Let’s talk about Taylor Swift’s “Look What You Made Me Do” music video.

The video for Swift’s lead single off her upcoming album Reputation is smashing everywhere. What many consider the return of their favorite pop star, Reputation is supposed to be as much a reinvention as it is a response to her recent media backlash. “Look What You Made Me Do” is surely an affirmative taste of what’s to come, as the track proudly nods to Swift’s haters and naysayers. And if the song itself bears a strong message, the “Look What You Made Me Do” video is her sentiments on crack.

The music video is audacious, lavish and epic. It is also completely laden with allusions to her media presence, with nods to her feuds with Kanye and Kim Kardashian West, Katy Perry, and well, everyone else that hated her this past year.

2016 and beyond was not exactly kind to Swift. After she was exposed for lying to Kanye West, the public began to see her in a different light. If you’d like to read my thoughts and analysis on that event, you can do so here. Without delving into those politics all over again, many agreed that Taylor Swift profitably victimized herself. Once beloved by so many for her role-model image, her mean-girl persona was slowly being unveiled.  The queen of girl squads and supposed female empowerment engaged in behavior that looked an awful lot like bullying; her hit song “Bad Blood” was inspired by her beef with her contemporary, Katy Perry. Reports of her friend-breakups and catfights were about as frequent as her romance rumors. Top all of that off with her stingy legal attitude toward writing credits, streaming services and fan merchandise, Taylor’s reputation was at a bit of low point.

Taylor Swift has always had a way with the general public. Everything about her blonde curls and signature red lipstick is marketable. Her songwriting in particular hits a sweet spot in demographics where it appeals to young listeners and applies to adult women. People are able to relate to records about break-ups and make-ups, but when they know the album is inspired by Swift and a famous lover, who they follow through media coverage, her work becomes a must-have. Taylor Swift has always known this.

I previously discussed serial dating hate and how it has shaped Taylor’s image. While she has dealt with cheap jokes about her many relationships, she has ultimately reaped their benefits. If you consider the progression of her music career, she combats relationship criticism with breakup records. Those records sell like hot cakes and Taylor is left standing in the sun. It’s a business model that she has perfected.

This is why “Look What You Made Me Do” misses so many marks for me. Once the media spun Taylor with a mean-girl image, rather than her ex-girlfriend trope, she handled it the only way she knew how. The “Look What You Made Me Do” music video is supposed to satirically embrace her media scandals and criticisms, but more or less reiterates audiences’ reservations about the star.

The music video features Taylor sitting on a throne of snakes– a nod toward Kim Kardashian’s Twitter shade which led to a flood of snake emoji comments on Taylor’s social media accounts. And while I understand that Taylor Swift is reclaiming the insults hurled her way, isn’t the best way to not be a snake … not be a snake? Releasing a song that prolongs a feud seems counterproductive if the drama has supposedly been put to rest.

I really must admit that the music video for “Look What You Made Me Do” is spectacular, with awesome production quality and bad-assery throughout. I do appreciate Taylor’s thorough artistry when it comes to her music visuals– an important aspect of pop music that many artists seem to neglect. That being said, the song nor the music video do not push the boundaries of music or art in 2017. Often we hype up what is fun and entertaining as iconic and legendary. I cannot justify the iconography of Taylor Swift’s career to where she should appear as 14 different versions of herself to deliver a joke.

In the ending sequence of the music video, the 2009 VMA’s version of Swift says she “would very much like to be excluded from this narrative”– an obvious joke referencing her previous words about her drama with Kanye. Taylor has stood firm in her side of the story with that feud, so mocking herself in such a way is confusing. Does she admit to being in the wrong, despite the other 4 minutes of the video stating otherwise?

Celebrity beefs aside, many call this Taylor’s middle finger to the overall mainstream media. Clearly she feels burned by media, as her next record is supposed to set the record straight on her public portrayal. Women are at a permanent disadvantage when it comes to their media portrayals, that’s a given, but what is the exact irreparable damage media has implemented on Taylor’s reputation?

Taylor’s latest single shares the lyric “another day, another drama” with the 2007 Britney Spears song “Piece of Me”. At the point in time when Britney released “Piece of Me”, innumerable paparazzi followed Britney’s every move. With unstable mental health, Britney was publicly questioned concerning the custody of her children, photographed up her skirt, fat shamed and labeled as an “American tragedy” on major media platforms. Her song “Piece of Me” was the side of the story she could only tell musically– an anthem that reclaimed the power media had gruesomely taken from her.

Britney Spears shared the experience of media abuse with many other celebrities. If you consider what fame and exposure was capable of doing to late stars like Marilyn Monroe, Princess Diana and Anna Nicole Smith, goading Taylor Swift about her frenemies does not seem quite as harmful.

Recently, Taylor Swift won her sexual assault trial against radio DJ David Mueller. While media is characteristically misogynistic, mainstream media coverage of her trial was every bit of kind to the singer. I saw many news anchors and discussion forums speaking in favor of her bravery. This case was representative of what too many young women go through, and Taylor Swift was praised for being a voice for the silenced.  I would love to hear her delve into those issues on her new album. But for whatever reason, Swift thought it was pertinent to release music grounded in pettiness and conceit.

The Kim/Kanye/Taylor debacle occurred quite some time ago and the wheelhouse of pop culture has continued to churn. Simply put, Taylor Swift is placing importance and where it does not belong. Entire police unions have never petitioned for Taylor Swift’s boycott, as they have for Beyoncé. Taylor Swift has never had to answer interview questions about her genitalia like Lady Gaga did when nasty rumors circulated. While she is one of the biggest pop stars of our generation, her image is not nearly as controversial as “Look What You Made Me Do” lets on. At the end of the day, Taylor Swift is a white woman whom mainstream media has maintained basic respect for. The same cannot be said for other celebrities.

The “Look What You Made Me Do” music video is crushing viewing records by the minute. Swift-mania is making its resurgence; no doubt Reputation will earn Taylor another multiplatinum record that fills the hearts of listeners around the world. While her name will be the one on everyone’s mind for a while, what conversations will Taylor Swift start? Will she go against the grain of public perception? Make career moves that change people’s minds? Or will she continue to stomp her feet, demand attention and insist that others made her act accordingly?

What do you think of the “Look What You Made Me Do” music video?

A roaring crowd of fans. Hundreds in line, head to toe in merchandise, holding products in the hopes of an autograph or waving their iPhones about for a coveted snap of the star.

Sounds like a pop star exiting their concert venue, doesn’t it? Or perhaps an Oscar nominee walking the red carpet? Nothing of the sort. It’s makeup artist Jeffree Star at a meet-and-greet for the Vans Warped Tour and the hype is explosive.

