I particularly love the ending for #3... wasn't sure where it would go when they were getting "belligerently drunk", and was happily surprised at the sheer simplicity of it. I dunno, I just love it. That (drunken) release from "oh shit, fire!" to "ha ha, but he save(d the) bread!" :D

The Russian thing has to be done at every Olive Garden. It'll be like Guy Fawkes day, except with Olive Garden bread and no real political motivation behind it.

Lovelace bios are riddled with this very problem. Ascribing her work to other people, deeming her uppity, etc. This is not the first, and will probably not be the last case of this, though it is worth pointing out books on her to avoid.

"if not for his daughter's input, Isaacson admits in the acknowledgments, he might not have included Lovelace at all"

He's said almost verbatim this quote, with respects to the minstrel character on the plane.

"Chappelle thought the sketch was funny, the kind of thing his friends would laugh at. But at the taping, one spectator, a white man, laughed particularly loud and long. His laughter struck Chappelle as wrong, and he wondered…

I'm a huge fan of Kara Walker, and was stoked to be able to see this in person. Part of what I appreciate about her work is that it IS uncomfortable. The silhouettes are incredibly disorienting. What I loved about Subtlety is that seeing the disintegration of the molasses babies, and their remains being tracked all…

Who is looking?" And it's always been the same answer for the most part. How do people look? How are people supposed to look? Are white audiences looking at it in the right way? And are black audiences looking to see this piece? And, of course, my question is: What is the right way to look at a piece that is full…

Kara Walker is amazing — her work is violent, sexual (in an icky way), and uncomfortable. It should be, its about how horrible humans can be to one another. She would be the absolute last person to be surprised by people interacting with her art in a gross way. From what I know about her, she doesn't buy into the…

My friend's physical therapist was recently flabbergasted that she could both be fat and strong as an ox. I think we have become so used to seeing these uber-muscular thin bodies that nothing else seems fit enough.

goodbye

There is more than one person in America, therefore both things are possible.

And the show was forced to take feminism seriously because of Wonder Woman's status as a super hero. You could see Lynda glowing as she told women they didn't have to take this or that pile of shit because WOMAN POWER is amazing.

You're absolutely right on that front. As far as characters go, Marvel has Ms. Marvel and Storm, which are both terrific books, but in the grand scheme they are a drop in the ocean. And as far as characters go, I think DC's only remaining POC title was Batwing, which was just cancelled.

More on-topic: DC and Marvel are definitely doing a better job of speaking to broader audiences, but there's still a ways to go, especially in terms of people of color, who are nearly non existent in the Big Two, both on the page and behind it.

We are now living in a world where there are four ongoing comic books with "Wonder Woman" in the title. This has never happened before. Even at the height of her sales popularity in the 40's, she only headlined two books a month, and one of those (the original Sensation Comic) was an anthology she shared with a…

grew up on Lynda Carter's wonder woman. all these years later and they still can't find anyone who lives up to her performance. sure the show was kinda campy cuz, you know, the 70's, but she took that role very seriously. that determination is why even today she's still the only Wonder Woman, especially for us gen…