppressive, while women were their nurturing opposites.&nbsp;</p>

<p>&ldquo;Women can be just as horrible as men in certain situations or contexts,&rdquo; Serano says. &ldquo;Cultural feminism was really a very white feminism. Obviously, whether it&rsquo;s white supremacy or colonialism, white women have benefited from oppressive structures.&rdquo;</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24059400/dwdkikilayne.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Two women, played by Kiki Layne and Florence Pugh, mirror each other’s dance moves in a mirror." title="Two women, played by Kiki Layne and Florence Pugh, mirror each other’s dance moves in a mirror." data-has-syndication-rights="1" data-caption="Kiki Layne’s character in &lt;em&gt;Don’t Worry Darling&lt;/em&gt; is reduced to a plot device. | Warner Bros." data-portal-copyright="Warner Bros." />
<p>We know intuitively that not all men are oppressive and not all women are nurturing, even if the patriarchal structures we exist within might say otherwise. Thus, cultural feminism is on the wane within larger feminist theory. However, a story where one group of people is inherently bad and another inherently good is a great place from which to tell stories. Thus, people who write fiction of all sorts keep going to this well again and again and again, simply because it offers a feel-good pop feminism and a way to comment on the issues of the day without having to really delve into them.&nbsp;</p>

<p>Stories thrive in a status quo. The status quo provides a secure place from which a story can build, and most stories end in a way that reasserts the status quo, with a few changes made to a character who exists within it. Within our own society, the patriarchy is the status quo, and as such, there&rsquo;s a security to it that can feel unsettling even if you hate the ways you are oppressed by it. Within such a rigid system, we all know intuitively where we stand.&nbsp;</p>

<p>Thinking up a new system is really hard, which is perhaps why most gender essentialist tales simply put new coats of paint on the patriarchy while pretending to expose it. Thinking about the ways these stories might shift and change if they allowed for the full diversity of gender experiences that trans identities reveal to us can be exciting. It can also reveal just how wedded we are to old ideas and how threatening new systems can be as they struggle to be born.&nbsp;</p>
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				<name>Emily St. James</name>
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			<title type="html"><![CDATA[Does Taylor Swift want an Oscar? Perhaps (ahem) All Too Well.]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/culture/2022/9/9/23340127/taylor-swift-oscar-all-too-well-short-film-tiff" />
			<id>https://www.vox.com/culture/2022/9/9/23340127/taylor-swift-oscar-all-too-well-short-film-tiff</id>
			<updated>2022-09-08T16:33:02-04:00</updated>
			<published>2022-09-09T09:00:00-04:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Explainers" /><category scheme="https://www.vox.com" term="Movies" /><category scheme="https://www.vox.com" term="Music" />
							<summary type="html"><![CDATA[Say you are an extremely famous and/or wealthy person, and you decide you would like to have an Oscar. You could have just bought the Oscar that cinematographer Clyde De Vinna won at the second ceremony ever when it was auctioned earlier this year, but maybe you were busy that month. Or maybe what you [&#8230;]]]></summary>
			
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<img alt="" data-caption="Taylor Swift accepts an MTV Video Music Award for “All Too Well: The Short Film.” Will an Oscar follow? | Jeff Kravitz/Getty Images for MTV/Paramount Global" data-portal-copyright="Jeff Kravitz/Getty Images for MTV/Paramount Global" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24005548/1418930839.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	Taylor Swift accepts an MTV Video Music Award for “All Too Well: The Short Film.” Will an Oscar follow? | Jeff Kravitz/Getty Images for MTV/Paramount Global	</figcaption>
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<p>Say you are an extremely famous and/or wealthy person, and you decide you would like to have an Oscar. You could have just bought the Oscar that cinematographer Clyde De Vinna won at the second ceremony ever when it was <a href="https://movieposters.ha.com/itm/movie-posters/adventure/white-shadows-in-the-south-seas-mgm-1928-very-fine-academy-award-statuette-55-x-1225-/a/7276-86277.s?utm_source=thegoldknight">auctioned earlier this year</a>, but maybe you were busy that month. Or maybe what you want, more than anything, is to win a competitive Oscar, despite not being primarily known to this point for your film career.</p>

<p>Now imagine that you are a specific extremely famous and/or wealthy person. Imagine you are Taylor Swift, acclaimed pop star, celebrated songwriter, and director of <a href="https://www.youtube.com/watch?v=tollGa3S0o8"><em>All Too Well: The Short Film</em></a>. And if you want to win an Oscar, those two words &ldquo;short film&rdquo; are your ticket to the stars. Increasingly, the live-action and animated short film categories are ways for famous people to win Oscars in far less competitive categories.</p>

<p>The Oscars are famously one of the more difficult competitive awards to win, but there are categories that are &#8230; less contested, let&rsquo;s say, and categories where the rules to qualify are less stringent than in others. If you have access to the resources required to first get a film to qualify and then to mount a campaign for it to be nominated and eventually win &mdash; well, you&rsquo;ll have a real leg up over the other nominees in a historically under-the-radar category.</p>

<p>As such, it makes sense for you, Taylor Swift, to mount an Oscar run in the live-action short category for your 15-minute, music-video-adjacent expansion of your 10-minute song expansion of your already pretty perfect five-and-a-half minute song &ldquo;All Too Well.&rdquo; (<a href="https://www.vox.com/culture/22778502/taylor-swift-all-too-well-10-minutes-red-rerelease-taylors-version">More on the relationships between all of that here</a>.)</p>
<div class="youtube-embed"><iframe title="Taylor Swift - All Too Well: The Short Film" src="https://www.youtube.com/embed/tollGa3S0o8?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>You aren&rsquo;t breaking new ground here. You are following in a tradition several decades old, one that has benefited everyone from Kobe Bryant to Christine Lahti. You&rsquo;re just arguably the most famous person to ever tread this path, and as such, you&rsquo;re probably going to draw a lot more attention to this occasionally traveled Academy Awards byway.</p>
<h2 class="wp-block-heading">How to win an Academy Award for your short film</h2>
<p>The Academy Awards for animated and live-action short film have long been afterthoughts in the endless Oscar ceremony. Short films used to be shown before the main feature, back in the days when you would go to a movie theater for an evening&rsquo;s entertainment that would often feature, among other things, a cartoon, a newsreel, a short, and at least one feature film. Now they exist primarily as a way for interesting young writers and directors to create calling cards that will get them noticed in the industry.</p>

<p>Sometimes, those promising young writers and directors create something that garners so much notice it launches their career and wins them a major prize. Directors like <a href="https://www.youtube.com/watch?v=iVR827pnGSs">Taylor Hackford</a> (<em>Ray</em>), <a href="https://www.youtube.com/watch?v=_CGR0T9-Qho">Andrea Arnold</a> (<em>American Honey</em>), and <a href="https://www.youtube.com/watch?v=n_xMyx_SogA">Martin McDonagh</a> (<em>Three Billboards Outside Ebbing, Missouri</em>) won Oscars for live-action short film &mdash; Oscars that helped launch their feature-film directing careers.</p>
<div class="youtube-embed"><iframe title="SIX SHOOTER (2004) | dir. Martin McDonagh | Academy Award Winner Best Live-Action Short" src="https://www.youtube.com/embed/n_xMyx_SogA?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>The short film categories are unusually susceptible to interlopers, however, because they play by their own set of rules. <a href="https://www.oscars.org/sites/oscars/files/95th_oscars_complete_rules.pdf">Most categories at the Oscars</a> require a movie to screen for a week in theaters in LA, New York, Chicago, the Bay Area, Atlanta, or Miami to be eligible. But the short film categories offer three different paths to Oscar glory,&nbsp;since so few short films are screened in American theaters anymore. <a href="https://www.oscars.org/sites/oscars/files/95aa_live_action_short.pdf">Those three paths are</a>:</p>
<ul class="wp-block-list"><li>Screen your short film in a theater in Los Angeles, New York, Chicago, the Bay Area, Miami, or Atlanta for at least one showing per day for one week. The public has to be able to buy tickets to those screenings, and at least one of those screenings has to precede the release of your short film in a medium other than a movie theater, such as television or streaming. This path is similar to most other Oscar categories’.</li><li>Win an award for your short film at a film festival the Academy has deemed worthy of qualifying you for a run at an Oscar. The list of eligible film festivals is <a href="https://www.oscars.org/sites/oscars/files/95aa_anim_short_festivals.pdf">14 pages long</a> and includes everything from winning the Palme d’Or for short film at the Cannes Film Festival, the most prestigious in the world, to winning the “Golden Starfish Award for Best Short Film” at the Hamptons International Film Festival. You have options!</li><li>If you’re a film student, you can qualify by having your film win a Gold, Silver, or Bronze prize in the Academy’s Student Academy Awards.</li></ul>
<p>For her part, Taylor Swift (sorry, you&rsquo;re not her anymore, unless you literally are, in which case, hi) screened <em>All Too Well: The Short Film</em> for one week at the AMC Lincoln Square in New York last November. While that timing would qualify her for the 2021 Oscars in most other categories, which run on a January 1 to December 31 qualifying calendar, the short film categories follow the festival calendar more closely and run on an October 1 to September 30 calendar. Therefore, a short film from November 2021 is eligible for the 2022 Oscars.</p>

<p>Swift took the short to the Tribeca Festival in June, and she will also <a href="https://variety.com/2022/film/news/taylor-swift-toronto-film-festival-all-too-well-talk-1235358283/">screen it at the Toronto International Film Festival</a>, complete with a Friday, September 9, conversation with the festival&rsquo;s CEO, Cameron Bailey.</p>

<p>The Tribeca and TIFF appearances aren&rsquo;t really for Oscar-qualifying purposes as much as they&rsquo;re designed to keep the film in the public eye (since TIFF is one of the major Oscar precursor festivals) and to establish Swift&rsquo;s bona fides as a director. A <a href="https://www.theguardian.com/music/2022/jun/12/taylor-swift-tribeca-film-festival">Tribeca conversation with filmmaker Mike Mills</a> dug into Swift&rsquo;s filmmaking influences, her potential desire to direct a feature someday, and her increasing ability to step outside of her songwriting comfort zone.</p>

<p>It is worth noting here that Taylor Swift is extremely rich and famous. She can afford to not only make a short film, but also book a movie theater to screen it at a time when most theaters aren&rsquo;t making a habit of showing short films. That&rsquo;s a path not every filmmaker can take, and it gives her an advantage in a category that historically favors up-and-coming directors. That said, Swift is technically an up-and-coming director, one whose short film bears a sophisticated visual eye while also falling prey to the common young director pitfall of moving the camera way, way too much.</p>

<p>Finally, Swift is Oscar-eligible in a different category this year, one where you&rsquo;d more likely predict her to be nominated: Best Original Song. &ldquo;Carolina,&rdquo; a song she wrote for the film <a href="https://www.youtube.com/watch?v=egxyRSb_XtI"><em>Where the Crawdads Sing</em></a>, will be eligible for that category. Whether &ldquo;Carolina&rdquo; will be nominated or suffer the same fate as her <a href="https://www.youtube.com/watch?v=trIjpVH8h88">non-nominated song from <em>Cats</em></a> remains to be seen. She&rsquo;s also in the movie <em>Amsterdam</em>, from Oscar-favorite director David O. Russell, but that&rsquo;s a small supporting part and unlikely to garner awards attention.</p>

<p>Taylor Swift might be the most notable famous person to use the different rules of the short-film category as a sneak attack on the Oscars, but she&rsquo;s far from the only one. She&rsquo;s not even the only famous person to attempt an Oscar run like this in this year.</p>
<h2 class="wp-block-heading">Why did Kobe Bryant win an Oscar? He made a short film.</h2>
<p>In 2018, basketball legend <a href="https://www.youtube.com/watch?v=boFbw7cwaG8">Kobe Bryant won an Oscar</a> for animated short film for the film <a href="https://www.youtube.com/watch?v=ejU0v6-Na8w"><em>Dear Basketball</em></a>. Bryant was not an animator, and he did not direct the film. (Legendary animator Glen Keane handled that job, thus winning his own first Oscar.) Because the film was based on his script, however, Bryant shared in the prize. It was the first time many Oscar watchers became aware that, hey, a short-film Oscar seems to be much easier to win than an Oscar in a more competitive category.</p>

<p>The very next year, actress Jaime Ray Newman, best known for her work on TV, shared the live-action short film prize with director Guy Nattiv for the film <a href="https://www.youtube.com/watch?v=4NbO16AS5oc"><em>Skin</em></a><em>.</em> Earlier this year, actor Riz Ahmed (previously an Oscar nominee for Best Actor for <em>The Sound of Metal</em>) won his own Oscar in the live-action short film category for <a href="https://www.youtube.com/watch?v=Lzz50xENH4g"><em>The Long Goodbye</em></a>, directed by co-winner Aneil Karia and based on Ahmed&rsquo;s album.</p>
<div class="youtube-embed"><iframe title="Riz Ahmed - The Long Goodbye (Best Live Action Short - Oscars 2022)" src="https://www.youtube.com/embed/Lzz50xENH4g?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Dig around in Oscar history and you&rsquo;ll find all sorts of examples of the short-film categories&rsquo; relatively looser restrictions allowing interesting things to happen. Character actors like <a href="https://www.youtube.com/watch?v=_aqFucEjqyM">Christine Lahti</a> and <a href="https://www.youtube.com/watch?v=zd5ZOnFHUY8">Ray McKinnon</a> have won Oscars for shorts they directed and starred in, and the categories have also seen failed TV pilots and animated TV specials triumph. (The Academy quickly closed up the loopholes that allowed those wins to happen.)</p>

<p>This year, the recent prominence of Bryant and Ahmed&rsquo;s wins has raised the profile of this path to Oscar glory, and other famous people are availing themselves of it. The Hollywood Reporter&rsquo;s Scott Feinberg says that musician Kendrick Lamar&rsquo;s short film <em>We Cry Together </em><a href="https://www.hollywoodreporter.com/movies/movie-news/taylor-swift-kendrick-lamar-oscar-live-action-short-eligibility-1235194690/">screened for a week in Los Angeles in June</a> and thus will be Oscar-eligible this year.</p>

<p>I want to be careful not to be too cynical here. All of the short films listed here stemmed from places more pure than simply longing to win an Oscar. Swift&rsquo;s reclamation and reinvention of one of her most famous songs, Ahmed&rsquo;s exploration of his fears around racism in Britain, Bryant&rsquo;s ode to a sport he loved &mdash; they&rsquo;re all best understood as artistic expressions first and awards plays second. Yet they are all awards plays, too. Why would any of these people go to the trouble of booking a theatrical run if not<em> </em>to qualify for an Oscar?</p>

<p>Which brings me to my final question: Do you think Taylor Swift cares if she EGOTs?</p>
<h2 class="wp-block-heading">Do our celebrities feel the looming specter of the EGOT, or do they not care?</h2>
<p>The EGOT &mdash; winning a competitive Emmy, Grammy, Oscar, and Tony &mdash; is one of those weird little bits of celebrity trivia that has slipped into the public consciousness. Though the term was invented by <a href="https://www.theatlantic.com/entertainment/archive/2016/06/the-strange-tragicomic-history-of-egot/486182/"><em>Miami Vice</em> star Philip Michael Thomas</a>, who stated it was his career ambition (he&rsquo;s won none of the awards), it has taken off in the public consciousness. That&rsquo;s thanks to some combination of <a href="https://www.youtube.com/watch?v=ZAdZbw6Qido"><em>30 Rock</em></a>, the way the internet makes it much easier to collect this sort of trivia, and how fun EGOT is to say.&nbsp;</p>

<p>Just 17 people have won an EGOT, with Jennifer Hudson <a href="https://en.wikipedia.org/wiki/List_of_EGOT_winners">joining the list in June</a>, making her the most recent addition. Lots and lots of people have won two or three of the prizes; few have won all four. Even illustrious names like Stephen Sondheim and John Williams have only won three out of four. (Barack Obama, the only president to win more than one of these awards, has two out of four, thanks to a long-ago Grammy win and an Emmy win earlier this month. We can only hope he&rsquo;s mounting a Tony-eligible revival of <em>Urinetown</em> even as we speak.)</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/24005555/1402558501.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="Jennifer Hudson (seen here with RuPaul) completed her own EGOT by winning a Tony Award for producing the musical &lt;em&gt;A Strange Loop&lt;/em&gt; earlier this year. | Theo Wargo/Getty Images for Tony Awards Productions" data-portal-copyright="Theo Wargo/Getty Images for Tony Awards Productions" />
<p>Swift has an Emmy and a Grammy, but the Oscar and Tony are historically the trickiest of the four awards to win. What&rsquo;s more, her rough contemporary Adele just added an Emmy to her Grammy and Oscar last Saturday, when her special <em>Adele One Night Only</em> picked up a prize for the best prerecorded special. When it comes to other woman pop stars of the moment, Billie Eilish has several Grammys and an Oscar, and one can only assume an Emmy will follow whenever she decides she wants to write a song for <em>Euphoria</em> or something. If we expand to include men making music at the moment, John Legend already has his EGOT. Swift is falling behind!</p>

