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Report on the implementation of the Istanbul Convention in Italy (ENG)

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Report on the implementation of the Istanbul Convention in Italy (ENG)

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Summary : The Istanbul Convention is the first international treaty carried by the Council in Europe that outlaws violence against women in Europe

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A guide elaborated by the French-German Youth Network to help integrate gender in intercultural setting

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Summary : A study on the situation of women in Italy containing recommendations to improve the situation

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Theme : Transidentity ; the story follows 4 friends on their transition paths

Duration : 1h33

Language : Italian (subtitles available)

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Into My Name (Nel Mio Nome) | Human Rights Watch Film Festival

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Executive produced by Elliot Page, Nicolò Bassetti’s tender documentary is a love letter to his son who, like the protagonists in Into My Name, is a transgender person. This sensitive and beautiful coming-of-age story follows four friends navigating their lived experiences and relationships, sharing important turning points in their lives and gender transitions.

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Theme : Feminism ; the movie follows 5 Turkish girls fighting for their freedom against patriarchy.

Duration : 1h37

Language : Turkish (subtitles available)

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Mustang is a 2015 Turkish-language drama film co-written and directed by Deniz Gamze Ergüven in her feature debut. Set at an unspecified time in the 2010s in a remote Turkish village, depicts the lives of five young orphaned sisters and the challenges they face growing up with extended family as girls in a conservative society. Mustang is an international co-production of France, Germany and Turkey.

It premiered at the Directors' Fortnight section of the 2015 Cannes Film Festival, where it won the Europa Cinemas Label Award. Mustang was selected as France's submission and was nominated for the Best Foreign Language Film at the 88th Academy Awards. It received nine nominations at the 41st César Awards and won four, for First Feature Film, Original Screenplay, Editing and Original Music. Mustang has received widespread critical praise.

Lale, the youngest of five sisters, bids farewell at school to her teacher, who is moving to Istanbul. The sisters decide to walk home instead of taking a van. Along the way, they play a game of " chicken fight" at the beach with their male classmates. At home, their grandmother hits them for having bodily contact with boys and thus "pleasuring themselves" with them. Their uncle Erol is equally furious. From then on, the girls are forbidden from leaving the house.

They feel stifled as their grandmother tries to make them suitable for marriage. When in public, they must now dress in drab, conservative clothing. Instead of attending school, they must stay home and learn how to cook, clean, and sew from their female relatives. Even so, the oldest sister, Sonay, sneaks out occasionally to meet her lover.

Lale, who loves football, is forbidden from attending Trabzonspor matches. She resolves to go to a match from which men have been banned due to hooliganism. She learns that the girls in the village are going together on a bus. The sisters, who are happy for an opportunity to leave the house, sneak out with Lale. After missing the bus, they hitch a ride with a passing truck driver, Yasin, who helps them catch up to it. They are ecstatic in the atmosphere of the all-female crowd cheering for their team. Back home, their aunt sees them at the match on TV just as their uncle and other village men are about to tune in. To prevent them from finding out, she cuts the house's and then the whole village's electricity.

When the girls return, their grandmother decides to start marrying the sisters off in order to get them settled. They are taken to town, ostensibly "to get lemonade," to show them off to potential suitors. Soon enough, a suitor appears. Sonay vows to marry only her lover and refuses to meet the prospective suitor and his family. Selma is sent instead and becomes engaged. Sonay gets engaged a short while later to her lover. At the two sisters' joint wedding, Sonay is happy while Selma is not. On the night of her wedding, Selma's in-laws come to view the bedsheets in a traditional ritual to establish that Selma was a virgin before her wedding night. Because there is no blood on the sheet, her in-laws take her to a physician to have her virginity tested.

Next in line for marriage is Ece, who is being sexually abused at night by her uncle, Erol. When the three remaining girls stop with Erol near a bank, Ece allows a boy to have sexual contact with her in the car. She makes jokes at the lunch table, causing loud laughs from her sisters, and is told to go to her room. There, she commits suicide. Her whole family attends the funeral.

The two youngest sisters, Nur and Lale, remain trapped in their home. Lale continues to sneak out. On one attempt to walk to Istanbul alone, she encounters Yasin, the truck driver, who is kind to her. At Lale's request, he teaches her how to drive. When she is caught on the way back into the house, her family reinforces their efforts to make it impossible for the girls to leave.

Erol starts abusing Nur in place of Ece, and her grandmother knows about it. She says that now it is time for Nur to be married off. Despite being young, she is found a suitor and engaged to be married. On the night of the ceremony, Lale convinces her to resist, and the girls bar themselves inside the house while the wedding party is outside, much to the embarrassment of their family. As the party disperses, Erol tries to get inside.

Lale finds a phone hidden in a cupboard and plugs it in to call Yasin for help. The girls gather up money and a few supplies, grab the uncle's car keys, and sneak out of the house. They manage to escape but crash the car close to their house. Yasin later picks them up and takes them to a bus station. The girls take the bus to Istanbul and find their former teacher, who greets them warmly.

After graduating from La Fémis film school in 2006, Ergüven was initially developing a film about the 1992 Los Angeles riots. It was later made and released as in 2017. In 2011, she was invited to the Cinéfondation workshop at the Cannes Film Festival to pitch the project.

There she met Alice Winocour, who was pitching her film, . She subsequently put Kings on hold and wrote Mustang with Winocour over the summer of 2012. The event of girls being reprimanded for sitting on boys' shoulders, as depicted early in the film, was based on Ergüven's own experience as a teenager.

Of the five girls who played the main sisters, only Elit İşcan had acted before. Ergüven wrote her role, Ece, with İşcan in mind. Tuğba Sunguroğlu was discovered and recruited by Ergüven at the baggage claim of Charles de Gaulle Airport after a flight from Istanbul to Paris. The other three, Güneş Şensoy, Doğa Doğuşlu, and İlayda Akdoğan, were cast through audition among hundreds.

The film was a co-production between France, Germany, and Turkey, with a budget of €1.4 million. Weeks before shooting was scheduled to begin, a leading French producer pulled out of the film. She cited a shortage of funds as the main reason, and Ergüven's pregnancy, which the director had discovered a week before. A few days later, Charles Gillibert came on board as producer.

The film was shot in and around the Black Sea coastal town of İnebolu, 600 kilometers from Istanbul. The football scene was acted at an actual match, which no adult men were allowed to attend so that women might see it. The filmmakers were denied filming the match at the last minute, so they used images from the station that televised the match. They had told station personnel about the problem.

The film's score was Warren Ellis's first to compose by himself. Ergüven approached Ellis, who initially turned it down due to a busy schedule, but was eventually persuaded.

Mustang premiered at the Directors' Fortnight section of the 2015 Cannes Film Festival on 19 May 2015. In France, it was released on 17 June 2015 and had 505,223 admissions. In Turkey, it was released on 23 October 2015 and had 25,419 admissions. It was selected for screening in the Special Presentations section of the 2015 Toronto International Film Festival.

Mustang has received widespread acclaim from critics. On Rotten Tomatoes, the film has a rating of 97%, based on 149 reviews, with an average rating of 8.14/10. The site's critical consensus reads, " Mustang delivers a bracing - and thoroughly timely - message whose power is further bolstered by the efforts of a stellar ensemble cast." Metacritic reports a score of 83 out of 100, based on 29 reviews, indicating "universal acclaim".

For , Jay Weissberg compared it to The Virgin Suicides. He criticized the voiceover narration as redundant while praising the direction of performances. critic Jessica Kiang gave it a B, as "less a cultural critique, and more a bittersweet, often angry lament for childhoods ended before childhood has actually ended". Screen Daily's Tim Grierson found difficulty distinguishing among the sister characters but enjoyed their unity. Richard Brody wrote that Ergüven "gets appealing and fiercely committed performances from the five young actresses at the story's center, but above all she effectively stokes righteous anger at a situation that admits no clear remedy other than mere escape".

In The Daily Telegraph, Tristram Fane Saunders awarded the film four stars and identified its voice as "fierce, confident and rebellious". The Guardian's Wendy Ide gave it five stars, citing it for "rebellious spirit". Ty Burr called it "an excellent first film" that condemns the treatment of women in Anatolia villages.

In Turkey, the reaction to Mustang was polarized. While critics such as Atilla Dorsay praised the film, it was criticized as depicting Turkish culture in inaccurate or orientalist ways.

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Mustang is a 2015 Turkish-language drama film co-written and directed by Deniz Gamze Ergüven in her feature debut. Set at an unspecified time in the 2010s in a remote Turkish village, depicts the lives of five young orphaned sisters and the challenges they face growing up with extended family as girls in a conservative society.

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Guideline for gender equality in international youth organizations

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Guideline for gender equality in international youth organizations

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Language : English

Made by : Council of Europe

Year : 2017

Sub-topic : Gender

Summary : A guideline for youth organizations working in the intercultural sector to ensure gender equality within projects.

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Guidelines for Gender Equality in international youth activities

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Action plan on fighting gender-based violence

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Action plan on fighting gender-based violence

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Language : English

Made by : Solidarités Jeunesses

Year : 2021

Sub-topic : Gender

Summary : Internal guidelines made by Solidarités Jeunesses to fight gender-based violence within our organization and our projects.

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Cards to think about gender stereotypes (in French)

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Directive of the EU Parliament to combat violence against women and domestic violence (ENG)

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Directive of the EU Parliament to combat violence against women and domestic violence (ENG)

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Summary : The first law text on EU-level fighting gender violence, passed early 2024

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Youth Workers' Actions In Public Spaces and Social Change (ENG)

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Youth Workers' Actions In Public Spaces and Social Change (ENG)

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Handbook for youth workers

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A training kit made by the Council of Europe on Intercultural youth work, with a focus on gender (see p. 143)

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Toolkit to Detect Gender-Based Discrimination (ENG) 

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Toolkit to Detect Gender-Based Discrimination (ENG) 

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Toolkit made by Agora project

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Manual for trainers from fewer opportunity backgrounds

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Manual for trainers from fewer opportunity backgrounds

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Language : English

Made by : Project "Inspired by inclusion"

Year : 2019

Sub-topic : Inclusion

Summary : A manual on how to train trainers coming from disadvantages backgrounds/belonging to a so that our international learning activities are more inclusive and participatory.

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Toolkit on how to raise awareness on gender issues (ENG)

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Toolkit on how to raise awareness on gender issues (ENG)

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Toolkit on "Global Action for Gender Awareness" (ENG)

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Toolkit on "Global Action for Gender Awareness" (ENG)

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How to promote gender equality through volunteering

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Handbook on GAGA project : Global Action for Gender Awareness

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Handbook on GAGA project : Global Action for Gender Awareness

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Language : English

Made by : GAGA Project

Year : 2020

Sub-topic : Gender

Summary : A handbook describing the pedagogical approach and workshops proposed in the GAGA project, that helps organizations define the needs, backgrounds and situations of target groups regarding gender.

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Theme : Gender equality in different contexts

Duration : 20 to 45 minutes per podcast

Language : English, German, Arabic, Greek

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Listen to Start to Listen on Spotify. Welcome and Start to Listen - this is the title and the motto of our project and podcast about Gender Equaliy. Why organise a podcast about Gender Equality with four different groups living in 4 different countries?

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Language : English

Made by : Inspired by inclusion project

Year : 2021

Sub-topic : Inclusion

Summary : A manual on how to organize inclusive activities allowing the effective participation of people with different support needs.

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Education & Exchange to Fight Hate Speech and Discrimination

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Education & Exchange to Fight Hate Speech and Discrimination

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Time4Diversity : Handbook for Intercultural Learning (ENG)

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Time4Diversity : Handbook for Intercultural Learning (ENG)

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UNFRAMED : Youth Work to Raise Awareness on LGBTQ+ Among European Youth (ENG)

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UNFRAMED : Youth Work to Raise Awareness on LGBTQ+ Among European Youth (ENG)

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Theme : Addressing affective and sexual life in intercultural setting

Duration : 40 to 50 minutes per podcast

Language : French

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Listen to SEXPOWERMENT on Spotify. Ce podcast fait parti du Projet Sexpowerment.

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Theme : (Illegal) abortion in the 60's, based on Annie Erneaux's novel

Duration : 1H40

Language : French (subtitles available)

TW : Abortion and (very) graphic scenes ; viewers should be advised (+ 18).

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Happening ( French: L'Événement) is a 2021 French drama thriller film directed by Audrey Diwan. The film's adapted screenplay was written by Diwan and Marcia Romano from the memoir by Annie Ernaux published in 2000. The film stars French-Romanian actress Anamaria Vartolomei as the main character, Anne, and her emotionally and physically traumatic process of obtaining and receiving an abortion before it was legalized in France. The film also stars Luàna Bajrami, Pio Marmaï, Sandrine Bonnaire, Anna Mouglalis, Louise Chevillotte, Kacey Mottet Kelin, and Louise Orry-Diquéro in supporting roles with cinematography by Laurent Tangy.

Set in 1963 France, when abortion was illegal, a young and talented student, Anne, discovers she is pregnant. Her opportunities to finish her studies begin to slip away from her while she attempts to receive help from two male doctors. Since abortion was illegal at this time, both doctors refuse to help her. As her final exams approach and her social life begins to fade, Anne struggles to find somebody who is willing to give her an abortion, even if she must risk prison and/or death to do so.

