Tag: Washington Post

Towards a better masculinity

The Washington Post essay by Christine Emba called “Men are lost. Here’s a map out of the wilderness” has made the rounds over the last month, and for good reason. Emba takes stock of the currently tenuous state of American masculinity, with insightful commentary from Of Boys and Men author Richard Reeves and professor Scott Galloway.

Here’s a key passage on what “good masculinity” should look like:

Reeves, in our earlier conversation, had put it somewhat more subtly. “I try to raise my boys” — he has three — “to have the confidence to ask a girl out, if that’s their inclination; the grace to accept no for an answer; and the responsibility to make sure that, either way, she gets home safely.” His recipe for masculine success echoed Galloway’s: proactiveness, agency, risk-taking and courage, but with a pro-social cast.

This tracked with my intuitions about what “good masculinity” might look like — the sort that I actually admire, the sort that women I know find attractive but often can’t seem to find at all. It also aligns with what the many young men I spoke with would describe as aspirational, once they finally felt safe enough to admit they did in fact carry an ideal of manhood with its own particular features.

Physical strength came up frequently, as did a desire for personal mastery. They cited adventurousness, leadership, problem-solving, dignity and sexual drive. None of these are negative traits, but many men I spoke with felt that these archetypes were unfairly stigmatized: Men were too assertive, too boisterous, too horny.

But, in fact, most of these features are scaffolded by biology — all are associated with testosterone, the male sex hormone. It’s not an excuse for “boys will be boys”-style bad behavior, but, realistically, these traits would be better acknowledged and harnessed for pro-social aims than stifled or downplayed. Ignoring obvious truths about human nature, even general ones, fosters the idea that progressives are out of touch with reality.

On how to create a positive vision of masculinity:

Recognizing distinctiveness but not pathologizing it. Finding new ways to valorize it and tell a story that is appealing to young men and socially beneficial, rather than ceding ground to those who would warp a perceived difference into something ugly and destructive.

Emba’s vision:

In my ideal, the mainstream could embrace a model that acknowledges male particularity and difference but doesn’t denigrate women to do so. It’s a vision of gender that’s not androgynous but still equal, and relies on character, not just biology. And it acknowledges that certain themes — protector, provider, even procreator — still resonate with many men and should be worked with, not against.

But how to implement it? Frankly, it will be slow. A new masculinity will be a norm shift, and that takes time. The women’s movement succeeded in changing structures and aspirations, but the social transformation didn’t take place overnight. And empathy will be required, as grating as that might feel.

It is harder to be a man today, and in many ways, that is a good thing: Finally, the freer sex is being held to a higher standard.

The Post

Ready Player One took my esteem for Spielberg down a notch, but The Post—made after Ready Player One but released before it—has elements of his best work, even if it doesn’t rise above the sum of its parts. Generally it’s standard Spielberg, with old-school liberal and institutionalist views on the press, akin to Lincoln in its reverence for American mythologies. But cinematically it’s much more robust and limber than a lot of his recent stuff, with closely observed moments like the shot of Bob Odenkirk’s reporter character typing at his desk as the Washington Post‘s printing press rumbles to life in a climactic moment. I think the lack of prep time did him good.

Also, I am 99% sure Tom Hanks did this movie because of all the typewriters. Working with Spielberg and Meryl Streep was merely a bonus.

Girl Meets Rainbow

I was heartened by the exceedingly successful Kickstarter campaign to resurrect Reading Rainbow, which will help bring a new version of the early-literacy television program back to solvency and into classrooms to foster a love of reading in today’s children.

But this article from Caitlin Dewey at the Washington Post gave me pause:

“Crowdfunding is theoretically supposed to bolster charities, start-ups, independent artists, small-business owners and other projects that actually need the financial support of the masses to succeed. It’s not supposed to be co-opted by companies with profit motives and private investors of their own … which, despite Burton’s charisma, is exactly what the Rainbow reboot is.

But if you’re donating to Reading Rainbow because of the grandiose charity rhetoric Burton’s employing on Kickstarter, you might want to look elsewhere — maybe the nonprofit Children’s Literacy Initiative or the Washington, D.C.-based First Book, both of which get high grades from Charity Navigator. They might not have LeVar [Burton]’s nostalgia appeal, but there’s no doubt who those charities serve.”

Rainbow was cancelled in 2009 and had been existing as an app since then, so though its name already has a pedigree I think it still deserved a chance to ask its fans for money like any other cause, charitable or otherwise.

In this light, let’s also consider the impending arrival of Girl Meets World, the sort-of sequel to that ’90s TGIF mainstay (and personal TV favorite) Boy Meets World. The title character is the daughter of Cory and Topanga, adorkable teen sweethearts and stars of BMW. When word of the show’s development hit the internet in late 2012, I’ll admit I got excited. Boy Meets World was a seminal show in my adolescence. I saw in Cory and Topanga’s relationship a healthy model for friendship and romance: Cory was silly and Topanga was rational, but both were strong, self-sufficient people who loved the other despite their foibles and occasional conflicts. And the people around them were just as well-rounded: Shawn broody yet loyal, Feeny upright yet playful, Eric clownish yet sincere.

Like Reading Rainbow, the BMW brand—much-loved yet dated—has received new life thanks to the groundswell support of its fans. Though this new show will be its own story with a new protagonist and surrounding cast, but with Cory and Topanga back in the mix, and the original BMW producer at the helm, it might as well be considered a continuation of the story. But for whom?

It’s common, I know, for entertainment meant for kids to have something their parents can enjoy too. Whether it’s Sesame Street or the latest Pixar movie, the best filmmakers and producers find a way to appeal to many age groups. And perhaps that is why Girl Meets World is being made: to give Millennials with young kids something they already have an attachment to that they will (theoretically) be able to enjoy watching with their kids. But the Disney Channel audience of Girl Meets World either hasn’t seen the original series or hasn’t even heard of it. They will have as much emotional investment in the characters as they would for any new show they encounter. So why do we need Girl Meets World?

It’s not as if kids today lack any source of entertainment whatsoever; what BMW was to me and my Millennial ilk, they have today (I’m guessing here) in the variety of television shows, movies, apps, and YA novels being made specifically for them right now. Don’t they deserve to have their own Boy Meets World, a show or thing they discovered in their youth and will feel special kinship toward into adulthood? Boy Meets World was my generation’s thing; shouldn’t they have their own that didn’t descend from their parents’ cultural experience and sensibility?

Perhaps I’m just being possessive. Who am I to cling to a TV show that many, many others cherish as much as I do. I suppose this gets at another question relating to pop culture and our interaction with it: Do we own the culture we embrace or are we mere stewards of it? In our produce/reuse/recycle media culture, do we lose the right to claim something as our own? I don’t think so. Once a work of art is created and sent out into the world, it is the artist’s no longer. It becomes a public entity of which we can all buy shares and claim partial if ardent ownership, but we can never own it outright. My Green Bay Packers stock is tangible evidence of my intangible ownership and love of the team, but it’s not real stock. There will always be more Packers fans, and Boy Meets World fans, and Reading Rainbow students, no matter the form those things take.

So here’s to hoping that everybody wins: that Girl Meets World and the new iteration of Reading Rainbow will enchant young viewers and delight older ones, and that we’ll finally find out what happened to Mr. Turner.