Jeffree Star’s brand, Jeffree Star Cosmetics, sprouted exclusively online a little over a year ago. Presently, his products—including liquid lipsticks, highlighters and an eyeshadow palette— sell out within minutes of their restocking. His label’s hot pink packaging has been littering Instagram, making his products identifiable with an immediate swipe of the thumb and seriously hot with online retailers. This trend of epic online sellouts for makeup is not exclusive to Jeffree Star. In recent months, it seems as if the hottest palettes and collections from any brand embed themselves into our understanding of current trends. Pink lips aren’t in this summer— Anastasia Beverly Hills Liquid Lip in shade Kathryn is.

To what do we owe this sudden enriched knowledge of makeup to? The culture we are a part of is constantly seeking connection to the renowned. Human fascination with the rich and famous does not need to be explained; we are like fish, drawn to the shiny stuff. But in 2016, the connection between the them and the us is becoming more achievable. Online retailers and publications hand-pick for you the dining table in Kris Jenner’s kitchen or the fur coat Cookie wore on Wednesday’s episode of Empire. Instantly, we can snatch up what we desire from that glitzy other side. The same principle applies to cosmetics. Instantly, the secret products used for a celebrity’s high-profile photoshoot are revealed on multiple beauty blogger sites. And just like that, the makeup items are in our shopping cart.

Beauty has always been on our minds. The cosmetic industry has prevailed for decades, convincing buyers of what they need to become most desirable (the sexist implications of that are another article for another time). Makeup has always had a place in our culture, but it seems to now have a a culture of its own. Thanks to the sprawling opportunities of the internet, people now dedicate their lives to the art of makeup and beauty. This has ushered in a new type of fame: the makeup celebrity.

Makeup artists were once people you knew existed, but never heard about. They were behind the gorgeous smiles and glowing skin on the red carpet or catwalk. Why publicize them when you can publicize their work on someone more beautiful and famous? That era is over. The 2016 makeup celebrity is often the face of their own work and publicizes their own business.

A popular meme circulating Twitter jokes that if your girlfriend is late, she is most likely watching makeup tutorials on YouTube. The video-sharing website has played a key role in introducing some of the most notable makeup celebrities. The most unlikely and unsuspecting prospects are able to share with the world their skill, innovation and love of makeup.

Aforementioned makeup celebrity Jeffree Star has gained a 2.2 million subscriber following since creating a YouTube channel. Before he made any sort of makeup business endeavor, back in the day— meaning 2007— Jeffree Star was a MySpace mogul with an interest in music. His gender-bending, Hello Kitty/Rocky Horror aesthetic catered to the scene kids of the moment. Capitalizing off of a marginalized type of glamour, Jeffree Star factored into the new-wave of internet persona. Jeffree merch became a sellout at Hot Topic stores everywhere, where his electro-screamo EP’s lived on in the bedrooms of misunderstood teens. Flash forward to this year, where Jeffree can be spotted on his YouTube channel biweekly, still rocking his original hot pink hair. Only now, among some cosmetic facial improvements, his glamour is toned down— expensive even. His skilled makeup looks are legit while maintaining his signature punky flare with neons and shade-titles that reflect Jeffree’s humorous sense of style. His brand grew not with a whimper, but with a bang in the year 2015 and is still on the path to takeover. Gaining the most popularity on social media sites, Jeffree Star Cosmetics has reached markets beyond his original, marginalized audience of the emo underground. By association, Jeffree himself has gained notoriety as the go-to makeup artist with his YouTube tutorial videos. To think, an outspoken, edgy gay male has become the makeup poster child to many in mainstream culture. This notion testifies to the effects of sweeping popularity and trends in the world of makeup.

The turnover rate for YouTube’s makeup artists and gurus is astounding. Each day new makeup looks are created and essentially redistributed throughout the countries the video is provided in. The relationship between cosmetic brands and makeup celebrities is a steady, mutually beneficial one. Popular partnerships between makeup celebrities and brands include MannyMua for Makeup Geek, NikkieTutorials for Too Faced, Bunny Meyer for Tarte, Jaclyn Hill for Becca— the list is ever-evolving. The growth of both the individual and the brand helps profit off of the other. Makeup and tattoo celebrity Kat Von D created her wildly popular Sephora-exclusive cosmetic line in 2008. Since then her line of products became a staple in professional circles, once again making the rounds as a must-have on social media platforms. These faces added to beauty products push themselves deeper into our understanding of what is on trend.

Perhaps the epitome of name/brand association in makeup culture is none other than Kylie Cosmetics, created by Kylie Jenner. Kylie’s brand has arguably transcended cosmetics from a sectioned off part of our lives to an integral element of pop culture. Kylie Jenner rocked the world with her rumored cosmetic procedures around 2013, shuttling to the forefront of the Kardashian cultural shockwave. Kylie’s image, which is ever-evolving and mega-sought after, influences her mainstream audience instantly. Whatever Kylie uploads to her most-followed Snapchat account, viewers scramble to emulate in their own online identities. Kylie Cosmetics began by launching LipKits by Kylie— possibly the smartest business move of the decade. Consider that all eyes were on Kylie’s newly-plumped lips when her following began to grow. Kylie created the LipKits to give fans a gateway to her image. In doing this, Kylie Cosmetics gave buyers the perfect formula of feeling glamorous, elite and famous— like they were in on her secret to success.

And in a way, they are. Kylie’s liquid lipsticks, metals and lip glosses have become the new Pokémon cards with their collectible aspect. Each shade cleverly incorporates memories and members of the famous family— bringing buyers closer to the Kardashian-Jenner clan once again. The success of Kylie Cosmetics has made makeup culture transformative in its marketing and presence in society. Kylie has released music videos that have reached millions of views just to release three new shades of lip gloss. When spotted out on the town, casually exiting her Mercedes, Kylie can be captured among the flashes rocking any of her lipsticks or latest Kyshadow colors on her eyes. Makeup is now part of Kylie’s outward identity and, slowly, it is becoming a part of ours as well.

Makeup culture can take us in many different directions. We could question if obsession with cosmetics stems from the vanity in the new millennium. Makeup itself is rich in sociological and historical meaning; catering to the higher class and reiterating prejudiced beauty standards throughout time. However you may feel about makeup or its use in your life, its force in our culture has grown undeniably. Somehow our understanding of beauty is packed with names, people and techniques we had not once known before. The makeup celebrity is an invention of the era, which, like many others of our time, reflects how far into stardom trends can be driven. Makeup culture provides us with a new understanding of fame and beauty combined. The notorious “who are you wearing?” red carpet question now extends beyond garments— we want to know who is on your face.

Against my life-long New Year’s tradition of staying home, a cocktail of whimsy and persuasion pushed me to begin 2018 by road tripping across country with my partner. Over the course of about eleven days, riddled with countless to-go burgers and GPS frustrations, we decided to make the most of the American Southwest by traveling to Grand Canyon National Park.

And I can say, unexpectedly, that I left Tusayan, Arizona a changed person.