The film premiered at the 78th Venice International Film Festival on September 6, 2021, where the film won the Golden Lion and received universal acclaim from critics. After the award ceremony, Diwan shared that she "felt heard tonight!". It was distributed by Wild Bunch in France during July 2021. The film premiered at the 2022 Sundance Film Festival and was released in the U.S. on May 6, 2022. It was widely received, being nominated for and winning numerous awards at the 2021 Venice Film Festival, BAFTA, Gotham Awards, Lumières Awards, and César Awards.

In 1963 France, Anne is a promising university student at Angoulême. Despite having several close friends, she is often ridiculed by other students for supposedly being promiscuous. However, it is stated multiple times that all of the students "want the same thing".

While visiting her family in the country, Anne goes to see her doctor. Despite insisting she is still a virgin, the doctor informs her she is pregnant. Anne begs him to do something about the pregnancy and he refuses, insisting what she is asking is illegal.

Anne goes to see another doctor in the city and also asks him for help with an abortion. He prescribes her an injection promising her it will induce a miscarriage. When it fails, Anne begins to search for a doctor to perform the invasive medical procedure. Later we learn the injection was actually estradiol which, unbeknownst to Anne, helps the pregnancy.

Anne approaches a fellow classmate, Jean, for help. When he insists he doesn't know anyone who can help her he propositions her for sex, insisting there is no risk since she is already pregnant.

Growing increasingly desperate, Anne attempts to perform an abortion on herself with a knitting needle on her bedroom floor, which fails. She informs her friends, who previously shared their desires for sexual intimacy, that she is pregnant and trying to have an abortion and they abandon her.

As her grades begin to suffer and her chance at graduating with honours begins to slip away, Anne goes to see Maxime, her "boyfriend". Having previously told by Anne she intended to have an abortion, he is shocked to learn she is still pregnant, thinking she could handle the situation on her own. They fight and she returns to school, gaining no support from Maxime for the rest of the film.

Jean approaches Anne at night to introduce her to a female friend who has had an abortion. The friend gives her the number of a doctor explaining that the abortion will be painful and cost 400 francs upfront. Anne sells all her things to be able to afford the abortion.

The abortion takes place in a woman's apartment on her kitchen table. The woman instructs Anne that she will have to be silent so her neighbors do not hear. She inserts a wand and tells Anne that she will start to miscarry in 24 hours. Anne fails to miscarry and returns to the abortionist who inserts a second wand inside Anne telling her it is possible there will be complications. Anne decides to go through with the procedure. Anne returns to her dorm where she has a complicated and painful miscarriage. Anne is found by a dorm mate who calls an ambulance taking her to the hospital. Her case is labelled a miscarriage.

The film ends with Anne returning to university to take her final exams.

During an interview on 23 April 2019 about her directorial debut film Losing It, screenwriter Audrey Diwan revealed she was adapting Annie Ernaux's 2000 memoir L'événement (translated as Happening), stating that the book was "very important" to her. On 29 May 2020, the Centre national du cinéma et de l'image animée, an agency of the French Ministry of Culture, announced they would support the film, moving the project into pre-production.

Principal photography for the film commenced on 27 July 2020 and took place throughout the summer. The film entered post-production in January 2021.

The film had its world premiere in competition at the 78th Venice International Film Festival on 6 September 2021. Wild Bunch acquired distribution rights to the film for France in July 2021. Happening screened in the Spotlight section of the 2022 Sundance Film Festival. It was released in the U.S. on May 6, 2022 and is available to watch on streaming platforms such as Youtube, Hulu, and Amazon Prime.

Critical response

On the review aggregator website Rotten Tomatoes, 99% of 169 critics' reviews are positive, with an average rating of 8.5/10. The website's consensus reads, "A tough but rewarding watch, Happening puts a personal face on an impossibly difficult choice and its heart-rending aftermath." Metacritic, which uses a weighted average, assigned the film a score of 86 out of 100 based on 36 critics' reviews, indicating "universal acclaim".

Guy Lodge, writing for , praised the film's acting, particularly that of Anamaria Vartolomei's in the lead role that was described as "career-elevating". The Guardian's film festival critic Xan Brooks called the film "serious, gripping and finally honourable" and commended the cinematography of Laurent Tangy, saying that "the picture's tight framing is like a noose around her neck".

In an interview with the Financial Times, Diwan stated her intention to not make Happening a period piece, knowing "what my character was going through is now a current situation in many countries." Justin Chang, a film critic for the Los Angeles Times and NPR's Fresh Air, commended Diwan's choice to not make the film feel like a period piece, despite being a "re-creation of the past", as he thought the film "might very well be a window into the future." Michael O'Sullivan, a reporter and film critic for The Washington Post, states that Happening serves as a "sobering reminder that the consequences of limiting access to safe medical care aren't just theoretical but existential." At the time of the review in 2022, the U.S Supreme Court had recently made the decision to overturn , which had made access to abortion a constitutional right in the United States.

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Happening ( French: L'Événement) is a 2021 French drama thriller film directed by Audrey Diwan. The film's adapted screenplay was written by Diwan and Marcia Romano from the memoir by Annie Ernaux published in 2000.

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Theme : Transidentity ; the story follows a 7-year-old child who is transitioning and how their family supports them.

Duration : 1h28

Language : French (subtitles available)

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Theme : Masculinity

Duration : 1h37

Language : English

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THE MASK YOU LIVE IN

The Mask You Live In follows boys and young men as they struggle to stay true to themselves while negotiating America's narrow definition of masculinity.

Pressured by the media, their peer group, and even the adults in their lives, our protagonists confront messages encouraging them to disconnect from their emotions, devalue authentic friendships, objectify and degrade women, and resolve conflicts through violence. These gender stereotypes interconnect with race, class, and circumstance, creating a maze of identity issues boys and young men must navigate to become "real" men.

Experts in neuroscience, psychology, sociology, sports, education, and media also weigh in, offering empirical evidence of the "boy crisis" and tactics to combat it.

The Mask You Live In ultimately illustrates how we, as a society, can raise a healthier generation of boys and young men.

"Changed my life"

"The Mask You Live In changed my life. [It] is the first documentary I've seen that is not only for me, but about me."

Read more

25-year-old male Sundance Film Festival

"We've got to raise up a healthier generation of boys"

"To eradicate male violence toward women, we've got to raise up a healthier generation of boys that become men, that learn how to be emotionally connected and. . .respect other human beings."

Read more

Joe Ehrman Founder, Coach for America @ House of Ruth Screening with the Baltimore Ravens 2015 Rookie Class

THE ISSUE

Research shows that compared to girls, boys in the U.S. are more likely to be diagnosed with a behavior disorder, prescribed stimulant medications, fail out of school, binge drink, commit a violent crime, and/or take their own lives.

HOW TO WATCH

Help shape the national conversation around healthy masculinity by hosting a screening of The Mask You Live In. With the right screening resources, you can arrange a screening in a few easy steps. Total Running Time: 1h 37m. Stream, buy or license the film HERE.

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THE MASK YOU LIVE IN - The Representation Project

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Research shows that compared to girls, boys in the U.S. are more likely to be diagnosed with a behavior disorder, prescribed stimulant medications, fail out of school, binge drink, commit a violent crime, and/or take their own lives. Help shape the national conversation around healthy masculinity by hosting a screening of The Mask You Live In.

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Theme : Based on the true story of LGSM (Lesbians & Gays Support the Miners), a community-based organization in the 1980's that support the miners' struggle et LGBTQI+ in the UK.

Duration : 1h33

Language : English (subtitles available)

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Pride is a 2014 British historical comedy-drama film written by Stephen Beresford and directed by Matthew Warchus. Based on a true story, the film depicts a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984, at the outset of what would become the Lesbians and Gays Support the Miners campaign.

It was screened as part of the Directors' Fortnight section of the 2014 Cannes Film Festival, where it won the Queer Palm award. Writer Stephen Beresford said a stage musical adaptation involving director Matthew Warchus is being planned.

The film was nominated for the Golden Globe Award for Best Motion Picture - Musical or Comedy and for the BAFTA for Best British Film, Best Actress in a Supporting Role for Imelda Staunton and for Outstanding Debut by a British Writer, Director or Producer.

Upon watching the news about the miners' strike, gay activist Mark Ashton realises that the police have stopped harassing the gay community because their attention is elsewhere. He spontaneously arranges a bucket collection for the miners during the Gay Pride Parade in London. Encouraged by the success, he founds " Lesbians and Gays Support the Miners". Among its first members are 20-year-old closeted student Joe Cooper and an older gay couple Gethin and Jonathan, whose bookshop (called Gay's the Word) they use as headquarters.

LGSM faces opposition from the mining community who do not wish to associate with them, as well as within the gay community who feel that the miners have mistreated them in the past. Frustrated by the lack of response, the activists instead decide to take their donations directly to a small mining village named in Wales. Dai Donovan, spokesperson for the miners in , comes to London to meet their new allies. Though he is startled by the revelation of what "L" and "G" stand for in their name, he expresses his gratitude in a short, eloquent speech at a gay bar, and the cause takes off.

In , the Women's Support group, led by Hefina Headon and Maureen Barry, debate whether to invite LGSM to the village as a thank you; Hefina, and her supporters, favour gratitude from all camps, whilst Maureen's supporters consider the gays abhorrent. First-time volunteer Siân James speaks up fiercely in favour of inviting LGSM and is asked to join the committee. When LGSM arrives in , they are met with a frosty reception and Maureen leads a walkout after Mark's speech to the village. However, the next day Jonathan shares with his knowledge of harassment laws and abuse of police power; the fiery marches down to the police station to demand the release of illegally-detained miners. Many grateful miners acknowledge LGSM's role in their release, relations begin to thaw and the two communities quickly become close. Finding herself on the outside, Maureen contacts a tabloid about the situation in . The resulting story humiliates The National Union of Miners, who call a vote on whether to accept LGSM's support.

Back in London, Mark declares that they will embrace the labels in the tabloid and throws an enormous concert at the Electric Ballroom headlined by Bronski Beat, attended by Dai, Hefina and a number of the women from the village. Mark is badly shaken when he encounters a former lover who implies that he is terminal with AIDS. The festival "Pits and Perverts" raises thousands of pounds for , but the Union vote moves forward three hours without notice, and without Dai or Hefina, Maureen's camp succeeds in voting to refuse further help from LGSM. Disillusioned and haunted, Mark abandons LGSM. Gethin, who initially refused to participate due to his own experience coming out in a mining village, attempts to campaign alone and is violently assaulted and hospitalised. Joe is outed when his parents find photos from and he is kept away from the group.

In March 1985, the Miners' Strike is over. The miners of gather to go back into the mines. Joe sees the news and sneaks off to to show solidarity, where he encounters Mark. Mark confronts Joe about hiding his activism and homosexuality from his parents. When drives Joe home in the LGSM donated van, humiliating his conservative family, Joe decides to leave home.

On the morning of the 1985 Gay Pride Parade, Mark returns to the group and apologises for abandoning the cause. He leads LGSM to the Parade, where they are joined by hundreds of miners in a show of solidarity. The closing scenes reveal that the Labour Party incorporated rights for gays and lesbians in their party programme under pressure from the National Union of Mineworkers, that was later elected to Parliament and that Mark Ashton died of AIDS two years later.

LGSM members

Ben Schnetzer as Mark Ashton, founder of LGSM

Joseph Gilgun as Michael (Mike) Jackson, Mark's best friend.

Faye Marsay as Stephanie (Steph) Chambers, the sole lesbian among the LGSM founders.

Dominic West as Jonathan Blake, Gethin's partner and the second person diagnosed with HIV in the UK.

Andrew Scott as Gethin Roberts, Jonathan's partner and a Welshman who was alienated from his village when he came out sixteen years earlier.

Freddie Fox as Jeff Cole, popular with the Onllwyn children.

Chris Overton as Reggie Blennerhassett, Ray's partner.

Joshua Hill as Ray Aller, Reggie's partner.

George MacKay as Joe "Bromley" Cooper, a fictional LGSM member.

Women's Support Group members

Imelda Staunton as Hefina Headon, member of the strike committee.

Jessica Gunning as Siân James, wife of Martin.

Liz White as Margaret Donovan, member of the strike committee and wife of Dai.

Nia Gwynne as Gail Pritchard, wife of Alan.

Menna Trussler as Gwen, an elderly member, and widow of William, who was a miner.

Lisa Palfrey as Maureen Barry, a widow and sister-in-law of Cliff who is against LGSM support.

Other characters

Bill Nighy as Cliff Barry, a leader of the men's union.

Paddy Considine as David (Dai) Donovan, a leader of the men's union and member of the strike committee.

Rhodri Meilir as Martin James, a leader of the men's union.

Sophie Evans as Debbie Thomas.

Karina Fernandez as Stella, an LGSM member who broke off to form an all-female group Lesbians Against Pit Closures.

Jessie Cave as Zoe, Stella's girlfriend.

Monica Dolan as Marion Cooper, Bromley's mother.

Matthew Flynn as Tony Cooper, Bromley's father.

Olwen Medi as Gethin's mother, who initially disowned him for being gay.

Kyle Rees as Carl Evans, a miner who asks Jonathan for dancing lessons.

Jack Baggs as Gary, Carl's friend who also asks for dance lessons.

Jams Thomas as the Miners Union Leader.

Deddie Davies as The Old Lady at Bingo.

Russell Tovey as Tim, apparent ex lover of Mark.

