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The Twitter police protect Rogers statue. But what about the rest of us?

For The Globe and Mail, I wrote about the Ted Rogers debacle and what it says to victims of online harassment.

“Whether intended or not, the message that this particular aggressive police action sends to those who have live with this very real fear is that large corporate interests matter more than the safety of the individual. The issue is complex – those who feel threatened don’t often file police reports, for a variety of reasons – but the sheer absurdity of such a quick and invasive response hits a real nerve with anyone who has received vitriol from anonymous strangers. It makes a mockery of what we endure.”

Brave Face: Marcia Clark and The People vs. OJ Simpson

Over at Hazlitt, I wrote about Ryan Murphy’s depiction of Marsha Clark.


“While Clark stumbles through the dictated pitfalls of her status as public female, she becomes a kind of everywoman commentary on rampant workplace sexism. In fact, the way she is treated feels so common, has the capacity to garner so much viewer empathy, that it reveals how little has changed since newspapers felt they had license to ridicule her appearance and violate her privacy. In turn, the episode becomes a sort of master class in how the tiny cuts of sexism currently function, and what the cumulative emotional effects are on those forced to brave them.”

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The Truth is Back There

For The Walrus: Is the new series of The X-Files good enough for Gillian Anderson?


The Year in Coming Close

For Hazlitt: The month that Blue Jays pitchers and catchers reported to spring training marked the first anniversary of my husband and I trying to have a baby.


Infidelity gets a Director


Via Variety, Sundance winner Geneviève Dulude-Decelles will direct an independent movie based on Stacey May FowlesInfidelity. Dulude-Decelles, who won the Sundance Short Film jury award for “The Cut” last year, is also writing the script. Allison Black of Euclid 431 Pictures and Karen Shaw of Quarterlife Crisis Prods. are producing with Canada’s Bell Media Harold Greenberg Fund.

True Detective’s problem with true women in the spotlight


Inevitably showered with praise and awards, the show had many things going for it, but also an undeniable liability – it had a woman problem. In the first True Detective universe, women were mostly showcased via the male gaze, used for run-of-the-mill titillation, or as obvious architectural fodder for “more important” male narratives. Some viewers and critics grew tired of the boring sexposition onslaught that has become status quo on cable television, staying with True Detective solely for Rust’s whacked-out musings on life. Frankly, it was a show worth making excuses for.

Read the review here.

Magic Mike XXL at Globe Arts


What if bros were safe? What if they weren’t dangerous, sexist homophobes, but instead tender and kind – both to each other and to the women in their midst? What if packs of jovial, tank-topped “manly men” weren’t something to steer clear of after dark? What if they were polite, considerate and believed God to be a woman? Would they be bros at all?

Read the full review here.

Orange Is the New Black at Globe Arts


It’s absurd that it took a show about prison to get us this much closer to an accurate mainstream depiction of women’s inner lives, but OITNB is cultishly popular precisely because of how relatable its smallest moments are to viewers. Although the major dramas are compelling – clandestine contraband runs and brawls, badass betrayals and alliances – they’re all secondary to those quieter conversations in prison corners, where characters articulate feelings so rarely showcased on the small screen. 

Read the full review here.

Hannibal at The Globe and Mail

“Created by showrunner Bryan Fuller and shot in Toronto, Hannibal is arguably the most violent show ever broadcast on prime time. Where it departs from run-of-the-mill gratuitous slaughter is in its artifice, tolerable to the squeamish because its lusciousness is so far removed from our collective experience of violence. The grotesque becomes dreamlike and treads into the sublime, with imagery so far beyond the pale that it’s no longer possible to disturb. A dead woman is stitched inside a horse carcass with a bird fluttering in her chest. A man’s lobotomized skull becomes an active beehive. Corpses are piled into totems and spirals. It’s hard not to wonder why the main characters don’t just go on psychiatric leave after all the bizarre tableaus they’ve seen.”

Read the essay here.