<p>(A musician who doesn&rsquo;t yet have the awards recognition you&rsquo;d expect is Beyonc&eacute;, who has won several Grammys but lost her first Oscar nomination to Eilish earlier this year. She received two Emmy nominations for her stunning 2016 video album <em>Lemonade</em>, but she lost a directing bid to <em>Grease Live!</em> and the variety special prize to a <em>Carpool Karaoke</em> special. Icons are often not recognized by awards bodies until later on, but I&rsquo;m going to go out on a limb and say <em>Lemonade</em> probably should have won an Emmy over fucking <em>Carpool Karaoke</em>.)</p>

<p>I&rsquo;m just not sure how much these celebrities actually think about EGOTing. If a legend like Stephen Sondheim gave a shit about whether he won an Emmy Award, allowing him to EGOT before he died, he surely would have cranked out a theme song for some forgettable sitcom or something. Lots of famous people probably enjoy winning awards but don&rsquo;t think as hard about whether they will EGOT as those of us who follow &ldquo;the industry&rdquo; might.</p>

<p>So does Swift spend all her time strategizing how to win an EGOT? God, I hope not. If I were Taylor Swift, I would think about lots of other things before I thought about getting added to the Wikipedia page <a href="https://en.wikipedia.org/wiki/List_of_EGOT_winners">&ldquo;List of EGOT Winners.&rdquo;</a> I must admit, however, that if I had an Emmy and a Grammy, I would definitely think all the time about how to get the Oscar and Tony, so maybe I&rsquo;m wrong.</p>

<p>Regardless of motives, regardless of intent, winning an Oscar would be a feather in anyone&rsquo;s cap. If Taylor Swift is able to win the Oscar for live-action short film, it wouldn&rsquo;t be the category you&rsquo;d most expect her to win in, but it would be an Oscar. For the rest of us, Swift winning a short-film Oscar would make for a fun trivia question years down the line. So see? We all win!</p>
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			<entry>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[One Good Thing: A new classic of country heartbreak]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/23279357/carly-pearce-29-written-in-stone-review" />
			<id>https://www.vox.com/23279357/carly-pearce-29-written-in-stone-review</id>
			<updated>2022-07-27T15:30:24-04:00</updated>
			<published>2022-08-02T08:30:00-04:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Music" /><category scheme="https://www.vox.com" term="One Good Thing" /><category scheme="https://www.vox.com" term="Recommendations" />
							<summary type="html"><![CDATA[Country music carries within it a promise of a kind of idyllic traditionalism, even in its most progressive forms. The genre implicitly promises that there is a place where you will find the one person who completes you and build a quiet life out in the middle of nowhere together. Yet in reality, life keeps [&#8230;]]]></summary>
			
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<img alt="" data-caption="Carly Pearce performs at CMS Fest 2022 in June. | Terry Wyatt/Getty Images" data-portal-copyright="Terry Wyatt/Getty Images" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23904802/1402213126.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	Carly Pearce performs at CMS Fest 2022 in June. | Terry Wyatt/Getty Images	</figcaption>
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<p>Country music carries within it a promise of a kind of idyllic traditionalism, even in its most progressive forms. The genre implicitly promises that there is a place where you will find the one person who completes you and build a quiet life out in the middle of nowhere together. Yet in reality, life keeps getting in the way. The best country lives in the tension between those ideas, between the life you&rsquo;re supposed to want and the world that gives you so many other options, then yanks some cruelly away.</p>

<p>And sometimes, you just need to scream and cry and pound your fists and maybe fire a shotgun into the air. Enter the &ldquo;Hey, fuck you, buddy!!&rdquo; song.</p>

<p>Typically (though not exclusively) recorded by women, the &ldquo;Hey, fuck you, buddy!!&rdquo; song involves what happens when some jerk breaks your heart, then runs off to be with someone else. As you watch their truck recede into the distance, you scream, &ldquo;Hey, fuck you, buddy!!&rdquo; But that&rsquo;s about all you can do.</p>

<p>Naturally, many of these songs center on divorce. From sad and lonesome classics like Tammy Wynette&rsquo;s &ldquo;D-I-V-O-R-C-E&rdquo; and Dolly Parton&rsquo;s &ldquo;Starting Over Again&rdquo; to more fiery tracks like Loretta Lynn&rsquo;s &ldquo;Rated X&rdquo; and<a href="https://www.vox.com/22716838/kacey-musgraves-star-crossed-album-review"> Kacey Musgraves&rsquo;s &ldquo;Breadwinner,&rdquo;</a> a woman&rsquo;s definition of herself after she ceases to be a wife is an evergreen theme in country (and popular art in general).</p>

<p>And now you can (and should!) add Carly Pearce&rsquo;s 2021 album <em>29: Written in Stone</em> to the list. It&rsquo;s a whole album of kiss-off anthems, inspired by a marriage that lasted less than a year, and it marks a huge leap forward for one of country music&rsquo;s most exciting young stars. Hopefully, it will help her cross over to audiences who don&rsquo;t normally listen to country. Those audiences might well love Pearce&rsquo;s dry, acerbic take on complete and utter heartbreak.&nbsp;</p>
<div class="youtube-embed"><iframe title="Carly Pearce - Diamondback (Lyric Video)" src="https://www.youtube.com/embed/e8p5P7xNro4?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Pearce married fellow country singer Michael Ray in October 2019, but their marriage was over less than a year later, with Pearce <a href="https://people.com/country/carly-pearce-breaks-silence-michael-ray-divorce/">officially filing for divorce</a> in June 2020. The title of <em>29: Written in Stone</em>, then, refers to the age Pearce was when her marriage both began and dissolved. But it also speaks to her anxiety around her impending 30s and her attempts to find a way forward in music after the death of <a href="https://www.hollywoodreporter.com/news/general-news/busbee-dead-hit-songwriter-producer-worked-maren-morris-more-1244195/">her longtime producer Busbee</a> in 2019, just weeks before her wedding.</p>

<p>It&rsquo;s an album that looks backward &mdash; to Pearce&rsquo;s parents&rsquo; marriage and to her country music foremothers like Loretta Lynn &mdash; and forward, to what Pearce might have learned from her divorce that she will bring to future relationships. It&rsquo;s appropriately angry in places, appropriately grief-stricken in others, and appropriately relieved in still others. It&rsquo;s an album written by someone who didn&rsquo;t expect her relationship to end so quickly, but who&rsquo;s also willing to admit it&rsquo;s probably good it ended before she and her ex could have their lives further enmeshed.</p>

<p>The opening track, &ldquo;Diamondback,&rdquo; nicely sets up what listeners can expect from the album. Its title evokes the deadly rattlesnake, but the song splits that word into two, as Pearce assures her ex that he can have whatever he wants, but he&rsquo;s &ldquo;never gonna get that diamond back.&rdquo; That song and others on the album have superb &ldquo;getting drunk at a dive bar with your friends after a bad breakup&rdquo; energy.</p>

<p>Pearce balances them with plaintive ballads, like the album&rsquo;s second track, &ldquo;What He Didn&rsquo;t Do.&rdquo; In that song, she seemingly explains to the imagined friends assembled at the dive bar why her marriage ended, not by talking about what her ex did to break her heart but all of the little things he didn&rsquo;t do that left her feeling let down. And yet even as she demurs when asked to give all the gory details, she assures us, &ldquo;we both know I could run him out of this town. That&rsquo;s just dirty laundry; I don&rsquo;t need to wear the truth.&rdquo;</p>

<p>It&rsquo;s easy to <a href="https://www.grammy.com/news/carly-pearce-interview-new-album-29-written-in-stone-kacey-musgraves-country-artist">draw comparisons</a> between Pearce and Musgraves. Both regularly toss off lyrics filled with evocative imagery, emotional complexity, and winking wordplay. Pearce, for instance, uses the title of her hit &ldquo;Next Girl&rdquo; to mean both her ex&rsquo;s next fling and to warn that new fling, &ldquo;I know what happens next, girl.&rdquo;</p>
<div class="youtube-embed"><iframe title="Carly Pearce - Next Girl (Official Music Video)" src="https://www.youtube.com/embed/o5KKh5gFock?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p><em>29: Written in Stone</em> has made the comparisons even more pointed, as Musgraves also released an album about her divorce last year, just one week before Pearce&rsquo;s album dropped. Musgraves&rsquo;s <em>star-crossed </em>arrived with a fleet of expectations it couldn&rsquo;t hope to live up to, and its hard turn away from a pure country song disgruntled many in Musgraves&rsquo;s fanbase. (<a href="https://www.vox.com/22716838/kacey-musgraves-star-crossed-album-review">I liked the album a lot, actually</a>.)</p>

<p>In short, this album knows that any relationship that ends deserves at least a couple &ldquo;Hey, fuck you, buddy!!&rdquo; songs. <em>29: Written in Stone</em> has more than its fair share for all your friends to scream along to at the bar, but it&rsquo;s also got a hefty helping of heartbroken wisdom for when last call has arrived and you realize your lover&rsquo;s not coming back.</p>

<p><em>29: Written in Stone</em> might speak to those who want a more purely country take on what it means to have the thing you thought would last your whole life disintegrate. Like Musgraves, Pearce is willing to take blame for the ways she let her marriage down, but where Musgraves could overindulge in those ideas, seeming like she had slipped into self-loathing, Pearce is only too happy to throw dirt on the grave her ex dug himself.</p>

<p>29: Written in Stone <em>is available on all major music streaming platforms. Physical editions are also available on CD and vinyl.</em></p>
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					</entry>
			<entry>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[The rise of land acknowledgments — and their limitations]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/the-highlight/23200329/land-acknowledgments-indigenous-landback" />
			<id>https://www.vox.com/the-highlight/23200329/land-acknowledgments-indigenous-landback</id>
			<updated>2022-07-28T06:38:36-04:00</updated>
			<published>2022-07-28T06:38:33-04:00</published>
			<category scheme="https://www.vox.com" term="Features" /><category scheme="https://www.vox.com" term="Politics" /><category scheme="https://www.vox.com" term="The Highlight" />
							<summary type="html"><![CDATA[Part of the&#160;July 2022 issue&#160;of&#160;The Highlight, our home for ambitious stories that explain our world. If you listen to a lot of podcasts, visit a lot of museums, attend a lot of academic conferences, or just exist somewhere in the Americas or Oceania, you may have noticed the growing prevalence of land acknowledgements.&#160; These statements [&#8230;]]]></summary>
			
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<img alt="" data-caption="Richard Langdeaux carried a Rosebud Sioux Tribe flag as he crossed the finish line Boston Marathon in 2021. Several indigenous runners took part in the race, which was held on on Indigenous Peoples Day and preceded by a land acknowledgement ceremony — the first for the marathon. | Jessica Rinaldi/The Boston Globe via Getty Images" data-portal-copyright="Jessica Rinaldi/The Boston Globe via Getty Images" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23759431/GettyImages_1235822649.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	Richard Langdeaux carried a Rosebud Sioux Tribe flag as he crossed the finish line Boston Marathon in 2021. Several indigenous runners took part in the race, which was held on on Indigenous Peoples Day and preceded by a land acknowledgement ceremony — the first for the marathon. | Jessica Rinaldi/The Boston Globe via Getty Images	</figcaption>
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<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/21899595/VOX_The_Highlight_Box_Logo_Horizontal.png?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="" data-portal-copyright="" />
<p><em>Part of the&nbsp;</em><a href="https://www.vox.com/23178787/highlight-july-2022-issue"><em><strong>July 2022 issue</strong></em></a><em><strong>&nbsp;</strong>of&nbsp;</em><a href="https://www.vox.com/the-highlight"><em><strong>The Highlight</strong></em></a><em>, our home for ambitious stories that explain our world.</em></p>

<p>If you listen to a lot of podcasts, visit a lot of museums, attend a lot of academic conferences, or just exist somewhere in the Americas or Oceania, you may have noticed the growing prevalence of land acknowledgements.&nbsp;</p>

<p>These statements acknowledge the Indigenous people who lived on the land before European colonizers arrived and can take the form of anything from a full ceremony to a quiet, written nod tucked away in a cobwebbed corner of a website.&nbsp;</p>

<p>Many allow for a more thorough reckoning with America&rsquo;s past. The October 2021 Boston Marathon opened with a land acknowledgement ceremony, prompted by criticisms of marathon organizers who had scheduled the race on Indigenous Peoples Day;&nbsp;its extensiveness <a href="https://www.nytimes.com/2021/10/11/sports/indigenous-land-boston-marathon.html">drew praise</a> from several Indigenous people in attendance. Similarly, many universities have long and thoughtful land acknowledgement pages on their websites, like <a href="https://www.northwestern.edu/native-american-and-indigenous-peoples/about/Land%20Acknowledgement.html">this one from Northwestern</a> University. And land acknowledgements are turning up in other spaces too, as seen in a <a href="https://www.youtube.com/watch?v=Gl1CZJs2Z-c">ceremony</a> held with the Ho-Chunk Nation by the Madison, Wisconsin, school district in April.</p>

<p>Land acknowledgements seem to have first been embraced by non-Indigenous people in New Zealand, then Canada, Mishuana Goeman, a professor of gender studies and American Indian studies at UCLA, wrote in a <em>Western Humanities Review</em> essay, <a href="https://www.academia.edu/72258158/Goeman_WHR_Final">&ldquo;The Land Introduction: Beyond the Grammar of Settler Landscapes and Apologies.&rdquo;</a>&nbsp; In the US, their prevalence grew after the Standing Rock protests of 2016 and 2017.&nbsp;</p>
<div class="youtube-embed"><iframe title="Ho-Chunk Nation Land Acknowledgement Ceremony 4/25/2022" src="https://www.youtube.com/embed/Gl1CZJs2Z-c?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Yet too often, critics say, these land acknowledgements take the form of a simplistic, &ldquo;This establishment exists on the land of this tribe.&rdquo; That doesn&rsquo;t make them bad, necessarily, but can make them seem like hollow gestures. <a href="https://www.theatlantic.com/ideas/archive/2021/11/against-land-acknowledgements-native-american/620820/">As Graeme Wood wrote in the Atlantic</a>, &ldquo;The acknowledgment relieves the speaker and the audience of the responsibility to think about Indigenous peoples, at least until the next public event.&rdquo;</p>

<p>Goeman, too, wrote that minimal land acknowledgement places the focus on the act of colonization, not the possibility of building more concrete futures for Indigenous people. &ldquo;You can study settler colonial structures without ever talking to Indigenous communities or peoples,&rdquo; she wrote.</p>

<p>Sometimes, the acknowledgements <em>are</em> awful. They can be completely ridiculous or even gross, as the many examples compiled by writer Michelle Cyca and her followers in <a href="https://twitter.com/michellecyca/status/1525198115304636416">this Twitter thread</a> show. The <a href="https://www.nhl.com/blackhawks/team/native-american-initiatives">Chicago Blackhawks hockey team&rsquo;s land acknowledgement</a>, for instance, recognizes &ldquo;that our team&rsquo;s namesake, Sauk War Leader Black Hawk, serves as a continuous reminder of our responsibility to the Native American communities we live amongst and draw inspiration from.&rdquo; The acknowledgement underscores that the team&rsquo;s mascot is, in fact, a real historical Indigenous person without committing the team to any plans to change it, <a href="https://www.vox.com/the-highlight/21308236/cleveland-indians-washington-redskins-name-racism-aunt-jemima-dixie-chicks-fair-and-lovely">as other teams have done</a>.</p>
<figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter alignnone"><div class="wp-block-embed__wrapper">
<blockquote class="twitter-tweet" data-dnt="true"><p lang="en" dir="ltr">what&#039;s the worst land acknowledgement you&#039;ve ever seen? i don&#039;t know that anything will ever top this: <a href="https://t.co/Yw8pWzEdK5">pic.twitter.com/Yw8pWzEdK5</a></p>&mdash; Michelle Cyca (@michellecyca) <a href="https://twitter.com/michellecyca/status/1525198115304636416?ref_src=twsrc%5Etfw">May 13, 2022</a></blockquote>
</div></figure>
<p>So is there a better way? I asked Joanelle Romero that question. She&rsquo;s the founder and CEO of Red Nation Celebration Institute, which hosts the Red Nation International Film Festival in Los Angeles. The festival, which focuses on films by Indigenous people, has been performing land acknowledgement ceremonies annually since its inception in 1995, and Romero had plenty of ideas for making land acknowledgements accomplish something beyond reiterating past colonization. She suggests, for instance, that these acknowledgements might take the form of ceremonies like the ones at her festival, rather than quick invocations.</p>