Pride premiered at the 2014 Cannes Film Festival, where it received a standing ovation and won the Queer Palm award. The film was also screened at the 2014 Toronto International Film Festival, with the Washington Post reporting that Pride was "hugely popular with preview and festival audiences". It was released to cinemas throughout the UK on 12 September 2014. In France, the film received its release on 17 September. The film was distributed by Pathé in the UK and France, with the title being distributed through Pathé's British distribution partner 20th Century Fox. CBS Films acquired the distribution rights for the film in the United States.

The film received a limited release in the US on 26 September 2014, being screened in New York City, Los Angeles and San Francisco.

In the UK, the film received a 15 certificate by the British Board of Film Classification for "occasional strong language" and two scenes of a sexual nature, one scene in a gay club where men are depicted "wearing 'bondage' clothing", and a comedic scene where some of the characters discover a pornographic magazine in a bedroom. The MPAA gave the film an R rating, the nearest US equivalent to the UK's 15 certificate. (This reflects common practice; the British Film Institute states that "most" 15 certificate films are R-rated in the US.) The Independent published an article calling the MPAA's rating "draconian", alleging that the R rating's higher age restriction ("no unaccompanied under-17s") was specifically applied due to gay content. The Independent's article formed the basis for a article which further compounded the issue by mistakenly stating that the MPAA had given the film an NC-17 rating. This error was corrected a few days later.

In January 2015, it was reported that the cover of the US DVD release of the film makes no mention of the gay content. A standard description of "a London-based group of gay and lesbian activists" was reduced to "a group of London-based activists", and a lesbian and gay banner was removed from a photograph on the back cover.

The absence of any mention of Mark Ashton's communist beliefs in the film, despite his position as the leader of the youth branch of the Communist Party of Great Britain's (CPGB), has become a point of contention for his surviving friends. Fellow communist activist and a close friend of Mark Ashton, Lorraine Douglas, accused the film of having "glossed over Mark's politics and said nothing about the fact he subsequently became General Secretary of the YCL", the youth wing of the CPGB

In its opening weekend Pride took £718,778 at the UK box office. The film was the third highest-grossing release of the weekend, behind in second place and The Boxtrolls, which debuted at the top of the box office. During its second weekend at the UK box office Pride retained its third-place position on the charts, with takings of £578,794. The Guardian reported that the film had a drop of just 12% in takings during its second weekend at the box office, as well as a strong weekday performance at the box office, commenting: "After a somewhat shaky start, Matthew Warchus' film is displaying signs of solid traction with audiences." In its third weekend at the UK box office, Pride dropped to sixth in the charts with takings of £400,247 over the weekend period. By its fourth weekend Pride had dropped to tenth place in the box office, with takings of £248,654 and an overall UK gross totalling £3,265,317.

In the US, Pride grossed £84,800 from six theatres in its opening weekend. The film expanded slowly, adding cinemas in existing markets for its second weekend followed by release in additional cities from 10 October.

Pride was met with critical acclaim. The review aggregator Rotten Tomatoes reported that 92% of critics surveyed gave the film a positive review, based on a sample of 127 reviews, with an average score of 7.6 out of 10; the consensus on the film reads: "Earnest without being didactic and uplifting without stooping to sentimentality, Pride is a joyous crowd-pleaser that genuinely works." Metacritic gave the film an aggregate score of 79/100 based on 36 reviews, indicating "generally favorable reviews."

Geoffrey Macnab, of The Independent, noted how Pride followed on from other British films such as The Full Monty, Brassed Off and Billy Elliot as "a story set in a Britain whose industrial base is being shattered". Macnab, who gave the film a five-star review, praised the screenplay for combining "broad comedy with subtle observation", and noted that director Matthew Warchus "relishes visual contrasts and jarring juxtapositions" throughout the film. Macnab's review stated that Pride retained its humour and accessibility without trivialising the issues addressed in the film.

Peter Bradshaw, reviewing for The Guardian, described the film as "impassioned and lovable". Bradshaw praised performances of the cast, including Bill Nighy's "taciturn shyness" in his portrayal as Cliff and the "dignified and intelligent performance" from Paddy Considine as Dai. Imelda Staunton's performance as Hefina Headon, who died in October 2013, was met with positive reviews by critics. Geoffrey Macnab said Staunton's performance as the matriarchal Hefina was "part Mother Courage and part Hilda Ogden". Ben Schnetzer's performance as Mark Ashton drew positive reviews. Charlotte O'Sullivan, writing for the London Evening Standard, said: "Schnetzer is a New Yorker with an unpromising CV (he was one of the few good things about The Book Thief) and he's fantastic here".

Paul Byrnes in The Sydney Morning Herald described the film as "dry, surprising, compassionate, politically savvy, emotionally rewarding and stacked to the gills with great actors doing solid work".

Nigel Andrews, writing for the Financial Times, gave the film one star out of five, describing it as "a parade of tricks, tropes and tritenesses, designed to keep its balance for two hours atop a political correctness unicycle". Andrews' review read, "Nothing in modern history is more amazing than the cultural rebranding of the UK miners' strike as a heroic crusade, rather than a Luddite last stand for (inter alia) union demagoguery, greenhouse gas and emphysema."

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Pride is a 2014 British historical comedy-drama film written by Stephen Beresford and directed by Matthew Warchus. Based on a true story, the film depicts a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984, at the outset of what would become the Lesbians and Gays Support the Miners campaign.

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Recommendation from the CoE to Combat Discrimination on Grounds of Sexual Orientation or Gender Identity (ENG)

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Recommendation from the CoE to Combat Discrimination on Grounds of Sexual Orientation or Gender Identity (ENG)

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Combating Cyber Violence Against Women and Girls (ENG)

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Combating Cyber Violence Against Women and Girls (ENG)

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Summary : A study on how cyber-violence specifically targets women and girls and the legal framework on European and national levels around it.

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The costs of gender-based violence in the EU (ENG)

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The costs of gender-based violence in the EU (ENG)

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Summary : A study on how much GBV costs to society as whole in Europe and in the UK.

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Action Guide to Prevent GBV Amongst Youth (ENG)

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Action Guide to Prevent GBV Amongst Youth (ENG)

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Empowering Young People to Fight GBV Through Peer Learning

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Empowering Young People to Fight GBV Through Peer Learning

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Building A Europe Africa Vision Toolkit (ENG)

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Building A Europe Africa Vision Toolkit (ENG)

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A toolkit containing workshop on intercultural understanding & documentations for volunteers (especially in the case of exchanges between Europe and Africa).

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Handbook for Legislation on Violence Against Women

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Handbook for Legislation on Violence Against Women

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Summary : A comprehensive handbook made by UN Women on how legislation and legislative powers can act to fight violence against women

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Reassign by Claudia Gonzalez (Photography)

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Reassign by Claudia Gonzalez (Photography)

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Theme : Gender expression, gender fluidity

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"Las imágenes no se hacen para molestar la conciencia de la gente, pero si para alterarla. Las fotos no piden "ayuda" para estas personas, sino una cosa más difícil: ser breve e intensamente consciente de su existencia, una existencia tan real e importante como la tuya propia". "The pictures are not made to disturb people's consciences but rather to disturb their consciousness. The pictures do not ask you to "help" these people, but something much more difficult; to be briefly and intensely aware of their existence, an existence as real and significant as your own." Danny Lyon

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Claudia González. Artist, fine art, portrait and editorial photographer based in Madrid. Fotógrafa especializada en retrato, con base en Madrid

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Union of Equality: The Commission presents its first-ever strategy on LGBTIQ equality in the EU

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Union of Equality: The Commission presents its first-ever strategy on LGBTIQ equality in the EU

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Summary : The EU comprehensive strategy on fighting LGBTQI+ discrimination at European level

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Progress Report on the implementation of the LGBTIQ+ EU Equality Strategy 2020 - 2025 

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Progress Report on the implementation of the LGBTIQ+ EU Equality Strategy 2020 - 2025 

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Summary : In 2020, the EU Commission issued its first-ever "Equality Strategy". In 2023, the Commission issued this progress report to monitor its implementation and first impacts in the EU.

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Theme : A dystopia depicting a totalitarian government that controls the bodies of women

Duration : Around 50 minutes per episode

Language : English (subtitles available)

TW : Some scenes are graphic and quite disturbing (physical, psychological and sexual violence).

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The Handmaid's Tale is an American dystopian television series created by Bruce Miller, based on the 1985 novel of the same name by Canadian author Margaret Atwood. The series was ordered by the streaming service Hulu as a straight-to-series order of 10 episodes, for which production began in late 2016. The plot features a dystopia following a Second American Civil War wherein a theonomic, totalitarian society subjects fertile women, called " Handmaids", to child-bearing slavery.

The first three episodes of the series premiered on April 26, 2017; the subsequent seven episodes were released every Wednesday. In July 2019, the series was renewed for a fourth season, which premiered on April 27, 2021. The fifth season of The Handmaid's Tale is released with the first two episodes on 14 September 2022 in the US. In September 2019, it was announced that Hulu and MGM were developing a sequel series, to be based on Atwood's 2019 novel The Testaments. In December 2020, ahead of the fourth season premiere, the series was renewed for a fifth season, which premiered on September 14, 2022. In September 2022, ahead of the fifth season premiere, the series was renewed for a sixth and final season.

The Handmaid's Tale's first season won eight Primetime Emmy Awards from 13 nominations, including Outstanding Drama Series. It is the first show produced by Hulu to win a major award as well as the first series on a streaming service to win an Emmy for Outstanding Series. It also won the Golden Globe Award for Best Television Series - Drama. Elisabeth Moss was also awarded the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series and the Golden Globe for Best Actress in a Television Drama Series.

In a world where fertility rates have collapsed as a result of sexually transmitted diseases and environmental pollution, the totalitarian, theonomic government of Gilead establishes rule in the former United States in the aftermath of a civil war. Society is organized by power-hungry leaders along with a new, militarized, hierarchical régime of religious fanaticism and newly created social classes, in which women are brutally subjugated. By law, women in Gilead are forced to work in very limited roles, including some as natal slaves, and they are not allowed to own property, have careers, handle money, or read.

Worldwide infertility has led to the enslavement of fertile women in Gilead determined by the new régime to be fallen women, citing an extremist interpretation of the Biblical account of Bilhah. These women often include those who have entered marriages following divorce (termed "adulteresses", as divorce is not recognized under Gileadian law), single or unmarried mothers, lesbians (homosexuals being termed "gender traitors"), non-Christians, adherents of Christian denominations other than the "Sons of Jacob", political dissidents, and academics.

These women, called Handmaids, are assigned to the homes of the ruling elite, where they must submit to ritualized rape (referred to as "the ceremony") by their male masters ("Commanders") in the presence of their wives, to be impregnated and bear children for them. Handmaids are given names created by the addition of the prefix Of- to the first name of the man who has them. When they are transferred, their names are changed.

Along with the Handmaids, much of society is now grouped into classes that dictate their freedoms and duties. Women are divided into a small range of social categories, each one signified by a plain dress in a specific color. Handmaids wear long red dresses, heavy brown boots and white coifs, with a headcovering surrounded by a larger white coif (known as "wings") to be worn outside, concealing them from public view and restricting their vision.

June Osborne, renamed Offred, is the Handmaid assigned to the home of the Gileadan Commander Fred Waterford and his wife Serena Joy. The Waterfords, key players in the formation and rise of Gilead, struggle with the realities of the society they helped create. During "the time before", June was married to Luke and had a daughter, Hannah.

At the beginning of the story, while attempting to flee Gilead with her husband and daughter, June was captured and forced to become a Handmaid because of the adultery she and her husband committed. June's daughter was taken and given to an upper-class family to raise, and her husband escaped into Canada. Much of the plot revolves around June's desire to be reunited with her husband and daughter and the internal evolution of her strength to its somewhat darker version.

Elisabeth Moss as June Osborne / Offred / Ofjoseph, a woman who was captured while attempting to escape to Canada with her husband, Luke, and daughter, Hannah. Because Luke is divorced, their union is considered adulterous in this new society. June is considered an adulteress and their daughter, Hannah, is deemed illegitimate. Due to June's fertility, she is made a Handmaid to Commander Fred Waterford and his wife Serena Joy, and is called "Offred"; later she becomes handmaid to Commander Joseph Lawrence and is called "Ofjoseph".

Joseph Fiennes as Commander Fred Waterford (seasons 1-4), a high-ranking government official, and June's first master. Both he and his wife were instrumental in Gilead's founding.

Yvonne Strahovski as Serena Joy Waterford, Fred's wife, and a former conservative cultural activist. She appears to have accepted her new role in a society that she helped create. She is poised and deeply religious, but capable of great cruelty and is often callous to June. She is desperate to become a mother.

Alexis Bledel as Dr. Emily Malek / Ofglen #1 / Ofsteven / Ofroy / Ofjoseph #1 (seasons 1-4), a former university professor in cellular biology and initially June's shopping partner. Although June is initially wary of her, it is revealed she is not as pious as she seems, and the two become friends. Emily is involved with and first informs June of Mayday, an underground resistance movement. She has a wife and son living in Canada.

Madeline Brewer as Janine Lindo / Ofwarren / Ofdaniel / Ofhoward, a Handmaid who entered the Red Center for training at the same time as June, and considers June a friend due to her kind treatment. Initially non-compliant, Janine has her right eye removed as a punishment. She becomes mentally unstable due to her treatment and often behaves in temperamental or childlike ways. Before Gilead, Janine was a waitress and had a son, Caleb, who unbeknownst to her was killed after the takeover.