The phrase road trip to Grand Canyon oozes the quintessential American family experience. That specific National Park is more or less a staple in American’s minds for road-side attractions– or it was for me, at least, up until the time I arrived. Grand Canyon  was, to me, about as Americana as apple pie, Mount Rushmore and coastal beach vacations; all of which I regarded as accessible and not particularly extraordinary. Grand Canyon was the type of pull-off location you could applaud momentarily– marvel, even– but ultimately put in your back pocket on the way back home.

My perspective changed immediately upon parking at the Visitor’s Center.

“Where the hell is this thing,” my fiancé grumbled, the two of us maneuvering around crowds of international tourists. The area surrounding the Visitor’s Center was paved into wide walkways, all surprisingly surrounded by considerably thick forestation. The posted maps were no help to two impatient idiots; we had been naivagating back highways through New Mexico and Arizona for eight hours, anything without an obvious arrow was just a nuisance.

“I guess just take a left up here,” I offered. At this point, the air between us was pregnant with anticipation– jitters comparable to arriving a few miles outside of your favorite amusement park. But as the walkways narrowed into trail and the trees thinned into an obvious clearing, excitement flattened into the most raw sense of awe I had ever experienced.

The sun was setting on Mather Point, illuminating the canyon in brilliant shades of blue and orange. As I watched groups of families and tourists congregate for perfect photos, I found myself speechless– breathless, even.

How does one even begin to describe the vastness of Grand Canyon? Moments ago, I was in the comfort of a Ford passenger seat. Now I stand at the mouth of the world’s largest inverted mountain, quite literally on the brink of death. It’s the kind of view that makes you want to drop to your knees and praise the entity responsible for carving out such an intricate masterpiece.

Over a weekend of exploring the better part of the South Rim, my disbelief continued. Each turn and lookout more beautiful than the next; its depth and breadth never ceasing my fascination. Several brochures at the Visitor’s Center promised how inspiring the Canyon would be, but I never expected to feel so compelled.

Mind you, this is coming from a girl with more outdoor allergies than fingers and toes. I am by no means an outdoorswoman– not by a long shot. Hiking and way-finding have never been my calling; adventure is not in my nature. These things considered, my trip to Grand Canyon instilled an immense appreciation for our natural world.

How was it that I was living my life in Southwest Virginia completely oblivious to this magnificent piece of geography? Why is it that I, and everyone else I know, are not discussing Grand Canyon’s immensity every single day? Entering Grand Canyon National Park was like coming face-to-face with legend. Surely everyone in America is aware of the Canyon, but it takes ones attendance to actually believe in it. I experienced an appreciation that redefined my very understanding of the word: a gratitude that was soaked in peace, shock and blessing.

A fourth element to this appreciation was fear. While a smile hardly left my face last weekend, I had unprecedented chest pain peering hundreds of feet below the rim. The feeling of standing foot-lengths from certain death was unshakeable. Though my trip was  full of wonderment and fun, I never felt totally safe.

Yet the more I thought about it, why would I?

Safety is one of my most valued conditions in life. We as people count mindlessly on human constructions of safety: locks, seat-belts, fences and guard rails. Even beyond simple precautions, I am able to rest my head at night assuming my house won’t slide off its foundation or spontaneously combust. In the world I have created for myself, I am safe. The same cannot be said at Grand Canyon.

My proclivity for cheerful morbidity led me to a book in the Bright Angel Lodge gift shop, Over the Edge: Death at Grand Canyon. The piece is about as delightfully obvious as its title, chronicling every recorded death at the Canyon, including drownings in the Colorado River, dehydration during hiking and– most likely its big-ticket item– stumbles from the rim. The authors, Michael P. Ghiglieri and Thomas M. Myers, posed a question in their text that summed up my realization:

“Are such seemingly foolish deaths truly due to having grown up in a culture so paranoiacally obsessed with paving the natural world that we can no longer cope with any terrain that has not been laser-leveled?”

This rhetorical question hit me with a sobering reality. Never before had I considered the absolute strength of nature– capable of taking my life with one misstep. When I looked around, I saw tourists performing Jackass-grade stunts; climbing over guard rails for photos and perching on unstable boulders for a better look. The more I grappled with it, the more I understood my very being there was a test against this natural wonder. That was the first time I considered, completely, that there are some places humans are not entitled to enjoy.

During our last evening at the Park, we took a load off at a bar in Grand Canyon Village. Not ready to admit it, I was trembling from anxiety and needed a break from the elevation– and I was ready for a snack. We ordered a meal and settled into the better half of the NFL game on TV. In brief, we let time get away from us, meaning the sun had long set before we decided to leave for the evening.

We waited and waited in the pitch dark for the last of the shuttle buses to retrieve us. Those 20 minutes were infuriating, as I feared we would have to walk however many miles to our vehicle. After some unhelpful whining on my part, the bus finally came and returned us to the Visitor’s Center. Thank God. I sighed in relief. We made it.

Not quite. The roads and parking lots at Grand Canyon National Park have no street lighting, thus we used iPhone flashlights to navigate the truck three empty parking lots away. Yes, I was the last person out of Grand Canyon on Saturday, how was your weekend?

I had to laugh when we finally seated ourselves in the vehicle. “That has to be the dumbest thing we’ve ever done,” I said, shaking my head. Even though I checked over my shoulder repeatedly in that short walk, I was pleased to find that the National Park Service stays true to keeping establishment to a minimum. What I expected to be hammed up stop with road signs and commercialization was a barren, 50 mile one-way drive into a respectful preservation of something truly incredible.

Perhaps it was that very quiet esteem that stuck with me in leaving Grand Canyon. People arrive from all over the globe to simply behold this perplexing, mystifying formation. We do not control it and we certainly cannot predict it. The danger of tripping, slipping or falling victim to its boundary-less terrain is a caveat of enjoying that which belongs to no one.

Wrapping my mind around that idea has almost taken me the full journey home. The beauty of Grand Canyon is indescribable with words and unattainable with snapshot photography. I left Grand Canyon feeling like I had just discovered a blissful secret; giddy with the notion I was let in on this hidden reality. This simple road trip quickly flipped into a spiritual, introspective experience; one that made me question how often I had overlooked similar treasures. What else could I be missing in plain view?

Not too bad of questions to pose, all coming from one big hole in the ground.

It’s a rainy day in Southwest Virginia. I woke up with the aching residuals of a chest cold and a gruff mood that carried into lunchtime. The wet air outside hung like a warning, not a smile in sight.

As I reclined for a moment to check news updates, I expected stories that matched the weather; bleak and depressing. 2017 has brought on headlines of mass shootings, violent riots and twisted political scandal, with most recent news covering dark secrets of Hollywood’s Harvey Weinstein and Kevin Spacey.

