Girl on Girl

From When did feminism lose its way? This question feels increasingly urgent in a moment of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress.; Sophie Gilbert, a staff writer at Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, <Girl on Girl< is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.

Auteur

Sophie Gilbert is a staff writer at The Atlantic, where she writes about television, books, and popular culture. She won the 2024 National Magazine Award for Reviews and Criticism and was a finalist for the 2022 Pulitzer Prize in Criticism. She lives in London.

Texte du rabat

From Atlantic critic and Pulitzer Prize finalist Sophie Gilbert, a blazing critique of how early-aughts pop culture turned women and girls against each other—and themselves—with disastrous consequences

What happened to feminism in the 21st century? This question feels increasingly urgent after a period of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress.

Sophie Gilbert, a staff writer at The Atlantic and finalist for the Pulitzer Prize in criticism, provides one answer, identifying an inflection point in the late 1990s and early 2000s when the energy of third-wave and “riot girrrl” feminism collapsed into a regressive period of hyper-objectification, sexualization, and infantilization. Gilbert mines the darker side of nostalgia, training her keen analytic eye on the most revealing cultural objects of the era, across music, film, television, fashion, tabloid journalism, and more. And what she recounts is harrowing, from the leering aesthetic of American Apparel ads and explicit music videos to a burgeoning internet culture vicious towards women in the spotlight and damaging for those who weren’t. Gilbert tracks many of the period’s dominant themes back to the explosion of internet porn, tracing its widespread influence as it began to pervade our collective consciousness.

Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, Girl on Girl is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.