Ann Dowd as Aunt Lydia Clements, a woman in charge of overseeing the Handmaids in their sexual re-education and duties. She is brutal and subjects insubordinate Handmaids to harsh physical punishment, but she also cares for her charges and believes deeply in the Gileadean mission and doctrine. She appears to have a soft spot for Janine and even goes so far as to address her by her given name on occasion. Before Gilead, she was a family court judge, and afterwards, an elementary school teacher.

O-T Fagbenle as Luke Bankole, June's husband from before Gilead. Initially, June believes he was killed, but it is later revealed that Luke managed to escape to Canada.

Max Minghella as Commander Nick Blaine, Commander Waterford's driver and a former drifter from Michigan who has feelings for June. June and Nick develop an intimate relationship and she eventually discovers that he is an Eye, a spy for Gilead and that he played a huge role in the Gileadean takeover. In season 3, he is promoted to Commander.

Samira Wiley as Moira Strand, June's best friend since college. She is already at the Red Center when June enters Handmaid training but escapes before being assigned to a home. She is recaptured and becomes "Ruby", a Jezebel. She seems to have given up hope of ever being free, but on meeting June again regains the conviction to escape to Canada.

Bradley Whitford as Commander Joseph Lawrence (season 3-present, guest season 2), the founder of the Colonies and architect of Gilead's economy. He is on and off with Mayday.

Stephen Kunken as Commander Warren Putnam (seasons 1-5), a high ranking official and the first known Commander of Janine.

Ever Carradine as Naomi Putnam, Commander Putnam's wife. She has no sympathy for Handmaids and only sees her baby as a status symbol.

Jordana Blake as Hannah Bankole, June and Luke's daughter. After being taken, she is given a new family and renamed Agnes MacKenzie.

Tattiawna Jones as Lillie Fuller / Ofglen #2 (seasons 1-2), who replaces Emily in the position after Emily is captured by the Eyes. She warns June away from breaking the rules and does not wish to upset the status quo, but this is because she believes her life as a Handmaid is better than the difficult, impoverished life she led prior to Gilead, rather than out of religious piety.

Nina Kiri as Alma / Ofrobert (seasons 1-4, guest season 5), another Handmaid who trained at the Red Center with June, Moira, and Janine. She is frank and chatty and often trades gossip and news with June. She is also involved with Mayday and becomes one of June's first contacts with the resistance group.

Bahia Watson as Brianna / Oferic (seasons 1-4, guest season 5), another local Handmaid who is friends with June. She is Dolores' shopping partner.

Jenessa Grant as Dolores / Ofsamuel (seasons 1-2, guest season 3), a local Handmaid with a friendly and talkative nature. She is Brianna's shopping partner.

Edie Inksetter as Aunt Elizabeth (season 1-present), a fellow Aunt who works closely with Aunt Lydia at the Red Center.

Robert Curtis Brown as Commander Andrew Pryce (seasons 1-2), a Commander who is one of the leading members of the Sons of Jacob and is in charge of the Eyes.

Kristen Gutoskie as Beth (seasons 1 and 3, guest season 4), an award-winning chef before the rise of Gilead, formerly a Martha at Jezebel's, and later a Martha in the Lawrence household.

Krista Morin as Rachel Tapping (seasons 1-2, season 4), an official at the United States Consulate in Canada.

Greg Bryk as Commander Ray Cushing (season 2), a fellow Commander who later replaces Commander Pryce's position.

Rohan Mead as Isaac (season 2), a young Guardian assigned to the Waterford home.

Julie Dretzin as Eleanor Lawrence (seasons 2-3), the mentally unstable wife of Commander Lawrence.

Ashleigh LaThrop as Natalie / Ofmatthew (season 3), a devoted Handmaid whose loyalty to Gilead causes divisive tensions amongst her peers.

Sugenja Sri as Sienna (season 3, guest season 4), a new Martha in the Lawrence household.

Jonathan Watton as Commander Matthew Calhoun (season 3-present), the assigned Commander of Natalie/Ofmatthew.

Charlie Zeltzer as Oliver (seasons 3-4), Emily and Sylvia's son.

Jeananne Goossen as Aunt Ruth (season 4), a high ranking Aunt who is desperate to replace Aunt Lydia as leading Aunt in their district.

Natasha Mumba as Danielle (season 4-present), a former handmaid.

Victoria Sawal as Tyler (season 4-present), a former handmaid.

Amanda Zhou as Vicky (season 4-present), a former handmaid.

Carey Cox as Rose Blaine (season 5), Nick's new wife.

Rossif Sutherland as Ezra Shaw (season 5), Serena's bodyguard in Canada.

Lucas Neff as Ryan Wheeler (season 5), Alanis' husband.

Jim Cummings as Burke (season 1), an Eye who interrogates June.

Zabryna Guevara as Mrs. Castillo (season 1), an ambassador from Mexico who visits Gilead to see the effectiveness of the regime.

Christian Barillas as Mr. Flores (season 1), Mrs. Castillo's assistant.

Rosa Gilmore as Zoe (season 1), the daughter of a US army soldier and the leader of the group of survivors whom Luke encounters after being separated from June and Hannah.

Tim Ransom as Mr. Whitford (season 1), a friend of June's mother who helps June, Luke, and Hannah attempt to cross the border.

Yahya Abdul-Mateen II as Omar (season 2), a man who helps June attempt to escape Gilead.

John Carroll Lynch as Dan (season 2), Emily's boss at the university where she worked.

Kelly Jenrette as Annie (season 2), Luke's ex-wife.

Rebecca Rittenhouse as Odette (season 2), a doctor, and Moira's deceased fiancée.

Amy Landecker as Mrs. Mackenzie (season 3, 5), Hannah's placement mother in Gilead.

Laila Robins as Pamela Joy (season 3), Serena's mother.

Deidrie Henry as Lori (seasons 3-4), a Martha who Nick uses for intel in Gilead.

Sarah McVie as Lena (season 3), a Swiss diplomat negotiating the hostile conflict between Gilead and Canada over Nichole.

Emily Althaus as Noelle (season 3), a young single mother whose son Aunt Lydia taught before the rise of Gilead.

Laura Vandervoort as Daisy (season 4), a Jezebels worker who aids June.

Alex Castillo as Dawn Mathis (season 4), the Waterfords' defense attorney.

Omar Maskati as Steven (season 4), the leader of a resistance group in Chicago.

Carly Street as Iris Baker/Aunt Irene (season 4), a former Aunt who attempts to make amends with Emily.

Jason Butler Harner as Commander Mackenzie (season 5), a High Commander and Hannah's placement father.

In the second season, Oprah Winfrey has an uncredited appearance as a newsreader on a car radio.

Hulu's straight-to-series order of The Handmaid's Tale was announced in April 2016, with Elisabeth Moss set to star. Based on the 1985 novel of the same name by Margaret Atwood, the series was created by Bruce Miller, who is also an executive producer with Daniel Wilson, Fran Sears, and Warren Littlefield. Atwood serves as consulting producer, giving feedback on some of the areas where the series expands upon or modernizes the book. She also played a small cameo role in the first episode. Moss is also a producer.

Filming on the series took place in Toronto, Mississauga, Brantford, Hamilton, Burlington, Oakville, and Cambridge, Ontario, from September 2016 to February 2017. Hulu released the first full trailer of the TV series on YouTube, on March 23, 2017. The series premiered on April 26, 2017.

On May 3, 2017, The Handmaid's Tale was renewed for a second season which premiered on April 25, 2018. Moss told the news media that the subsequent episodes would cover further developments in the story, filling in some of the unanswered questions and continuing the narrative already "finished" in the book. The second season consists of 13 episodes and began filming in fall 2017. Alexis Bledel returned as a series regular.

Showrunner Bruce Miller stated that he envisioned 10 seasons of the show, stating, "Well, you know, honestly, when I started, I tried to game out in my head what would ten seasons be like? If you hit a home run, you want energy to go around the bases, you want enough story to keep going, if you can hook the audience to care about these people enough that they're actually crying at the finale." Season 2 was filmed in Ontario, primarily in Toronto, but some scenes were shot in Hamilton and Cambridge.

On May 2, 2018, Hulu renewed the series for a third season, which premiered on June 5, 2019. Season 3 started production in Toronto in October 2018. Scenes for season 3 were also filmed in Cambridge and Hamilton, Ontario as well as in Washington, D.C. Season 3 saw the show's long-serving Director of Photography, Colin Watkinson, make his directorial debut with the episode "Unknown Caller". Cambridge, Ontario was nominated by the Location Managers Guild International for "Outstanding Film Office" for their work on this season. This was the first time that a Canadian Film Office was nominated for this honor.

On July 26, 2019, the series was renewed for a fourth season. Season 4, consisting of 10 episodes, began production in March 2020, with Elisabeth Moss filming her directorial debut, but work had to be halted after only a few weeks, due to the COVID-19 pandemic. In June 2020, Hulu announced that the fourth season would premiere in 2021. Production on season 4 resumed in September 2020 and wrapped on February 25, 2021, with Moss having directed three episodes.

On December 10, 2020, ahead of the fourth season premiere, Hulu renewed the series for a fifth season. Season 5 started production in Toronto in February 2022 and is scheduled to continue through July 2022. In May 2022, Alexis Bledel departed the series ahead of the fifth season, and stated, "After much thought, I felt I had to step away from The Handmaid's Tale". On September 8, 2022, ahead of the fifth season premiere, Hulu renewed the series for a sixth and final season.

The first three episodes of the series premiered on April 26, 2017; the subsequent seven episodes were released on a weekly basis. In Canada, the series is broadcast weekly by CTV Drama Channel and the streaming service Crave; the first two episodes premiered on April 30, 2017. In Scandinavia, the series is available on HBO Nordic. In the United Kingdom, the series premiered on May 28, 2017, on Channel 4.

In New Zealand, the series was released on the subscription video on demand service Lightbox on June 8, 2017. After satellite service provider Sky acquired Lightbox and merged it into its streaming service Neon on July 7, 2020, Neon acquired the distribution rights to the series in New Zealand.

In Australia, the series premiered on the TV channel SBS's video streaming service SBS on Demand, on July 6, 2017. The series also released on the subscription video on demand service Stan on December 12, 2018.

In Ireland, the series premiered on February 5, 2018, on RTÉ2, with a showing of the first two episodes. RTÉ also became the first broadcaster in Europe to debut Season 2, Season 3 and Season 4 following its broadcast in the US and Canada. In Brazil and Latin America, the series premiered on March 7, 2018, on Paramount Channel.

In India, the series premiered on February 5, 2018, on AXN and ran for the first two seasons before moving to Amazon Prime Video for Season 3, which made all three seasons available for viewing on January 31, 2020.

The first season was released on Blu-ray and DVD on March 13, 2018, the second season on December 4, 2018, and the third season on November 19, 2019, by 20th Century Fox Home Entertainment.

The Handmaid's Tale was ranked as the 25th and 38th best TV series of the 21st century by The Guardian and , respectively. On the review aggregator website Rotten Tomatoes, the overall series has an approval rating of 83%. While on Metacritic, another aggregator website, it has an average score of 81 out of 100.

On Rotten Tomatoes, 94% of 259 reviews are positive for the first season, with an average rating of 8.65/10. The site's critical consensus reads, "Haunting and vivid, The Handmaid's Tale is an endlessly engrossing adaptation of Margaret Atwood's dystopian novel that's anchored by a terrific central performance from Elisabeth Moss." On Metacritic, the season has a weighted average score of 92 out of 100 based on 41 critics, indicating "universal acclaim".

Daniel Fienberg of The Hollywood Reporter called it "probably the spring's best new show". Jen Chaney of gave it a highly positive review, and wrote that it is "A faithful adaptation of the book that also brings new layers to Atwood's totalitarian, sexist world of forced surrogate motherhood" and that "this series is meticulously paced, brutal, visually stunning, and so suspenseful from moment to moment that only at the end of each hour will you feel fully at liberty to exhale".

There was much debate on whether parallels could be drawn between the series (and by extension, the book it is based on) and American society during the Presidency of Donald Trump. Comparisons have also been made to the Salafi/ Wahabbi extremism of ISIS, under which enslaved women of religious minorities are passed around and utilized as sex objects and vessels to bear new jihadis.

On Rotten Tomatoes, 89% of 340 critics have given the season a positive review, and an average rating of 8.35/10. The site's critical consensus reads, "Beautifully shot but dishearteningly relevant, The Handmaid's Tale centers its sophomore season tightly around its compelling cast of characters, making room for broader social commentary through more intimate lenses." Metacritic assigned the season a weighted average score of 86 out of 100 based on 28 critics, indicating "universal acclaim".

Some critics perceived the second season's depictions of violence as excessive. The Atlantic's Sophie Gilbert wrote: "There came a point during the first episode where, for me, it became too much." Lisa Miller of The Cut wrote: "I have pressed mute and fast forward so often this season, I am forced to wonder: 'Why am I watching this'? It all feels so gratuitous, like a beating that never ends." The Daily Telegraph's Rebecca Reid admitted she had an anxiety attack watching an episode of the show.

