I liken watching Beyoncé’s April 2016 visual album “Lemonade” to the first time I read Their Eyes Were Watching God or The Bluest Eye. There is that breathtaking moment when a text takes root inside a reader and becomes not a far-off interpretation of self to be filtered through societal constraints of race or gender, age or nationality, but simply a reflection, a perfect image of her, the audience member, found on the pages of a book, the lines of a poem or, in this case, the haunting images paired with powerful lyrics and music. “Lemonade” is the story of life, death and family—it is both simple and complex, relying on a rebirth and redemption narrative common in black art; yet it illustrates the unique experience of black feminism in the 21st century, inviting black women to unite and stand together in order to succeed—to take our lemons and to make lemonade.


This spring’s MCM Comic Con, held at the ExCel in London, welcomed 122,634 visitors over the course of the weekend, making it larger by 10,000 visitors than the previous convention held last October. Last time I attended, I was merely an attendee–there for the fun and cosplay. This spring, I attended as a member of the press with all that perks that entailed: namely, spending most of my Saturday in the press room with twenty other reporters, trying to get the attention of celebrities. While it is difficult to make oneself heard in such a crowd in such a short time period (each interview session lasted approximately 20 minutes), it quickly became apparent that most of us news outlets had a common mission: to emphasize diversity and inclusion in mainstream media and culture.

I love romance as much as the next girl.

via Giphy

On occasion, I’m a sap for a good rom-com, an epic romance, or a sexy love story. But sometimes romance permeates film and television to the point where TV shows that star female leads only have plots that revolve around relationships. This isn’t always a bad thing (unless you’re True Blood), but watching a show where the focus is on the other aspects of the woman’s life can be refreshing. Female characters don’t need to be overshadowed by attachments to significant others in order to be compelling.


S01xE08: “Valediction”

After weeks of working on her own against Leviathan, Peggy Carter has finally become part of the team at the SSR. She has fought for the respect of her peers, worked to prove her ability and consistently points her coworkers in the direction of the proper baddies time and time again. It seems that finally, her rebellion will gain meaning as Dottie and Dr. Ivchenko attempt to use Howard Stark’s inventions to destroy New York City with Peggy poised to stop them. But, while the perceptions of Peggy Carter have shifted, the Patriarchy will not unravel at the bidding of a single woman. Even as Peggy saves the day once again, we are reminded of the confines within which she operates, and of the value placed on gender biases by the society she lives in.

spoilers ahead, sweetie…


S01xE07: “Snafu”

The misconceptions, assumptions and sheer ignorance of her abilities as a spy have forced Peggy to articulate her issues with the Patriarchy, which may be exactly what is necessary for her team to move forward in the fight to eliminate Leviathan as a security threat. There is great power in words–Dr. Ivchenko uses language to manipulate SSR agents, The Howling Commandoes voice respect for Peggy, which shifts Thompson’s preception of her and then Thompson speaks his secret of killing surrendering soldiers in order to break that secret’s hold over him. Words contain power and Peggy has decided to voice the truths about her treatment–at the SSR and within 1940s culture in  general–in order to regain control of her own identity and remain on her heroic path.

spoilers ahead, sweetie...