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Aviva Dove-Viebahn reviews the top fiction feminist watches from the past year including The Substance, Ironheart and The Better Sister.

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This year’s top feminist moments reveal how artists, storytellers and creators confronted regressive politics with imagination, joy, righteous anger and expansive visions of humanity.

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The post A Landmark Self-Defense Case in the Age of Mass Incarceration: A New Documentary Tells Joan Little’s Story appeared first on Ms. Magazine.

The friendship among Charles (Steve Martin), Oliver (Martin Short) and Mabel (Selena Gomez) is where this transformation starts. Mabel—young, Latina and less financially secure—doesn’t fit the Arconia’s image of who belongs. But through her, Charles and Oliver begin to question the false comfort of wealth and privacy. Together, they build a kind of safety grounded in trust and shared vulnerability.

By its later seasons, Only Murders has redefined what security means. It’s no longer about who can afford to keep others out—it’s about who’s willing to let others in. The show suggests that real safety comes not from walls, locks or property values, but from empathy, care and connection.

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Some critics have accused Anderson of writing Black women who are too sexualized, stereotypical or sidelined. However, recent interviews reveal that actors were often encouraged to go off script in order to add more authenticity to their roles. So it’s likely that many of the shades of gray used to paint these Black women as imperfect yet inspiring insurgents are derived from the Black women with whom PTA collaborates and cohabitates.

For me, the results defied history with humor and humanity.

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By committing fully to realism, Soderbergh dismantles horror’s most familiar conventions and archetypes, leaving us with something haunting in an entirely different way. We aren’t watching the ghost terrorize a family—we are the ghost. We float through their arguments, their secrets, their loneliness, until the banality of eternity itself begins to sink in.

The result is one of the most quietly devastating haunted-house films in recent memory: a meditation on loss, dread and the slow realization that the scariest thing of all isn’t a jump scare, but grief itself.

The post Soderbergh’s ‘Presence’ Isn’t a Horror Movie—It’s a Ghost Story About Grief, Love, Redemption and Family appeared first on Ms. Magazine.

Cultural depictions of feminist leadership, even when fictional, can help us both imagine and demand better. We need not settle for egotistical, unpredictable, manipulative leaders who focus on personal gains and grievances.

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And when survivors band together, we're going to do more than just dance on your table. In the blink of an eye—we’ll turn your private island into your personal hell.

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