For the third season, Rotten Tomatoes reports that 82% of 301 reviews are positive, and the average rating is 6.9/10. The site's critical consensus reads, " The Handmaid's Tale's third season reins in its horrors and inspires hope that revolution really is possible - if only the story would stop spinning its wheels and get to it already." Metacritic compiled 14 critic reviews and an average score of 68 out of 100, signifying "generally favorable reviews".

Kelly Lawler of gave it a positive review, scoring it three out of four stars. She claimed it is an improvement over the second season, "that rights many - though definitely not all - of Season 2's wrongs." Overall, she wrote, "The new season is more propulsive and watchable, although it doesn't quite reach the heights of that first moving season. But Handmaid's regains its footing by setting off on a new path".

Daniel Fienberg of The Hollywood Reporter wrote a generally positive review, praising Elisabeth Moss's performance and the cinematography, but criticized the plot "that has become frustratingly repetitive". Overall, he wrote, "Still occasionally powerful, but rarely as provocative".

On Rotten Tomatoes, the fourth season earned positive reviews from 70% of 46 critics, with an average rating of 7/10. The site's critical consensus reads, "Elisabeth Moss is better than ever, but scattershot plotting and an overbearing sense of doom may prove too grim for some viewers to really enjoy The Handmaid's Tale's fourth season." According to Metacritic, which collected 18 reviews and calculated an average score of 62, the season received "generally positive reviews".

Kristen Baldwin of Entertainment Weekly gave it a "C+" grade and wrote that the series "delivers on some long-delayed promises, but ultimately it's too little, too late." Matthew Gilbert of The Boston Globe wrote, "the dystopian drama has exceeded the natural lifespan of its story, as it plows forward with nothing new to say, tinkling cymbals and sounding brass." In a more positive review from Jen Chaney of , she wrote, "Thankfully, season four finally regains some momentum and forward motion. Based on the eight out of ten total episodes made available to critics, this is the best The Handmaid's Tale has been since its first season."

On Rotten Tomatoes, the fifth season has earned positive reviews from 81% of 21 critics, with an average rating of 7.1/10. The site's critical consensus reads, " The Handmaid's Tale has lost its urgency after spreading its once-arresting premise thin in a season focused on vengeance's consequences, but the women of Gilead are still played with compelling exactitude." On Metacritic, it has received an average score of 63 out of 100, based on 7 reviews, indicating "generally positive reviews".

Critics were given the first eight episodes of the season to review. Writing for , Tara Bennett gave it a "good" score of 7 out of 10 and wrote in her verdict: " The Handmaid's Tale remains the canary in the coalmine of TV shows [...]. Elisabeth Moss continues to give a livewire performance as former handmaid/now Canadian refugee June Osborne. [...] But overall, the series continues to suffer with very measured storylines that can't seem to recapture the kinetic energy of the first two seasons." Abby Cavenaugh of graded it with a "B-" and said, "Season 5 is full of scarce highs and really low lows, lots of heavy-hitting drama, and emotional scenes. Some of the biggest events of this season lead to some pretty uncomfortable viewing, but viewers who stick with it will be rewarded with some huge moments that will have repercussions for the final season."

2017

Primetime Emmy Awards

Outstanding Drama Series

Bruce Miller, Warren Littlefield, Daniel Wilson, Fran Sears, Ilene Chaiken, Sheila Hockin, Eric Tuchman, Frank Siracusa, John Weber, Kira Snyder, Elisabeth Moss, Joseph Boccia and Leila Gerstein

Won

Primetime Creative Arts Emmy Awards

Outstanding Guest Actress in a Drama Series

Won

Outstanding Achievement in Drama

Won

Outstanding New Program

Nominated

2018

American Cinema Editors Awards

Best Edited Drama Series for Non-Commercial Television

Julian Clarke and Wendy Hallam Martin (for "Offred")

Won

Screen Actors Guild Awards

Outstanding Performance by an Ensemble in a Drama Series

Madeline Brewer, Amanda Brugel, Ann Dowd, O-T Fagbenle, Joseph Fiennes, Tattiawna Jones, Max Minghella, Elisabeth Moss, Yvonne Strahovski and Samira Wiley

Nominated

Writers Guild of America Awards

Dramatic Series

Ilene Chaiken, Nina Fiore, Dorothy Fortenberry, Leila Gerstein, John Herrera, Lynn Maxcy, Bruce Miller, Kira Snyder, Wendy Straker Hauser and Eric Tuchman

Won

2018

Primetime Emmy Awards

Outstanding Drama Series

Bruce Miller, Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Mike Barker, Sheila Hockin, Eric Tuchman, Kira Snyder, Yahlin Chang, Frank Siracusa, John Weber, Dorothy Fortenberry and Joseph Boccia

Nominated

Outstanding Directing for a Drama Series

Kari Skogland (for "After")

Nominated

Primetime Creative Arts Emmy Awards

Outstanding Guest Actress in a Drama Series

Kelly Jenrette (for "Other Women")

Nominated

2019

Cinema Audio Society Awards

Outstanding Achievement in Sound Mixing for Television Series - One Hour

Sylvain Arseneault, Lou Solakofski, Joe Morrow, Scott Michael Smith, Adam Taylor, Mark DeSimone and Jack Heeren (for "Holly")

Nominated

Screen Actors Guild Awards

Outstanding Performance by an Ensemble in a Drama Series

Alexis Bledel, Madeline Brewer, Amanda Brugel, Ann Dowd, O-T Fagbenle, Joseph Fiennes, Nina Kiri, Max Minghella, Elisabeth Moss, Yvonne Strahovski, Sydney Sweeney and Bahia Watson

Nominated

Visual Effects Society Awards

Outstanding Supporting Visual Effects in a Photoreal Episode

Brendan Taylor, Stephen Lebed, Winston Lee and Leo Bovell (for "June")

Nominated

Outstanding Created Environment in an Episode, Commercial, or Real-Time Project

Patrick Zentis, Kevin McGeagh, Leo Bovell and Zachary Dembinski (for "June") - Fenway Park

Nominated

Writers Guild of America Awards

Dramatic Series

Yahlin Chang, Nina Fiore, Dorothy Fortenberry, John Herrera, Lynn Renee Maxcy, Bruce Miller, Kira Snyder and Eric Tuchman

Nominated

2020

Cinema Audio Society Awards

Outstanding Achievement in Sound Mixing for Television Series - One Hour

Sylvain Arseneault, Lou Solakofski, Joe Morrow, Scott Michael Smith, Adam Taylor, Andrea Rusch and Kevin Schultz (for "Heroic")

Nominated

Screen Actors Guild Awards

Outstanding Performance by an Ensemble in a Drama Series

Alexis Bledel, Madeline Brewer, Amanda Brugel, Ann Dowd, O-T Fagbenle, Joseph Fiennes, Kristen Gutoskie, Nina Kiri, Ashleigh LaThrop, Elisabeth Moss, Yvonne Strahovski, Bahia Watson, Bradley Whitford and Samira Wiley

Nominated

American Society of Cinematographers Awards

Outstanding Achievement in Cinematography in Regular Series for Non-Commercial Television

Colin Watkinson (for "Night")

Won

Art Directors Guild Awards

One-Hour Contemporary Single-Camera Series

Elizabeth Williams (for "Mayday")

Nominated

Writers Guild of America Awards

Dramatic Series

Marissa Jo Cerar, Yahlin Chang, Nina Fiore, Dorothy Fortenberry, Jacy Heldrich, John Herrera, Lynn Renee Maxcy, Bruce Miller, Kira Snyder and Eric Tuchman

Nominated

Primetime Creative Arts Emmy Awards

Outstanding Guest Actress in a Drama Series

Alexis Bledel (for "God Bless the Child")

Nominated

Yvonne Strahovski

Nominated

Samira Wiley

Nominated

Max Minghella (for "The Crossing")

Nominated

Bradley Whitford (for "Testimony")

Nominated

Yvonne Strahovski (for "Home")

Nominated

Outstanding Directing for a Drama Series

Liz Garbus (for "The Wilderness")

Nominated

Primetime Creative Arts Emmy Awards

Outstanding Guest Actress in a Drama Series

Alexis Bledel (for "Testimony")

Nominated

Screen Actors Guild Awards

Outstanding Performance by an Ensemble in a Drama Series

Alexis Bledel, Madeline Brewer, Amanda Brugel, Ann Dowd, O-T Fagbenle, Joseph Fiennes, Sam Jaeger, Max Minghella, Elisabeth Moss, Yvonne Strahovski, Bradley Whitford, and Samira Wiley

Nominated

Visual Effects Society Awards

Outstanding Supporting Visual Effects in a Photoreal Episode

Brendan Taylor, Stephen Lebed, Kayla Cabral, and Brannek Gaudet (for "Chicago")

Nominated

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The Handmaid's Tale (TV series) - Wikipedia

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The Handmaid's Tale is an American dystopian television series created by Bruce Miller, based on the 1985 novel of the same name by Canadian author Margaret Atwood. The series was ordered by the streaming service Hulu as a straight-to-series order of 10 episodes, for which production began in late 2016.

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Theme : Teenagers learning how to navigate their sexual and affective life ; LGBTQI+ ; Consent

Duration : Around 40 minutes per episode

Language : English (subtitles available)

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Sex Education is a British comedy-drama web television series, created by Laurie Nunn, that premiered on 11 January 2019, on Netflix. The series stars Gillian Anderson, Asa Butterfield, Emma Mackey, Ncuti Gatwa, Connor Swindells, and Kedar Williams-Stirling. In February 2019, it was announced that the series had been renewed for a second season.

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Theme : LGBTQI+ ; Transidentity ; New York ballroom scene in the 80s/90s.

Duration : Around 50 minutes per episode

Language : English (subtitles available)

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Pose (stylized as POSE) is an American drama television series about New York City's ball culture, an LGBTQ subculture in the African-American and Latino communities, throughout the 1980s and 1990s. Featured characters are dancers and models, who compete for trophies and recognition in this underground culture and who support one another in a network of chosen families known as Houses.

Created by Ryan Murphy, Brad Falchuk, and Steven Canals, the series aired from June 3, 2018, to June 6, 2021, on FX. It stars an ensemble cast including Evan Peters, Kate Mara, James Van Der Beek, Michaela Jaé Rodriguez, Dominique Jackson, Billy Porter, Indya Moore, Ryan Jamaal Swain, Charlayne Woodard, Hailie Sahar, Angelica Ross, Angel Bismark Curiel, Dyllón Burnside, Sandra Bernhard, and Jason A. Rodriguez.

The first season was met with largely positive reception and subsequently received numerous award nominations including the Golden Globe Award for Best Television Series - Drama and the Golden Globe Award for Best Actor - Television Series Drama for Billy Porter. In 2019, Porter was awarded the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series - the first openly gay Black man to be nominated for and win in an Emmy lead acting category. The series was nominated for Outstanding Drama Series at the same ceremony.

The second season premiered on June 11, 2019, to further acclaim. The third and final season premiered on May 2, 2021, and concluded on June 6, 2021, to further positive reviews. On July 13, 2021, Michaela Jaé Rodriguez became the first trans lead ever nominated for the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series.

Pose is set in 1987-98 and looks at "the juxtaposition of several segments of life and society in New York City at that time": the African-American and Latino ball culture world, the downtown social and literary scene, the rise of the yuppie milieu, and HIV.

Evan Peters as Stan Bowes, Patty's yuppie husband who works in Trump Tower and becomes Angel's lover (season 1)

Kate Mara as Patty Bowes, Stan's wife and mother of their children (season 1)

James Van Der Beek as Matt Bromley, Stan's kingpin boss (season 1)

Michaela Jaé Rodriguez as Blanca Rodriguez-Evangelista, a trans woman with HIV/AIDS and former member of the House of Abundance. She is the founder and mother of the House of Evangelista.

Dominique Jackson as Elektra Evangelista, mother of the former House of Abundance. After brief stints in the Houses of Evangelista and Ferocity, she forms the House of Wintour before rejoining the House of Evangelista in the final season.

Billy Porter as Prayerful "Pray" Tell, emcee of the balls in New York, fashion designer, and mentor to members of the community, especially the members of the House of Evangelista. Later in the series, Pray starts a relationship with Ricky.

Indya Moore as Angel Vasquez-Evangelista, a trans woman sex worker who joins the House of Evangelista after leaving the House of Abundance. She has an affair with Stan during the first season, before starting a relationship with Papi.

Ryan Jamaal Swain as Damon Richards-Evangelista, a homeless, talented dancer who becomes the first member of the House of Evangelista. After the season 3 premiere, the character was written out of the show due to the murder of Swain's sister in their hometown of Birmingham, Alabama. Damon was said to have relapsed into alcoholism and moved to his cousin's home in South Carolina. In the series finale, he was revealed to be in Chicago, teaching dancing.

Charlayne Woodard as Helena St. Rogers, a modern dance teacher at the New School for Dance (season 1; guest, season 2)

Hailie Sahar as Lulu Evangelista, the founder of the House of Ferocity alongside Candy. She joins the House of Evangelista in the final season.

Angelica Ross as Candy Johnson-Ferocity, the founder of the House of Ferocity alongside Lulu (seasons 1-2; guest, season 3)

Angel Bismark Curiel as Esteban "Lil Papi" Martinez-Evangelista, a member of the House of Evangelista

Dyllón Burnside as Ricky Evangelista, Damon's ex-boyfriend and a former member of the House of Evangelista who joins the House of Wintour. In the final season he rejoins the House of Evangelista.