Much to my prediction, I unlocked my iPhone to news that was flattening and cruel– but entirely overdue.

Corey Haim’s rapist has finally been identified as Charlie Sheen.

Let’s rewind to 2008. My mom had bought me a DVD from her past at the supermarket. She handed me a copy of The Lost Boys (1987), warning that I would love it. And after the first five watches of the 80’s classic, in love I was. It quickly became my favorite film and I had major eyes for its two youngest stars, Corey Haim and Corey Feldman.

There I was, a millennial middle schooler going through a Two Corey’s phase. For those of you that are unfamiliar, Corey Haim and Corey Feldman were essentially the teen Hemsworth brothers of the 1980’s. The built careers off of being besties, appearing in movies beloved by many like License to Drive and Dream a Little Dream. The mania surrounding their double act was comparable to One Direction– and for good reason.

Feldman with his bad-boy bravado and Haim with his boyish, goody charm. It was a lucrative as it was adorable. The Two Coreys were my first real celebrity crushes. I had to order all of their films off of resale DVD websites, because they were obviously not available at popular entertainment stores in the mid-2000’s. I was passionate about their films and even more fanatical about them. So, it was a great pleasure to learn they had a docuseries, The Two Coreys, on A&E all those years later. Finally, I would reconnect with my crushes in realtime, completing a circle they created so long ago.

The Two Coreys was a far cry from the zany, lovable characters I expected. Feldman, with the same gravelly voice, appeared greasy, concerned and worn. And while Feldman was recognizable, my heart sank as a 13-year-old to see Corey Haim bloated, overweight and tweaking on my television screen. Time had not been kind to them.

I retracted my interest from their true identities back to their films’ sweet characters as teens. The series ended after two unsuccessful seasons in August 2008.

On March 10, 2010, Corey Haim died due to addiction-related illness.

As sad as this initial news made me, I would only come to understand the weight of his passing years later. In the doldrums of summer break 2016, I purchased Corey Feldman’s memoir Coreyography on a whim. I began his book after dinner and read until morning, captivated by Feldman’s profound, shattering retelling of his Hollywood history. His truth explained, often in excruciating detail, the sexual abuse both he and Corey Haim endured in their career as child stars.

Feldman detailed the seedy underbelly of Hollywood stars and executives, exposing them as pedophiles who preyed on the two young actors for over a decade. While identities remained unnamed in the memoir, Feldman claimed Corey Haim’s initial abuse happened on the set of one of his first films, Lucas (1986). More specifically, Haim was allegedly raped on set of the film by a prominent adult male Hollywood figure. Corey Haim was thirteen years old.

Feldman has maintained that both he and Haim were raped and abused by older men into their 20’s. He has in no way remained silent on the matter, outlining his past in several interviews and appearances over the years. The identities of his abusers, however, are the only details kept secret. Feldman has urged that his and Corey Haim’s rapists are Hollywood figures of high esteem, wealth and, most dangerously, power. He has vehemently promised that once it is safe to do so, he will confirm who the Hollywood predators are.

So, flash forward to now, where the male Hollywood machine seems to be crumbling under accusation after accusation of sexual misconduct. As the allegation mill churned another day, former actor Dominick Brascia came forward to attach a name to this ongoing mystery surrounding the late Corey Haim. Brascia identified Lucas co-star Charlie Sheen as Haim’s abuser. Brascia’s allegations line up with Feldman’s; Sheen engaged in anal sex with a thirteen-year-old Corey between sets during filming.

And while this news item may seem inconsequential to dozens of other sexual abuse scandals or maybe even irrelevant as it pertains to a deceased 80’s teen star, I, for one, rejoice that this matter is being investigated. As I explained, I’ve followed Feldman and Haim’s tragic past for quite some time. While courageous actresses and females in the business are having their turn to waive a #MeToo hashtag, Corey Haim lead a life of addiction and ultimately died because of the trauma of sexual abuse.

Corey Feldman has discussed the most crucial understanding of Hollywood predation: his abusers were people he trusted. The abuse they endured was not always violent or strained. Rather, when placed into the care of Hollywood male moguls, the young actors were coerced into acts they did not understand. Feldman wrote in his memoir that Haim’s rapist explained that sex between grown men and boys in the industry was normal. Haim was convinced it was just what they do.

As sick and disturbing as it may sound, it is part of the Hollywood culture. Feldman has emphasized pedophilia as the top evil in the industry, stating it is embedded into rituals of success and fame for child stars. The repeated abuse from managers, agents and actors around a young Haim resulted in a deteriorated sense of self and reality. Feldman details in Coreyography Haim’s struggle with addiction. His warped introduction to sex lead Haim to treat sexual interactions like transactions– almost like getting a fix. That same internalized torment of abuse lead the actor to a lifetime of drug use. Pain that couldn’t be verbalized was numbed by other means. Means often provided by the predators in his circle.

For all that shout “what about men!” in the dialogue of feminist issues– now is your time to motivate your concern into action. Men are also survivors of sexual assault and rape. The ramifications of their abuse is also ugly– emotional damage, struggle with addiction and even patterns of abuse on their part. Feldman opened up about the shame associated with his abuse, sharing how lonely and emasculating it felt being on a poster in every teen girl’s bedroom while simultaneously being passed around by men twenty years his senior. The believed impossibility of a handsome, happy-go-lucky teen boy under the attack of pedophilia was precisely what kept the actors silent for so long.

It is my hope that if Charlie Sheen did indeed rape Corey Haim those many years ago, his career immediately vanishes with the likes of Kevin Spacey and Louis C.K. It is crucial that the accountability I discussed in my previous article, The News About Harvey Weinstein Isn’t Shocking, be elevated to zero tolerance. Pedophilia has never and will never find a home in my entertainment. Turning a blind eye to the males who are victims to a demented Hollywood practice makes us no better than those who choose not to believe women of similar circumstance.

Corey Feldman is in talks to produce a documentary film as part of a new campaign he calls TRUTH campaign. He began a Kickstarter for the film, extending the invitation to donate to anyone with money to spare. His eager goal of $10 million dollars has only been chipped away by 2%. Attention to this cause is dismal for Feldman. Many believe, including Corey Haim’s mother Judy Haim, that Feldman’s campaign is a ploy to resurrect his career financially. I cannot confirm or deny this, and I’m aware that his bizarro, washed up persona is a little deterring. But the blatant rejection of Feldman, his project and his claims from the industry poses the question:

what more do they have to hide?

The following article contains spoilers from Patty Jenkins’ Wonder Woman (2017).

With it’s immaculate Rotten Tomatoes score and mega hype on the box office front, I figured it would be foolish not to go see DC’s new Wonder Woman. And I must say, it met every one of my expectations. On Saturday I had a movie viewing experience that I haven’t had in a long time. I sat, filled with an unexplainable elation and found myself in wonder of Wonder Woman.