<p>Our conversation has been edited for length and clarity.</p>

<p><strong>The film festival has been doing an acknowledgement that it takes place on land that originally belonged to the Tongva people since it started in 1995, and you&rsquo;ve made that more of a public ceremony in the last 10 years. Can you tell me how you came up with that land acknowledgement?</strong></p>

<p>One of our former board members, Julia Bogany, who passed away last year, was a very respected Tongva elder, and she wrote <a href="https://www.rednationff.com/acknowledgment-ancestral-keepers-of-this-land/">the land acknowledgement</a>. It&rsquo;s not very long.</p>

<p>Originally, we would do that land acknowledgement in a traditional ceremony and not publicly. But now there are more public land acknowledgements, which is a good thing.</p>

<p>But it&rsquo;s important that Julia wrote it, because it can&rsquo;t be me. I&rsquo;m Mescalero Apache. I can&rsquo;t write the land acknowledgement for the people who lived here. I wouldn&rsquo;t even think of doing that.</p>

<p><strong>You mentioned how important it is that these statements be written in some capacity by someone who is part of the original people who lived on the land. What makes that important to these acknowledgements?</strong></p>

<p>So say you&rsquo;re in Hollywood or Beverly Hills, up on the top floor of the building, looking out at the view, and you&rsquo;re an executive. Maybe you&rsquo;re thinking, &ldquo;God, Indian is <em>in</em> right now. I wonder how I can make some money! Get someone to write a land acknowledgement. I don&rsquo;t care who it is. It&rsquo;s the &lsquo;in&rsquo; thing to do right now.&rdquo;</p>

<p>No. There&rsquo;s protocol, and there&rsquo;s ceremony, and there&rsquo;s a traditional way of life. We have instructions as native Indigenous people, and there&rsquo;s a way in which we do things. When it comes to land acknowledgements, there are over 500 nations, and each nation has its own protocol and instruction. So if you&rsquo;re in South Dakota, you would go to their elders and holy people and ask them what to do. I couldn&rsquo;t tell you.</p>

<p><strong>So imagine that I&rsquo;m going to open a boutique, where maybe just my wife and I work there. And I want to acknowledge the land. The right protocol would be to go and find someone from the people who lived here originally and ask for their input? What would be a good process for that?</strong></p>

<p>Well, you just answered your own question. I mean, are we speaking hypothetically here?</p>

<p><strong>Oh God, yes. I&rsquo;m never going to open a boutique.</strong></p>

<p>[Laughs.] Wherever you&rsquo;re at, whoever you are, if you want to do a good thing, the right thing, the correct thing, then go to whatever nation is there on that land, and <a href="https://www.health.state.mn.us/communities/tobacco/traditional/index.html">offer some tobacco</a>, and ask to speak with an elder.</p>

<p><strong>I don&rsquo;t know if you&rsquo;ve been to the Academy Museum here in Los Angeles, but I was surprised to see that before every movie they screen there, they do a land acknowledgement, recognizing the Tongva people.</strong></p>

<p>One thing about land acknowledgement is that, yeah, they raise awareness. But the reality is: Is that just a blanket statement, and then it stops there? It doesn&rsquo;t need to stop there.</p>

<p>And we should ask who wrote that land acknowledgement! I don&rsquo;t know who wrote that. I&rsquo;m a member of the Academy, and I should ask them who wrote that, because it really should be from the original people here, the Tongva, and it really should be Julia&rsquo;s land acknowledgement.</p>

<p>Land acknowledgements are often well-intentioned, but we have to ask, where do we go from here? When we talk about land acknowledgement, we have to talk about healing. We have to talk about reconciliation or <a href="https://landback.org/">Landback</a>. But what does that mean? We know realistically that we&rsquo;re not going to get all of our land back. So what would reconciliation mean?</p>

<p><strong>It does feel to me like the arts community is more attuned to these sorts of land acknowledgements, if maybe not the film industry as a whole. Would you say that&rsquo;s true?</strong></p>

<p>Maybe. To be sure, that sort of recognition from the entertainment industry or media has taken a long journey from when we first launched the institute to where we are today. But the words that <em>work</em> for us at our institute, and that mean something, are words that have action attached to them. The industry needs to go beyond land acknowledgement. It needs to seriously start looking at the skilled [Indigenous] professionals and organizations that have been in the industry for many, many years, and start breaking that glass ceiling within the entertainment industry.</p>

<p>Recently, after Standing Rock, there&rsquo;s been a lot of startup Native organizations and festivals, with industry support, that really don&rsquo;t have content yet. All I see of this conversation is land acknowledgements, even as the industry needs to start looking at the professionals that have been doing this a long time and financially supporting those organizations that have been doing the work.</p>

<p><strong>You mentioned the </strong><a href="https://www.vox.com/2016/9/9/12862958/dakota-access-pipeline-fight"><strong>Standing Rock protests that happened in 2016 and 2017</strong></a><strong>, centered on North Dakota&rsquo;s Standing Rock reservation. Looking at the timeline of widespread adoption of land acknowledgements, it does seem like more of them start happening after those protests.</strong></p>

<p>I think it&rsquo;s an important part of the story.</p>

<p>In November of 2015, our film festival partnered with a nonprofit in South Dakota and brought in a handful of Native students from North and South Dakota, and we asked them to lead a Native climate march, from the Santa Monica pier to Santa Monica City Hall. These kids had never seen the ocean or anything like it, so they were empowered and energized. And then these youth are the ones that woke the world to Standing Rock. Not the adults. And their actions definitely shook up and woke up a lot of people. In my tradition, children are sacred, so don&rsquo;t underestimate the youth.</p>

<p>So after Standing Rock, the industry definitely started to take more seriously our stories and our content. They got more interested in land acknowledgements and healing but also acknowledgements of what the industry could do and what needs to continue to happen. Now we have [Native-created and starring TV shows] <em>Reservation Dogs</em> and <em>Rutherford Falls</em> and <em>Dark Winds</em>.</p>

<p><strong>You see so many of these statements now, though, you know? My editor told me she was at a bar and it said, &ldquo;This bar sits on the land of this nation&rdquo; on the menu.</strong></p>

<p>Oh my God. That struck me as very weird. Wow.</p>

<p><strong>I&rsquo;ve seen these sorts of statements in restaurants or stores or on podcasts. It always feels like the bare minimum to me. But also how can any individual business go beyond that bare minimum, especially on what might be very limited resources?</strong></p>

<p>That&rsquo;s a big question. Like I said earlier: it&rsquo;s all about <a href="https://www.vox.com/22979953/forgiveness-reconciliation-truth">healing and reconciliation</a>. So maybe a restaurant has a statement like that on their menu. How are they giving back to the community whose land the restaurant is on? How could they give back to that nation? Maybe there&rsquo;s a youth program that part of the proceeds of one of their meals could go to. That idea is just off the top of my head.</p>

<p><strong>Let&rsquo;s take that idea to the entertainment industry then. What&rsquo;s a way the industry you&rsquo;re in could immediately move beyond those bare minimum statements?</strong></p>

<p>Hire us!</p>

<p>There&rsquo;s not representation of our Native actresses on broadcast, episodic television. There is on cable networks [in the shows mentioned earlier], but there&rsquo;s not representation on mainstream, broadcast, episodic television, on NBC, CBS, ABC, Fox. There&rsquo;s a direct link between that and the many murdered and missing Indigenous women. If we&rsquo;re not seen and heard in the media, then we don&rsquo;t matter. The industry is telling us we don&rsquo;t matter.</p>

<p>When we launched the <a href="https://aipi.asu.edu/blog/2020/05/why-we-wear-red">Why We Wear Red initiative</a> [to draw attention to violence against Indigenous women], I asked network heads, &ldquo;Why did you stop including Native actresses in guest star roles, leading roles, featured roles?&rdquo; and they had no answer. I was like, &ldquo;Wow, this conversation is over, because you&rsquo;re not getting it.&rdquo;</p>

<p>But it goes beyond that. Our Native men don&rsquo;t matter. Our Native children don&rsquo;t matter. Do we want to talk about land acknowledgements? Or do we want to talk about what the industry can actually do, which is hire us?</p>

<p><strong>When I was researching this, I realized that when we say &ldquo;land rights,&rdquo; it can mean two different things, broadly. The first is what we&rsquo;re talking about here: acknowledging the people who were on this land before colonizers arrived. But the second is the argument that, at base, the land itself, which existed before humans, period, has rights in and of itself. How do you see those two ideas as being connected?</strong></p>

<p>Our Native people have always been stewards of the land, and we have instructions to care for it. The Earth is our mother. She&rsquo;s our resource. That&rsquo;s where our food comes from, where our medicine comes from, where our water comes from.</p>

<p>And now they&rsquo;re putting pipelines in our water? It&rsquo;s just ignorance, to be honest. I don&rsquo;t even know what English word you can put on these people. Water is sacred. Water is life. We&rsquo;re made up of water. We can&rsquo;t live on polluted water, and we can&rsquo;t live on oil. We all of us, as human beings, living here together on Earth, we really need to look at this. There&rsquo;s only one water, and all of us as human beings need to teach our children to protect that water.</p>

<p><strong>To wrap up, I want to return to that idea of the restaurant putting a little land acknowledgement at the bottom of its menu. Do you think it has a benefit at all, if only in shifting the story of whose land this is and who lives here?</strong></p>

<p>From that point of view, sure, it&rsquo;s a good thing. It&rsquo;s that little baby step. Maybe a person at that restaurant opens the menu and goes, &ldquo;Oh, wow. What&rsquo;s this?&rdquo; Maybe it gets them thinking and inspires them to investigate or even create something that will be life-changing for the human condition. So on that level, it&rsquo;s good.</p>

<p>It just can&rsquo;t stop there.</p>

<p><a href="https://www.vox.com/authors/emily-st-james"><em>Emily St.&nbsp;James</em></a><em>&nbsp;is a senior correspondent for&nbsp;Vox covering shifting American identity. </em></p>
<div class="wp-block-vox-media-highlight vox-media-highlight">
<p><a href="https://www.vox.com/23178787/highlight-july-2022-issue"><strong>More from the July 2022 issue of the Highlight</strong></a></p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23889095/US_19_029.JPG?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="" data-portal-copyright="Daniel Wagner for Vox" /></div>
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			<entry>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[Why adoption won’t fill the gaps of a Roe-less America]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/policy-and-politics/23200880/adoption-abortion-roe-we-will-adopt-your-baby-kathryn-joyce" />
			<id>https://www.vox.com/policy-and-politics/23200880/adoption-abortion-roe-we-will-adopt-your-baby-kathryn-joyce</id>
			<updated>2022-07-14T18:14:22-04:00</updated>
			<published>2022-07-14T08:00:00-04:00</published>
			<category scheme="https://www.vox.com" term="Abortion" /><category scheme="https://www.vox.com" term="Health Care" /><category scheme="https://www.vox.com" term="Policy" /><category scheme="https://www.vox.com" term="Politics" />
							<summary type="html"><![CDATA[In the immediate wake of the Supreme Court decision overturning Roe v. Wade, social media filled with images and memes playing off a viral tweet: A clean-cut couple beams at the camera while standing outside the Supreme Court building and holding a sign reading &#8220;We will adopt your baby.&#8221; (Slate has the full story on [&#8230;]]]></summary>
			
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<img alt="" data-caption="Abortion opponents participate in a rally preceding the March for Life in 2016. | Albin Lohr-Jones/Pacific Press/LightRocket via Getty Images" data-portal-copyright="Albin Lohr-Jones/Pacific Press/LightRocket via Getty Images" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23771310/506527306.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
	<figcaption>
	Abortion opponents participate in a rally preceding the March for Life in 2016. | Albin Lohr-Jones/Pacific Press/LightRocket via Getty Images	</figcaption>
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<p>In the immediate wake of the Supreme Court decision overturning <em>Roe v. Wade</em>, social media filled with <a href="https://www.nbcnews.com/news/us-news/-will-adopt-baby-meme-goes-viral-debates-roe-reach-fever-pitch-rcna35818">images and memes</a> playing off a <a href="https://twitter.com/NoelleFitchett/status/1540805540946649089">viral tweet</a>: A clean-cut couple beams at the camera while standing outside the Supreme Court building and holding a sign reading &ldquo;We will adopt your baby.&rdquo; (Slate has <a href="https://slate.com/news-and-politics/2022/06/adopt-your-baby-meme-abortion-protest-roe.html">the full story</a> on the couple featured in that photo.)</p>

<p>In a post-<em>Roe</em> world, there is already a renewed focus on adoption as a supposed solution for unwanted pregnancies. Indeed, in the arguments before the Supreme Court last year, <a href="https://nymag.com/intelligencer/2021/12/amy-coney-barrett-adoption-myths.html">Justice Amy Coney Barrett suggested</a> that adoption is a foolproof substitution for abortion. Yet the rhetoric around adoption too rarely takes into consideration the person having the baby who will be adopted.</p>

<p>Kathryn Joyce, an investigative reporter at Salon, has been covering adoption in America for over a decade. Her book <a href="https://bookshop.org/books/the-child-catchers-rescue-trafficking-and-the-new-gospel-of-adoption/9781586489427"><em>The Child Catchers</em></a> is one of the best ever written about the messy intersections of capitalism, Christianity, and adoption, digging deep into the ways the adoption industry wrings every dollar it can out of an incredibly fragile period in the lives of everyone it touches. (Disclosure: I am adopted.)</p>

<p>Joyce and I talked recently about adoption rhetoric at a time when American reproductive rights have been gutted. That rhetoric touches on so many other aspects of American life, most notably race and class.</p>

<p>&ldquo;For decades now, there&rsquo;s been a pro-choice rejoinder to anti-abortion activists: What are you going to do with all these extra kids you want to see born? Are you prepared to adopt all these kids?&rdquo; Joyce said. &ldquo;And the answer is: kind of? A lot of people will say, &lsquo;That&rsquo;s exactly what we want.&rsquo;&rdquo;</p>

<p>This conversation has been edited for length and clarity.&nbsp;</p>

<p><strong>Photos of couples holding signs saying &ldquo;We will adopt your baby&rdquo; have been propagating on Twitter in the past few weeks. As somebody who&rsquo;s covered this world extensively, how do images like that intersect with your work?</strong></p>

<p>It feels like conversations about adoption that for a very long time were happening in the margins of discussion about reproductive rights are very much more a mainstream discussion. What&rsquo;s interesting is there have been a few other moments where there has been a similar, if time-bound, recognition of this issue.</p>

<p>In my book, I wrote about what happened in Haiti after the devastating earthquake in 2010. There was this immense rush to not just expedite adoptions that were in process but to open up expedited adoption procedures to any child who was in institutional care in the country, even though welfare experts and even some of the more responsible adoption agencies were saying, &ldquo;When the country is in complete disarray is not the time to start rushing things.&rdquo; As part of that, <a href="https://en.wikipedia.org/wiki/New_Life_Children%27s_Refuge_case">Laura Silsby</a>, a Baptist missionary from Idaho, wrote this extremely blunt and kind of ghoulish plan that she was going to gather [Haitian] children off the street. Ultimately, they were going to be offered for international adoption. The boldness and bleakness of that grabbed people&rsquo;s attention.</p>

<p>Also, in 2018, when the <a href="https://www.vox.com/2018/6/20/17475232/children-separation-border-immigration-families-belong-together">family separation crisis</a> at the border began to get a lot of notice, there were people who suddenly paid a lot of attention to the fact that one of the largest adoption agencies in the country, Bethany Christian Services, had been contracted by the government to offer a form of foster care for these children. <a href="https://www.nbcnews.com/news/latino/deported-parents-may-lose-kids-adoption-investigation-finds-n918261">People started asking</a>: What are they going to do with these children that they&rsquo;re taking away from their parents? Are they going to be offering these children for adoption?</p>

<p>In the aftermath of the Supreme Court overturning <em>Roe</em>, there&rsquo;s this similarly blunt thing that happened. Two Supreme Court justices &mdash; Samuel Alito in his opinion and Amy Coney Barrett in her arguments last winter &mdash; made the argument that abortion is not needed because we&rsquo;ve got adoption. <a href="https://twitter.com/DanCrenshawTX/status/1521332386184769541?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1521332386184769541%7Ctwgr%5E%7Ctwcon%5Es1_&amp;ref_url=https%3A%2F%2Fwww.mic.com%2Fimpact%2Froe-adoption-abortion-conservatives">Right-wing politicians</a> have said that adoption is the answer to unplanned pregnancies. And then you have people showing up with celebratory signs and big smiles that say &ldquo;We will adopt your baby.&rdquo; That makes it too hard to ignore for a lot of people who weren&rsquo;t really well-versed in those dynamics.</p>
<div class="twitter-embed"><a href="https://twitter.com/NoelleFitchett/status/1540805540946649089" target="_blank" rel="noopener noreferrer">View Link</a></div>
<p><strong>Your book primarily (but not exclusively) deals with international adoption, especially evangelical Christian families adopting children, sometimes lots of them, from overseas. How does domestic adoption fit into that picture?</strong></p>