Sandra Bernhard as Judy Kubrak, a nurse who works with people with AIDS and member of ACT UP (seasons 2-3; guest, season 1)

Jason A. Rodriguez as Lemar Khan, a former member of the House of Abundance, Ferocity, Evangelista and Wintour, before becoming the father of the House of Khan (season 3; recurring, seasons 1-2)

Jeremy McClain as Cubby Wintour, a young gay man and a former member of the House of Abundance, Ferocity, and Evangelista, who joins the House of Wintour and later dies in the first episode of season 3

Alexia Garcia as Aphrodite Ferocity, a trans woman who defects from the House of Xtravaganza to the House of Ferocity

Bianca Castro as Veronica Ferocity, a thrift store cashier who joins the House of Ferocity

Samantha Grace Blumm as Amanda Bowes, Stan and Patty's daughter

Jose Gutierez Xtravaganza as himself, a Judge and member of the real-life House of Xtravaganza

Johnny Sibilly as Costas Perez, Pray Tell's boyfriend who dies of AIDS

Jack Mizrahi as himself, a ballroom emcee and member of the Masters of Ceremony Council

Leiomy Maldonado as Florida Ferocity, a member of the House of Ferocity

Sol Williams (a/k/a Grandfather Sol Pen'davis) as a member of the judges panel. Sol also was in the documentary movie Paris Is Burning (1990), upon which the series is largely based.

Patti LuPone as Frederica Norman, a wealthy and shady real estate mogul

Damaris Lewis as Jazmine Wintour, a member of the House of Wintour

Brielle Rheames as Silhouette Wintour, a member of the House of Wintour

Dashaun Wesley as Shadow Wintour, a member of the House of Wintour

Danielle Cooper as Wanda, Judy's girlfriend and member of ACT UP

Trudie Styler as Eileen Ford, a fashion model agent

André Ward as Manhattan, a member of the Masters of Ceremony Council

J. Cameron Barnet as Castle, a member of the Masters of Ceremony Council

Patricia Black as Chi Chi, Elektra's co-worker at the Hellfire Club

Clark Jackson as Lawrence Richards ("Pilot"), Damon's father

Roslyn Ruff as Mrs. Richards ("Pilot"), Damon's mother

Deidre Goodwin as Wanda Green ("Pilot"), employee at the New School for Dance

Matt McGrath as Mitchell ("Access"), the manager of Boy Lounge

Tamara M. Williams as Summer, a trans woman who attempts to seduce Stan ("Access", "The Fever")

Sol Pendavis Williams as himself ("Access", "Mother of the Year"), a Judge and member of the real-life House of Pendavis

Kathryn Erbe as Dr. Gottfried ("Giving and Receiving", "The Fever"), Elektra's physician

Christine Ebersole as Bobbi ("Giving and Receiving"), Patty's mother

Christopher Meloni as Dick Ford ("The Fever", "Pink Slip"), Elektra's wealthy lover and financier

Cecilia Gentili as Miss Orlando ("The Fever", "Butterfly/Cocoon"), a shady woman that offers discounted plastic surgery

Flor de Liz Perez as Carmen Rodriguez ("Mother's Day"), Blanca's sister

Charles Brice as Darius ("Love Is the Message"), Blanca's love interest

Our Lady J as Sherilyn ("Love Is the Message", "Love's in Need of Love Today"), a local pianist

Trace Lysette as Tess Wintour ("Love is the Message", "Worth It"), a clothing store saleswoman who later joins House of Wintour

Laith Ashley as "Sebastian" ("Love Is the Message"), a sexy participant in one of the ballroom-scenes

Alexander DiPersia as Andre Taglioni ("Acting Up", "Revelations"), a famed photographer and fetishistic predator

Edward Carnevale as Jonas Norman ("Worth It", "Love's in Need of Love Today"), Frederica Norman's son

Blaine Alden Krauss as Chris ("Worth it", "What Would Candy Do?"), dancer and Ricky's former lover

Peppermint as Euphoria ("Butterfly/Cocoon"), a trans sex worker

Danny Johnson as Darnell Johnson ("Never Knew Love Like This Before"), Candy's father

Patrice Johnson Chevannes as Vivica Johnson ("Never Knew Love Like This Before"), Candy's mother

Austin Scott as Adrian ("Life's a Beach"), a lifeguard and Blanca's love interest

KJ Aikens as Quincy and Gia Parr as Chilly ("In My Heels"), street kids who Blanca takes under her wing

Eisa Davis as Angie, Christopher's mother, who has a judgmental behavior towards Blanca

Curtiss Cook as Thomas, Christopher's father

Rahne Jones as Leisa, an alcoholism counselor advising Pray Tell

Noma Dumezweni as Tasha Jackson, Elektra's mother

Norm Lewis as Vernon Jackson, Pray Tell's former lover, who is a now a pastor

Anna Maria Horsford as Charlene, Pray Tell's mother

Janet Hubert as Latrice, Pray Tell's aunt

Jackée Harry as Jada, Pray Tell's aunt

Michelle Hurd as Ebony Jackson, Vernon's wife and Pray Tell's childhood best friend

Jordan Aaron Hall as a young Pray Tell

Annelise Cepero as Jimena, sister of Lil Papi's ex-girlfriend

Mark Lotito as Marco Ciccone, a mobster with whom Elektra makes business

Chris Tardio as Vicent Massino, a mobster with whom Elektra makes business

Season 1 (2018)

Season 2 (2019)

Season 3 (2021)

On March 16, 2017, it was announced that FX had given the production a pilot order. The pilot was written by Ryan Murphy, Brad Falchuk, and Steven Canals all of whom were also set to executive produce alongside Nina Jacobson, Brad Simpson, and Sherry Marsh. Production companies involved with the pilot were slated to consist of include FX Productions and Fox21 Television Studios. In October 2018, it was reported that Leiomy Maldonado and Danielle Polanco would be choreographing the series' ball scenes and that Janet Mock and Our Lady J had joined the show's writing and producing staff.

On December 27, 2017, it was announced that FX had given the production a series for a first season consisting of eight episodes. On May 9, 2018, ahead of the series premiere, Murphy announced that he would be donating all of his profits from Pose to non-profit charitable organizations that work with LGBTQ+ people, including the Sylvia Rivera Law Project, the Transgender Legal Defense & Education Fund, and the Callen-Lorde Community Health Center. Murphy explained this decision saying, "The thing that struck me in talking to so many of them, was how much they've struggled, how under attack they feel, how many of them find it difficult getting healthcare, and finding jobs. I just decided I need to do more than just making a show for this community. I want to reach out and help this community." On July 12, 2018, it was announced that the series had been renewed for a second season which premiered on June 11, 2019. On June 17, 2019, FX renewed the series for a third season. In March 2021, FX confirmed the third season would be its last. The final season premiered on May 2, 2021.

Stars from the show Pose at Los Angeles Pride Parade

In March 2017, Ryan Murphy and his team began casting for the series. On October 25, 2017, it was announced that transgender actors Michaela Jaé Rodriguez, Indya Moore, Dominique Jackson, Hailie Sahar, and Angelica Ross and cisgender actors Ryan Jamaal Swain, Billy Porter and Dyllón Burnside had been cast in main roles. The series' production team claimed that they had assembled the largest transgender cast ever for a scripted series. The series was expected to include over 50 transgender characters total. On October 26, 2017, it was announced that Evan Peters, Kate Mara, James Van Der Beek, and Tatiana Maslany had also joined the main cast.

On December 27, 2017, it was reported that Maslany had exited the series following the redevelopment of her part into that of a 50-year-old African-American woman. The character was then recast with Charlayne Woodard assuming the role. On September 19, 2018, it was announced that Sandra Bernhard would reprise her role of Nurse Judy in season two as a series regular. On March 23, 2019, at PaleyFest, Ryan Murphy revealed that Patti LuPone would guest star in the second season.

Production for the pilot began in New York City in October 2017. The following episodes of the first season were expected to begin production in February 2018. Murphy directed the series' first two episodes and Mock directed the sixth, thus making her the first transgender woman of color to write and direct any episode of television. On March 14, 2020, production on the third season was suspended due to the COVID-19 health crisis. The third and final season's filming wrapped on March 20, 2021.

Promotional poster featuring Blanca Rodriguez-Evangelista (Michaela Jaé Rodriguez), star of Pose, portraying the drag ball culture of Manhattan in the late 1980s and early 1990s.

On April 12, 2018, FX released the first teaser trailer for the series. It was also announced that the series was set to premiere on June 3, 2018. On May 3, 2018, the first official trailer was released.

On May 17, 2018, the series held its world premiere at the Hammerstein Ballroom in Manhattan. On July 23, 2018, Dyllón Burnside emceed a benefit concert, duetting with co-stars Billy Porter and Ryan Jamaal Swain to celebrate the season one finale, and raise money for GLSEN. During the event, a conversation was held between Burnside and former editor-in-chief Emil Wilbekin, where Burnside discussed his coming out story and spoke about the importance of safe spaces for LGBTQ people. Later on in the evening, Porter sang from his latest album and Michaela Jaé Rodriguez sang "Waving Through a Window" from Dear Evan Hansen.

In March 2019, the series was part of the Paley Center for Media's annual Paleyfest LA at the Dolby Theatre in Los Angeles, California.

Pose premiered in the United Kingdom on March 21, 2019, on BBC Two. Season 2 premiered on October 26, 2019, and Season 3 on August 8, 2021. All full series made available on BBC iPlayer straight after each series' premiere.

While a work of creative fiction, the series is "heavily inspired by" Jennie Livingston's 1990 documentary, Paris Is Burning. Livingston also served as a consulting producer on the show. Several of the houses and characters were based on, or named after, real people, and several people featured in the documentary also made cameos in the series, such as Jose Gutierez Xtravaganza, an icon of the voguing scene, who plays a judge throughout the first series, and Sol Pendavis Williams, of the House of Pendavis. Creators and producers of the series, Murphy, Canals, and writer/producer Janet Mock all considered Paris Is Burning "a text that helped inform not only the show, but also their identities when they first saw it."

Pose also expands on one of Paris Is Burning's subtler themes. At various points in the film, Livingston contrasts the drag performers with ordinary, affluent New Yorkers, walking down busy Manhattan sidewalks. It's often hard to tell which of these two groups is more "real", which of them are fashion models or Wall Street power players and which are simply costumed as such. Pose elaborates on those subtle distinctions with a subplot involving Stan (Evan Peters), a rising star in the Trump organization with an obnoxious boss (James Van Der Beek), a pretty wife (Kate Mara), and a secret relationship with Angel (Indya Moore), a trans woman. The show aims to capture some of the diversity of New York in the '80s, while also emphasizing the idea that, whether rich or poor, everyone in the city is pretending, in one way or another.

On the review aggregation website Rotten Tomatoes, the first season holds a 96% approval rating with an average rating of 8.3/10 based on 84 reviews. The website's critical consensus reads, "Charged with energy, poise, and confidence, Pose pirouettes between artistic opulence and deliciously soapy drama to create a fresh new addition to Ryan Murphy's lexicon." Metacritic, which uses a weighted average, assigned the first season a score of 75 out of 100 based on 27 critics, indicating "generally favorable reviews".

In a positive review, Vanity Fair's Richard Lawson was effusive, describing the series as "an engaging portrait of dark days met with merriment. Pain and perseverance are sewn together to create something humble yet fabulous-and, it should be shouted over all the show's loud and glorious clamor, very much long overdue." In a similarly favorable critique, Vulture's Matt Zoller Seitz praised the series' ambition, aesthetic, and spotlight on minorities saying, "it shows American audiences a world that has never been visualized on television at this length and at such an obviously grand budget level. The camera swings and swoops, glides and tumbles as in a Scorsese epic like Gangs of New York; in both the outdoor street scenes and indoor crowd scenes, it's obvious that FX has spared no expense to get the clothes, the cars, the streets, the business signs, and even the distinctive yellow-brown glow of streetlights correct." In a more mixed assessment, 's gave the series two-and-a-half stars out of four and described it far less approvingly saying, "good intentions don't always lead to good TV, and a couple episodes in, that appears to be the case with Pose. This certainly isn't bad TV-Murphy isn't about to leave his longtime home with a turkey-but it's often bland TV, and oddly enough, stock TV." In a negative evaluation, 's Willa Paskin was outright dismissive saying, "It's a TV show from one of the most canny creators working today, yet as a viewing experience it can feel like an object lesson." She continued on specifically criticizing the show's character development saying, "So many of the people on Pose are strong women, trans paragons, and this comes at the expense of them being recognizably flawed human beings."

On Rotten Tomatoes, the second season holds a 98% approval rating with an average rating of 8.40/10 based on 41 reviews. The website's critical consensus reads, "A delightful, delicate dance of light and dark, Pose's second season achieves a striking balance between the grittiness of reality and the glamour of the runway and shines even brighter." On Metacritic, season 2 holds a score of 79 out of 100 based on 14 critics, indicating "generally favorable reviews".

On Rotten Tomatoes, the third season holds a 100% approval rating with an average rating of 7.70/10 based on 29 reviews. The website's critical consensus reads, "Though it's entirely too short, Pose's final season is a joyously entertaining celebration of life that is not to be missed." On Metacritic, season 3 holds a score of 76 out of 100 based on 11 critics, indicating "generally favorable reviews".