This was for a number of reasons. It was a treat to see the first successful DC film since The Dark Knight (2008). Seriously, after the fuster cluck that was Suicide Squad I feel that fan audiences were owed something more substantial. The proper execution of Wonder Woman was in high demand, as the film acts as both a redeemer of DC films and a starting installment of the upcoming Justice League franchise. After seeing the film, I can confidently guess that hardcore fans were not let down. Finally, we have the makings of a true blockbuster, comparable to the likes of the Marvel money-making machine. Oh, and there’s that part about Wonder Woman being a woman.

If you’ve been keeping up with the happenings of DC Entertainment, Wonder Woman has been a Hollywood idea for quite some time. Wonder Woman was originally pursued by director Joss Whedon, who dropped the project in 2010. Skipping the savory details, Whedon allegedly left the film with issues in casting. It was understood that Whedon wanted to take Wonder Woman in a Lara Croft-y direction. Flash-forward to 2015, when Wonder Woman has been re-written and turned over to a female director– an appropriate destination for a film that carries a lot of gendered weight.

A female hero protagonist, on paper, shouldn’t be so hard to bring to life… right? This was the main concern of both filmmakers and viewers. We wanted Wonder Woman to be the ultimate feminist. However, filmmakers needed to find a harmony between her strength as a woman and compatibility with male audiences. Blatant feminist-themed films have failed commercially in recent years because of a lack of this harmony. Wonder Woman needed to relay femininity in such a way that made us all feel empowered.

Feminism has taken a turn in the last year or so. On the media front, the political pendulum has swung from a liberal embrace of feminism to this bizarre extreme of proponents and opponents. In Trumps’ America, conservatism is slowly creeping back into the mainstream, providing cushion for those who deny feminism. On the other end of the spectrum, many think feminism as a political movement has become weighed down in the wrong areas.

The “Red Pill” movement has come to my attention recently. This is a brand of feminism that incorporates skepticism into the understanding of the modern movement. By taking the “red pill”, feminist women indulge in the criticisms of anti-feminist males and study their male perspective. The goal of “Red Pill” is meant to illustrate where feminism, as a movement, misses the mark on gendered issues for males. I’ve seen outwardly liberal, self-proclaimed feminists discuss this movement and encourage the skepticism it calls for. Society has begun to take a neo-feminsit approach to equality; tackling issues a little more…equally.

That exact approach may be what makes Wonder Woman so successful. The feminism in the film wasn’t exactly subdued, rather it was strategic. There was no point in time where Diana made a speech about her feminism– she did not use words to convince us of her power. I think Patty Jenkins and the screen writers had in mind that rather than developing as a feminist, Diana was to employ a pre-existing feminism into her actions. In Wonder Woman’s world, women were crafted at the hands of the Gods to bring peace to humanity. In the mythical training grounds of Themyscira, the amazons are trained like work-horses and educated with the knowledge of many cultures. That’s a seriously feminist starting point for young Diana. Establishing feminism in this way does not leave it up for debate later in the story. Before the action unfolds, audiences simply accept Wonder Woman’s feminist foundation.

Since there is no feminist hump to climb over, Wonder Woman is able to explore Diana’s journey into the mortal world with a fresh gaze. Diana’s relationship with her partner Steve is a symbiotic one. They learn from one another and I felt a natural rapport between their two different perspectives. Diana is righteous and beneficent; Steve is practical and covert. When one character challenged the other, it was warranted. Steve never took Diana’s naïvety as adorable or distinctly female. This film allowed its male and female main characters to stand alone as equally dynamic people.

The war motif in Wonder Woman also brings about an interesting feminist perspective I have not yet encountered. Diana’s DNA made her just– she was wired to save people from the downfall of man. But upon entering the war-to-end-all-wars on Earth, she became enlightened about human morality. She learns in her time with her team that war is multifaceted and good and evil can exist in all people. Diana learns that goodness is a responsibility and she takes it upon herself to maintain that responsibility as Wonder Woman full-time. I think allowing a female character to unpack the challenges of war, a characteristically masculine tradition, was a brave move on Wonder Woman‘s part.

Overall, I would say if you haven’t seen this movie yet, make plans with your friends and family to go see it. Tonight. Wonder Woman is epic and timeless. The action sequences are perfect, while the storytelling is tender. Diana and Steve’s romance is also well developed, free of the tropes we see too often in other superhero films. Borrowing knowledge from one another along the way, we saw a male-female relationship that was truly grounded in feminist ideals of sharing, communication and mutual respect. Sure, there were a handful of sex jokes that came at their expense, but the jokes were innocent in nature and in no way degraded Diana’s worth as a female. After all, she’s fully aware men don’t need to be part of the equation for pleasures of the flesh.

Of course, as with anything good in this world, there has been negativity hurled Wonder Woman‘s way. Some have criticized the film for not taking a deliberate enough stance on feminism. This quieter, neo-feminist approach has been seen as a way to water down a very pronounced feminist opportunity. While Patty Jenkins and company could’ve really, really went for it, I think the end result was just fine. Even better than fine, Wonder Woman is the top grossing film for a female director ever. That alone speaks to one female’s craftsmanship of female-led film.

On the anti-feminist forefront, recent all-female screenings of the film in Austin have caused outcries of reverse sexism. While it may seem discriminatory at a base level, allowing a female dialogue in an artistic environment will always be a good thing. The emotional intelligence of Wonder Woman allows this dialogue to continue at home, school and work with other genders. The fact it’s an incredible film only works in this conversation’s favor.

Gal Gadot was meticulously cast as Diana and, from what I can tell, for good reason. She’s fierce with a distinct kindness and she’s got that something that makes it hard to take my eyes off her on screen. We won’t be seeing the last of her in Hollywood. Her beauty is most likely a factor in this. Many fans criticized her appearance in the film, as she subscribes majorly to Western beauty standards and is, for all intents and purposes, a total babe. Is it totally impossible to move away from the Hollywood standard of woman and her sexy superhero attire? I don’t know. To me, it ain’t that deep. When I saw this gorgeous, brave woman in all her bad-assery, my heart soared. The top blockbuster this month was about a female who sticks up for others and leads with her heart. Any positive female representation is positive female representation. Was 2017’s depiction of Wonder Woman too sexy? There’s a chance. But when I think of all the little girls who choose to be Diana this year for Halloween, who will wear their gold arm cuffs and headbands as badges of honor, none of that matters. Just as Diana was sculpted from clay to make the world a better place, this film reassures us that women are powerful, prominent and necessary.

The following blog post contains 13 Reasons Why spoilers.

Typically I allow hype for streaming series to die down before I divulge into them. And to say there was hype surrounding 13 Reasons Why would be a massive understatement. I honestly couldn’t open an app without some sort of review or spoiler popping up. I never read the novel, but I didn’t need to to gather how polarizing the story was. Almost everyone had something to say about the show– positive and negative. 13 Reasons Why both inspired and angered people. So, after finals, I decided to treat myself to a long-awaited binge watch to see what all the fuss was about.

