random posts

Feature News

Fashion

Sport News

Article

Music

Dear Miley Cyrus, Making Out With Everyone Does Not A Feminist Make

First off, it should be acknowledged that Miley Cyrusdeserves props for openly embracing the label 'feminist' when many people -- especially celebrities -- are still wary of doing so. And Miley has, if nothing else, sparked some very interesting conversations about women, pop culture, performative idenitites, and media in 2013. For that, we thank her. But it doesn't mean we can't be a little critical. 

Recently Miley has been speaking out in interviews, going so far as to declare herself "one of the biggest feminists in the world" because she tells women "to not be scared of anything." But what Miley may not realize is that she tells women lots of other things too. Of course fearlessness is an admirable quality in any person -- male or female -- and nobody would deny that such a message works well with a feminist movement, but Miley has also equated her antics on stage and in her videos (many of which involve her being naked or some variation thereof) with women's empowerment. Sinead O'Connor tried to explain why some of this is problematic in her initial open letter to Miley (which then turned into a Twitter feud, naturally). Miley has done what many women have done, in that she has conflated sexual empowerment or agency with sexual exploitation. Perhaps it's a thin line, but the difference has to be acknowledged. Many people are working to explore these complexities in modern feminist thought as it relates to pop culture, like the folks who created this video:

Since her unforgettable MTV Video Music Awards performance, Miley has continued to be a walking contradiction (which is partly what makes her so fascinating) -- showing up barely dressed and seemingly attention-starved at one event, then classying it up for the next. Joining the Free the Nipple campaign because she's a feminist (and she thinks all feminists should want to walk around topless), and making out with supermodels and backup dancers all in the name of doing what she wants to do -- another ideal that she probably thinks makes her a feminist.
But a big part of feminism has to do with challenging the very notion of "want" as it relates to women. Is Miley doing what she wants to do, or has she just convinced herself that she wants to perpetrate this particular image? And again, her image is complicated and not easily pinned down -- something else we might applaud her for -- but the reality is that, for the most part, she comes off like a 24-hour publicity tool. Her image as a sexual being is at the forefront of her so-called music  career, and that alone almost entirely negates any feminist ideas she might be able to put out there. Which is sad. Miley's no BeyoncĂ© on the microphone but she's got enough talent and personality (and sexual appeal too, because -- hey -- there's nothing wrong with that!) to be a big deal. One has to hope that, as she matures, so will her definition (and performance) of feminism. She could use a little refresher on the women's lib movement too, but then again, couldn't we all?

What Do the WGA's 2014 Nominations Mean for the Oscars?

While the Writers Guild of America might not receive as much public attention as the Academy Awards do, those shaping their Oscar pools might want to pay the  organization a bit more mind. Since the year 2000, the WGA has accurately predicted the winners of the Best Original Screenplay and Best Adapted Screenplay Oscars 10 times each. With so much consistency living between the two circuit mainstays, it's hard not to use Friday's announcement of Writers Guild nominees to better estimate what sort of Academy results we'll see come March.
Today, the WGA recognized the following 2013 screenplays for excellence in the Original and Adapted Screenplay categories:
Original Screenplay
American Hustle
Blue Jasmine
Dallas Buyers Club
Her
Nebraska
Adapted Screenplay
August: Osage County
Before Midnight
Captain Phillips
Lone Survivor
The Wolf of Wall Street 
While we would not have bet heavily on either Dallas Buyers Clubor Lone Survivor showing up on the WGA plate, the biggest surprise would have to be the absence of the Coen Brothers' Inside Llewyn Davis, which many have qualified as a hefty candidate for the Best Original Screenplay Oscar. The absence of the New York-set character piece does not bode especially well for its Academy chances, but it does help to single out a frontrunner among the bunch of Original competitors: Her.
Without Llewyn Davis in its company, Her does seem like the title to beat. Surely, Alexander Payne delivers some phenomenal material in his dry, sweet Nebraska, but the imagination and emotional severity pumped into Spike Jonze's first lone go at a feature screenplay is the kind of cinematic magic that the WGA is accustomed to recognizing.
Leonardo DiCaprio plays Jordan Belfort in THE WOLF OF WALL STREET, from Paramount Pictures and Red Granite Pictures.Paramount Pictures
Of course, that's not to say that cynicism won't get its share of celebration this year. Martin Scorsese's The Wolf of Wall Street has earned no dearth of controversy, but also no dearth of critical esteem since its release on Christmas Day. Award circuit precogs are calling the film too raucous and extreme to win Best Picture (which is a slot many are assuming will fall in the hands of 12 Years a Slave regardless), but an Adapted Screenplay win could be right on the mark for the biographical story of major league swindler Jordan Belfort, scripted by Terence Winter.
The only Scorsese picture to date to earn a WGA win is The Departed, although several (including GoodFellas and Mean Streets) have been nominated before.
Additionally, we see nominations in the Documentary Screenplay category:
Documentary Screenplay
Dirty Wars
Herblock 
No Place on Earth
Stories We Tell
We Steal Secrets

Aamir Khan's 'Dhoom: 3' collects Rs 250 cr in India, above Rs 300 cr worldwide

Aamir Khan has struck gold at the box office - with 'Dhoom: 3' continuing to grow worldwide and domestic. Aamir Khan's 'Dhoom: 3' has collected Rs 250 crore in the domestic market as of January 1.

On the first day of the new year, 'Dhoom: 3' collected nearly Rs 10 crore totaling to Rs 250 crore. Film critic Taran Adarsh gave the official figures.

In Hindi language the film collected Rs 10.40 cr; in Tamil and Telugu Rs 0.38 cr bringing the total to Rs 10.78 Cr and consequently the grand total to Rs 252.70 cr.

He further summed up the second week collection for the action thriller film: "#Dhoom3 [Week 2]: Hindi ₹ 61.81 cr, Tamil & Telugu ₹ 1.91 cr. Total: Hindi ₹ 240.78 cr, Tamil & Telugu ₹ 11.92 cr. Grand total: ₹ 252.70."

Meanwhile globally 'Dhoom: 3' shattering all records, had collected above Rs 300 crore. In United Kingdom the film has collected Rs 20.24 (as of 29-Dec-2013); In United States of America and Canada the film has collected Rs 42.13 (as of 31-Dec-2013); in United Arab Emirates/G.C.C. Rs 32.47 and in Austraila + New Zealand 10.31(as of 29-Dec-2013) and in Pakistan Rs 7.25 (as of 26-Dec-2013) bringing the grand total to Rs 365.11 crore.

Also starring Katrina Kaif, Abhishek Bachchan and Uday Chopra, 'Dhoom: 3' released on December 20.

'Dhoom: 3' may continue to grow in the first week of January as there are no significant releases. However in the second week dancing diva Madhuri Dixit is all set to make a comeback with deceit-romance film 'Dedh Ishqiya'.