Cast member Janet Mock however referenced internal backlash against the writing of the third season during the premiere.
Pose : U.S. viewers per episode (thousands)

# data[].attributes.attachment_link.description
Pose (stylized as POSE ) is an American drama television series about New York City's ball culture, an LGBTQ subculture in the African-American and Latino communities, throughout the 1980s and 1990s. Featured characters are dancers and models, who compete for trophies and recognition in this underground culture and who support one another in a network of chosen families known as Houses.

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Letter To Myself by Omar Gabriel (Photography / Documentary)

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Letter To Myself by Omar Gabriel (Photography / Documentary)

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Theme : The relationship between a mother and her queer child

Duration : 9 minutes

Language : Lebanese Arabic (subtitles available)

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A toolkit made after a training organized in 2019 by the Alliance Task Force on Gender

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Gender matters: a manual on addressing  gender-based violence affecting young people (ENG)

# data[].attributes.subject
Gender matters: a manual on addressing  gender-based violence affecting young people (ENG)

# data[].attributes.body
GENDER MATTERS is a tool produced by the Council of Europe Youth Department to use when approaching the thematic of gender and gender based violence in youth work with a feminist and gender-equal point of view. It gives a well tackled overview about correlated topics as well as study

cases and examples. This handbook is the best tool to use if it’s the first time you are handling this topic, giving many references and useful annexes.

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Toolkit to work on the rights regarding Gender, Sexuality and Bodily Autonomy in international workcamps

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Toolkit to work on the rights regarding Gender, Sexuality and Bodily Autonomy in international workcamps

# data[].attributes.body
Developed by the Laboratory of Tools and Skills for Peace-Builders, organized by CCIVS network (Coordinating Committee of International Voluntary Service) and with the support of the Council of Europe, this toolkit gives information and well explained activities related to gender, sexuality and

body to be used in International Voluntary Service. Useful guidelines for workcamps and examples of conflict situations are also presented in thisguide.

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This toolkit was developed and published under the Gendered Realities project and with the support of the UNESCO Participation Programme 2018-2019. It is the work of the Gender Blenders Working group and the Association of SCI, with content contributions from a series of international trainings organised by SCI Germany, SCI Austria and SCI-IS between 2015 and 2019. It provides comprehensive information on gender and sexuality, along with practical

guidelines and easy-to-use tools, with the aim of making activities safer and more inclusive for all, regardless of gender identity or sexuality

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Microagressions are like mosquito bites (Video)

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Microagressions are like mosquito bites (Video)

# data[].attributes.body
Theme : Micro-aggressions ; Consent.

Duration : 1 min 56

Language : English (subtitles available)

# data[].attributes.wish_content.attachment_props.alternative_text
Microagressions are like mosquito bites (Video)

# data[].attributes.body
Theme : LGBTQI+ ; the story of lesbian and bisexual women in California.

Duration : Around 45 minutes per episode

Language : English (subtitles available)

# data[].attributes.attachment_link.readable_text
The L Word is an American-Canadian co-production television drama that aired on Showtime from January 18, 2004 to March 8, 2009. The series follows an ensemble cast of friends who live in West Hollywood, California; it featured American television's first ensemble cast depicting homosexual, bisexual and transgender people. The premise originated with Ilene Chaiken, Michele Abbot and Kathy Greenberg; Chaiken is credited as the primary creator of the series, and also served as its executive producer. The series theme song was performed by the band Betty.

A sequel series, The L Word: Generation Q, debuted in December 2019.

The L Word was co-created by Ilene Chaiken, Michele Abbot, and Kathy Greenberg; Chaiken served as the primary creator and executive director of the series, as well as a writer and director. Steve Golin and Larry Kennar served as additional executive producers, while Guinevere Turner, Susan Miller, Cherien Dabis, and Rose Troche were among the series' writers.

The series premiered on Showtime on January 18, 2004 and ran for a total of six seasons, airing its finale on March 8, 2009. The L Word was filmed in Vancouver, British Columbia at Coast Mountain Films Studio, as well as on location in Los Angeles, California. MGM Worldwide Television distributes the series internationally, and it is syndicated by Logo TV and Netflix.

Contemporary use of the phrase "the L word" as an alias for lesbian dates to at least the 1981 play My Blue Heaven by Jane Chambers, in which a character stammers out: "You're really...? The L-word? Lord God, I never met one before."

The original code-name for The L Word was Earthlings, a rarely used slang term for lesbians.

"The Chart", an undirected labeled graph in which nodes represent individuals and lines represent affairs or hookups, is a recurring plot element throughout the series. Originally, The L Word was to be based around a gay woman Kit Porter, and "The Chart" was tattooed on her back.

In season 4, Alice launches The Chart as a social networking service. Concurrently, a real-world parallel project OurChart.com was created. The website, which allowed registered members to create their own profiles and hosted several blogs on the show, operated from the beginning of season four until the end of season six, after which the site was discontinued and redirected to Showtime's official website.

The first season of The L Word premiered on January 18, 2004 and ended on April 11, 2004. The season introduces Bette Porter and Tina Kennard, a couple in a seven-year relationship attempting to have a child; Marina Ferrer, owner of the local cafe The Planet; Jenny Schecter, who has recently moved to Los Angeles to live with her boyfriend Tim Haspell; Shane McCutcheon, an androgynous, highly sexual hairstylist; Alice Pieszecki, a bisexual journalist who maintains The Chart; Dana Fairbanks, a closeted professional tennis player; and Kit Porter, Bette's straight half-sister.

The second season of The L Word premiered on February 20, 2005 and ended on May 15, 2005. The season introduces Carmen de la Pica Morales, a DJ who becomes part of a love triangle with Shane and Jenny; Helena Peabody, a wealthy art patron who becomes a rival to Bette and love interest to Tina (while she and Bette are separated).

Major storylines in the season include Tina's pregnancy following a second insemination, culminating in Tina and Bette's reconciliation at the end of the season; the introduction of Mark Wayland, a documentary filmmaker who moves in with Shane and Jenny and Kit's acquisition of The Planet following Marina's departure from Los Angeles; Shane and Jenny becoming the unknowing subjects of Mark's documentary after he places hidden cameras in their home; a developing relationship between Alice and Dana; and insights into Jenny's past as an abused child.

The third season of The L Word premiered on January 8, 2006 and ended on March 26, 2006. The season introduces Moira Sweeney, a working-class butch; and Angus Partridge, a male nanny who becomes Kit's lover.

The season is set six months after the birth of Tina and Bette's daughter Angelica. Major storylines include Bette and Tina's relationship deteriorating once again, which leads Tina to start a fake relationship with a man in order to win a possible custody battle with Bette; Moira taking the name Max after coming out as a trans man; Dana's diagnosis with and ultimate death from breast cancer; and Shane and Carmen's engagement and wedding, which ends when Shane abandons Carmen at the altar. Helena is integrated into the primary group of characters as a friend rather than a rival; she acquires a movie studio, where she is entangled in a sexual harassment lawsuit that leads her mother to cut her off financially.

In the lead-up to the third season, the fan fiction website FanLib.com launched a contest where individuals could submit a piece of L Word fanfiction, with the winner's story incorporated into a scene in third-season episode.

The L Word was renewed for a fourth season on February 2, 2006, and began filming on May 29, 2006. The season aired from January 7, 2007 to March 25, 2007, and introduces Jodi Lerner, a love interest for Bette; Phyllis Kroll, Bette's closeted new boss at California Art College; Paige Sobel, a love interest for Shane; Tasha Williams, a former Captain in the Army National Guard and love interest for Alice; and who has slept with the most women on The Chart. reprises her role for two episodes.

Major storylines in the season include the adaptation of Lez Girls, an article written by Jenny for The New Yorker, into a film; Bette taking a job as a dean at California Art College; and Tasha's struggle to reconcile her military service with her sexuality under don't ask, don't tell.

The L Word was renewed for a fifth season on March 8, 2007, and began filming in summer 2007. The season aired from January 6, 2008 to March 23, 2008 and introduces Nikki Stevens, a closeted gay actress who portrays the lead role in Lez Girls. Adele Channing is also introduced, potentially by chance meeting Jenny at the Planet, and soon becoming her personal assistant. Papi and Angus were written out of the series.

Major storylines in the season include Bette and Tina reconciling their relationship, Jenny being ousted from the production of Lez Girls, and Tasha's dishonorable discharge from the military.

The sixth and final season of The L Word aired from January 18, 2009 to March 8, 2009. The season introduces Kelly Wentworth, Bette's college roommate, who attempts to open a gallery with her; Jamie Chen, a social worker who becomes involved in a love triangle with Alice and Tasha; and Marybeth Duffy and Sean Holden, detectives with the LAPD.

The season is a whodunit storyline focused on the murder of Jenny. The events of the season are depicted as a flashback leading up to the night of the crime, with each episode focused around what could have potentially motivated each character to have killed Jenny. The series concludes without revealing the identity of her murderer.

Interrogation tapes

Following the series finale of The L Word, Showtime released a series of seven short videos depicting Bette, Alice, Tina, Nikki Shane being questioned by the police over Jenny's murder. The episodes were posted weekly on Showtime's website. Showtime additionally released an interview with L Word series creator Ilene Chaiken, released in two weekly installments. In the interview, Chaiken stated that Alice went to jail for Jenny's murder, but was not necessarily guilty of the crime.

On July 11, 2017, it was announced a sequel series was in the works with Showtime. Marja-Lewis Ryan has been selected to serve as executive producer and showrunner. On January 31, 2019, Entertainment Weekly reported Showtime picked up the sequel series for a premiere later in the year, in which Jennifer Beals, Katherine Moennig, and Leisha Hailey will reprise their roles. Other sources, such as TVLine, call the eight-episode order a revival, so the nature of the follow-up is unclear. The new series, titled The L Word: Generation Q, will premiere in the fall of 2019.

In July 2008, Showtime CEO Matthew Blank announced that the network would shoot a pilot for The Farm, an L Word spin-off series based on a pitch from L Word series creator Ilene Chaiken. Set in a women's prison, the series was slated to star Famke Janssen, Melissa Leo, Laurie Metcalf, and Leisha Hailey, the lattermost of whom would reprise her role as Alice Pieszecki. The pilot was shot in December 2008. In April 2009, Showtime declined to pick up The Farm for a full series order.

The Real L Word, a reality television series produced by Chaiken, aired on Showtime from June 20, 2010 to September 6, 2012. The series, initially set in Los Angeles and later in Brooklyn, New York City, followed a group of real-life gay women.

L Word Mississippi: Hate the Sin, a documentary directed by Lauren Lazin and produced by Chaiken, premiered on Showtime on August 8, 2014. The documentary, which follows a group of LGBT women in rural Mississippi, won the GLAAD Media Award for Outstanding Documentary in 2015.

EZgirl served as The L Word's music composer, while Natasha Duprey served as music supervisor. A total of five soundtracks were produced.

All three of Leisha Hailey's bands were referenced in the series: a song by The Murmurs was used in the first season, Shane wears a shirt for Gush in the second season. Songs by Uh Huh Her were featured in the show's fifth and sixth seasons; Tasha is seen wearing an Uh Huh Her t-shirt during the sixth season.

The show's first season was "broadcast to critical acclaim and instant popularity"; as an article from The New York Times pointed out:

Before "The L Word," female gay characters barely existed in television. Interested viewers had to search and second-guess, playing parlor games to suss out a character's sexuality. Cagney and Lacey? Jo on " Facts of Life"? Xena and Gabrielle? Showtime's decision in January 2004 to air The L Word, which follows the lives of a group of fashionable Los Angeles gays, was akin to ending a drought with a monsoon. Women who had rarely seen themselves on the small screen were suddenly able to watch gay characters not only living complex, exciting lives, but also making love in restaurant bathrooms and in swimming pools. There was no tentative audience courtship. Instead there was sex, raw and unbridled in that my-goodness way that only cable allows.

Co-creator and executive producer Ilene Chaiken had some issues with the reaction:

I do want to move people on some deep level. But I won't take on the mantle of social responsibility. That's not compatible with entertainment. I rail against the idea that pop television is a political medium. I am political in my life. But I am making serialized melodrama. I'm not a cultural missionary.

By the time the sixth and final season began, however, reviews had become far more negative. The New York Times called the show a " Sapphic fantasia" that has "shown little interest in variegating portrayals of gay experience. Instead it has seemed to work almost single-mindedly to counter the notion of " lesbian bed death" and repeatedly remind the viewer of the "limits and tortures of monogamy" while "never align[ing] itself with the traditionalist ambitions [for same-sex marriage] of a large faction of the gay rights movement".

Unlike its network predecessor Queer as Folk, praised critically for its ground-breaking material that was both well-written and well-acted, there were complaints from critics regarding The L Word' s watered-down, unrealistically glamorous characters and melodrama, and some reviewers and fans were put off by the theme song (introduced in the second season) and the "graceless, clunky dialogue".

While the show is seen as fulfilling gay characters' "obvious and modest representational need" or even the "ferocious desire not only to be seen in some literal sense... but to be seen with all the blood and angst and magic that you possess", the show has been criticized for various scenes which serve to "reify heteronormativity". The show has also been praised for its nuanced consideration (in the first season) of how and in what ways gay women should stand up to the religious right, with the "Provocations" art show storyline being "a fictionalized version of what happened when Cincinnati's Contemporary Art Center booked a controversial exhibition of Mapplethorpe photographs in 1990".

