Are networked fitness-tracking apps another tool to preserve male hegemony? Rebecca Feasey pokes at the latest trend in MAMIL (Middle-Aged Man In Lycra)–ian behavior.
In part three of the NYFF52 series, interesting masculinities are explored in Gabe Polsky’s documentary Red Army, Mike Leigh’s biopic Mr. Turner, and Mathieu Amalric’s feature The Blue Room.
Part six of a seven-part series: LeakyCon’s space alters norms of masculine performance, creating a set of genderqueer performance aesthetics tailored to its fangirl attendees.
Whether you saw their performance on Saturday Night Live, heard the insanely catchy “What Makes You Beautiful” playing over a mall sound system, or just happen to know a 12-year-old girl, it’s possible you’ve already encountered One Direction, the first truly viable boy band of the current musical era.
Trend pieces positing a “mancession” on network television schedules this fall overestimated the phenomenon.
The popularity of Glee, and, in particular, these two singers, has made me think that American culture may finally be starting to break with the gender norms of male singing performance that have persisted for the last 80 years.
The oppression of women is a daily activity for the men of the Jersey Shore, but so is the production of male beauty and labor in the domestic sphere.
This season is painful to watch, but not in a fun, carnivalesque way. Rather, the pain seems to be much more serious and reveals the emotional trauma that we can experience when we blindly submit ourselves to normative ideas of patriarchy and the nuclear family.
In “Chinese Wall,” barriers between personal and professional lives continue to erode, and Mad Men’s men begin to wrestle with these costs.
Unlike any other episode to date, “Waldorf Stories” stresses the importance of masculine disengagement by creating a context in which this mode is no longer available to Don.
Where Pam and Jim (a couple whose sweetness is wonderfully conveyed by the fused appellation “Jam”) are associated with mild and often toothless critiques of the corporate regime, pulling pranks and expressing symbolic (and frequently non-verbal) opposition to or incredulity about the absurdities of corporate life, Dwangela perform a more substantive critical function.