Before I lay in on the specifics, I want to commend the series itself for its relevant production. Any other dialogue about teen suicide would be inappropriate outside the creative wheelhouse of Netflix. This is the first series I’ve seen in a while that presents teenage life in an at least semi-realistic manner. Due largely in part to actors that actually look like they’re in high school (imagine that!). This is a solid, diverse ensemble cast that I warmed up to as the series progressed. 13 Reasons Why established a tone that was effortless and poignant. It pushed me, the viewer, to consider the dynamism of all major characters. Which became my biggest problem with Hannah Baker.

The journey we go on with Hannah in 13 episodes is tumultuous. I must say that I only connected with the pain of her character in the last quarter of the season. I’m sure that was purposeful, as the most wrongful of wrongs were exposed at the very end. Her perspective went from seriously misunderstood to deeply haunted. Within the season, we witnessed how a young person could be mistreated so persistently that she ultimately turns to suicide. We were able how a sweet, smart Hannah Baker turned into the punching bag of her classmates. Based on nasty rumors, she was targeted as “easy” and the class slut.

While I respect Hannah’s truth, she was in fact neither of those things. A major theme in the series is slut shaming, and how falsely accusing a person sexually can affect their self esteem. In many ways the show hit the nail on the head with this theme, tactfully incorporating a few LGBT narratives. Sex and hooking up were woven into the story throughout, acknowledging these things as a part of the teen experience. But the key idea in many of the tapes was that (consensual) sex was not a part of Hannah’s descent into depression. The actions of her peers were rooted in false understandings about Hannah’s alleged promiscuity and ultimately affected her because they were lies.

The thing that holds 13 Reasons Why back from being completely realistic is Hannah’s unrelenting innocence. It was completely and utterly messed up that she was hit on, groped, lied and talked about and finally raped because her reputation gave others the sick confidence to do so– when all along Hannah had never done anything with boys. We knew she was pure behind all the vicious rumors. And this is the very reason we felt sorry for her throughout.

The thing is, media has not completely let go of the manic pixie dream-girl trope. Hannah  was the quietly pretty girl who wrote poetry and worked a quirky job. Hannah Baker was different. Clay Jenson was in love with her for the way she wasn’t like all the other girls– including the part about sex. For a show that bravely addresses slut shaming, our heroine is still distinctly virginal.

Here is where 13 Reasons Why misses the mark. Hannah became so angry with her surroundings because she constantly had to convince others she wasn’t like that. We, the viewer, latched to her despair because we knew she did not do things the things everyone said she did. Hannah Baker was not a slut.

But what if she had hooked up with Justin in the park that night? Or let things with Courtney continue in her room? Let Marcus have what he wanted? Or even cheated with Alex like Jessica had thought? Would we empathize with Hannah’s suicide the same way as before if she was, in fact, the class slut? You see, the glaring disadvantage of this series is our privilege to deem one person’s fate undeserving. Through all of her pain, Hannah remained innocent– both in conflict and sexually. And whether it was conscious or not, this was her emancipator. By releasing the tapes, her friends came to understand her truth; coming to a closing agreement Hannah was pure, innocent. She was good.

The actuality of teen depression and the social constructs that aide it are much more complex than the show lets on. I can’t invalidate Hannah Baker’s experience as the misunderstood, odd girl out. This considered, the show reinforces our sympathy for archetypal female characters. There is a clear distinction between Hannah, the good one, and her friends, who are sexual and malicious.

In my high school experience, the “easy” girls are capable of the same pain. The victim will not always wear a badge of otherness. That’s the trouble with anti-bullying campaigns nowadays– they depend on this classic narrative. Depression is capable of reaching more than the misunderstood kids.

And it’s not that 13 Reasons Why got it completely wrong. Could you imagine being Hannah Baker? Horrific. Then again, Hannah Baker doesn’t exist. Hannah Baker truly never made a mistake. The people around her put her through hell without a single wrongdoing on her part. And as heartbreaking as that is for her, we could never fully say that about ourselves. 13 Reasons Why may go ‘there’ in that they make us question the way we treat the nice weird girl, but it doesn’t make us fully consider how we treat everyone else. Would you open your heart to the girl who sleeps around the same way you would with the quiet one in the library?

Another theme the show touches on is toxic masculinity, specifically in student athlete culture. I was excited to see this discussed, especially because it held young males accountable in modern rape culture. But between the two rape victims in the show, Hannah was presented as sheer devastation while Jessica was more of a plot point. If rumors of season 2 are true, I hope Jessica is given the opportunity to share more of her experience. Because as unlikable as she was throughout the show, she is still deserving of empathy. Every woman deserves our respect and empathy– slut or not.

Watching Hannah splice her wrists open in episode 13 flipped my stomach. As gruesome and controversial as the scene was, I felt it was necessary. For someone to do something so heinous to their own body they have to be in an insufferable amount of emotional pain. And that violent scene showed us just that. The show’s takeaway was to extend help to those before they ask for it, closing with an everybody-loves-everybody kind of scene. But the unfortunate archetypes in the show limit this message to an extent. When you subscribe to the moral of this story, everybody means everybody, damn it. As much as the Hannah Bakers of the world need a friend, extend your love and support to all people. Popularity and status does not protect anyone from bullying. High school is full of liars, gossipers, jerks and yes, sluts. Whether we admit it or not, we have been one or more of these identities. And it isn’t up to us, females particularly, to work at chipping away a bad reputation. The more we accept that young women for who they are, the less they will be judged for their relationships with boys.

I know that 13 Reasons Why had every intention of making their mark in teen culture. And honestly, how could they not? The impressive acting and sturdy storytelling gave us an addictive watch. But I’m afraid we were left with a not-so 2017 type of story, where each character was given a trope that they had to live out. Would the story on each tape move us as much if she had been at fault a few times? Lied once or twice? Had sex with the boys that hurt her so badly? I doubt it. It’s important to consider Hannah’s experience as her own. While the show gave us raw emotion, it is still fiction. Reality can be even colder and more merciless. If we want to enforce an anti-bullying initiative in high schools, we have to really mean it. For more than thirteen reasons, we have to stick up for those who don’t fit the mold we expect.

What. A. Year.

The voices of 2017 were anything but quiet. I consider this a year of so much passion, courage and expression for women. As 2017 comes to a close, and we reflect upon peaks and pits, I wanted to celebrate women that really did it this year. Here are the females in media that made 2017, according to My Jawbreakers:

Liza Koshy

The Shooting Star

21-year-old Youtube sensation Liza Koshy reminded me in 2017 there is still integrity in the business of social media influencers. Liza is by no means a newcomer to internet fame, racking up millions of followers through Vine and hilarious YouTube videos. But Koshy really cracked the code in 2017, sustaining over 12 million followers by creating content that is fresh and thorough. Her brand is uniquely Liza– punny, goofy and intelligent (all under her clean white-balance Instagram aesthetic).