Several shows have referenced The L Word, including South of Nowhere's first season episode "Girls Guide to Dating"; According to Jim; the medical drama ; the first season finale of , Jon Stewart's The Daily Show (July 24, 2006); Chappelle's Show: The "Lost Episodes"; The Sopranos episode Live Free or Die; the US version of ; Gilmore Girls fourth season episode Scene in a Mall; The Big Gay Sketch Show; The Simpsons episode You Kent Always Say What You Want; and episode Brian Sings and Swings. Also, movies such as Puccini for Beginners and I Can't Think Straight have made mention of The L Word as to reference lesbians but considers the term is sometimes used as slander.

In 2004, Laurel Holloman won a Satellite Award for Best Actress - Television Series Drama. The show was also for a Satellite Award for Best Television Series - Drama in the same year. In the second season, Ossie Davis received a posthumous Emmy Award nomination for Outstanding Guest Actor in a drama series in recognition of his portrayal of Bette and Kit Porter's father, Melvin. The show received multiple nominations for GLAAD Media Awards, and both Pam Grier and Jennifer Beals were repeatedly nominated for NAACP Image Awards.

In 2008, The L Word's companion website was honored at the 59th Annual Technology & Engineering Emmy Awards for Outstanding Achievement in Advanced Media Technology for Best Use of Commercial Advertising on Personal Computers.

Death of Tina Kennard

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The L Word is an American-Canadian co-production television drama that aired on Showtime from January 18, 2004 to March 8, 2009. The series follows an ensemble cast of friends who live in West Hollywood, California; it featured American television's first ensemble cast depicting homosexual, bisexual and transgender people.

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Summary : Groundbreaking approach, linking philosophy, psychology and sociology, on feminism in 1948. Central in second-wave feminism, introducing the concept of difference between sex and gender and how gender is a social construct.

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Summary : A sociological work on relations between men and women and how masculine domination has been built within our societies.

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Masculine domination is so anchored in our social practices and our unconscious that we hardly perceive it; it is so much in line with our expectations that we find it difficult to call into question. Pierre Bourdieu's analysis of Kabyle society provides instruments to help us understand the most concealed aspects of the relations between the sexes in our own societies, and to break the bonds of deceptive familiarity that tie us to our own tradition.

Bourdieu analyzes masculine domination as a prime example of symbolic violence-the kind of gentle, invisible, pervasive violence exercised through the everyday practices of social life. To understand this form of domination we must also analyze the social mechanisms and institutions-family, school, church, and state-that transform history into nature and eternalize the arbitrary. Only in this way can we open up the possibilities for a kind of political action that can put history in motion again by neutralizing the mechanisms that have naturalized and dehistoricized the relations between the sexes.

This new book by Pierre Bourdieu-which has been a bestseller in France-will be essential reading for anyone concerned with questions of gender and sexuality and with the structures that shape our social, political, and personal lives.

About the author

Pierre Bourdieu is Professor of Sociology at the Collège de France and Director of Studies at the Ecole des Hautes Etudes en Sciences Sociales. Stanford University Press has published twelve other books by Bourdieu, most recently Pascalian Meditations (2000) and The Weight of the World: Social Suffering in Contemporary Societies (19

" . . . [The] value of the book lies very much in the broad sweep with which it tries to recast our understanding of masculine domination. . . . [It] opens up the field for an investigation of the gender order as an ongoing social project of both men and women. . . . Bourdieu's greatest contribution to the study of gender is not so much in the questions that he has answered, but rather in the questions he is allowing us to pose."

- Contemporary Sociology

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Masculine Domination - Pierre Bourdieu Translated by Richard Nice

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Masculine domination is so anchored in our social practices and our unconscious that we hardly perceive it; it is so much in line with our expectations that we find it difficult to call into question.

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Summary : A feminist essay on the link between sexism, racism and classism, with a focus on the US

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Summary: A theoretical and historical approach on black womanhood & black feminism

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Summary : From a philosophical point of view, explanation of how gender is performative and be perpetuated by certain social phenomenons.

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Gender Trouble: Feminism and the Subversion of Identity (1990; second edition 1999) is a book by the philosopher Judith Butler in which the author argues that gender is performative, meaning that it is maintained, created or perpetuated by iterative repetitions when speaking and interacting with each other.

Butler criticizes one of the central assumptions of feminist theory, that there exists an identity and a subject that requires representation in politics and language. For Butler, "women" and " woman" are categories complicated by factors such as class, ethnicity, and sexuality. Moreover, the universality presumed by these terms parallels the assumed universality of the patriarchy and erases the particularity of oppression in distinct times and places. Butler thus eschews identity politics in favor of a new, coalitional feminism that critiques the basis of identity and gender. They challenge assumptions about the distinction often made between sex and gender, according to which sex is biological while gender is culturally constructed. Butler argues that this false distinction introduces a split into the supposedly unified subject of feminism. Sexed bodies cannot signify without gender, and the apparent existence of sex prior to discourse and cultural imposition is only an effect of the functioning of gender. Sex and gender are both constructed.

Examining the work of the philosophers Simone de Beauvoir and Luce Irigaray, Butler explores the relationship between power and categories of sex and gender. For de Beauvoir, women constitute a lack against which men establish their identity; for Irigaray, this dialectic belongs to a "signifying economy" that excludes the representation of women altogether because it employs phallocentric language. Both assume that there exists a female "self-identical being" in need of representation, and their arguments hide the impossibility of "being" a gender at all. Butler argues instead that gender is performative: no identity exists behind the acts that supposedly "express" gender, and these acts constitute, rather than express, the illusion of the stable gender identity. If the appearance of "being" a gender is thus an effect of culturally influenced acts, then there exists no solid, universal gender: constituted through the practice of performance, the gender "woman" (like the gender "man") remains contingent and open to interpretation and "resignification". In this way, Butler provides an opening for subversive action. They call for people to trouble the categories of gender through performance.

Discussing the patriarchy, Butler notes that feminists have frequently made recourse to the supposed pre-patriarchal state of culture as a model upon which to base a new, non-oppressive society. For this reason, accounts of the original transformation of sex into gender by means of the incest taboo have proven particularly useful to feminists. Butler revisits three of the most popular: the anthropologist Claude Lévi-Strauss's anthropological structuralism, in which the incest taboo necessitates a kinship structure governed by the exchange of women; Joan Riviere's psychoanalytic description of "womanliness as a masquerade" that hides masculine identification and therefore also conceals a desire for another woman; and Sigmund Freud's psychoanalytic explanation of mourning and melancholia, in which loss prompts the ego to incorporate attributes of the lost loved one, in which cathexis becomes identification.

Butler extends these accounts of gender identification in order to emphasize the productive or performative aspects of gender. With Lévi-Strauss, they suggest that incest is "a pervasive cultural fantasy" and that the presence of the taboo generates these desires; with Riviere, they state that mimicry and masquerade form the "essence" of gender; with Freud, they assert that "gender identification is a kind of melancholia in which the sex of the prohibited object is internalized as a prohibition" (63) and therefore that "same-sexed gender identification" depends on an unresolved (but simultaneously forgotten) homosexual cathexis (with the father, not the mother, of the Oedipal myth). For Butler, "heterosexual melancholy is culturally instituted as the price of stable gender identities" (70) and for heterosexuality to remain stable, it demands the notion of homosexuality, which remains prohibited but necessarily within the bounds of culture. Finally, they point again to the productivity of the incest taboo, a law which generates and regulates approved heterosexuality and subversive homosexuality, neither of which exists before the law.

In response to the work of the psychoanalyst Jacques Lacan that posited a paternal Symbolic order and a repression of the "feminine" required for language and culture, Julia Kristeva added women back into the narrative by claiming that poetic language-the " semiotic"-was a surfacing of the maternal body in writing, uncontrolled by the paternal logos. For Kristeva, poetic writing and maternity are the sole culturally permissible ways for women to return to the maternal body that bore them, and female homosexuality is an impossibility, a near psychosis. Butler criticizes Kristeva, claiming that her insistence on a "maternal" that precedes culture and on poetry as a return to the maternal body is essentialist: "Kristeva conceptualizes this maternal instinct as having an ontological status prior to the paternal law, but she fails to consider the way in which that very law might well be the cause of the very desire it is said to repress" (90). Butler argues the notion of "maternity" as the long-lost haven for females is a social construction, and invokes Michel Foucault's arguments in The History of Sexuality (1976) to posit that the notion that maternity precedes or defines women is itself a product of discourse.

Butler dismantles part of Foucault's critical introduction to the journals he published of Herculine Barbin, an intersex person who lived in France during the 19th century and eventually committed suicide when she was forced to live as a man by the authorities. In his introduction to the journals, Foucault writes of Barbin's early days, when she was able to live her gender or "sex" as she saw fit as a "happy limbo of nonidentity" (94). Butler accuses Foucault of romanticism, claiming that his proclamation of a blissful identity "prior" to cultural inscription contradicts his work in The History of Sexuality, in which he posits that the idea of a "real" or "true" or "originary" sexual identity is an illusion, in other words that "sex" is not the solution to the repressive system of power but part of that system itself. Butler instead places Barbin's early days not in a "happy limbo" but along a larger trajectory, always part of a larger network of social control. They suggest finally that Foucault's surprising deviation from his ideas on repression in the introduction might be a sort of "confessional moment", or vindication of Foucault's own homosexuality of which he rarely spoke and on which he permitted himself only once to be interviewed.

Butler traces the feminist theorist Monique Wittig's thinking about lesbianism as the one recourse to the constructed notion of sex. The notion of "sex" is always coded as female, according to Wittig, a way to designate the non-male through an absence. Women, thus reduced to "sex", cannot escape carrying sex as a burden. Wittig argues that even naming body parts as sexual creates a fictitious limitation of what body parts can be considered erogenous, socially constructing the features themselves and fragmenting what was really once "whole". Language, repeated over time, "produces reality-effects that are eventually misperceived as 'facts'" (115).

Butler questions the notion that "the body" itself is a natural entity that "admits no genealogy", a usual given without explanation: "How are the contours of the body clearly marked as the taken-for-granted ground or surface upon which gender signification are inscribed, a mere facticity devoid of value, prior to significance?" (129). Building on the thinking of the anthropologist Mary Douglas, outlined in her Purity and Danger (1966), Butler claims that the boundaries of the body have been drawn to instate certain taboos about limits and possibilities of exchange. Thus the hegemonic and homophobic press has read the pollution of the body that AIDS brings about as corresponding to the pollution of the homosexual's sexual activity, in particular his crossing the forbidden bodily boundary of the perineum. In other words, Butler's claim is that "the body is itself a consequence of taboos that render that body discrete by virtue of its stable boundaries" (133). Butler proposes the practice of drag as a way to destabilize the exteriority/interiority binary, finally to poke fun at the notion that there is an "original" gender, and to demonstrate playfully to the audience, through an exaggeration, that all gender is in fact scripted, rehearsed, and performed.

Butler attempts to construct a feminism (via the politics of jurido- discursive power) from which the gendered pronoun has been removed or not presumed to be a reasonable category. They claim that even the binary of subject/object, which forms the basic assumption for feminist practices-"we, 'women,' must become subjects and not objects"-is a hegemonic and artificial division. The notion of a subject is for them formed through repetition, through a "practice of signification" (144). Butler offers parody (for example, the practice of drag) as a way to destabilize and make apparent the invisible assumptions about gender identity and the inhabitability of such "ontological locales" (146) as gender. By redeploying those practices of identity and exposing as always failed the attempts to "become" one's gender, they believe that a positive, transformative politics can emerge.

All page numbers are from the first edition: Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York, Routledge, 1990).

Gender Trouble was first published by Routledge in 1990. Later that decade, a second edition was published by Routledge. In 2006, a Routledge Classics edition was published.

Gender Trouble was reviewed by Shane Phelan in Women & Politics. The work has enjoyed widespread popularity outside of traditional academic circles, even inspiring a fanzine, Judy! Butler, in a preface to the second edition of the book, writes that they were surprised by the size of the book's audience and its eventual status as a founding text of queer theory. Anthony Elliott writes that with the publication of Gender Trouble, Butler established themself at the forefront of feminism, women's studies, lesbian and gay studies, and queer theory. According to Elliott, the core idea expounded in Gender Trouble, that "gender is a kind of improvised performance, a form of theatricality that constitutes a sense of identity", came to be seen as "foundational to the project of queer theory and the advancing of dissident sexual practices during the 1990s."

On November 23, 2018, the playwright Jordan Tannahill read the entirety of Gender Trouble outside the Hungarian Parliament Building in protest of Hungarian Prime Minister Viktor Orbán's decision to revoke accreditation and funding for gender studies programs in the country.

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Gender Trouble: Feminism and the Subversion of Identity (1990; second edition 1999) is a book by the philosopher Judith Butler in which the author argues that gender is performative, meaning that it is maintained, created or perpetuated by iterative repetitions when speaking and interacting with each other.

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Blacklash: The Undeclared War Against American Women - Susan Faludi

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Blacklash: The Undeclared War Against American Women - Susan Faludi

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Summary : A study about how patriarchy can perpetuate itself and fight every feminist progress, and how victim-blaming has been used in the past to target women and feminist movements.

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Chapter excerpt from the bestselling book Backlash: The Undeclared War Against American Women, by Susan Faludi, an examination of society and women’s roles in America today