<p>The movement&rsquo;s rhetoric as a whole is this idea that by adopting, you&rsquo;re doing something more than just building a family. You are also solving the problem of abortion, because in their mind, you are providing the answer to unplanned pregnancy. Adoption is seen as a seamless solution.</p>

<p>Poverty is the common denominator here. One family is being broken apart for reasons that ultimately boil down to poverty in various complicated ways. Usually, much wealthier families are being created out of a piece of that first family.</p>

<p>When I was doing my reporting for the book, I spoke to the director of an adoption agency in the Pacific Northwest that prided itself on being very open and trying to avoid a lot of the ethical problems that have plagued other adoption agencies. She told me that if you look at all different forms of adoption, the one thing they have in common is the birth mother is invisible. You&rsquo;re erasing not just the birth mother but the entire family of origin. They&rsquo;re sometimes seen as the source of a product, as crass as that sounds. It&rsquo;s how a lot of adoptees have ended up feeling &mdash; like a product or a supply.</p>

<p>And these ideas make those families of origin invisible by making them part of a broad caricature. If it&rsquo;s domestic adoption, it&rsquo;s got to be some messed-up family or substance-addicted family or abusive family. Or careless, feckless young parents who weren&rsquo;t responsible. On the flipside, they&rsquo;re made into these angels who have given the ultimate sacrifice. But they&rsquo;re never looked at as individual people who, with different resources and support, might have made a different choice.</p>

<p>Internationally, you see a similar thing. The families of origin had been treated for a long time as a terrible situation from which children were rescued, or they were written about in some kind of third-world tragedy terms.</p>

<p><strong>How do you think this intersects with race?</strong></p>

<p>Sometimes in the rhetoric around international adoptions, there&rsquo;s what a lot of people would characterize as &ldquo;white saviorism&rdquo;: These children were thrown away, and the adoptive parents or the church has come along to redeem them. A lot of times, those ideas will involve some fairly severe denigration of the country, the culture, or the family that the children came from.</p>

<p>If you look at the earthquake in Haiti in 2010, there was an extreme version of that rhetoric, with people talking about Haiti as this doomed or even satanic country. There was a sense of saving these children from growing up in that country. And the leaders of Haiti pointed out at the time, &ldquo;What are you saying about our country if you say the only chance our children have is to be taken out of it?&rdquo;</p>

<p>In the last 20 years, transracial adoptees in particular have talked about their experiences with this. Generational waves of adoptees of a certain age come from a particular country because that country was a hot spot adoption center at the time. So there is this older wave of Korean American adoptees [from the 1980s] who were pioneers in a lot of this research and advocacy. They talk about having many times grown up in an area where they were the only person of color. And Black or Latinx adoptees, whether they were adopted domestically or internationally, say similar things.</p>

<p>Even adoptees who had really happy situations and were close with their adoptive family will say that something that was missing was the understanding of what it would be like to grow up a person of color in a largely white community.</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23786862/GettyImages_675653308a.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="Anti-abortion and pro-abortion rights demonstrators wave their signs outside the US Supreme Court during the 1989 March for Life in Washington, DC. | Mark Reinstein/Corbis via Getty Images" data-portal-copyright="Mark Reinstein/Corbis via Getty Images" />
<p><strong>The natural question is: Why aren&rsquo;t the folks who were holding those signs not just adopting </strong><a href="https://www.acf.hhs.gov/media/press/2021/national-data-shows-number-children-foster-care-decreases-third-consecutive-year"><strong>kids in foster care</strong></a><strong>? Obviously, it&rsquo;s not that simple, but I&rsquo;m still asking myself that question.</strong></p>

<p>There are different dynamics at play. A lot of times people who want to adopt do want to adopt infants or young children. There is a perception that children who have been in the foster care system are damaged in some way. Sometimes, there are weird racial dynamics. There have been adoptive parents who have distinguished, racially, between Black kids in the foster care system in the US and Black kids who were available for adoption from countries in Africa. They would say, &ldquo;My kid&rsquo;s not Black. They&rsquo;re Ethiopian.&rdquo;</p>

<p>But the foster care system also has a ton of problems. The majority of kids who end up in the child welfare system in most places in this country are overwhelmingly there not because of child abuse but because of things that fall under the category of neglect. To people who haven&rsquo;t paid that much attention to it, it&rsquo;s easy to conclude that kids who are neglected aren&rsquo;t being fed and aren&rsquo;t safe and need to be taken away. But that&rsquo;s often not what neglect ends up meaning.</p>

<p>Most of the time, it boils down to things that, again, are about poverty. There are huge racial disparities there, but also really significant classist elements. Poor white families also often end up on the wrong side of that scrutiny. The neglect that ends up separating so many kids from their families in poorer communities in this country is so subjective.</p>

<p>Kids end up in this system because they wore dirty clothes to school, or because a school nurse found lice, or because their parents were trying to get substance-abuse treatment. Most of these things just boil down, ultimately, to them being poor. If we were a country that provided better resources to deal with these things, it wouldn&rsquo;t result in a system that starts its own catastrophic chain of events, both for families but also for the system as a whole when it starts taking in way more children than it can responsibly care for.</p>

<p><strong>Obviously, lots of people are adopting because they can&rsquo;t have children for whatever reason. But what do you see as overriding motivations about adoption within these religious communities, even in families that are only adopting two or three kids?</strong></p>

<p>Everybody&rsquo;s in an individual situation, and most people, the primary motivation is to either build or expand their family. That remains true.</p>

<p>When I was writing about the Christian adoption movement 10 years ago, there was this concerted effort to cast adoption not just as something individuals did for all the reasons that people do things, but to cast it into a religious mission, where they would be doing a number of things simultaneously. They would be solving the &ldquo;orphan crisis,&rdquo; which was this argument that there are hundreds of millions of children who are orphaned and in need of adoptive homes around the world. And the other argument was they could solve the abortion question. They could provide the homes that pro-choice advocates were constantly challenging and asking for when they would say things like, &ldquo;Are you prepared to adopt all these extra kids?&rdquo;</p>

<p>As the movement really got into full swing in the late 2000s and early 2010s, a lot of religious leaders started writing books making a theological case for adoption as well. A lot of those books would point out what they saw as a parallel between the adoption of children into a family and the way Christians were adopted into God&rsquo;s family when they accepted Christ. So they would say, if you adopt, you are capturing this divine pattern in your family. Some of the books made an argument that the ultimate purpose of adoption is fulfilling the <a href="https://theconversation.com/what-is-the-great-commission-and-why-is-it-so-controversial-111138">Great Commission mandate</a> that you are <a href="https://www.biblegateway.com/passage/?search=Matthew%2028%3A16-20&amp;version=NIV">going and converting the nations of the world</a>, that you are evangelizing through adoption.</p>

<p><strong>The physical toll a pregnancy takes on someone&rsquo;s body is substantial, but as we talk about birth families, I want to think about the mental and psychological effects of going through a pregnancy and giving the child away, even if you are doing so willingly. What do those look like?</strong></p>

<p>The reason I ended up writing about adoption in the first place is I was speaking to a lot of the women who had relinquished their children during the <a href="https://en.wikipedia.org/wiki/Baby_Scoop_Era">baby scoop era</a>, before [1973&rsquo;s] <em>Roe v. Wade</em>. Unwed parenthood was so shameful that a lot of white women got sent away to these maternity homes, so they could go through pregnancy and deliver, then pretend nothing happened.</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23767696/929339492.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="A French woman adopting a child from Tahiti meets the biological mother. | BSIP/Universal Images Group via Getty Images" data-portal-copyright="BSIP/Universal Images Group via Getty Images" />
<p>I was speaking to these women decades later, and they were still so raw from that loss. It had come to define their life. Everyone I spoke to felt at least coerced, like they were not given a real chance to make a decision to parent. They said all kinds of things, like they would have PTSD reactions if they heard children crying, or that some of them never stopped thinking about where their child was and if they were okay.</p>

<p>Some of the mothers I spoke to who had this experience talked about this as a form of ambiguous loss. That&rsquo;s a term they often use for families of someone who has gone missing. In some ways, that can be harder to deal with than if somebody has died because you are living constantly in this state of uncertainty.</p>

<p><strong>Adoption is always going to exist. It&rsquo;s always going to be part of how humanity handles children who need homes. But we&rsquo;re also entering an era when there might be a lot more of it. What are some things we could do as a society to make adoption less traumatic for everybody involved?</strong></p>

<p>It needs to be a truly informed choice, which is something we haven&rsquo;t seen, outside of certain circumstances. But it&rsquo;s never been the main experience of people relinquishing children for adoption.</p>

<p>So many people have talked about forms of pressure they encountered. They might have to fill out these questionnaires that make them feel like there&rsquo;s no way they are prepared or wealthy enough to raise a child, which is a pretty subtle form of coercion. But there&rsquo;s more overt ways, like outright telling people there&rsquo;s no way they could be a good parent and if they keep their child, they&rsquo;re being selfish.</p>

<p>We would need to start asking: Has this person or their family been offered the material resources that they are most likely lacking to be able to keep their family intact? There&rsquo;s a lot of talk, even among adoption advocates, that adoption should be the last resort after trying to reunite a family, or trying to keep a child within an extended family or within their community &mdash; or at least within their country, if it&rsquo;s international.</p>

<p>In practice, it&rsquo;s never worked out that way because those options cost the state money. If you&rsquo;re really going to support families, in the way that a handful of Republican politicians say they are willing to consider doing now that they have outlawed abortion in many states, that is going to cost a huge amount of money. The adoption industry is a private, market-based solution to that problem that generates money for Western businesses and all of the middlemen that get involved.</p>

<p>We haven&rsquo;t ever really tried a system that&rsquo;s non-coercive. But I also think you can&rsquo;t talk about that prospect without the bedrock choice that people need to have: to decide whether to go through with a pregnancy. Most people involved in adoptions, most people who have relinquished custody, will tell you that whether or not to continue a pregnancy is a very different decision than whether to parent that child.</p>
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					</entry>
			<entry>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[The Trump presidency was a reality show. The January 6 hearings are the reunion special.]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/culture/23188617/jan-6-committee-hearings-testimony-cassidy-hutchinson-trump-reality-show-reunion" />
			<id>https://www.vox.com/culture/23188617/jan-6-committee-hearings-testimony-cassidy-hutchinson-trump-reality-show-reunion</id>
			<updated>2022-07-26T16:19:18-04:00</updated>
			<published>2022-07-12T08:00:00-04:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="TV" />
							<summary type="html"><![CDATA[Remember when then-President Donald Trump hurled a plate at a White House wall, spattering it with ketchup? You didn&#8217;t see that moment. You didn&#8217;t even know about it when it happened. But when Cassidy Hutchinson, a former aide to Mark Meadows, Trump&#8217;s chief of staff, told that story before the House select committee investigating the [&#8230;]]]></summary>
			
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<img alt="" data-caption="Photographers lean in close to Cassidy Hutchinson, former aide to Trump White House chief of staff Mark Meadows, taking photos of her before her testimony to the House select committee investigating the January 6, 2021 attack on the US Capitol. | Jabin Botsford/Washington Post via Getty Images" data-portal-copyright="Jabin Botsford/Washington Post via Getty Images" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23760348/1241601322.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
	<figcaption>
	Photographers lean in close to Cassidy Hutchinson, former aide to Trump White House chief of staff Mark Meadows, taking photos of her before her testimony to the House select committee investigating the January 6, 2021 attack on the US Capitol. | Jabin Botsford/Washington Post via Getty Images	</figcaption>
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<p>Remember when then-President Donald Trump hurled a plate at a White House wall, spattering it with ketchup? You didn&rsquo;t see that moment. You didn&rsquo;t even know about it when it happened. But when <a href="https://www.vox.com/policy-and-politics/2022/6/28/23186934/cassidy-hutchinson-trump-january-6-hearing">Cassidy Hutchinson</a>, a former aide to Mark Meadows, Trump&rsquo;s chief of staff, told that story before the <a href="https://www.vox.com/2022/6/9/23161364/january-6-committee-capitol-congress-public-hearings">House select committee investigating the Capitol insurrection of January 6, 2021</a>, odds are pretty good you could picture it.</p>

<p>The ketchup wall was just one of many damning details in Hutchinson&rsquo;s testimony, delivered on June 28. She also testified that Trump seemed intent on allowing heavily armed people to march on the Capitol, that he reportedly attempted to seize control of a vehicle from a Secret Service agent who wouldn&rsquo;t drive him up to the Capitol, and that he was obsessed with the size of the crowd listening to his speech on that day. (With Trump, some things never change.)&nbsp;</p>

<p>Those were all big, shattering revelations. But in the moment, as Hutchinson was testifying, what seemed to garner the greatest buzz on social media platforms was the ketchup. It was so ridiculous, so overly dramatic, so campy. Even though Hutchinson says it really happened, it nevertheless had big reality TV vibes, a sense that what was real had been turned up a couple of notches. And that was what made the moment stand out.</p>
<figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter alignnone"><div class="wp-block-embed__wrapper">
<blockquote class="twitter-tweet" data-dnt="true"><p lang="en" dir="ltr">Sources close to Jared and Ivanka say that  privately the couple opposed Donald Trump’s decision to throw ketchup at the wall.</p>&mdash; DougJBalloon (@DougJBalloon) <a href="https://twitter.com/DougJBalloon/status/1541928385651376129?ref_src=twsrc%5Etfw">June 28, 2022</a></blockquote>
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<blockquote class="twitter-tweet" data-dnt="true"><p lang="en" dir="ltr">Dear Mar-A-Lago staff,<br><br>Hide the plates and the ketchup. Now.</p>&mdash; Don Winslow (@donwinslow) <a href="https://twitter.com/donwinslow/status/1541933413753446400?ref_src=twsrc%5Etfw">June 28, 2022</a></blockquote>
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<blockquote class="twitter-tweet" data-dnt="true"><p lang="en" dir="ltr">We probably should&#039;ve known that presidency would end with ketchup dripping down a wall, but then, Heinz sight is 2020.</p>&mdash; Justin Chang (@JustinCChang) <a href="https://twitter.com/JustinCChang/status/1541901265197641728?ref_src=twsrc%5Etfw">June 28, 2022</a></blockquote>
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<p>Reality television made Trump, both literally (he built considerable fame atop <em>The Apprentice</em>) and figuratively (he seemed to subconsciously fashion himself as a reality TV character on the campaign trail). And even though Trump is no longer in office, reality TV remains a compelling way to understand him and his administration. With the hearings set to resume this week, the &ldquo;narrative&rdquo; surrounding them &mdash; at least among casual observers &mdash; increasingly has the feel of people discussing a reality show around the water cooler, too.</p>

<p>Now that his presidency is over, the January 6 hearings stand as a kind of last-minute reunion special, one where the former star has removed himself from the proceedings by refusing to testify. No less a former Trump luminary than former chief of staff Steve Bannon is set to testify this week.&nbsp;</p>

<p>Since Trump won&rsquo;t be testifying, he misses a chance to set the narrative and define its &ldquo;characters&rdquo; going forward. He has lost control of the story, as it were. As such, we&rsquo;re left with the stories we didn&rsquo;t hear about in all those years of the Trump White House. And in the midst of that vacuum, of course we&rsquo;re picking on the most ridiculous details.</p>
<h2 class="wp-block-heading">Donald Trump has always been our reality-show president. These hearings prove he still is, even without his usual tricks.</h2><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/7249427/GettyImages-114617591.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Donald Trump on The Apprentice." title="Donald Trump on The Apprentice." data-has-syndication-rights="1" data-caption="Donald Trump’s fame only increased after he began hosting the NBC reality show &lt;em&gt;The Apprentice&lt;/em&gt; in 2004. | Matthew Imaging/Getty Images" data-portal-copyright="Matthew Imaging/Getty Images" />
<p>In the summer of 2015, as Trump began his rise to the top of the Republican presidential primary polls, many political observers wrote him off as a flash in the pan. But his TV presence was fascinating.</p>

<p>In the early Republican primary debates, he kept finding ways to make himself the story and to pull the camera&rsquo;s focus back to him. His many years on the reality show <em>The Apprentice </em>had served him incredibly well. Trump had so internalized how to be on television that none of his opponents seemed to be anywhere near as comfortable. Being good on TV isn&rsquo;t the primary skill that wins presidential races, but it helps considerably. And <a href="https://www.vox.com/2015/8/14/9151251/donald-trump-apprentice-president">Trump was really good on TV</a>. &ldquo;The contents of Trump&rsquo;s message are loathsome to many, including many Republicans, but the package Trump is selling them in is market-tested and ready to ship,&rdquo; I wrote at the time.&nbsp;</p>

