Author: Allan Stratton

We Can Revisit (And Even Replace) the Classic Books We Teach Children—Without Cancelling Them

Earlier this month, Dr. Seuss Enterprises announced it would stop publishing six Dr. Seuss titles because they included several drawings with racial stereotypes. As the press release put it, “These books portray people in ways that are hurtful and wrong. Ceasing sales of these books is only part of our commitment and our broader plan to ensure Dr. Seuss Enterprises’ catalog represents and supports all communities and families.” The New York Times published opposing responses. Columnist Charles M. Blow celebrated the news, linking the books to the racist stereotypes in Tarzan and Our Gang that had damaged his self-esteem growing up. He argued that these images should be weeded out because they lead children to internalize a sense of inferiority. His conservative counterpart Ross Douthat, on the other hand, described the decision as evidence that companies are abandoning free-speech principles in order to protect their image from progressive attacks. This self-censorship has frightening implications as they have unfettered control over major cultural franchises and landmarks. As one might imagine, Fox News was less restrained. Tucker …

What We Owe to ‘The Boys in the Band’—and Other Classics of Gay Film

Ryan’s Murphy’s new Netflix production of The Boys in the Band is a time capsule of gay life in New York City, 1968. A group of friends, all but one closeted, get together for a birthday party that makes Who’s Afraid of Virginia Woolf look like a strawberry social. Shame, guilt, fear, and self-loathing rip through a night of pills, alcohol, and panic attacks, ending with the lines, “Show me a happy homosexual and I’ll show you a gay corpse,” and “If we could just not hate ourselves so much… If we could just learn not to hate ourselves quite so very much.”  I was 18 when I saw the original production, alone, and 19 when I saw the 1970 film adaptation, also alone. I furtively entered and exited the theatre both times, terrified that someone I knew might see me at a show about gays. Would they wonder if I was gay, too? If they guessed, then what? I could end up like those characters, cast off by friends and family, no hope, …

Don’t Listen to the Outrage. ‘Cuties’ Is a Great Film

If you’d asked me a month ago what could possibly break through a news cycle dominated by the biggest global pandemic in a century, the most severe economic downturn since the Great Depression, and the worst civil unrest in the United States since the Civil Rights Era, a diverse, French arthouse film about four 11-year-old girls trying to win a dance competition wouldn’t have crossed my mind. Yet since its recent release on Netflix, Cuties has broken through the noise, and how. I wish it were for the right reasons: For instance, because Senegalese-French director Maïmouna Doucouré has written and directed a brilliant, award-winning first feature drawn from her experience growing up as an immigrant kid caught between cultures. Or because it’s alive with tenderness and heartache: a grittier, cross-cultural Eighth Grade about friendship, the love of a parent and child, and our longing to fit in, no matter our age, no matter the price. Or because it’s alive to injustice without preaching or judgement. But no. Cuties has broken through because of grotesquely false …