It’s safe to say Liza has become the rising face of YouTube, landing brand deals with Beats by Dre, a hosting spot on MTV’s revamped Total Request Live and scoring a famed 73 Questions interview with Vogue. While social media success is so often fleeting, Liza Koshy reminded us in 2017 it pays to put the work in as a talented comedienne.

Dua Lipa

The It-Chick

In 2017, Dua Lipa taught us all a thing or two about loving ourselves first. The 22-year-old London native graced us all with the highly-streamed hit “New Rules” and her self-titled album, loaded with dance tracks celebrating the vibrant female experience.

Aside from her success as a rising pop star, Dua possesses an enviable cool-girl image. Impossibly gorgeous and effortlessly on-trend, Dua Lipa was the undeniable one to watch in 2017.

SZA

The Voice

Dropping one of the most personal, devastating, relatable albums I’ve ever heard this year, an entire generation became acquainted with SZA. The 27-year-old R&B singer has racked up the Grammy nominations for Best New Artist, Best Urban Contemporary Album, Best R&B Performance, Best R&B Song and Best Rap/Sung Performance all for her work on the soon-to-be-legendary album Ctrl. Recently collaborating on Maroon 5’s new single, it appears the artist is making a breakthrough into the mainstream in a big way.

The singer’s work comes from a place of truth as well as a creativity unmatched in music at the moment. SZA has been candid about her difficulty in adulthood– to her benefit, of course. Her honesty– about nearly every aspect of her life– paired with the soulful, dazed, melodic production of her impeccable album became the voice for any and all young women in 2017.

Millie Bobby Brown

The Sweetheart

Make no mistake, the title Sweetheart is not to be perceived as weakness. With another show-stopping performance on Season 2 of Stranger Things, the world fell deeper in love with 13-year-old Millie Bobby Brown. She has the poise of an industry veteran, fierce talent and a genuine attitude that seems to be so absent from young stars. Not to mention she’s on her way to becoming a mini-fashion icon all before she gets her learner’s permit.

Millie’s positivity lights up a room and her confidence is inescapably inspiring. Mark my words: she’s the next big thing.

Cardi B

The Hustler

Unfiltered. Humble. Baller. These are just a few words one could use to describe the breakout rap artist this year, Cardi B. From Vine sensation to Love & Hip Hop: New York cast mate all the way to the first #1 song by a female hip-hop artist since 1998, Cardi’s grind is undeniable.

It’s that very work ethic this that makes Cardi B so likable; she’s tough as nails and owns her past. She goes hard on her many features and all of her mixtapes– formally introducing America to the term “bloody shoes”. But Cardi B, under all the flossiness, is an endearing, ambitious young woman from the Bronx, ready to make her listeners feel as empowered as she is herself.

Gal Gadot

The Leader

I’ve gone on and on about my connection to Gal Gadot’s depiction of Diana Prince. Multiple times a week I find myself thinking, if Wonder Woman can do it– so can I. I owe a lot of that strength to the resilience and grace portrayed on screen in Patty Jenkins’ Wonder Woman.

Gal Gadot glides like water on and off screen; she’s beauty that radiates. Both she and Diana lead with kindness; I couldn’t think of a star more deserving of the responsibility of being Wonder Woman.

Tiffany Haddish

The Wild Card

No one expected Girl’s Trip to be the success it was. Moreover, no one expected a black female-led film to be the top comedy of 2017. And while Girl’s Trip included appearances from fan-favorites, Tiffany Haddish was able to steal the show with half the hype surrounding her role. Written as a foul-mouthed, care-free party girl, Haddish ate the role with impeccable comedic timing– like, ab-crampingly funny.

After she hosted SNL this year, it became all too obvious Hollywood has gained a vital comedic player. I foresee upcoming films with Haddish as leading lady, because, let’s face it: Girl’s Trip was her movie. It was a film derived from the humor and community of black women and for that reason, I can’t wait to see what Tiffany does next.

Lorraine Broughton (portrayed by Charlize Theron)

The Nasty Woman

So, this one is technically cheating, but I don’t care. Atomic Blonde was, in my opinion, the dark horse of 2017 and Agent Lorraine Broughton was the even darker horse. Considered by many the female John Wick, Atomic Blonde was everything I didn’t know I needed this year in film. Espionage, German pop songs and sick neon lighting.

Oh, and Charlize Theron. Training like an Olympian for the role, she delivered raw energy to the powerhouse that is Lorraine Broughton. It was heart warming and exhilarating to follow a female assassin who was as ruthless as she was fashionable. The authentic pain and drive in Theron’s eyes completely elevated the character– making Lorraine Broughton my new favorite bisexual badass of the CIA and Atomic Blonde the most underrated thrill ride of 2017.

Jackie Aina

The Game Changer

Excluding makeup gurus from this list would be claiming ignorance to this era of makeup & beauty takeover. It would also be denying makeup artists like Jackie Aina the recognition she deserves. The 30-year-old Army vet is pro-black, pro-female, pro-empowerment– and no BS.

Jackie’s prerogative in starting her YouTube channel was to redefine beauty standards for women of color. With her inventive makeup tutorials and challenges and innovative social commentary through cosmetics, Jackie Aina is certainly achieving her goals. Join in on her 1.7 million subscribers and you may find yourself inspired.

Demi Lovato

The Revisionist

Seeing queens reach their queen potential is so satisfying, isn’t it? If you’ve been watching Demi Lovato in 2017, you’re obviously satisfied by her total annihilation of the game. Demi isn’t new to music by any means, and her success has been at a steady incline since leaving Disney. But this year marked a year of revision for the star– an obvious dedication to her craft that resulted in an album era that slays, in every sense of the word.

And her looks. are. everything.

Demi’s latest album, Tell Me You Love Me, may have been snubbed by the Recording Academy, but the record shows tangible, artistic, sensual, personal growth from the singer. Mature, cohesive and just sexy, Tell Me You Love Me is my favorite pop album of the year.

Who Were Your Women of the Year?

This list is meant to celebrate the females in entertainment that stood out to me this year. Of course, the strength of women is transcendent– no one woman is greater than another, no matter her level of fame. I stand with Time Magazine’s decision to name 2017’s Silence Breakers as Person of the Year. Those of the #MeToo movement have bravely endorsed feminism in their fight to end sexual assault and hold assaulters accountable. And while celebrities were the ones photographed in the issue, 2017 reminded me to lift up the women with #MeToo’s in everyday life.

Who were the women that inspired you this year? pushed you? lifted you up? Leave a comment and share who would be on your list. Here’s to a new year of female advancement, representation, empowerment and sisterhood.