<p>The idea of understanding Trump as a scheming reality show contestant, willing to do whatever it took to win, only grew as he won the Republican nomination and the presidency. He quite willingly took on the role of &ldquo;reality show villain,&rdquo; which wasn&rsquo;t really a negative. In reality TV, the &ldquo;villain&rdquo; is just the person who drives the story forward through their scheming, whom the cameras are always pinned to, who does and says the most outrageous things to garner attention. The archetypal example is likely Richard Hatch from the first season of <em>Survivor</em>, who won the whole game by being as unscrupulous as possible. Whether Trump thought of himself this way is impossible to know, but he quite obviously understood what made good television.&nbsp;</p>

<p>&ldquo;Donald Trump is starring in a <a href="https://www.vox.com/culture/22233503/antihero-donald-trump-house-of-cards">TV show where he is the protagonist</a>&rdquo; turned out to be an incredibly useful way to understand Trump&rsquo;s rise to power. (The <a href="https://www.nytimes.com/2019/09/06/opinion/sunday/trump-reality-tv.html">New York Times&rsquo;s James Poniewozik</a> wrote an <a href="https://www.amazon.com/Audience-One-Television-Fracturing-America/dp/1631494422">entire book</a> about it.) It didn&rsquo;t help blunt the occasionally catastrophic effects of his policies, but it did explain why he seemed so comfortable with complete and utter chaos. Indeed, he seemed most at home amid it.</p>

<p>Trump seemed comfortable playing a reality show villain, the guy whose behavior was so unbelievable that you had to keep tuning in to see what he did next. When the Covid-19 pandemic hit and disrupted every aspect of American life, Trump&rsquo;s desire to be at the center of his own TV show <a href="https://www.vox.com/culture/2020/4/7/21211394/donald-trump-coronavirus-briefing-clip-show">ran aground</a> &mdash; but it wasn&rsquo;t as though he lost the 2020 election in a blowout either. To plenty of people, the Trump show was one they wanted to keep watching.</p>

<p>The Trump who attempted to subvert the election on January 6 &mdash; especially the Trump portrayed in the testimony at the select committee hearings &mdash; is essentially a man who believed himself to be a TV protagonist who was so intent on remaining the protagonist (or, okay, the president) that he nearly destroyed American democracy in the process of asserting that fact. His efforts ultimately failed, but the reminder of just how self-aggrandizing and destructive Trump could be may be why Hutchinson&rsquo;s testimony seemed to strike such a nerve.</p>
<h2 class="wp-block-heading">The January 6 hearings are finally exposing Trump’s reality TV villain persona for the sham it’s always been</h2><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23760342/1241599082.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="Cassidy Hutchinson testifies before the January 6 committee. | Tom Williams/CQ-Roll Call, Inc via Getty Images" data-portal-copyright="Tom Williams/CQ-Roll Call, Inc via Getty Images" />
<p>There are few formats more poorly suited to riveting television than congressional hearings. The January 6 committee has lots of compelling visual evidence, including some truly gut-wrenching videos, but the core of the hearings are individual testimonies. And just watching someone talk makes for really boring television.</p>

<p>As such, almost every time there are congressional hearings for anything, those inclined to believe those hearings should move the public opinion needle fret endlessly about whether they have &ldquo;broken through.&rdquo; If hearings are so boring on TV, why would anyone watch these hearings if they were not already inclined to agree with the idea that Trump&rsquo;s actions require investigation? And if nobody watches them, will they matter?</p>

<p>A similar dynamic even struck the Watergate hearings, probably the most famous televised congressional hearings of all time. When looking back at reporting from the period, it&rsquo;s not hard to find folks fretting over whether anyone really cares that Nixon did something bad. Eventually, enough people did, both within Washington and without, that Nixon stepped down. But it took longer than you&rsquo;d expect. The gap between the beginning of those hearings and Richard Nixon&rsquo;s resignation was <a href="https://www.pbs.org/newshour/politics/complete-watergate-timeline-took-longer-realize">well over a year</a>, and even in terms of his approval rating, it took several months to reach a true nadir.</p>

<p>The temptation, then, is to say that the hearing where Hutchinson testified was only the sixth hearing of this particular committee, and therefore, there&rsquo;s plenty of time for the hearings to reach a wider audience. But those typical congressional hearing dynamics are all scrambled in the face of Trump. He&rsquo;s been playing the part of reality TV villain so long that if you&rsquo;re someone who just wanted him voted off the show back when he was being a garden variety asshole in Republican primary debates and not, you know, possibly committing treason, then the last several years have built an ever more frustrated sense of urgency. Something &mdash; the Mueller report, the first impeachment, the second impeachment &mdash; has to take down Trump. And yet nothing has. If you&rsquo;re that person, then Trump&rsquo;s ability to never face accountability seems increasingly galling. <a href="https://knowyourmeme.com/memes/id-like-to-see-ol-donny-trump-wriggle-his-way-out-of-this-jam">Ah. Well. Nevertheless.</a></p>

<p>Yet perversely, I think that&rsquo;s why &ldquo;Trump threw a plate at a wall&rdquo; broke through in a way some of the other January 6 committee revelations have not. Hutchinson&rsquo;s story, dryly delivered though it was, played into a different type of reality TV villain &mdash; not the calculating mastermind willing to do anything to win but the unhinged person who makes everybody&rsquo;s life hell. (Imagine the <a href="https://www.bravotv.com/the-real-housewives-of-new-jersey/season-1/videos/prostitution-whore">table flip moment from <em>Real Housewives of New Jersey</em></a> and I think you&rsquo;ll see what I mean.)</p>

<p>This less-controlled reality TV villain can be very fun to watch on TV, but you&rsquo;d rarely want them in your corner. They are, instead, cautionary tales of what happens when &ldquo;I&rsquo;m not here to make friends&rdquo; boils over into something so antisocial that it burns up on reentering the atmosphere. You definitely wouldn&rsquo;t want to hang out with this person.</p>

<p>Occasionally, that sort of villain simply removes themselves from the narrative altogether. Perhaps the most famous example of this happening in reality television occurred when Lisa Vanderpump abruptly stepped away from Bravo&rsquo;s <em>Real Housewives of Beverly Hills</em>, the show that made her a TV star, midway through filming its ninth season. (Her employee-centric spinoff, <em>Vanderpump Rules</em>, continues to run.) Her reasons for doing so were varied, but at base, they boiled down to (and I paraphrase) <a href="https://people.com/tv/andy-cohen-speaks-out-lisa-vanderpump-skipping-rhobh-reunion/">&ldquo;everybody is persecuting me.&rdquo;</a> Her castmates were insufficiently nice to her. The editors weren&rsquo;t making her look good. And so on.&nbsp;</p>

<p>If that sounds at all like the former president&rsquo;s obsession with how he&rsquo;s perceived, well, the former president was also a reality TV star. And reality TV is a uniquely deceptive beast because if you&rsquo;re on it, the process of getting &ldquo;a good edit&rdquo; makes it sometimes seem as though you&rsquo;re literally in control of reality, especially if you&rsquo;ve got a lot of power over the creative direction of the show, as Trump did over <em>The Apprentice</em>. (There&rsquo;s one more comparison point to be drawn here: Like Trump, Vanderpump didn&rsquo;t fare particularly well on <a href="https://ew.com/recap/the-real-housewives-of-beverly-hills-season-9-episode-24/">the <em>Real Housewives</em> reunion</a> she skipped.)</p>

<p>When watching Hutchinson&rsquo;s testimony in front of the January 6 committee, I couldn&rsquo;t help but fantasize about the ways that the things she was saying might have been intercut with the footage of those things happening were this an actual reality TV reunion special, the live audience oohing and aahing at all the big moments from the season prior. I&rsquo;ve been reading the Trump presidency through a reality TV lens for so long that I can&rsquo;t stop, even when the events being described are horrifying and sobering.</p>

<p>I say none of this to downplay the seriousness of the charges Hutchinson made against Trump but, rather, to suggest why the January 6 hearings might finally be puncturing the televisual archetype that made Trump such a formidable political force. I am under no illusions that anything will happen to make Trump suffer actual consequences for what he did, but I do think the hearings have finally exposed him for who he is, just a little bit. He&rsquo;s not a scheming <em>Survivor</em>. He&rsquo;s a snippy, back-biting <em>Real President of DC</em>.</p>
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			<entry>
			
			<author>
				<name>Alex Abad-Santos</name>
			</author>
			
			<author>
				<name>Constance Grady</name>
			</author>
			
			<author>
				<name>Aja Romano</name>
			</author>
			
			<author>
				<name>Alissa Wilkinson</name>
			</author>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[Our submissions to the queer canon]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/culture/23158789/queer-canon-pride-moonlight-pose" />
			<id>https://www.vox.com/culture/23158789/queer-canon-pride-moonlight-pose</id>
			<updated>2022-07-20T11:40:27-04:00</updated>
			<published>2022-06-27T08:45:00-04:00</published>
			<category scheme="https://www.vox.com" term="Books" /><category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Internet Culture" /><category scheme="https://www.vox.com" term="LGBTQ" /><category scheme="https://www.vox.com" term="Life" /><category scheme="https://www.vox.com" term="Movies" /><category scheme="https://www.vox.com" term="TV" />
							<summary type="html"><![CDATA[The Vox culture team thinks a lot about what stories matter to us and why: in other words, makes something part of &#8220;the canon.&#8221; Lately, because it&#8217;s Pride, but also because of the times we&#8217;re in &#8212; with anti-LGBTQ bills popping up all over the country, celebrity outings back in the news, and the ominous [&#8230;]]]></summary>
			
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<img alt="" data-caption="" data-portal-copyright="Amanda Northup for Vox" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23644620/queercanon_final.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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<p>The Vox culture team thinks a lot about what stories matter to us and why: in other words, makes something part of &ldquo;the canon.&rdquo; Lately, because it&rsquo;s Pride, but also because of the times we&rsquo;re in &mdash; <a href="https://www.vox.com/identities/22358864/trans-issues-sports-health-care-bills-laws-arkansas-alabama-montana-south-dakota">with anti-LGBTQ bills popping up all over the country</a>, celebrity outings <a href="https://www.bbc.com/news/world-australia-61807511">back in the news</a>, and <a href="https://www.politico.com/news/2022/06/24/thomas-constitutional-rights-00042256">the ominous threat</a> of a repeal of protected same-sex rights &mdash; we&rsquo;ve been thinking a lot about the queer canon and its power.&nbsp;</p>

<p>&ldquo;The queer canon has always drawn attention to works that counter prevailing images and narratives known to marginalize and stigmatize queerness, in favor of ones that are affirmative and/or offer alternative perspectives,&rdquo; says <a href="https://emerson.edu/faculty-staff-directory/maria-san-filippo">Maria San Filippo</a>, an associate professor at Emerson College&rsquo;s Department of Visual &amp; Media Arts. &ldquo;That body of work often provides those who are queer and questioning with their earliest instances of self-recognition and community belonging.&rdquo;</p>

<p>Storytelling has been fundamental to the progress of queer and transgender rights in America, but lately, despite an abundance of queer storytellers in the landscape of contemporary media, much of that progress has once again turned into a struggle for civil rights.&nbsp;</p>

<p>What kinds of stories helped get us out of this mess the first time around, and can they do it again? Or should those stories &mdash; what we might consider the essential &ldquo;queer canon&rdquo; &mdash; give way to something new? Could they pave the way for a rethinking of what queer and genderqueer storytelling looks like in the 21st century, and what its role in society should be?</p>

<p>This is a big subject. Trying to define what makes a piece of media feel essential is almost impossibly subjective. Even the idea of &ldquo;the canon&rdquo; seems especially fraught when we consider how much of the literary, cinematic, and artistic &ldquo;canon,&rdquo; even within a queer context, has been shaped and defined primarily by a hierarchy of white creators and critics. &ldquo;Even the queer canon tends to favor works by and from more privileged creators and production contexts,&rdquo; says San Filippo.&nbsp;</p>

<p>But the modern internet serves as a potential foil for this tiered system, bringing us a whole new virtual world of hybrid art forms, evolving subcultures, and expanding ideas of queer and genderqueer identity. Social media has given rise to interconnected international communities; queer creators and audiences are constantly breaking down boundaries, blurring art forms, uplifting traditionally shamed genres, and embracing creative anarchy. In other words, if there ever was a queer canon, it ain&rsquo;t what it used to be.</p>

<p>Still, it feels especially urgent to ask: What are the great new stories that reflect contemporary queerness? What is this generation&rsquo;s <a href="https://www.vox.com/culture/2018/4/30/17199540/angels-in-america-2018-broadway-nyc-tony-kushner"><em>Angels in America</em></a> &mdash; and what impact could that story have on a society rushing to criminalize and re-criminalize queer and transgender identity? What are the modern works future generations will look to to understand queer and genderqueer identity?</p>

<p>What if the new queer canon is something lighter and more fluid, less defined by towering importance or traditional literary and cinematic parameters for excellence? Might the new queer canon borrow the qualities of evolving queerness itself &mdash; less defined by binary dichotomies (exuberance in the face of suffering, survival in the face of ostracism) and more defined by fluidity and community? Could the new queer canon make space for more experimental art? Could it include international media? Would it emphasize heady romantic joy, or might it highlight anger and desperation? Can a comic-book arc or an innovative sci-fi or fantasy novel usurp a position of reverence once reserved for higher literary forms?</p>

<p><em>What do we do with Ryan Murphy?</em></p>

<p>We&rsquo;ve chosen to focus on works that matter to us individually that we think might also resonate collectively. Obviously no one&rsquo;s &ldquo;must-sees&rdquo; and &ldquo;must-reads&rdquo; will be the same; our method of selection is necessarily a little ragtag, and in a limited list, we couldn&rsquo;t include everything we wanted nor capture the breadth of creative works that rightfully belong here. But that feels fitting. Queerness is too often defined by what it is not, when I suspect that perhaps queerness is a little of everything. Perhaps the new queer canon, rather than serving as a gate-kept list of exemplars, should be messy, inclusive, and a little of everything, everywhere, all at once. Hey &mdash; maybe <a href="https://www.autostraddle.com/everything-everywhere-all-at-once-is-a-queer-masterpiece-review/">that</a> should be on the list, too. <em>&mdash;Aja Romano</em></p>
<h2 class="wp-block-heading">The Archive of Our Own</h2>
<p>In fandom circles, the stereotype about queer fanfiction is that it&rsquo;s, shhh, mostly written by straight, cis women. But the <a href="https://archiveofourown.org/">Archive of Our Own</a> &mdash; formed out of the late stages of slash (i.e., queer male) fic fandom on LiveJournal &mdash; is a garden of sexual and gender diversity. AO3 was created by and for fans who needed a platform to write and read fanfic that was as weird, geeky, queer, kinky, and subversive as <a href="https://www.tandfonline.com/doi/full/10.1080/19361653.2018.1459220">the fans themselves</a>.&nbsp;</p>

<p>In the 15 years since its <a href="https://astolat.livejournal.com/150556.html">beginnings</a>, AO3 has become a haven for queer and genderqueer fiction and themes of all sorts &mdash; though it must be noted, a space that&rsquo;s <a href="https://journal.transformativeworks.org/index.php/twc/article/view/2119/2875">still prohibitive for many writers and fans of color</a>. Despite its flaws, there&rsquo;s no space more messily welcoming, joyful, and flagrantly, abundantly queer. Even the platform&rsquo;s growing pains are <a href="https://www.vox.com/culture/22299017/sexy-times-with-wangxian-ao3-archive-of-our-own-tagging-censorship-abuse">queer and kinky</a>. And AO3&rsquo;s cultural impact is no joke: At a recent <a href="https://www.youtube.com/watch?v=JFPIMjr-w8g">Japan Foundation panel</a> on the global rise of queer <a href="https://thedailyfandom.org/the-explosion-of-the-boys-love-genre/">Boys&rsquo; Love media</a>, every single panelist mentioned AO3 as a factor in the medium&rsquo;s growing popularity.&nbsp;</p>

<p>In 2019, in an unprecedented move, the whole site <a href="https://www.vox.com/2019/4/11/18292419/archive-of-our-own-wins-hugo-award-best-related-work">won the Hugo</a> for Best Related Work &mdash; an honor bestowed upon 9.4 million works and counting, a giant roiling body of queer-friendly writing. So why not just make AO3 itself, and all of its freakish deviant joy, part of the new queer canon? &mdash;<em>AR</em></p>
<h2 class="wp-block-heading"><em>Hannibal</em></h2>
<p><em>Hannibal</em>, which ran for three seasons from 2013 to 2015, wants viewers to ask one question: When is queerbaiting not queerbaiting? One possible answer it offers is: when it&rsquo;s part of a deliberate attempt by queer people to take characters you might already be familiar with and expose their super-gay core.</p>

<p>Creator Bryan Fuller takes the characters of Will Graham (tortured FBI criminal profiler with an extreme &mdash; and fictional &mdash; empathy disorder) and Hannibal Lecter (genius, psychologist, cannibal) from Thomas Harris&rsquo;s novel <em>Red Dragon</em> and subverts them. <em>Hannibal </em>goes back to  before the book, when Graham and Lecter were respectful friends and work colleagues, then shows how Graham finally figured out Lecter was the greatest murderer of them all.</p>

<p>Fuller&rsquo;s great conceit is that Graham and Lecter&rsquo;s cat-and-mouse game has a romantic, erotic tension at its core. Across three seasons, the show steps right up to the edge of pushing an explicitly erotic connection between the two into the text, always backing down at the last second. When the two finally take the plunge, it almost feels like a sigh of relief, despite them being killer and cop.</p>

<p>The show&rsquo;s queerness goes beyond its central pairing, however. Queer characters exist throughout the show&rsquo;s ensemble, and as critic <a href="https://emilyvdw.letterdrop.com/c/on-hannibal-lecter-transness-and">Loa Beckenstein has argued</a>, the show&rsquo;s portrayal of murderers who literally rearrange the human body to express their innermost selves resonates with trans experiences too. <em>Hannibal</em> is a huge, queer soup &mdash; and incredibly compelling horror TV on top of that. &mdash;<em>Emily St. James</em></p>
<h2 class="wp-block-heading"><em>In the Dream House</em></h2>
<p><em>In the Dream House</em>, Carmen Maria Machado&rsquo;s memoir-slash-literary criticism, is self-consciously an addition to the queer canon, a story whose form Machado had to invent herself because she could not find it elsewhere. &ldquo;Our culture does not have an investment in helping queer folks understand what their experiences <em>mean</em>,&rdquo; she observes. Finding a way to help other queer folks understand their own experiences is part of the project of this luminous, harrowing account of same-sex domestic abuse.</p>

<p><em>In the Dream House</em> is a memoir in fragments. As Machado walks us through the story of how she met, fell in love with, and came under the thumb of her abusive ex-girlfriend, each brief chapter plays with a different narrative trope: noir, erotica, folklore taxonomy, choose your own adventure. It is experimenting because it has no clear precedents, borrowing from other story formats because how else can you find a way to tell a story so unthinkable?</p>

<p>&ldquo;I enter into the archive,&rdquo; Machado writes, &ldquo;that domestic abuse between partners who share a gender identity is both possible and not uncommon, and that it can look something like this. I speak into the silence. I toss the stone of my story into a vast crevice; measure the emptiness by its small sound.&rdquo; The stone of Machado&rsquo;s story casts strong echoes. <em>&mdash;Constance Grady</em></p>
<h2 class="wp-block-heading"><em>Little Blue Encyclopedia (for Vivian)</em></h2>
<p>The last five years have seen a boom in terrific literature written by trans women, from Torrey Peters&rsquo;s bestselling <em>Detransition, Baby </em>to Jeanne Thornton&rsquo;s <em>Summer Fun</em> and the assorted works of Casey Plett. Yet my favorite novel in this movement is Hazel Jane Plante&rsquo;s experimental 2019 novel <a href="https://www.vox.com/culture/2020/5/13/21256187/little-blue-encyclopedia-for-vivian-review-hazel-jane-plante"><em>Little Blue Encyclopedia (for Vivian)</em></a>, which emerged from a tiny press in Canada and captured certain things about the trans feminine experience I had never seen articulated quite as well.</p>

<p>The novel&rsquo;s narrator &mdash; unnamed for almost the entire novel &mdash; attempts to process her deep, paralyzing grief at the loss of Vivian, her best friend, who died in an unspecified fashion before the novel begins. To do so, she begins cataloging in alphabetical order elements from the fictional TV series <em>Little Blue</em>, which sounds like a cross between <em>Twin Peaks</em>, <em>Gilmore Girls</em>, and the old Nickelodeon show <em>The Adventures of Pete &amp; Pete</em>. <em>Little Blue</em> served to bring the narrator and Vivian closer together, and the book explores their friendship both in the past tense and in the present, as the narrator rewatches her friend&rsquo;s favorite show (for Vivian always loved it more than the narrator did).</p>

<p><em>Little Blue Encyclopedia</em> aches, in the best way possible. As the narrator moves through her grief, we also get a beautiful portrayal of the ways trans people care for each other and the bonds that can form between trans feminine people who often have to create their own family structures outside the societal norm<em>. </em>This book is sad, yes, but death is never its focus. Instead, it is interested in all of the ways we find pieces of the dead to make our lives slightly more bearable without them. &mdash;<em>ESJ</em></p>
<h2 class="wp-block-heading">The <em>Locked Tomb</em> series</h2>
<p>The tagline on Tamsyn Muir&rsquo;s <em>Locked Tomb</em> series is that it tells the epic saga of lesbian necromancers in space, but I assure you that the necromancers are far from the only queer characters in this space opera. There are also nonbinary angels, pansexual Lyctors, and &mdash; arguably most important of all &mdash;&nbsp;Muir&rsquo;s first title character, sweet dumb lesbian Gideon, a deadly swordswoman with a weakness for bad puns and a sizable collection of dirty magazines.</p>

<p>The <em>Locked Tomb</em> series, which begins with <em>Gideon the Ninth</em> and is planned to extend to four books total, is a study in nightmarish gothic maximalism. It&rsquo;s a universe of ossuaries and skeleton monsters and appealingly gross flesh magic, and everything that could possibly emit a sepulchered groan and leak blood absolutely does. But at its core, the <em>Locked Tomb </em>series is a study of the power dynamics between two very close people, which is to say that it is a study of love.</p>

<p>It takes place within an interplanetary empire ruled over by the universe&rsquo;s most powerful necromancer, where necromancers and their sword-wielding cavaliers are told to pair off in a quest for ultimate power. Over the course of the series, Muir makes an increasingly pitiless examination of what it means to offer one&rsquo;s self, body and soul, to another person. What she finds will break your heart every single time. <em>&mdash;CG</em></p>
<h2 class="wp-block-heading"><em>Mo Dao Zu Shi</em> (<em>The Grandmaster of Demonic Cultivation</em>)</h2>
<p>In December, the first published English translations of three novels by the pseudonymous erotica author Mo Xiang Tong Xiu (affectionately abbreviated as MXTX) all hit the New York Times bestseller list at once. This feat made headlines primarily because of the <a href="https://wegotthiscovered.com/comicbooks/chinese-author-mxtxs-upcoming-novels-are-topping-bn-amazon/">sheer novelty of it</a>: a Chinese author of kinky queer historical fantasies finding mainstream success overseas, mainly due to the organically grown fandom for her works.</p>

<p>That fandom centers around MXTX&rsquo;s <a href="https://www.mylifemytao.com/xianxia-wuxia-cultivation-and-more-a-small-explanation/">&ldquo;cultivation&rdquo;</a> epic <a href="https://www.tor.com/2022/01/04/storytelling-lessons-from-mo-dao-zu-shi-grandmaster-of-demonic-cultivation/"><em>Mo Dao Zu Shi</em></a>, an intricate, politically charged novel about a brilliant historical cultivator who begins practicing a dangerous school of dark magic, low-key wrecking society in the process. The story quickly became beloved for its complex world-building and for the soulmate love between its two main characters. MDZS was adapted into the globally popular Netflix hit <a href="https://www.vox.com/2020/3/27/21192718/the-untamed-netflix-review-rec-mdzs-cql"><em>The Untamed</em></a>, which alone had a tremendous impact on queer storytelling in East and Southeast Asia; now MXTX&rsquo;s body of work has <a href="https://supchina.com/2022/02/24/danmei-a-genre-of-chinese-erotic-fiction-goes-global/">begun disrupting</a> US publishing. The international bridges this story has built and the deep love it culls from its audience qualify it for entry into the new queer canon. After all, what is the canon but works that transform us? MDZS is transforming the culture in real time. &mdash;<em>AR</em></p>
<h2 class="wp-block-heading">“Montero (Call Me By Your Name)”</h2>
<p>Music videos are a lost art. It&rsquo;s not artists&rsquo; fault that the industry has changed; that MTV now just plays hours and hours of a show called <a href="https://decider.com/2021/08/24/mtv-ridiculousness-schedule/"><em>Ridiculousness</em></a>. What&rsquo;s the point in pouring effort and money into a video, when so few are watching? Lil Nas X is one of the exceptional exceptions; his videos are must-see.</p>

<p>His clip for &ldquo;Montero&rdquo; features, among other things, Lil Nas X being seduced and licked down by a humanoid snake in a Garden of Eden, wearing a pink wig while being chained and judged in heaven, and ultimately sliding down a pole into hell, to give the devil a lap dance.</p>

<p>The visuals are explicitly queer, but also a blunt rebuke to the <a href="https://www.vox.com/22356438/lil-nas-x-satan-shoes-nike-montero-video-gay-agenda-christian-controversy">Satanic Panic</a> launched against the singer by right-wing figures and <a href="https://twitter.com/govkristinoem/status/1376239196709478400">politicians</a>. Instead of shying away from the controversy, he doubles down, quite literally, with Satan.</p>

<p>Lil Nas X&rsquo;s skill with both the spotlight and visual artistry brings to mind artists like <a href="https://buffalonews.com/news/too-much-sex-weakens-madonnas-latest-erotica/article_dfa9e0aa-5273-5035-a99f-da7757625022.html">Madonna</a> and <a href="https://www.buzzfeed.com/azafar/janet-jackson-has-the-best-music-videos-in-the-history-of-mu">Janet Jackson</a>, whose music videos are seared into pop music history. Same goes for his irreverent attitude about his biggest haters.&nbsp;</p>

<p>Love him or hate him, you can&rsquo;t stop talking about him. <em>&mdash;Alex Abad-Santos</em></p>
<h2 class="wp-block-heading"><em>Moonlight</em></h2>
<p>One of the more unexpected Best Picture wins in the Oscars&rsquo; 94 years is also one of the most dazzling and sensitive films of the new millennium. Based on a play by Tarell Alvin McCraney and directed by Barry Jenkins, <a href="https://www.vox.com/culture/2017/2/27/14748332/moonlight-best-picture-why-it-won"><em>Moonlight</em></a> sensitively weaves together several threads as it tells the story of Chiron, a young boy growing up in Liberty City, Miami. The film is structured like a triptych, with Chiron played by three extraordinary actors &mdash; Alex Hibbert, Ashton Sanders, and Trevante Rhodes &mdash; as he matures into adulthood. The film wasn&rsquo;t widely seen before its Oscar win, and no wonder; it&rsquo;s a small, arty film made on a shoestring budget about a poor, gay Black boy from the projects, with a mother who is an addict and a surrogate father who deals drugs, as he deals with bullies and discovers his homosexuality.&nbsp;</p>

<p>What <em>Moonlight</em> does best and most brilliantly is evoke the quiet ways that Chiron, who is bullied and lost for much of his youth, slowly and often silently grows into understanding his own identity. Through encounters with a childhood friend, Chiron struggles to accept that who he is will always be at odds with where he came from &mdash; and to live the emotions that realization raises. It&rsquo;s a tale of yearning and pain, grounded in Chiron&rsquo;s desire to escape himself. But <em>Moonlight</em> understands that need for escape doesn&rsquo;t come from himself; it&rsquo;s born out of the influences around him. Love, a place to belong and be safe, is what he longs for most of all. <em>&mdash;Alissa Wilkinson</em></p>
<h2 class="wp-block-heading"><em>Portrait of a Lady on Fire</em></h2>
<p><em>Portrait of a Lady on Fire</em>, queer French director C&eacute;line Sciamma&rsquo;s story of two women falling in love amid a too-temporary matriarchy, is one of the most romantic movies ever made.</p>

<p>The connection between painter Marianne (No&eacute;mie Merlant) and aristocrat H&eacute;lo&iuml;se (Ad&egrave;le Haenel), whose portrait Marianne has been hired to paint, builds inexorably across the film. The two are left to their own devices on a remote island off the coast of Brittany in the late 1700s, yet even as they fall in love, their connection carries within it the promise of melancholy. H&eacute;lo&iuml;se&rsquo;s portrait is meant for the man she will marry.</p>

<p>Stories of two women falling in love usually end in sadness, which irritates many. (Not me! I love when people are sad!) Yet <em>Portrait</em> transcends whatever annoyance you may preemptively feel about its sad lesbians by creating a truly ravishing and revolutionary glimpse at what the world might look like when filtered through the female gaze. Above all, Sciamma understands that the best romances are about the proximity between two people who can&rsquo;t help falling for each other, and the best love stories are about the separation of soulmates. <em>Portrait</em> somehow manages to pull off both in the same film. &mdash;<em>ESJ</em></p>
<h2 class="wp-block-heading">“Never Knew Love Like This Before,” <em>Pose</em></h2>
<p><em>Pose</em> wasn&rsquo;t a perfect television show (Ryan Murphy&rsquo;s rarely are) but when it was at its best it was one that, as my colleague <a href="https://www.vox.com/culture/2019/7/10/20685492/pose-season-2-episode-4-recap-never-felt-love-like-this-before">Emily St. James</a> said, you couldn&rsquo;t stop thinking about. And I can&rsquo;t think of an episode harder to forget than &ldquo;Never Knew Love Like This Before,&rdquo; which aired in 2019.</p>

<p><em>Pose</em> explores ballroom culture and the lives of trans and gay people in the &rsquo;80s and &rsquo;90s. But it also uses that story to reflect the violence against trans women happening in the present. &ldquo;Never Knew&rdquo; depicts the murder of Candy, a friend to the show&rsquo;s main cast of characters. Candy is a ballroom hopeful, but struggles financially.</p>

<p>In order to support herself, Candy performs sex work &mdash; and ultimately is killed by one of her clients. The episode is moving and awkward, powerful and maybe too sentimental &mdash; sometimes all at once. It&rsquo;s not successful at everything it tries. But what stuck out to me was how the show honors Candy&rsquo;s life.&nbsp;</p>

<p>The show deliberately veers away from depicting violence and how she was killed. Instead, Candy&rsquo;s ghost appears in the episode and interacts with the characters &mdash; a way to show her legacy, the life she led, and the dreams she had.&nbsp;</p>

<p>After her death and funeral, Candy is depicted in a fantasy sequence in which she has a ballroom performance of a lifetime. She looks beautiful. She&rsquo;s smiling. She&rsquo;s admired. But the sequence isn&rsquo;t just about what Candy hoped would have happened in her life, it&rsquo;s about how her friends will remember her. It&rsquo;s about the&nbsp; brightness she brought to their lives. <em>Pose</em> itself is a reminder that joy is a crucial part of queer survival. <em>&mdash;AAS</em></p>
<h2 class="wp-block-heading"><em>Princess Cyd</em></h2>
<p>Stephen Cone&rsquo;s 2017 coming-of-age drama flew under many people&rsquo;s radars, but to those who saw <a href="https://www.vox.com/2017-in-review/2017/12/28/16808896/overlooked-movies-2017-streaming-cyd-whelan-rat-marjorie-prime-columbus-good-time"><em>Princess Cyd</em></a>, it was an instant classic. Jessie Pinnick plays Cyd, who&rsquo;s come to stay with her aunt Miranda (Rebecca Spence, playing a character modeled on the author Marilynne Robinson) for the summer. Like many a teenager, Cyd is trying to find herself. She finds herself attracted to Katie (Malic White), a barista, while also unwinding some of the ways Miranda&rsquo;s life has gotten too safe. They provoke one another while forming a bond. Together, they&rsquo;re prodded toward a bigger understanding of the world in the safety of a loving, carefully chosen community.</p>

<p>Cone is a master of small, carefully realized filmmaking; his earlier movies such as <em>The Wise Kids</em> and <em>Henry Gamble&rsquo;s Birthday Party</em> combine an unusual level of empathy for his characters with a combination of interests that aren&rsquo;t always mixed in authentic ways in queer film: love, desire, sexual awakenings, and religion. <em>Princess Cyd</em> is his most accomplished film to date, graceful and honest, but all of his work ought to be required viewing for young people navigating the tricky waters that often accompany queer identities in religious communities. <em>&mdash;AW</em></p>
<h2 class="wp-block-heading"><em>A Strange Loop</em></h2>
<p>Even before it won the Tony for Best Musical, <em>A Strange Loop</em> seemed obviously destined for greatness. You can&rsquo;t escape its vortex. Michael R. Jackson&rsquo;s dazzling metafictional show inverts and plays upon so many Broadway tropes that your head is spinning before the first number is over. The tale centers on Usher, a queer Black man who works as, well, an usher for the Broadway production of <em>The Lion King</em> and in his spare time is trying to write a musical about a queer Black usher who is trying to write a musical about &hellip; you get the idea. On stage, he&rsquo;s accompanied by a chorus of his Thoughts, six of them, who at times evoke his family members, his emotions, or a bevy of other detractors. In the course of trying to write the show, Usher finds himself sucked into his own vortex. But his family members&rsquo; refusal to accept his identity, along with an unspoken part of family history, throw a key wrench into his mental works.</p>