The following article contains Orange is the New Black and The Real Housewives of New Jersey spoilers.

There has been a lot of prison in my week thus far.

After a couple weeks of slacking, I resumed watching the new season of Orange is the New Black after I got off work on Sunday. I finished a couple episodes then paused to tune into the long-awaited season premiere of The Real Housewives of New Jersey. The premiere welcomed back Teresa Giudice from a 15-month sentence at the Federal Correction Institution in Danbury— coincidentally the prison that inspired Piper Kerman’s memoir and consequently the Netflix series. The episode on Bravo ended and I immediately switched back to Netflix, where I proceeded to bawl my eyes out at the season finale (seriously, if you haven’t finished it— what are you doing!?).

I realized quickly that the theme of prison in my entertainment bridged a bit of a gap. The fictitious world of Orange and the semi-ficticious world of Housewives each introduced a very real construction that seemed intangible before. We all know that prison exists, but familiarizing oneself with its actual implications is a rarity. Surely we know what war and famine are, yet we never have to experience it for ourselves. Prison is like this for many of us; it is unreachable.

Orange is the New Black brought prison within our reach upon its release in 2013. The cultural richness of the series deserves an article all on its own— but the masterpiece of a series unlocked a setting we had not gone to before. Orange is no Shawshank Redemption in that it deals with the present in prison rather than escaping it. The series garnered dozens of favorite characters for viewers, each with their own relatable quirks. As we sit on our couches, our records free of armed robbery or murder, Orange is the New Black is able to convince us that the inmates are just like us.

A franchise that monetizes off of the just like us sentiment is Bravo’s The Real Housewives. Extending to now nine U.S. cities, the Housewives series gives us all a peak into the lives of affluent women and their families. The Real Housewives of New Jersey has been regarded as one of the more intriguing branches of the franchise, as it sheds a light on a widely misunderstood (and stereotyped) subculture in America. Only a small percentage are able to claim themselves as part of the wealthy Jersey-girl society that abides in Franklin Lakes. Yet every Sunday, millions of viewers tune into Bravo to watch the drama unfold among their favorite reality stars. We have so little in common with the Housewives, but are deeply connected with what we do share.

It was when the main star of RHONJ Teresa Giudice was convicted on felony charges of fraud and embezzlement that her television character took a vast leap forward into our reality. Sure, she had previously graced several magazine covers with her children to show she was a mother just like us. She wrote a best-selling cookbook full of family recipes to show her interests were just like ours. We even watched her do monotonous tasks on the show like paperwork, kid drop-off duty and go shopping. But nothing could compare to the announcement that Teresa would be serving a 15-month sentence in prison. The fabulous Teresa Giudice was a person who had broken the law and was capable of having her rights taken away— just like us.

Orange is the New Black and The Real Housewives of New Jersey share the same voyeuristic aspect. We know that far away from our lives the dismal solitude of prison exists, as does the lavish and loud part of New Jersey. Funny how we imagine ourselves never making it to either of those worlds— while Teresa made it to both. As Orange has taught us over the last four seasons, anyone can go to prison. Women with families, careers, dreams— even million-dollar reality show contracts.

As Teresa recounts in her new memoir Turning the Tables: From Housewife to Inmate and Back Again, many of the prison rituals portrayed in Orange’s Litchfield are true. She writes of many sleepless nights, inedible cafeteria food and around-the-clock lesbian sex between her cellmates. Before, we had experienced prison from the perspective of the lovable characters of Orange is the New Black and their many shenanigans. Though we laughed, cried and felt with them, in the end it was only ever fiction. But now we were able to experience a woman we observed weekly be sent away to the same circumstances. The children the mothers on Orange spoke of so longingly were now Gia, Gabriella, Milania and Audriana— the girls we watched grow up each Sunday. Housewives cast members from various spin-offs had left on their own terms before, but never under the enforcement of the law. Teresa’s prison sentence was not only a tragedy to her family, but a reality check for us all.

Though both series are influential as they are socially relevant, I am afraid their similarity stops there. Teresa’s prison sentence rang a little louder in our ears, but the tumultuous prison life for all the inmates at Litchfield resonate deeper in our hearts. Somehow the scripted series managed to show me a more raw reality than the captured “reality” of Housewives.

Orange is not bashful in addressing social issues by any means. Quite frankly, in four seasons no stone has been left unturned. The most recent season however, focuses like never before on the many shortcomings of prison as a system. In the middle of the new season, inmate Aleida Diaz is told she will be released early. Though her character is tough and aggressive, she is visibly frustrated and scared about her future on the outside. She works tirelessly studying to pass GED test and begins considering employment options— she says, in a self-deprecating way, her only skill is bagging heroin.

When she is released, Aleida waits on a ride from her ex-boyfriend’s girlfriend. She is cold, uncomfortable in the baggy clothes the prison handed her and has $40 in her pocket. Without giving too much away, Aleida finds herself sleeping on an untrustworthy family member’s couch. She doesn’t know how to locate any of her five children in foster care around the city and is, judging by the pain in her eyes, hopeless.

Aleida’s situation in no way resembled Teresa Giudice’s experience in being released from prison. On Sunday night, we watched as Teresa’s children hung “WELCOME HOME” banners about their mansion and paparazzi lined down their expansive driveway. Teresa was picked up in a luxury black Suburban with a private driver (it was too late for her husband to go out with the kids in bed). After the long drive, Teresa exited the vehicle with a full face of makeup and professionally straightened hair, wearing a leather jacket and matching boots. Of course the camera crew was there to capture the sweet reconnecting moments between husband and wife and their children. It was heartwarming to watch and again reminded me of the time prison reaps from people.

It’s fair to assume that the first few weeks of Teresa’s return was an adjustment period for her. Adjusting to the family climate again and being reintroduced to the safety and warmth of home and community. She did not have to adjust like Orange is the New Black’s Aleida, who is representative of the situation so many released from prison find themselves in. The promotional clips at the end of the premiere episode featured Teresa and the other Housewives bickering, gossiping and yelling. Teresa and the other castmates fight over who lied to whom over expensive lunches and at the gym. Teresa Giudice never had to acclimate to society post-prison. Her life will continue on and leave behind prison as a motivator to succeed.

The American prison system is a broken institution. By not rehabilitating its inmates back into the real world, we are left with a rotten cycle that makes every sentence a life sentence. That is the stark difference between Teresa Giudice and the inmates she shared walls with for 15 months: she gets her life back and they might not. Orange is the New Black teaches its viewers plenty about humanity— especially among groups they may not be familiar with. The series verifies that prison extends beyond the inside, halting the lives of all those sentenced. Orange is the New Black is able to educate us on the nature of prison and open up a reality that secretly affects so many. In this bizarre case, reality is offered to us by binge-watching a scripted series rather than reality television— a step away from real life.