<p>It&rsquo;s a spectacular hoot of a show, and made even more poignant by the seething authenticity underneath it. Like a number of other recent Broadway productions from Black artists (including <em>Slave Play</em>), <em>A Strange Loop</em> isn&rsquo;t out to just make fun of the overwhelming white preciousness of the entire Broadway apparatus. It&rsquo;s ready to burn it all down, frustrated and radical and saying all kinds of things you can&rsquo;t say on stage. (In one of the late numbers, Usher&rsquo;s Thoughts, as his family members, sing a song with the chorus &ldquo;AIDS is God&rsquo;s punishment.&rdquo; It&rsquo;s a lot.) Polite, it&rsquo;s not &mdash; but as Tony voters recognized, it&rsquo;s a giant leap forward for the Great White Way. <em>&mdash;AW</em></p>
<h2 class="wp-block-heading"><em>Veneno</em></h2>
<p><a href="https://www.vox.com/22289611/veneno-hbo-max-review"><em>Veneno</em></a> is an HBO Max miniseries about the power of imagination and storytelling.</p>

<p>Veneno is the Spanish word for &ldquo;venom,&rdquo;&nbsp; but it&rsquo;s also the nickname of the legendary Cristina Ortiz Rodr&iacute;guez or &ldquo;La Veneno,&rdquo; a transgender singer and celebrity who rose to prominence on Spanish TV in the mid-&rsquo;90s.&nbsp;</p>

<p>Cristina created a life for herself that defied reality. She dared to dream of something better for herself, and in her own way, turned her success and fame into resistance against transphobia and prejudice.</p>

<p>The series, based on Cristina&rsquo;s biography, doesn&rsquo;t shy away from the tougher parts of Cristina&rsquo;s life &mdash; the friends she lost, the dreams she gave up on, the bad men she fell in love with,&nbsp;the failures she endured &mdash; and in doing so, gives us a portrait of how a queer person&rsquo;s desire to be seen in the world is a constant, difficult negotiation.</p>

<p>Even with these obstacles,&nbsp; La Veneno was an architect of her own life. The show celebrates her for it.&nbsp;<em>&mdash;AAS</em></p>
<h2 class="wp-block-heading"><em>Yuri on Ice</em></h2>
<p>The 2010s saw a boom in what we might call queer comfort media: storytelling that prioritizes, first and foremost, creating a happy, loving, progressive environment for its characters and its audience that defied trauma porn stereotypes. Most of these stories &mdash; think hockey webcomic <em>Check, Please! o</em>r cult webseries <em>Carmilla</em>&nbsp; &mdash; found niche audiences and left a relatively small cultural footprint. But <em>Yuri on Ice</em>, the 2016 skating anime that simply presents ice skating as the utopian queer fantasy space it was always meant to be, influenced so much media in its wake that the list is hard to enumerate. Among the mix is arguably the popular romance <em>Red, White &amp; Royal Blue</em> and <a href="https://www.vox.com/23188131/heartstopper-netflix-lgbtq-alice-oseman">Netflix&rsquo;s current hit <em>Heartstopper</em> </a>&mdash; but <em>Yuri on Ice</em> tops them both for its charm, grace, and beauty.</p>

<p>For most of 2016 and 2017, this anime was <a href="https://www.cbr.com/why-yuri-on-ice-is-popular/">everywhere</a>, and it still resurfaces every winter as fans <a href="https://www.youtube.com/watch?v=hZqMgGlYGbg">compare</a> the intricate details of the show to the styles and bios of their favorite real-life figure skaters. <em>Yuri on Ice</em> makes a compelling, visually stunning argument for simply rewriting the world to make room for passionate, ebullient, <em>happy</em> queer love stories. No wonder the fandom is still huge, breathlessly awaiting the series&rsquo; perpetually delayed second season. We need that kind of hope now more than ever. &mdash;<em>AR</em></p>
						]]>
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			<entry>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[One Good Thing: Musician Ethel Cain nurses Gen-Z America’s broken heart]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/23166046/ethel-cain-preachers-daughter-review" />
			<id>https://www.vox.com/23166046/ethel-cain-preachers-daughter-review</id>
			<updated>2022-06-13T14:21:03-04:00</updated>
			<published>2022-06-17T08:00:00-04:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Music" /><category scheme="https://www.vox.com" term="One Good Thing" /><category scheme="https://www.vox.com" term="Recommendations" /><category scheme="https://www.vox.com" term="Reviews" />
							<summary type="html"><![CDATA[Even if it weren&#8217;t a brilliant album, I would admire the sheer ambition of Ethel Cain&#8217;s first full-length album, Preacher&#8217;s Daughter. The first in a proposed trilogy of albums tracing the spiral of intergenerational trauma outward from one central tragedy, the album tells the story of Ethel Cain herself, a trans girl from Alabama, raised [&#8230;]]]></summary>
			
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<img alt="" data-caption="With the rich characterization of Truman Capote’s In Cold Blood or the works of Flannery O’Connor, Ethel Cain offers a take on the dark heart of rural, white America. | Helen Kirbo" data-portal-copyright="Helen Kirbo" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23624266/Screen_Shot_2022_06_13_at_1.02.34_PM.png?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	With the rich characterization of Truman Capote’s In Cold Blood or the works of Flannery O’Connor, Ethel Cain offers a take on the dark heart of rural, white America. | Helen Kirbo	</figcaption>
</figure>
<p>Even if it weren&rsquo;t a brilliant album, I would admire the sheer ambition of Ethel Cain&rsquo;s first full-length album, <em>Preacher&rsquo;s Daughter</em>.</p>

<p>The first in a proposed trilogy of albums tracing the spiral of intergenerational trauma outward from one central tragedy, the album tells the story of Ethel Cain herself, a trans girl from Alabama, raised in the evangelical church and dealing with the emotional scars of her father&rsquo;s sexual abuse. Eventually, she runs away from home and runs into the wrong guy, who ultimately murders her. It&rsquo;s dark, gothic, and not for everybody. Buried within it, though, is a sound that captures something elemental about the places and themes American pop culture rarely dares touch.&nbsp;</p>

<p>Cain starts many songs with just the whispery shiver of her voice over a spare guitar or piano playing a memorable hook, but eventually, every track builds to a sonic landscape that seems to extend in all directions. The simple instrumentation gives way to a lush, full sound, but one built atop darkly droning minor chords. This music is meant for big skies full of thunderheads.</p>

<p>The fact that the Ethel Cain within the album dies and the Ethel Cain who wrote and recorded the album is alive should clue you in to the fact that the story within the album is a heavily fictionalized depiction of the world in which Cain was raised. It has the rich characterization of Truman Capote&rsquo;s <em>In Cold Blood</em> or the works of Flannery O&rsquo;Connor, and it offers a take on the dark heart of rural, white America that I haven&rsquo;t seen so forthrightly attempted in popular art in ages.</p>

<p>The story goes beyond even the album, however. Cain is the alter ego of the 24-year-old singer-songwriter Hayden Anhed&ouml;nia, who is a trans woman who was raised in the southern Evangelical church but who did not lead nearly as grandly tragic a life as her fictional self. She does, <a href="https://floodmagazine.com/108819/ethel-cain-preachers-daughter-feature/">according to this Flood Magazine profile</a>, spend a lot of time just driving around America in her truck on a whim, which may explain why she&rsquo;s such an acute observer of human nature. (I&rsquo;m going to refer to her as Cain for the rest of this article because that&rsquo;s who is credited with writing and producing <em>Preacher&rsquo;s Daughter.</em>)</p>

<p>The first thing you&rsquo;ll notice when listening to <em>Preacher&rsquo;s Daughter</em> is its sprawl. Its 13 tracks run 75 minutes in total, and only a handful are under five minutes long, with the album&rsquo;s centerpiece track, &ldquo;Thoroughfare,&rdquo; running nearly 10 minutes.</p>
<div class="youtube-embed"><iframe title="Thoroughfare (Official Visualizer) - Ethel Cain" src="https://www.youtube.com/embed/XocCIxoeilo?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>That sprawl is also evident in the album&rsquo;s sound. Cain&rsquo;s alto is reminiscent of a Lana Del Rey who is slowly ascending into the sky during the rapture, but the overall production boasts an impressive sweep. Cain&rsquo;s songs &mdash; she recorded three EPs prior to <em>Preacher&rsquo;s Daughter</em> &mdash; have always been built atop soaring pop hooks, but <em>Preacher&rsquo;s Daughter</em> seems most interested in what it would sound like to soar, even when it&rsquo;s depicting horrifying despair.</p>

<p>Cain&rsquo;s talent for storytelling is perhaps the chief reason to recommend <em>Preacher&rsquo;s Daughter</em>. Yes, the overarching story of the album is beautiful and filled with sad grandeur. But the album&rsquo;s world is built by the smallest lyrical details, which consist of precisely chosen turns of phrase that convey a much bigger picture than might initially be suggested.</p>

<p>In &ldquo;American Teenager&rdquo; (one of the album&rsquo;s leadoff singles), Cain sings that she &ldquo;grew up under yellow light in the street.&rdquo; In &ldquo;Sun Bleached Flies,&rdquo; she describes the people she grew up with as &ldquo;sun bleached flies sitting in the windowsill, waiting for the day they escape.&rdquo; In &ldquo;Hard Times,&rdquo; the song that most directly confronts Cain&rsquo;s father&rsquo;s sexual abuse, she implores him, &ldquo;Tell me a story about how it ends, where you&rsquo;re still the good guy. I&rsquo;ll make pretend.&rdquo;</p>
<div class="youtube-embed"><iframe title="American Teenager (Official Visualizer) - Ethel Cain" src="https://www.youtube.com/embed/EKnFBRMzRas?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p><em>Preacher&rsquo;s Daughter</em> is one of the few recent works of art <a href="https://www.vox.com/culture/22847558/the-matrix-resurrections-4-spoilers-review-neo-therapy-mental-health-trauma">&ldquo;about trauma&rdquo;</a> that actually captures the ways in which it affects a person&rsquo;s thought processes. The album inexorably descends to Cain confronting her father&rsquo;s abuse, but realizing what happened to her isn&rsquo;t enough to escape the cycle. She runs away and just gets caught in another abusive situation. Trauma isn&rsquo;t a discrete event stuck in one&rsquo;s past; it&rsquo;s an echo, one that fades but only slowly. When you&rsquo;re stuck in that echo, escaping it seems impossible.</p>

<p><em>Preacher&rsquo;s Daughter</em> maybe works even better as a chronicle of the end of the American dream from someone who never bought into its promise to begin with. There&rsquo;s still far too little art made by American Gen-Zers to determine generational touchstones for the generation&rsquo;s artists, but Cain&rsquo;s deep, sneering skepticism about the promise America makes to its people suggests that it is one possible theme we&rsquo;ll be hearing more of in the years to come. Even more achingly, Cain knows America has failed her, but she still seems to long for it to be the place she was told it was. She has stopped believing in America, but she&rsquo;s most upset that America never believed in her.</p>

<p>I described Cain above as Hayden Anhed&ouml;nia&rsquo;s alter ego, and that&rsquo;s probably the best way to describe her. It also feels slightly too simple to me. To be trans is often to realize the ways in which identity is more slippery and complicated than we want it to be. There is no simple answer to &ldquo;who are you,&rdquo; because everyone is a multiplicity of selves, jostling for attention. <em>Preacher&rsquo;s Daughter</em> threads that idea through the dissociative power of trauma and the broken promise of America. Life is beautiful, and life is an endless tragedy. It can be both.</p>

<p>Preacher&rsquo;s Daughter <em>is available on all major music streaming platforms. It is not yet available on vinyl or CD. For more recommendations from the world of culture, check out the </em><a href="https://www.vox.com/one-good-thing"><em>One Good Thing</em></a><em> archives.</em></p>
						]]>
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					</entry>
			<entry>
			
			<author>
				<name>Emily St. James</name>
			</author>
			
			<title type="html"><![CDATA[The sexual abuse scandal rocking the Southern Baptist Convention, explained]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/culture/23131530/southern-baptist-convention-sexual-abuse-scandal-guidepost" />
			<id>https://www.vox.com/culture/23131530/southern-baptist-convention-sexual-abuse-scandal-guidepost</id>
			<updated>2022-06-07T17:10:47-04:00</updated>
			<published>2022-06-07T10:40:00-04:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Explainers" /><category scheme="https://www.vox.com" term="Life" /><category scheme="https://www.vox.com" term="Religion" />
							<summary type="html"><![CDATA[A new report summarizing an independent investigation into the history of sexual abuse in the Southern Baptist Convention (SBC) details decades of gaslighting and cover-ups. The SBC is a collection of loosely affiliated member churches, boasting just under 15 million members. It has no firm, established hierarchy; it doesn&#8217;t even have a central headquarters. In [&#8230;]]]></summary>
			
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<img alt="" data-caption="The Southern Baptist Convention faces a massive sexual abuse scandal, initially broken by the San Antonio Express-News and Houston Chronicle. Community of Faith Church is based in Houston. | Loren Elliott/AFP via Getty Images" data-portal-copyright="Loren Elliott/AFP via Getty Images" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23606040/1124557649.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
	<figcaption>
	The Southern Baptist Convention faces a massive sexual abuse scandal, initially broken by the San Antonio Express-News and Houston Chronicle. Community of Faith Church is based in Houston. | Loren Elliott/AFP via Getty Images	</figcaption>
</figure>
<p>A <a href="https://static1.squarespace.com/static/6108172d83d55d3c9db4dd67/t/6298d31ff654dd1a9dae86bf/1654182692359/Guidepost+Solutions+Independent+Investigation+Report___.pdf">new report</a> summarizing an independent investigation into the history of sexual abuse in the Southern Baptist Convention (SBC) details decades of gaslighting and cover-ups.</p>

<p>The SBC is a collection of loosely affiliated member churches, boasting just under 15 million members. It has no firm, established hierarchy; it doesn&rsquo;t even have a central headquarters. In theory, individual churches can preach or believe whatever they want, but the larger &ldquo;convention&rdquo; can remove member churches that don&rsquo;t toe certain lines. Representatives of these churches meet each year at an annual event &mdash; also called a convention. At the 2021 convention, member churches voted to conduct an internal investigation of sexual abuse within the church.</p>

<p>Complaints about sexual abuse and sexual assault on the part of pastors were sent to higher-ups who then kept those accusations quiet. Though the report, by Guidepost Solutions, was only commissioned to study the cover-up from the years 2000 on, it found incidents of sexual abuse and warnings of the same going back to the 1960s. In all, Guidepost found accusations leveled against people at all levels: church volunteers, staff, and leadership, including <a href="https://baptistandreflector.org/named-in-guidepost-report-key-leaders-respond/">those at the top of the church&rsquo;s ladder</a>. Those accusations were made by people of different ages and genders, and they include allegations of child sexual abuse, the grooming of adolescents, and the sexual assault of adults.</p>

<p>These findings were not unprecedented. A major <a href="https://www.houstonchronicle.com/news/investigations/abuse-of-faith/">investigation</a> by the Houston Chronicle and San Antonio Express-News, published in 2019, first brought many of the accusations against church leadership to light. The publication of that report galvanized a grassroots drive by individual Southern Baptist churches to hire a firm to conduct an investigation.</p>

<p>What the Guidepost report has shown is the sheer enormity of the problem, beyond the already staggering scope the Houston and San Antonio newspapers had revealed. Russell D. Moore, formerly the head of the SBC&rsquo;s Ethics and Religious Liberty Commission until he resigned both from that post and the SBC entirely in 2021, called the report the &ldquo;Southern Baptist apocalypse&rdquo; in a <a href="https://www.christianitytoday.com/ct/2022/may-web-only/southern-baptist-abuse-apocalypse-russell-moore.html">column for Christianity Today</a>.</p>

<p>&ldquo;It is horrifying. I expected to be the last person surprised by anything,&rdquo; Moore said of the report, &ldquo;and there were sections that were stunning even to me. It&rsquo;s a horror, a sense of grief. It makes me contemplate the fact that I don&rsquo;t even know a thimbleful of what must be being experienced by people who have survived these horrific acts of abuse in church settings. That weighs heavily.&rdquo;</p>

<p>&ldquo;Whatever vindication there is here for us, it very much goes hand in hand with grief,&rdquo; said Christa Brown, the author of <em>This Little Light: Beyond a Baptist Preacher Predator and his Gang</em>. &ldquo;I know the stories that are behind the names of these pastors [named in the report]. I know the people. I know the decimation in their lives. I know the human cost of what it has taken to get this truth out into the open.&rdquo;</p>

<p>There&rsquo;s a natural comparison point for these incidents: the scandal that ensued when the <a href="https://en.wikipedia.org/wiki/Catholic_Church_sex_abuse_cases_in_the_United_States">Catholic Church&rsquo;s cover-up of its knowledge of priests</a> who were child sexual abusers came to light, most prominently in a 2002 report by the Spotlight team at the Boston Globe. In this situation, too, the work of dogged newspaper journalists uncovered a scandal that the SBC was finally forced to step up and acknowledge.</p>

<p>The path forward to actually effecting change within the SBC is fraught with its own difficulties, however. Chief among them is the SBC&rsquo;s structure &mdash; or lack thereof. Where the Catholic Church boasted a rigid hierarchy for parishioners and journalists to inveigh against in the name of justice, the SBC is loose and almost structureless. That will make reforming it very difficult indeed.</p>

<p>What&rsquo;s more, the SBC&rsquo;s theological underpinnings will make elevating the voices of those accusing pastors of abuse difficult because it privileges the voices of those pastors over those of their parishioners, especially women parishioners. In short, once a charismatic man becomes the leader of an SBC church, it can be very hard to punish him in a meaningful way.</p>

<p>Yet the SBC isn&rsquo;t the only institution with a charismatic man problem. Those institutions litter the entirety of American evangelicalism and America itself.&nbsp;</p>
<h2 class="wp-block-heading">Why the structure of the SBC poses unique challenges to reforming it</h2>
<p>Let&rsquo;s start with one thing that may not be immediately obvious: The SBC publicly releasing both the Guidepost report and <a href="https://www.houstonchronicle.com/news/investigations/article/Southern-Baptist-sex-abuse-secret-list-17200327.php">a list of accused abusers</a> that it kept secret for years is an unprecedented move for the denomination. Moore sees some hope in the fact that the report exists at all.</p>

<p>&ldquo;Before the [Texas newspapers&rsquo;] report, I would have to spend a lot of time convincing congregations that this was a problem that could happen to them,&rdquo; he said. &ldquo;There was often this sense of screening out predators by vibe. People would often think, &lsquo;Well, we know people [in our congregation], so we know we don&rsquo;t have any problems like that.&rsquo; I noticed a big shift in that after the Houston Chronicle report. This investigation happened because grassroots Southern Baptists came to the convention last year and demanded that it happen over and against much of their leadership.&rdquo;</p>

<p>The most obvious parallel to this scandal is the Catholic Church&rsquo;s sexual abuse scandal. However, where these two scandals differ lies in how differently the Catholic Church and the SBC are structured.</p>

<p>The effectiveness of the Catholic Church&rsquo;s response to its scandal is highly debatable, but the church&rsquo;s hierarchical structure (priests report to bishops report to cardinals report to the pope) meant that parishioners and the media had several pressure points they could push against in the process of trying to understand what had happened. Abuse survivors could also sue individual dioceses to receive financial restitution.</p>

<p>The SBC lacks a similar hierarchy. It doesn&rsquo;t see itself as a formal denomination but, rather, a loose association of churches that believe similarly. This structure gives individual churches under its banner lots of leeway to handle matters on their own. If your church&rsquo;s pastor is misbehaving, it&rsquo;s not always clear whom to report him to, especially if you don&rsquo;t believe anyone in the church&rsquo;s membership will do anything. But it&rsquo;s not as though the SBC was unaware of the abuse problems within its ranks, despite its lack of traditional hierarchy.</p>

<p>&ldquo;When it comes to addressing sexual abuse, up until now, they have claimed that because of their church policy, they don&rsquo;t have the authority to track abusers and hold local churches accountable,&rdquo; said Kristin Kobes Du Mez, a professor of history at Calvin University and the author of <em>Jesus and John Wayne: How White Evangelicals Corrupted a Faith and Fractured a Nation</em>. &ldquo;But in the report we found that they had, in fact, been tracking abusers in their churches and had been maintaining a private database for their own protection. They had not in any way reached out and tried to prosecute those abusers to keep people safe.&rdquo;</p>

<p>In addition, while lawsuits can be brought against individual churches or clergy members, the lack of anything like a diocese within the SBC means that any lawsuits will necessarily target either the smallest units of the organization or the organization as a whole. There isn&rsquo;t really a good middle ground. The convention does have an executive committee, which possesses a fair amount of power to set the stage for what is considered acceptable within the SBC, but very little fills the gap between that executive committee and individual churches.&nbsp;</p>

<p>The difficulty of seeking legal restitution and the lack of a strong hierarchy combine to explain why finding justice for survivors of sexual abuse in many Protestant denominations could prove very tricky.</p>

<p>&ldquo;It&rsquo;s not just an SBC thing,&rdquo; Joshua Pease, a pastor who has also worked as a journalist covering sexual abuse in the evangelical church, said. &ldquo;There are multiple different denominations that have very loose affiliations or very loose organizational structures. And then there are nondenominational churches that genuinely have zero denominational structure to them, where it literally is just one church, all on its own.&rdquo;</p>

<p>The SBC report is a decided anomaly, simply because the SBC does have a hierarchical structure, no matter how loose or decentralized. If the pastor of a nondenominational church is sexually abusing congregants, the only authority a victim might be able to turn to is law enforcement.</p>
<h2 class="wp-block-heading">SBC’s history highlights a schism that may have led to this moment</h2>
<p>A term that comes up a lot in writing and discussions about problems with sexual abuse within the SBC or the evangelical church more broadly is &ldquo;complementarianism.&rdquo; In brief, complementarianism is a kind of theology that holds that men and women are created by God with inherent strengths and weaknesses, and that those differences should be not only embraced but baked into society. It&rsquo;s at the root of many of the evangelical church&rsquo;s struggles to recognize women in positions of authority, for obvious reasons, but it&rsquo;s also at the root of many of the church&rsquo;s problems with queer people.&nbsp;</p>

<p>Complementarianism holds that &ldquo;there is a hierarchical order. Man is the head of the woman, and so women should not aspire to do what men are able to do. Women should be primarily focused on home and children,&rdquo; said Molly T. Marshall, president of United Theological Seminary of the Twin Cities. &ldquo;The complementarian notion is separate roles. I would say it&rsquo;s not equal roles.&rdquo;</p>

<p>As a theology, it does not explicitly say, &ldquo;Don&rsquo;t believe women and children who accuse men of terrible things,&rdquo; but it creates a power structure where a man who is accused of terrible things by those this theology views as beneath him is given often endless benefit of the doubt.&nbsp;</p>

<p>The SBC does possess some institutional weight that it can use to punish offending churches. The few times it has, however, it has used that weight to prop up complementarianism, rather than punish churches harboring abusers.</p>

<p>Via a process called &ldquo;defellowship,&rdquo; the SBC member churches can remove other churches from the convention entirely. That allows the SBC to maintain some degree of theological consistency across a vast, mostly decentralized organization, which in some cases is important to the church&rsquo;s mission, according to Moore. As he explains, an SBC church that suddenly started preaching polytheism would no longer be practicing Christianity as any denomination understands it. But defellowship is also used to legislate issues of who gets power and recognition within the church, and who does not.</p>

<p>&ldquo;If you tried to ordain a woman or someone who&rsquo;s gay, your church would be kicked out of the convention instantly,&rdquo; said Pease. Yet this process was not used to remove churches where pastors were accused of abuse.</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23606044/972458462.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Southern Baptist Convention 2018" title="Southern Baptist Convention 2018" data-has-syndication-rights="1" data-caption="Various people protest sexual abuse within the Southern Baptist Convention in 2018. | Rodger Mallison/Fort Worth Star-Telegram/Tribune News Service via Getty Images" data-portal-copyright="Rodger Mallison/Fort Worth Star-Telegram/Tribune News Service via Getty Images" />
<p>Complementarianism was also at the core of one of the most significant events in SBC history: the Kansas City convention of 1984. At that convention, a religious conservative drift within the SBC was solidified as the closest thing the SBC has to a doctrine, and that meant no women pastors. More progressive Southern Baptist churches either changed their views to more closely conform to that doctrine or more often left the SBC entirely, starting new fellowships of Baptist churches.&nbsp;</p>

<p>&ldquo;I wouldn&rsquo;t say that the Southern Baptist Convention was affirming of women in ministry so much [before 1984] as there were people and pockets within the Southern Baptist Convention that allowed more freedom for congregations to make those choices,&rdquo; said Meredith Stone, the executive director of Baptist Women in Ministry. Stone&rsquo;s organization was formed in 1983, and she has long wondered if its very existence played some role in the Kansas City convention of 1984.&nbsp;</p>

<p>Marshall also found herself at the center of those events. She was the first woman to attend the School of Theology at the Southern Baptist Theological Seminary in Louisville, Kentucky, and she was working there at the time of the resurgent conservative movement within the SBC. She was later pushed out of her job as a professor at Southern, despite tenure, because her views were no longer in line with those of the SBC.</p>

<p>&ldquo;In my time as a professor at Southern Seminary, there were horrible pressures to fit into this complementarian modality, which always subjugates women. I would not put up with that, which is why I was run out of town,&rdquo; Marshall said. &ldquo;I was undaunted in my claim that women had equal authority in the church and were called to pastoral work, as would be any man that felt that calling.&rdquo;</p>

<p>The events of 1984 are central to the modern SBC&rsquo;s understanding of itself, but as Moore points out in his <a href="https://www.christianitytoday.com/ct/2022/may-web-only/southern-baptist-abuse-apocalypse-russell-moore.html">Christianity Today column</a>, the two architects of that moment have been exposed as hypocrites by the revelations about sexual abuse problems within the church. Moore writes:</p>
<blockquote class="wp-block-quote has-text-align-none is-layout-flow wp-block-quote-is-layout-flow">
<p>Those two mythical leaders are now disgraced. <a href="https://www.christianitytoday.com/news/2019/august/southwestern-swbts-reckoning-over-paige-patterson-abuse-law.html">[Paige Patterson]</a> was fired after alleged [sic] mishandling a rape victim&rsquo;s report in an institution he led after he was documented making public comments about the physical appearance of teenage girls and his counsel to women physically abused by their husbands. <a href="https://www.houstonchronicle.com/news/houston-texas/houston/article/Appeals-court-decision-allows-sex-abuse-lawsuit-15984089.php">[Paul Pressler]</a> is now in civil proceedings about allegations of the rape of young men.</p>
</blockquote>
<p>Complementarianism&rsquo;s centrality within the SBC led to a heavily patriarchal institution, which Stone said created an environment in which sexual abuse could happen and be covered up as extensively as the Guidepost report said it was. And as such, she said, simple systemic fixes ultimately won&rsquo;t be enough to reform the SBC. Instead, theological changes will have to be made, and they will be ones the SBC won&rsquo;t want to make.</p>

<p>&ldquo;The underlying systemic issues within the Southern Baptist Convention have to do with a theology that said some people are favored by God, some people have more power, and God supports them having that power and exerting it over others,&rdquo; Stone said. &ldquo;That in no way diminishes the culpability of individuals and the decisions that they make to act in an abusive way against another person. But I think when they are in an environment that says God supports power over saying God is about love and inclusion, it makes those actions more palatable.&rdquo;</p>

<p>Yet the problems within the SBC aren&rsquo;t just the problems of the SBC. They&rsquo;re problems within evangelical churches more broadly &mdash; and within America.</p>
<h2 class="wp-block-heading">The evangelical church is obsessed with charismatic guys who are leaders. But that’s not just true of the evangelical church.</h2>
<p>Culturally, the structure of most evangelical churches makes it very hard to imagine reprisal for a powerful, popular leader. Complementarianism doesn&rsquo;t just place men at the center of the church but also of the family unit; it also defines &ldquo;man&rdquo; in a very specific way.</p>

<p>Andrew Whitehead, an associate professor of sociology at Indiana University&ndash;Purdue University Indianapolis and co-author of the book <em>Taking America Back for God: Christian Nationalism in the United States</em>, has found in his research that the evangelical conception of God is aggressively gendered. Yes, evangelicals are <a href="https://www.researchgate.net/publication/271874960_Gender_Ideology_and_Religion_Does_a_Masculine_Image_of_God_Matter">more likely</a> than any other religious group to say that God is definitely a man, but they&rsquo;ve also turned him into an incredibly masculine man, one who fulfills traditional gender roles, which are then meant to be reflected in the church.</p>

<p>&ldquo;When you have men at the top with very little accountability and essentially blinders on, they can&rsquo;t see all the different aspects of a situation,&rdquo; Whitehead said. &ldquo;So when things like this pop up, [evangelical men] tend to be absolutely ignorant of it or tend to protect their own, and not listen to those voices that might threaten what they see as their God-given right to be in control.&rdquo;</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/23606051/1124557655.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="The Houston Chronicle’s 2019 report was one major reason the SBC launched an internal investigation. | Loren Elliott/AFP via Getty Images" data-portal-copyright="Loren Elliott/AFP via Getty Images" />
<p>Du Mez said this contributes to a culture that can, readily and easily, excuse sexual abuse. In <a href="https://ericcmiller.com/2020/07/07/jesus-wayne-a-conversation-with-kristin-kobes-du-mez/">her research</a>, she has found that evangelical churches very often suggest a kind of gender essentialism in how men and women approach sex, with men seen as naturally lustful and testosterone-driven and women seen as naturally pure and non-lustful. The woman&rsquo;s job is to protect purity; the man is often not at fault for giving in to his urges. Couple that outlook with a culture that generally practices deference to leaders, and you have an environment rife with the opportunity for abuse.</p>

<p>&ldquo;When a case of sexual misconduct surfaces, it is more common than not that women are going to be blamed. &lsquo;What did you do to seduce him?&rsquo;&rdquo; Du Mez said. This belief system suggests, she said, that &ldquo;men just have such a hard time controlling these needs that if they aren&rsquo;t being met, they&rsquo;re going to find an outlet. So it&rsquo;s the woman&rsquo;s fault, or it&rsquo;s his wife&rsquo;s fault, because clearly, if he was looking outside of his marriage relationship to fulfill his sexual needs, she was not meeting them.&rdquo;</p>

<p>Changing that culture will be difficult for many reasons. Moore suggests that the most lasting changes may have to be grassroots ones. He points to a shift within individual churches in the last few decades that has now spread across almost the entirety of the SBC. In the past, there was little oversight of the process by which parents left their children at church nurseries during services. Over time, individual churches put in place safeguards that led to making sure children were never left alone with a single nursery worker and the introduction of a system in which only people who are authorized can see the child or leave the nursery with them. That reform was introduced at a handful of churches; that it has now spread so widely through the SBC suggests one possible way for micro changes to become macro ones.</p>

<p>What&rsquo;s more, the church can certainly make broader, more systemic changes and could adopt the recommendations within <a href="https://static1.squarespace.com/static/6108172d83d55d3c9db4dd67/t/6298d31ff654dd1a9dae86bf/1654182692359/Guidepost+Solutions+Independent+Investigation+Report___.pdf">the Guidepost report</a>. Those would all be major, concrete steps taken to reform the SBC and its culture, and they would lead to an environment where abuse would be less likely.&nbsp;</p>

<p>Brown, the author of <em>This Little Light</em>, remains skeptical. Yes, the SBC could set up bodies to which those being abused could appeal, it could provide protection for other whistleblowers in the organization, and it could set up a restitution fund. Those steps, however, would have to be through groups that were independent from SBC leadership and had authority that existed outside the organization, steps she said the SBC would be unlikely to take. Instead, she fears these problems will be handled within their local churches, the very place many of these survivors suffered abuse.</p>

<p>&ldquo;They must get past this notion of telling survivors to go to the local church,&rdquo; Brown said. &ldquo;All that does is send bloody sheep back to the den of the wolves who savaged them, and people are horribly wounded in that process.&rdquo;</p>

<p>While it&rsquo;s tempting to look at the problems facing the SBC as directly tied to complementarianism, requiring an overhaul to a more progressive form of theology, Pease is careful to remind me that churches are uniquely susceptible to the problem of being led by a charismatic man who is allowed to get away with things because he&rsquo;s seen as guiding the church successfully. That problem applies equally to all denominations, regardless of their larger politics.&nbsp;</p>

<p>But that&rsquo;s not exclusively a problem of religious organizations, either. It&rsquo;s a problem with every aspect of American life &mdash; from the tech industry to academia to Hollywood to your local church.</p>

<p>&ldquo;Any institution is going to become a little bit insular, and probably the strongest leader is going to rise to the surface. There&rsquo;s always going to be a tendency then for abuse,&rdquo; Pease said. &ldquo;How do we intentionally build cultures that counteract that? That&rsquo;s something as a society we&rsquo;re still figuring out, because we bought into the myth of the charismatic leader so deeply, and we&rsquo;re paying such a heavy price.&rdquo;</p>
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